GWC – Wednesday 15th October – First Sessions and Heather Parry
Welcome Back!
With a brand new venue at the Wyllieum and an impressive syllabus, this year’s sessions at Greenock Writers’ Club have been off to a fantastic start! So far, we’ve welcomed club members Tracy Rogers and Robert Mckenzie who have hosted brilliant sessions on Dylan Thomas, the Celtic Bard tradition and even a riveting foray into detectives in Film Noir. One of the best things about our club is the talent which abounds, and those who are eager and willing to share their valuable expertise with fellow members. Thank you Tracy and Robert!
In conjunction with our talented members, we also welcome a number of guest speakers with lots of informative and engaging sessions ahead.
Last week, we were joined by Paul Bristow of Magic Torch Comics; a fascinating night of Inverclyde folklore, illustration and creativity. Thank you to Paul for a memorable evening which prompted members to think about the power of local history to inspire different forms of storytelling.
Author Heather Parry
This week, we had the pleasure of welcoming author Heather Parry who captured members’ interest with her journey to publication and insights into the industry. As a writer of fiction and nonfiction, Parry is a Glasgow-based author and editor originally hailing from South Yorkshire whose novels include the likes of gothic tales Orpheus Builds a Girl and Carrion Crow.
Journey to Publication
Throughout the session, Parry shared her journey to writing and, eventually, publication. Her hometown was culturally quiet and, while she didn’t consider a career in the arts, she completed her degree in English and Philosophy before leaving the UK. Through her time studying, travelling and working abroad, she spoke of her
experiences learning to edit when she worked for a publisher in Toronto, Canada and even began writing a novel while living in Central America.
Parry’s influences include the likes of Bret Easton Ellis but it was a while before she discovered her own voice by first completing a draft novel then beginning a completely new project. Later, Parry moved to Edinburgh in 2014 and participated in the WoMentoring Project in which she partnered with Scottish writer Kirsty Logan as her mentor. This invaluable experience taught Parry that she needed to hone her storytelling rather than just her knack for coming up with ideas and concepts. Interestingly, Parry spoke of the need for writers to ‘let go of the ego’ and the importance of second drafts in which so many things can change.
After engaging with agents and even letting some go, Parry’s novel Orpheus Builds a Girl was not yet published in the UK when she began writing what would become her novel, Carrion Crow.
Writing Carrion Crow
Parry describes this novel as a book about mothers in Victorian London in which a young woman attempts to buy her way to a different domestic future. One of Parry’s biggest sources of inspiration was drawn from the 1861 title, Mrs Beeton’s Book of Household Management – a title which has not been out of publication and was actually written by a 22 year old non-mother married to a publisher. While arguably a work of ingenious plagiaristic marketing, the book prompted Parry to examine the likes of food, class, and the relationship between the past and present. Parry also talked about the value of restriction and creativity in writing in which restriction can facilitate more creative freedom and inventiveness.
Writing First Drafts
Parry’s tips for writing first drafts include the following:
● ‘Your method is yours’
● A first draft is like sitting at a potter’s wheel and slapping on the clay; second and third drafts allow you to turn it into something
● Creativity can occur in certain moments of flow
● Your writer’s brain is different from your reader’s brain (which is why putting your writing in a drawer can be useful)
● Often first drafts require massive deletions.
Agents
Seeking literary representation is often a challenging and frustrating aspect of the journey to publication. Parry highlighted the ease of self-publishing but the difficulty of trying to encourage sales in which publishers can be more adept. Her advice on agents include:
● Acknowledge it is good to be flexible but know your red lines
● Target agents who represent work you like
● Cater to an audience/genre but ultimately, what is most important to you as a writer?
● Learn to listen and move a bit
● Ask agents and publishers questions and do not sign any contracts without reading them carefully
● The Society of Authors is a fantastic resource and membership can offer support with the legal side of publishing.
Overall, it was a captivating session in which Parry was generous with her knowledge and expertise, leaving members inspired and excited by the challenges and rewards writing can bring. Thank you very much, Heather!