Tag Archives: Resources

What CSFG’s up to in July and August


For our July meeting, Ian McHugh took us to market, to market to buy … well, to sell our short stories.

Ian provided insight on the short story market for speculative fiction, and the process of getting our work out there, and published. It all boiled down to a simple three step process:

  • Write the story (and edit it to goodness)
  • Submit the story
  • Repeat

Simple, but harrowing. Nevertheless, we persisted…

Here are the links to the two genre-focused submission lists which Ian mentioned:

and submission savvy members also recommended Submission Grinder.

Ian spoke from experience on the practical, and important, aspects of being professional, and checking for fit, response times, pay, status, and more. He talked about Helsinki buses (it’s a metaphor for persistence in creative endeavours) and about keeping things real when dealing with rejection.

And even though submitting your short stories to market meets Albert Einstein’s definition of insanity (doing the same thing over and over and expecting a different result) Ian recommended it, to general acclaim.


What’s coming up next month? Well, they say every dog has his day, but every thoroughbred horse has its birthday on the 1st of August, and for our August meeting we’re talking horses.

Is it time to send in the cavalry on your WIP?

  • Does your writing include fictional horses which you don’t know how to whip into a shape which resembles something believably horse like?
  • Is your story languishing in the hard drive because your protagonist is riding around on a horse which currently has the personality of a grass-eating Skoda? (I’ll just park that over here, shall I?)
  • Have you always wanted to know more about a unicorn’s fetlocks?

Our panel of experts will be on hand to answer your questions about all things horseful … horsish … steedly – OK, let’s run with equine.

Best of all, if you ask your questions early, in the comments here, or on the group chat, our panel members will be able to give more thought to providing you with the details you need to make your fictional horses prance off the page.

Don’t miss our August meeting:

7.30pm, Wednesday 16 August

We’ll again be in the Metis Room, upstairs at the Canberra City Hellenic Club – it’s warm, it’s got fantastic food and coffee, as well as the bar, so you can have dinner before the meeting, or order something to be delivered to the meeting room.

See you there!

Workshop Reminder – How to Use History in your Novel

Just a late reminder that Gillian Polack is presenting a workshop tomorrow at the Gorman Arts Centre. No guarantees that places are still available but if you are interested check the contact details at the bottom of the post.

How to Use History in Your Novel with Gillian Polack

10am-4pm Saturday 9 July

This course takes the concepts and practical advice developed from twelve years of research into how fiction writers use history and condenses it into a single day of intensive learning.

At the heart of using history in fiction is the type of novel and the world it requires. In this course you will examine this, and then look at what kinds of history and historical research work best with what kind of novel. Gillian will discuss the differences between the past the reader sees and the one the historian knows and how writers can bridge this gulf (or choose not to). You will also look at writing techniques you can use to make history come to life.

Learning outcomes

  • An understanding of the relationship between history and the novel
  • An understanding of how the world of the novel impacts on the novel itself and how it can work to carry readers into the story.
  • An understanding of writing and research techniques that can be used to help create novels.


Gillian Polack has five published novels, two anthologies, a co-authored book about the Middle Ages, seventeen short stories, and a historical cookbook. One of the novels (Ms Cellophane/Life through Cellophane) was a Ditmar Finalist, as was one of the anthologies (Baggage). She was awarded the Best Achievement Ditmar in 2010.

She has PhDs in Medieval History and in Creative Writing and advises writers on subjects ranging from grammar to the Middle Ages. She has recently finished a major project on how writers think of history and how they use it in their fiction. Gillian has received two writing fellowships at Varuna, arts grants, and is in demand at SF conventions because she carries chocolate most of the time.

Cost: $130 members, $105 concessional members, $195 non-members (includes 12 months of membership), $155 concessional non-members (includes 12 months of membership)
Venue: E Block Seminar Room, Gorman Arts Centre (formerly ACT Writers Centre workshop room)
Bookings: You can book into this course online or by calling 6262 9191. If you have any queries, please email admin@actwriters.org.au.

2016 workshops

Canberra and Canberra-adjacent members should check out the newly-updated Workshops and Courses page.

You will find details of a number of short courses for writers being offered in the first half of 2016 by CSFG members Chris Andrews, Ian McHugh and Gillian Polack.

Flensing your filter words

CSFG member Simon Dewar, currently editing the Suspended in Dusk 2 anthology, has been reading a lot of slush lately. He offer this very useful advice on tightening up your prose by hunting down and eliminating filter words:

One of the worst culprits for weakening your prose, distancing our reader from the protagonist’s point of view and the action, are filter words. This is where you say “John thought x y z ” or “It seemed as though x y z” or you say your character thinks/knows/realises/notices/decides/wonders things… rather than just showing the character doing those things.

A great example (and perhaps the most obvious) is if I write “John saw the big man lift his pistol and fire.” You don’t need to tell us John saw it… John is present in the scene and is our POV character. Unless John is blind,  the default position is that he sees the things that go on in the scene. And if he was blind, you wouldn’t be saying he’d seen something, right? Instead of “John saw the big man lift his pistol and fire.” just write “The big man lifted his pistol and fired.”

Read the rest of Simon’s essay – and get some good editing tips – at his blog.

Writing versus storytelling

Guest post by Ian McHugh

As I’ve mentioned elsewhere, lots of people (ie, jealous writers) love to disparage novelists like J.K. Rowling and Stephenie Meyer for the quality of their writing. It’s clunky, repetitive, boring, grammatically questionable and blah. At the same time, they love to idolise writers who possess a lyrical command of prose, like Margaret Atwood or Ray Bradbury or Ursula Le Guin. I think they’re missing the point.

Quality of prose isn’t what makes a novel a bestseller. The story is what makes a novel sell. Rowling and Meyer are great storytellers: they’ve mastered the art of telling stories that appeal to their target audiences. Competent prose is a necessary part of that success – or, if you extend the net to writers like Dan Brown and E.L. James, functional prose (meow, saucer of milk for me etc). Lyrical brilliance? Not so much. Sure, it’s nice to read beautiful prose, but it’s not an essential ingredient to a successful novel. The secret sauce isn’t in the prose, it’s in the story.

Read more →

Helsinki Bus Station Theory for writers

Guest post by Ian McHugh

Helsinki Bus Station Theory is the creation of Arno Rafael Minkkinen, employed as a metaphor for the career of a photographer. It goes like this: Helsinki Bus Station has a number of platforms and a number of different bus routes start from each platform. All the buses from a given platform follow the same route out of the city centre and stop at the same stops for the first part of their journeys before heading off their separate ways into the suburbs. For the sake of the metaphor, each bus stop represents a year in the life of a photographer.

So, you – the new photographer – get on a particular bus at a particular platform and, after three stops – three years of work – you decide to get off and try out your portfolio at an art gallery. The curator tells you that your work reminds her of a certain famous photographer, whose bus started from the same platform, some time before yours. Dismayed that your work is apparently derivative, you decide to go back to the station and get on a different bus. After three stops, you get off, try your new, different portfolio of work at a gallery and… the same thing happens. So you go back to the station again and again, and every time the same thing happens and you wonder how on earth any photographer can create original work when everything seems to have been done before.

And the lesson is: stay on the bus.

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How to Handle End of Novel Blues

Guest post by Zena Shapter

Let’s say you’ve been working on a novel for a while – maybe a year or two, fitting it inbetween work, life and kids. Now you’re approaching its end… you’re past the novel’s climax and you’re starting to wind everything up… You should feel elated. Yay – your novel is almost done! Finally!

Hold on, what’s that? You don’t feel elated? Instead, you feel down… and don’t know why? You find yourself thinking:

“Why am I even doing this?”

“This novel is a load of rubbish – why am I bothering?”

“Why have I wasted all this time?”

“No one is going to buy this!”

Evenso you decide on a day, or a few hours, when you’re going to finish the thing, no matter what. The time arrives, but suddenly you’ve forgotten to do the grocery shopping – replant the lemon tree that’s outgrown its pot – apply for that new job – fix that squeaky door… The next thing you know, you’re doing a workout because you realise you haven’t exercised for a while, or you’re cooking dinner, and then it’s too late in the evening to do any writing. You’re exhausted!

Why did you do all that stuff when you should have been writing? Hasn’t this project gone on long enough as it is?

[Please note: in my case, please substitute all of the above distractions with ‘did something on social media’]

Alternatively, you did sit down and thrash out those final few scenes. Only your lack of enthusiasm now shows in the words you wrote. They’re lacklustre, not befitting of the genius literary effort you made at the manuscript’s beginnings…

Fear not, fellow writer – there’s nothing wrong with you… you’ve simply got ‘end of novel blues’!

You’ve been working on this manuscript for so long now, the problem is that you have no idea what’s going to happen when you actually finish it… What will come next? Not knowing the answer is affecting your writing.

What’s that you say…? You’ve lost your creative spark… You’ll never make it as a writer because you only ever had this one novel in you and now you can’t even finish that?

Well I’d say that there is your problem. You haven’t planned far enough ahead.

You know very well that writing a novel is not like this:

Write a book –> Get published immediately –> fame + fortune

For some rare lucky people, it may be. But for the rest of us it’s more like:

Write a book –> Spend a few years submitting it for publication –> fame + fortune

Ha ha, only joking – there’s no fame or fortune for any of us: we’re writers!! No money + only fleeting fame during book launches!

So what are we going to do about your blues? Think about it… what are you going to do during those years trying to get published?

The answer is simple, yet you may not have thought about it before… plan your next project before you finish your first!

And yes, I know you don’t want to lose your focus on your current manuscript. I’m not suggesting that you actively go away and research or start writing a new novel before you’ve finished your first. But you do need to ‘plan’ what you’re going to do immediately after you type ‘The End’. You need to know how you’re going to spend those months while you wait for responses on your manuscript.

Also, what if no one offers on it… will you give up… will you try overseas… will you write a different novel? All of that takes time, time that until now has been filled with your current novel writing project. When that project ends, it will leave a gap in your life, which will need filling if you’re to stop yourself getting ‘end of novel blues’:

  • How about setting up or directing more traffic towards your author platform, ready for when your novel is published?
  • How about writing a short story?
  • Why not plan your next novel?

Don’t wait until after your novel writing project finishes to decide!

Up until now, you’ve kept the pressure on yourself with ‘I must finish my novel, I must finish my novel’. Keep that pressure on your creativity by finding a new mantra – one that you can’t wait to fulfil!

What to do if you’re bored by your characters

Guest post by Ian McHugh



There’s a short story that I love called “A Dry , Quiet War” by Tony Daniel, which is basically a space-western that recounts a conflict between superhuman veterans of a war at the end of time. At the climax, the hero goes on an epic rage-bender like Superman after Zod slapped his mum in Man of Steel and decides that he’s going to kill the villain so hard that he will never have existed. Apparently this involves the unravelling of entrails, but the point is that when I say kill your characters I mean kill them hard like the avenging space cowboy-god in Daniel’s story. The novelist as Vladimir Putin! Or Kim Jong-Un. Boo-yah! Excise them from the story like they never existed.

But what if your story needs them?

Read more →

Clean Your Novel, As If It’s Your Home

Guest post by Zena Shapter

Getting a manuscript ready for submission to agents or publishers is much like cleaning your home or car.

Since I’m no mechanic, and we all have homes, I’m going to go with the home analogy for now.

But why, do you ask, is preparing your novel anything like cleaning your home? What’s that, you don’t even clean your home – you have someone else do it for you? Well, either way, the analogy works. Let me explain…

Imagine you’re expecting some important guests to visit your home…

And yes, your home is your manuscript. And yes, the important guests are the agents/editors to whom you’re sending your novel. Can I continue now? Good, right then…

… you want your home to look its best. So you’re going to tidy up a bit.

First, you do the regular cleaning: you clean the floors and dust – this is the spell-checking of your manuscript, you need to delete all the dirt that might discourage your important visitors from relaxing in your home.

Next you tidy away any visible mess – this is the formatting of your manuscript, you need it to look pretty.

Now what?

Well, now it’s time to go a step further.

In my home, I know where the dust traps are, I know those little nooks and crannies that get missed on a general tidy up or clean. There’s a particular ledge on my toilet roll holder that gathers dust especially well and, being polished silver (no, not real silver, just chrome okay?), it shows up the dirt really well. Any visitor, important or not, will see that dust trap for what it is – something I’ve missed.

The same is true of my writing – I know my flaws. So before sending out any manuscript I search for those flaws and, sure enough, I always find them. For instance, I seem to love the word ‘but’ in my writing. I also often start paragraphs with the same sentence structure. Sometimes I don’t even notice that I’ve started three or four paragraphs in a row with the word ‘I’ (easy to do when you write in first person). Grouping examples in threes is something I do on a regular basis. You get the idea? Knowing what to look for in your own writing will ensure you send out only the best manuscript you can.

Now, back to cleaning my home…

When I’m cleaning my home, even after I’ve addressed all those problem spots, I often leave a room believing it’s all clean and tidy, then re-enter it a few minutes later and spot something that needs putting away or cleaning. (These are really important guests, remember – your house has to be perfect!)

The same is true of my writing. I might think it’s ready to go out to agents/editors but, absolutely guaranteed, if I put it away for a few months, when I pick it back up and read it afresh I see all manner of flaws. When you’re close to a writing project, you don’t see it in the same way as when you’ve had your view set on something else for a while.

What’s that, there’s more to this analogy? There sure is!

Sometimes, when my Hubbie is helping to clean our home, he’ll think he’s done a good job of something. But when I come to ‘inspect’ the results, I find he’s still got lots of work to do.

Yep, you’ve guessed it: the same is true of my writing – sometimes, no matter how much time has passed, I can’t see anything wrong with what I’ve produced. That’s when it’s time to bring in beta readers. Beta readers are readers who give your novel manuscript a final look before it’s sent out into the world. They’re not readers who’ve helped you form the plot or characters as the manuscript has developed. They’re the ‘fresh eye’ of the process. Use them!

What about perspective?

When I’m being really thorough about cleaning a piece of furniture, I often get down on my hands and knees and clean at eye level. The different angle gives me a different perspective and I find dirt (possibly spiders) I wouldn’t have otherwise seen from above. Lucky me!

The same is true of my writing. When I print it out and read it in a different area of my home, I see things I hadn’t seen before on the computer screen. I have a fresh perspective and it really helps me polish the manuscript.

Don’t forget – you can learn from others!

Another way to improve your cleaning(!), is to watch someone else clean. My mum is a professional at cleaning. I would never have thought to unscrew pop-up sink plugs and clean underneath. But having seen her do it, I check all the time now! (Well, okay, maybe once a year)

Sometimes seeing just a sample of your writing edited by someone else (in Word’s tracked changes or in pen), will show you a habit you need to work on.

Or, you could just pay for a polish!

If you want a really clean home – bring in the professionals! Professional cleaners can save you a lot of time and effort, and bring a touch of bling to your abode.

The same is true of your manuscript. If you can afford it – hire an editor! Editors repair and improve novel manuscripts everyday, that’s why they’re so good at it. They’ll see things you never saw before; they’ll know tricks that you never knew. They can bring a touch of bling to your manuscript.

Now get polishing!!

The mystic power of triangles, and knowing why your characters are there

Guest post by Ian McHugh

One major challenge of stepping up from short stories to novels is managing a larger ensemble of characters. In my impetuousness, I exacerbated this problem for myself by starting from real historical events. Reality is way less tidy than fiction. In real life, people bob up and do one or two significant things that help carry forward the great events of history, and then sink back below the surface of the historical narrative. Translated into fiction, this amount to supporting characters walking on stage, having never been sighted before by the reader, doing their thing and then walking off again, never to be seen again. It doesn’t do a hell of a lot to deepen the reader’s engagement with the story.

Or, you might think of your protagonist in whatever context you’ve provided for them and start filling in all the normal relationships that would be around them in that setting, be they friends, teachers, family, crewmates, fellow Jedi apprentices, whatever. And you start giving them names and fleshing them out. As you start writing, you put your protagonist into a position to interact with them all. And then, finally, with all that sorted and the protagonist’s normal life firmly established, you start the wheels turning on their story. And as you go on, even if your protagonist  remains surrounded by that same set of characters, most of them have very little to do and, by the time you do use them again, you’ve forgotten who they were, let alone your reader. But without those characters, the protagonist’s circle of relationships would begin to seem unrealistically small.

So what do you do?

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