I had reached a turning point. I had taken several writing courses, but still wasn't good enough to be published. Creativity is a natural talent. Technique is something you learn. A Creative Writing MA at Brunel University seemed to offer that next step to greater competence. Did it work? For me, yes. Here's why.

When Mr Putin Stole My Painting

When Mr Putin Stole My Painting

  1. I tested myself against equally committed classmates and enjoyed the guidance of successful published authors.
  2. The "comfort zone" went out of the window. Our weekly exercise, assigned in Wednesday class, was a maximum of 1500 words on a subject NOT of our choosing. The finished piece had to be e-mailed to everyone by Sunday evening. We critiqued each other in the next workshop. I learned not to bristle at negative comments but to interpret them as constructive and do something about it.
  3. Analysing the structure and dynamic of a novel or short story was key. We dismembered chapters, paragraphs, beginnings and endings to evaluate what made them "tick". How-to books by authors such as Jane Smiley, Steven King, Celia Brayfield and many others were essential reading. Through them, I became more self-critical about my own writing.
  4. 'What is this book/story really about?' was a frequent question. Can we define it in one sentence? Is it love? Is it revenge? Establishing the core of the story and communicating that to the reader is essential. My bee in The Violence of Bees knows that wife-beating is a bad thing and says so.
  5. Structuring a narrative is crucial. Any text, especially one containing flashbacks of earlier events, must not be so complex that it confuses the reader. Never forget you are writing for them, not for yourself.
  6. Characterisation ruled. Were my characters credible? Would the reader identify with them? Had I maintained a balance between the main characters and the supporting cast? Were my characters well-rounded and with depth, or were they one-dimensional and shallow? Lucy Carter in Last Chance is the product of an abusive childhood. Who hasn't encountered someone like her?
  7. My use of dialogue and my ability to incorporate action into the text improved. Before the course, I was prone to "telling". Instead, I learned to "show" through speech and action. Judge Hikmet Jildani relates Azmi's tragedy in The Dream Stealer via dialogue and behaviour. I adopted the style of the oriental coffee shop story-tellers to anchor the story in its location. I couldn't have done that before.
  8. Keep the story moving. I used to over-research stories and then try to include it all. That is information-dumping and slows the pace. Checking your own work for superfluous text is important. You may find it interesting, but will the reader?
  9. Edit, edit, edit. Two stories in the collection were written before the MA. I cringed when I returned to them but, armed with my new standards, rewrote them to far greater effect.
  10. The MA gave me the tools I needed. Without it, I would never have published anything.