This is a blog you’ll enjoy if you like writing! I write for magazines in the UK and abroad and I am also the Agony Aunt for Writers’ Forum magazine.


Tips on Writing Flash Fiction

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Flash Fiction is a term that can be applied to anything under 1000 words but more usually it’s shorter. For the purposes of this blog let’s say between 300 and 500 words.

It shouldn’t be anecdotal, i.e. it should still have the elements of a short story (see definition) but I often see Flash that is quite anecdotal so clearly this will depend on the judge. If possible check the previous winners for hints.

My definition of a short story is: a character with a problem, which is resolved by the end in an unexpected way. The character should change in some way by the end of the story.

Flash Fiction must be strong. The following all work well in flash:

  • Twist endings.
  • Very strong characters, especially in a slice of life story.
  • Powerful emotion.
  • Humour if it’s established swiftly and from the outset.
  • Tales with a moral, for example, criminal gets come-uppance.
  • Strong structures that help to carry the story, for example, the story may be headed up in sections such as a diary format or winter, summer, autumn, spring.
  • Strong themes – such as revenge, hope, loss, love.

What doesn’t work?

  •  Anything that’s too complicated. Plots should be simple with one main thread.
  • Too many characters dilute the story. One central character is good.
  • Very long time spans are hard to pull off.
  • A lot of dialogue is hard to fit in. Snippets are good.
  • Likewise too much scene setting won’t work. There isn’t room.
  • Multi viewpoint is hard to pull off. Stick to one character or use a narrative viewpoint.

Flash must have a good hook and it must have a strong end. It’s usually better to write over your target word length and then cut back. It is very good practice for building both your short story skills and editing skills.

Not to mention great fun.

By the way The Morning After the Life Before is 99p today and tomorrow. That’s the sequel to Ice and a Slice, it doesn’t go on promo very often so grab it if you want it.

Thanks for reading.

Della xxx




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Five Tips to Stay Inspired With Your Writing

  1. Got an idea for a story? Write more than one opening paragraph – it takes the pressure off having to get it perfect. Keep writing openings until you feel the inspiration kick in.  This can sometimes take me a while.
  2. Don’t edit your beginning until you’ve completed the story. It’s very easy to focus so much on perfecting an opening paragraph that you never get to the end.
  3. Don’t end the section you’re writing at the end of a scene break. Stop mid scene, mid paragraph or even mid sentence if you’ve got a good memory! It’s much easier to pick it up again.
  4. We tend to spend much less time on the end of a story.  The right ending can take time. Write more than one closing paragraph.  Then leave the story a week or so before coming back and seeing which one feels right.
  5. When you have a complete first draft. Leave the story another week before you do your final edits.  A student I once taught likened it to putting your story in the ‘naughty cupboard’. When you go back to them they will tell you everything they did wrong. This is so true. Mistakes will leap out after a gap of time that it’s impossible to see when you’re close to your work.
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The Short Story Writer’s Toolshed

The Short Story Writer’s Toolshed was first published as a series in Writer’s Forum. I later decided to compile it into a handy little book. Here is an extract I thought you might like.

How The Toolshed Works

Every writer has certain tools at their disposal. We all in fact use the same tools when it comes to writing short stories, but we’re not necessarily that adept when we set out. This book is a little like an instruction manual, which I’m hoping might save you some time.

So, what exactly do we have in our toolshed? Well this particular toolshed is divided into shelves and on the shelves you will find the following tools:

Shelf one: ideas and getting started; shelf two: plot; shelf three: characters and viewpoint; shelf four: dialogue; shelf five: structure; shelf six: time span, pace and theme; shelf seven: flashback; shelf eight: cutting and editing; shelf nine: putting it all together; shelf ten rejection and motivation.

If you like you can work through the entire toolshed, or you might prefer to go straight to the relevant shelf. But to begin let me take you on a whistle-stop tour of the toolshed. Let’s examine what a short story actually is, as well as having a quick look at some of the available tools.

A Look Around The Toolshed

What is a short story?

This might seem like an odd question to ask in an ebook for writers. We all know what a short story is, don’t we? It’s a story that’s short; it’s less than the length of a novel; it has a beginning, middle and end and gives the reader the chance to spend a brief time with some interesting characters. Simple enough, you might think. But actually no, it’s not that simple at all.

It’s shorter than a novel, yes, but there’s so much more to writing a successful short story than size. The techniques used, the tools if you like, are exactly the same as the tools for writing a novel. Except they are used differently!

In this ebook which I hope will be useful to both beginners and more experienced writers alike we will look at how to use the tools we have at our disposal.

We will look at not just what makes a story work, but also examine the reasons why some stories which on the surface have all the right ingredients don’t work.

To my mind, writing a short story is like painting in miniature. It should have all the depth and colour that a full size canvas allows, but there is no room for waffle. Don’t make the mistake of thinking they are easy to write. Many successful novelists will tell you that short stories are one of the hardest forms of writing. They are a craft.


The length of a short story changes with the fashion. If you are writing to sell, then your market will dictate what length you should aim for, be it magazine or podcast or radio. If you are writing for a competition then the rules will dictate the length. Even if you are writing for your own pleasure and have no desire to see your work in print, it is wise to set yourself a word limit. This is because length is relevant to the elements of a short story. For example, you’ll have trouble writing a story of 1000 or 2000 words if you have a cast of ten or twelve characters.

They’ve got shorter than they used to be. A quick search of the internet will reveal short story competitions that start with a length as short as 60 words. In fact, I even found one which had a word limit of 6 words. But most short story competitions these days have a maximum word length of around 5000 and this is probably on the long side. The vast majority of competitions ask for short stories of between 1000 and 3000 words.

Magazine lengths are similar. Podcasts may go a bit longer. So even if you are not setting out to place your work, then it might be as well to limit yourself to a saleable length just so you can get into the feel of writing something shorter. If you find your stories feel stretched at 3000 words then you might want to reduce it, but the best way to find out is to write a few. See if the pace suits you. Find the length you are comfortable with and then stick to it until you feel you have mastered the art of fitting your plot and characters into that space.


You won’t have room for dozens of characters. In my experience one or two main characters are usually enough. You may of course need supporting characters, but look at them as bit part characters who don’t necessarily need to be fully developed or even named. That doesn’t mean they should be stereotypes. There are many ways of making minor characters spring to life with very few words.

We will look at this in more detail when we get to characterisation. Your main character or characters must be fully developed though. If they are not the reader won’t care about them. If she doesn’t care about them and cannot emotionally engage with them, there’s a good chance she won’t read on.

Interestingly, to return to the subject of length for a moment, when I first started writing stories longer than 1000 words I assumed I’d need more characters to get the extra length, but I quickly realised that it wasn’t about adding characters it was about developing the ones I already had. This is one of the most important things I’ve ever learned about short story writing. I later realised it applied to serials and novels as well.

So to summarise, if you are writing a short story of 1000 – 2000 words you probably won’t need more than a couple of main characters and one of them should be main, which takes us nicely on to viewpoint.


I’m not going to go into the different types of viewpoint at great length here. I will cover those in the viewpoint section (or should I say on the viewpoint shelf). But just in case you’re new to writing, viewpoint simply means whose eyes we are experiencing the story through.

For example, let’s assume we are writing a story about a marriage break up where the wife has had an affair and left her husband. There are three characters in this story: the wife, her lover and the husband. The story might be told through the eyes of any of them, if it is the wife, then she will be the viewpoint character. Not only will we see the action of the story through her eyes, but the story will be coloured by her viewpoint.

It is traditional in a short story to stick to one viewpoint, although you may change if you have a good reason. The viewpoint character also tends to be the main character. There are certain things that should happen to a main character in a short story, one of them being that they should experience some kind of change.


Dialogue is fictional speech. It is very important. It characterises and moves on the plot and gives life to a story. It’s possible to write a short story without it but again you should have a good reason – and by this I mean a reason linked to the story, not just because you don’t fancy the idea of writing dialogue!

When you are working within the very tight framework of a short story, dialogue is even more important. You can, for example, start a short story with dialogue and throw the reader straight into the action and also set up what your story is actually about.

Let’s take the example of the wife, husband, lover story. You might start it like this:

“I’m leaving you, John. I’m sorry, but it has to be like this.” Kathy knew her voice was calm, but inside she was shaking.

“You’re not going anywhere.” He took a step towards her and she was glad the table was between them. “If you think I’m going to let you walk away with that scumbag you’re more of an idiot than I thought.”

This is not particularly subtle, but it’s a swift way of setting up a scene. Already we have a glimpse of the couples’ history as well as what is happening now. Kathy is obviously afraid of her husband and it looks as though she has good reason. You can show a lot of information through dialogue that would take considerably longer in narrative.


A short story is a snapshot, a glimpse into a character’s life but that doesn’t mean it shouldn’t have a plot. Without one it will probably be too slight. A plot is basically a series of events and in a short story it tends to start with the main character experiencing a problem, which by the end he or she will have resolved. There should be some surprises along the way; otherwise you’ll end up with a linear sequence of events. For example, a basic crime story might be: crime is committed, crime is solved. This is not a plot. In order for it to be a plot, there must be surprises along the way.

Maybe the person committing the crime is not who we thought, or maybe we learn along the way their reasons are not selfish but altruistic. Either of these scenarios would turn a sequence of linear events into a plot.


You won’t have room for reams of description, but you must have a setting. Your characters cannot interact with each other in a vacuum. Setting needs to be skilfully interwoven. To go back to our husband, wife story, the mention of a table indicates that the story is taking place indoors, possibly in a kitchen. Further snippets of setting would need to be given.

Pace and time span

The pace of a short story is swift. There isn’t time for lengthy set up; the reader should be dropped straight into the action, which must be relevant. Then the story will proceed quickly to its conclusion. A short story by its nature will often only cover a short time-span in the life of the character, say an afternoon, or possibly a few days.


Just because your story takes place over a short time span doesn’t mean that you can’t bring in past events, via flashback.


Structure, pace and time-span are linked. For example, let’s assume you’re using a diary structure. You could divide your story into a series of sections, each headed up as a different diary entry. In this way the story can move seamlessly over a longer period of time.


For me, the theme is the glue that holds the story together. A theme dictates what the story is about. Is it loneliness, revenge, healing? If you know before you begin, then it will help you to stick to the point and only include what is relevant. Theme is a great help when it comes to cutting and editing. It will help you ensure your work is tightly written.


This is the end of the extract. If you would like to read more of the Short Story Writer’s Toolshed you can purchase it for your Kindle for £1.99 here.

If you are reading this between 12th and 19th April, 2016 you can get it at a bargain price of 99p. Here.

If you prefer a ‘real’ copy. It is also available in paperback for £4.99, Here.

Happy writing.

Very best wishes

Della xx

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The Biggest Occupational Hazard of Being a Writer!

thoughtful pen mineToday I’m writing about the biggest occupational hazard of being a writer.  No, I’m not talking about writer’s bottom! Although that is a hazard, I have to say. Especially when combined with Easter and all the chocolate I’ve recently consumed!

But today I’m talking about the other HUGE occupational hazard. I mean that moment when someone you’ve just met asks what you do and you tell them you’re a writer and they say…  “I’ve got a good idea for a book/story/novel you could write.” Then they tell you what it is – in full technicolour detail and – if you’re still awake – they add those immortal words. “Maybe you could write it and we could share the profits.”

“Maybe,” you say, nodding politely.

Which got me to thinking what percentage of a story is ‘the idea’ and what is hard graft. Just supposing you were going to split it like this. Would it be 20 per cent idea and 80 per cent hard graft of doing the actual writing? Or would it be 50/50 or would it be even a smaller percentage for the idea, say 10 per cent? Or would it be idea 70 per cent and writing 30 per cent?

I think this might well depend on individual writers. For me the idea is about 20 per cent of the whole product. Most of the work is in the writing. So if I was going to pay for ideas – supposing there was a handy little ideas shop somewhere I think the most I’d pay for a £100 story idea would be £20. Actually, having just written that down I think it would be more like £10.00.  Although I might be prepared to pay more for an actual plot. One that had an end. And if it had a brilliant twist ending. I might pay a fraction more.

One of my novelist friends did actually give me a complete short story plot the other day which worked superbly, thank you Nancy. Just in case you happen to be reading this blog. My ramblings are not aimed at you.

So my questions today are:

  1. How much would you pay for an idea?
  2. What percentage of the finished product is idea and what is the actual writing?

While I’m on, I’m running a course soon. How to Write and Sell Short Stories is on 28th May in Bournemouth.  £45.00 I suspect there will be a few ideas floating around there! Please do email me for details if you’re interested in that one. Max numbers 12. I think there are 4 places left.

Bye for now.

Della x

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Literary Devices and their Use in Fiction

We’ve been talking about literary devices in my classes, which, perhaps oddly for a writing class, we rarely do. We’re usually focusing on dialogue or characterization or some other element of short stories. So here are just three literary devices which are often used in fiction.

  • Allegory: a story, poem, or picture which can be interpreted to reveal a hidden meaning, typically a moral or political one.
  • Example: The Lion, the Witch, and the Wardrobe by C.S. Lewis is a religious allegory with Aslan as Christ and Edmund as Judas.
  • Analogy: a comparison between one thing and another, typically for the purpose of explanation or clarification.
  • Example: A biology teacher might explain the immune system by saying, “What policemen do in a town, white blood cells do inside the body.”
  • Motif: a symbolic image or idea that appears over and over again in a story. Motifs can be symbols, sounds, actions, ideas, or words. Motifs strengthen a story by adding images and ideas to the theme. Incidentally, the word motif (pronounced moh-teef) is derived from the French phrase motif meaning pattern.
  • Example: Throughout a story, a character wears a pair of earrings for a variety of occasions: her wedding, her mother’s funeral, and her own daughter’s wedding. The earrings become a symbol of her changing duties as a wife, daughter and mother as she ages.

I use analogies a lot in short fiction and I’m quite fond of motifs for longer fiction. How about you?

For more about writing short stories please check out my Toolshed Series.

The Short Story Writer’s Toolshed.

The Novel Writer’s Toolshed for Short Story Writers

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Is Your Writing Smelly Enough?

Using the senses in your writing, especially the sense of smell, really helps to take the reader into your story.  However, it’s just as easy  to be cliché with smells as with any other writing so choose carefully and be current.   For example, do today’s hospitals really smell of disinfectant and boiled cabbage? Maybe they do, but they smell of a lot of other things too. I asked my writing students to come up with something different. Here are the results.

Hospital smells

  • Antiseptic hand wash.
  • Floor polish.
  • The colognes of visiting relatives.
  • Stale air.
  • Mass produced food.
  • Body odour.
  • Fear.
  • Fresh air and rain on the clothes of visitors.

We did the same thing with beaches.

Beach smells

  • Donkeys .
  • Coconut suntan lotion.
  • Burger vans.
  • Fish and chips.
  • Candyfloss.
  • Cigarette smoke.
  • Diesel generators from fast food stalls.
  • Ozone.
  • Rotting seaweed.
  • Fresh air.
  • Smoke from Bbqs.

I have a post it note stuck over my desk.  Smells, touch, taste.  I tend to use the other senses anyway but it’s easy to forget these three, especially the sense of smell.

A rose by any other name!

A rose by any other name!

For more tips please check out my books on writing.

The Short Story Writer’s Toolshed

The Novel Writer’s Toolshed.

How to Write and Sell Short Stories.

Moving on From Short Story to Novel. 

I am also running a course in Bournemouth on Saturday 28 May – How to Write and Sell Short Stories. 10.00 am till 4.00 pm. £45.00. Please email me via this website if you’d like more details.

Happy writing!




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New Year, New Approach to Writing

If writing more productively is one of your New Year Resolutions – it’s one of mine – these tips might help.

  1. Choose a market. Preferably one with a deadline like a competition. If you’re stuck for an idea. Why not try The Writers and Artists Year Book Short Story Competition. It’s for a story on the theme of Ageing and it closes on February 15 2016. Max length 2000 words. More details here.
  2. Decide what you want to write BEFORE you get to the computer/notepad. Let the idea stroll around your mind for a few days. The subconscious is a wonderful tool. Even if you just have one word. For example, I currently have Fire. I’m going to write something about fire next. I’ve already brainstormed the word for possible plots. I already have emotions attached to the word.  When I start the actual writing I’m expecting my subconscious to come up with the goods. This works. Trust me.
  3. Make a Deadline Date to write. Do this with a writing partner. Set a time. Set a theme. Set a word limit. Agree the time you will write and agree the time you will email your stories to each other for feedback.  Once you have swapped your stories then edit them based on your partner’s feedback.
  4. Edit your story one final time and then send it to the competition. Good luck.

And if another of your New Year Resolutions happens to be losing weight (as mine is)  you might like to know that I have two helpful books, currently both at half price, on this subject.

How to Eat Loads and Stay Slim is half price for kindle from January 1st 2016 until January 8th.

Ten Weeks to Target (fiction – a romance set in a diet club) may keep you sane while you’re doing the actual diet bit! Is also half price for kindle from January 1st 2016 until January 8th.

Happy writing. And dieting!

The Short Story Writer’s Toolshed is perennially cheap at just £2.49 for kindle. £4.99 paperback.





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Writing With Emotion – Four Top Tips

Writers are in the business of selling emotion. I forget who said that, but it’s true. We read – or at least I do – because we want to feel something. We might want to feel amused, uplifted, scared, touched, nostalgic or excited – or any combination of these. But we always want to feel something. We want to escape into an alternative world. A good writer will take us there. They will make us feel emotion. How do they  do it? Well I can tell you how I do it.

  1. Create Larger than Life REAL FLAWED Characters We have to care about the characters. Which means they have to be interesting. They need something that we love or possibly hate about them. They cannot be bland. They should be larger than life. Thing big.  Flawed characters are great.  So give your characters flaws. This is part of a review left on Ice and a Slice by James Nash. ‘This is ‘real life’ in all its complicated glory, challenging, gritty and very, very funny.’ Paradoxical flaws are the best I find. Especially if you don’t tell the reader straight away why the character has them. For example, in my novel The Morning After The Life Before, one of the main characters, Didi, has a phobia of white.  She can’t eat white food, she can’t keep milk in her house. She can’t have white appliances in her kitchen. Yes there’s a very, very good reason and it’s a vital part of the plot but I don’t reveal that until later in the novel.
  2. Use Universal Truths We all know what it’s like to feel we don’t fit in. That we’re not good enough. That we’ve been abandoned. That we’re not loved. We all know what it’s like to be human. Capitalize on these universal truths. Make your characters feel them. Transfer onto the page how you felt – when YOU felt these very powerful emotions.
  3. You MUST Care It’s very hard to write emotion by numbers. The first person who has to care about the characters is you. And I mean you have to really care. You can’t just pay lip service to it.  You can’t write emotion from a distance. You have to care so much you’ll feel pain if your character were to die. Bring this pain in from your own experience. We all know what it’s like to feel extreme pain. Use it, relive it, get it on the page. Wring out your soul. That may sound overdramatic (not to mention painful!) but it really works. What comes straight from the heart goes straight to the heart. If you feel it I guarantee your readers will feel it too. Don’t hold back. Don’t skate over emotions – they are everything. Absolutely everything.
  4. Go For High Stakes Give your characters emotionally charged dilemmas.  Make the stakes high. Loss of love, loss of life, loss of family. If you take us into a war zone I guarantee we’ll care. If you take us to a life threatening situation or a death bed situation we’ll care. If you show us the tenderness between mother and child, or of any kind of unconditional love we’ll care.

Also – try to keep it real. We are interested in the nitty gritty bits of human life. The specific details.

I’ve had some amazing feedback on my Ice series. I’ve had many many emails from reader telling me they loved SJ because she is warm and very flawed.  In Ice and a Slice she is struggling with a drink problem. She is very much in denial. One of my reviews for Ice says, ‘SJ is flawed and vulnerable and sweet but also sometimes self centred and thoughtless, just as people in real life are. She often tries to do the right thing with it backfiring spectacularly – sometimes with comic results.’

I was so thrilled to read this. And it brings me on to my next point.

One last bonus tip. Pathos and humour are amazing if they are on the page side by side. One will point up the other. Don’t be too dark. There is humour in the darkest situation. And actually, not so often quoted, there is pain in the lightest situation. 

Ice and a Slice is half price between December 27th 2015 and January 3rd 2016

Book two in this series, The Morning After The Life Before, is half price between Jan 3rd 2016 and January 10th 2016.

Happy New Year 🙂

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Happy Christmas and a Present from Me!

I haven’t written a post in a while as I’ve been moving house.  Now I’m semi settled – as this house is rented and temporary – I thought I would just say a very Happy Christmas to you all and thank you for your support.

Seamus, my hound is very settled though. As long as there’s a sofa he can sneak up on to, he’s happy. Note his startled expression! Should dogs be allowed on settees? No – but he’s a hard hound to refuse!

And  if you are thinking of snuggling up on a settee over Christmas – with or without a dog! You might want to download my novella Shadowman to read. It’s FREE for the next five days, 24th to 28th December 2015 and is a cosy crime mystery, the perfect antidote to too much TV.

Happy reading. And happy Christmas from me and from Seamus. Several of my books are on special offer in January so do pop back if you’re in the vicinity 🙂

All the very best.

love Della xSeamus startled




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Womag Writer – Guest Post by Patsy Collins

Patsy CollinsIt’s an honour to welcome Patsy Collins to my blog today to talk about the Womagwriter blog.  Patsy is a short story writer and novelist. Like myself, she has always found Womagwriter a brilliant resource for short story writers. So when she was asked if she’d like to take over the blog – what did she say? Here’s her story.


When I first started submitting short stories to magazines, I did a lot by guesswork. As a result, quite a lot of my submissions stood no chance of being accepted. Stories fell between usable word counts, were in 1st person for markets taking only 3rd, included taboo subjects (yep – I had someone ill in a story I submitted to The People’s Friend!) Naturally that didn’t help either my acceptance rate or my confidence.

Then I discovered On there were guidelines for every magazine I’d ever considered submitting to, plus some I’d never heard of. There was advice and updates, plus comments from other writers. It was a huge help for several years. Then Kath McGurl who ran it got a book deal and stopped writing short stories. She kept the blog going as long and as well as she was able with very limited time, but eventually I took over.

These days the blog still contains current guidelines for all the UK women’s magazines which accept fiction submissions, plus as many foreign ones as I can find out about. There’s also lots of tips, information and advice – not just from me, but from many different writers and even a few editors. There are interviews giving an insight into the lives and writing process of other writers. Guest posts offer encouragement or explain a particular writing or submission topic. Sometimes you’ll find special offers on womag related books, or details of new releases. Occasionally there will be links to workshops or other useful events. There’s a page where people can ask questions. Hopefully the blog is as useful now as when I first discovered it.

I enjoy running the blog – particularly when people take the trouble to comment on posts to say they’ve enjoyed them or found them useful. It does take up a lot of time though, so help is always welcome. If you discover a new market or hear any womag news, please let me know, either through the comments, or using the contact information on the blog. Please look through the posted questions occasionally, in case you can answer. If you can contribute a guest post that will be useful to womag writers, or you’re a womag writer, editor, illustrator etc who’d like to be interviewed, please get in touch.


Thanks so much, Patsy. It’s lovely to have you. As well as writing short stories for womags, Patsy has published four novels. The most recent, Firestarter, is a romantic comedy with a hot fireman and a few flames. Check it out here.

Patsy’s website is at



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