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A most crucial year: Ruth Dugdall talks about how Escalator helped her become a published author

Posted By: Stephanie McKenna, 15 February 2016

When ex-probation officer Ruth Dugdall applied for the Escalator writing competition in 2006, she saw it as her last-ditch attempt at pursuing crime writing as a career. Ten years later, she has published five successful novels and is living with her family in Luxembourg - 'the perfect home for a writer'.

Below, she explains how a year spent with Escalator made all the difference.

When I applied to Escalator in 2006 I had already experienced the recurring theme of any writer’s life: rejection. My second novel The Woman Before Me won the Debut Dagger in 2005, and despite my being signed on the spot by a literary agent, the subsequent submission met with the resounding slamming of doors. I was disheartened, and applied to the one year programme as a last-ditch attempt to make a serious stab at being a writer. 

Getting chosen was a wonderful boost. Not only was this a second re-enforcement of my writing, but during the Escalator scheme I would be mentored by the wonderful Michelle Spring, a seasoned crime novelist herself who was able to show me by example that writing takes persistence. The crucial difference between those who `make it` and those who fall by the wayside isn’t talent, but a certain doggedness that I saw in other writers who came to talk to us during the scheme. It was a year of learning, and of support. 

The ten of us chosen that year became familiar with each other’s personal journey into writing, and we also began rooting for each other in the quest for agents and publishing deals. This atmosphere, this shared purpose, was something I valued immensely and I still keep in regular contact with other Escalator alumni – not just from my year, but subsequent years too; there is  a shared kinship that I have not found on other mentoring programmes. 

The scheme is, in many ways tailor-made, as you apply for Arts Council Funding for the things that will most help you personally. For example, I went on a week-long Arvon course for crime writers (and bagged an agent as a result). I also had financial assistance with childcare, so I could put in the hours needed to work on my novel, and a dedicated number of hours with Michelle to critique and edit it.

Though Escalator does not make any promises of success, you will have exposure to and contact with agents (there is a showcase at the end of the year, and many industry professional are invited). What you can be sure of, though, is that at the end of the year you will have honed the tools you need to achieve publication, you will have gained a greater insight into the publishing industry, and you will have a network of support to draw on.

After I finished the Escalator scheme, it was to be another four years before The Woman Before Me was published in 2010.  Six years later, I have just published my fifth novel, and rights for my books have been sold around the world. I have a wonderful agent, and a new book is currently on submission. It has been a long, difficult, journey but Escalator was a crucial part of this, and I am very grateful indeed that it happened.

If you are about to apply, I wish you luck. You could be at the beginning of a very special twelve months!   

Ruth Dugdall was born in 1971. She holds a BA honours degree in English Literature (Warwick University) and an MA in Social Work (University of East Anglia). She qualified as a probation officer in 1996 and has worked in prison with offenders guilty of serious crimes, including stalking, rape and murder. This has informed her crime writing. Since she started writing, Ruth has won awards in several writing competitions, and has had short stories published in the Winchester Writers' Conference and the Eva Wiggins Award anthologies.

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Ed Parnell, author of 'The Listeners', on the long-standing friendships gained from Escalator

Posted By: Anonymous, 27 January 2016

Award-winning author Ed Parnell took part in the Escalator writing competition in 2007. One of its greatest benefits, he says, is the friendships he made with fellow writers, which still continue to this day.

It seems a long time ago now. September 2007, in fact, when an email from WCN’s (then the New Writing Partnership) Chris Gribble dropped into my inbox, saying that he was delighted to inform me that I’d been selected for inclusion on the Escalator Literature programme. I was delighted too.

At the time I’d just handed in the dissertation for my MA in Creative Writing at UEA, and was three-quarters of the way through a draft of my first novel, The Listeners. Things seemed good. I was writing daily, gradually creeping towards the book’s finish line (so I thought), and, having been buoyed up by talks from eager-sounding agents, the world of publishing was awash with possibility.

Things moved fast. I went on a long-planned holiday to Cornwall, getting back the day before the inaugural Escalator event at The Maid’s Head in early October. Here, I met the other Escalatees, and the biographer Midge Gillies, who was to be my mentor for the programme. Looking back, I can’t remember too much of the day itself, but my fellow winners –who’d descended on Norwich from north London, Essex, Cambridge, Suffolk and Norfolk – all seemed very pleasant, as did Midge. I had a good feeling about things.

First impressions were entirely correct. Over the next few months we had several more get-togethers, all equally convivial. I also met Midge for a number of mentoring sessions in Ely. Her most recent book was the excellent, non-fiction Waiting For Hitler: Voices from Britain on the Brink of Invasion, and as The Listeners was set in rural Norfolk in May 1940 – the end of the phony war up to which point nothing much had seemingly taken place, at least that affected the lives of people back home –we had much to discuss. It was also great just to get to talk to a published professional writer about the day-to-day practicalities of trying to make a living from writing, something I was discovering as a now-freelance copywriter(alongside ploughing on with The Listeners).

As well as the invaluable advice from Midge, and a very welcome grant from the Arts Council to buy writing-time for the novel, the main thing that I gained from Escalator was a long-standing friendship with my nine other fellow Escalatees. From the beginning we all got on famously and over thecourse of the next year met several times at WCN events, culminating in a reading we gave at Foyle’s bookshop in London (having been drilled by the poet Aoifie Mannix in the art of how to conduct a good public performance).

Beyond the year, we continued (and indeed still do) to keep in touch, forming an ad hoc literature collective called Absolute Fiction for awhile, where we performed other joint readings at Cambridge Wordfest among others. It was good to have a group of like-minded new writers for moral – and editorial – support, something I was finding particularly useful now I’d finished The Listeners and was in the drawn-out process of editing and rewriting, trying to get an agent and,ultimately, a book deal.

That story takes a little longer to conclude. Having finally found representation in 2010 – after a series of flirtations with three other agents who concluded, eventually, that my novel wasn’t commercial enough for them – The Listeners did the rounds of various publishers, gaining some encouraging positive feedback, but no publishing deal.

In early 2014, having effectively given up on it ever making the journey into print, I entered the Rethink New Novels Competition; The Listeners won and was published at the end of the year. To steal from Dickens, it was the best of times, it was the worst of times, as the book came out just a couple of weeks after my brother Chris lost his too-short battle with cancer. The Listeners had its launch in December at an event hosted by WCN, where I read alongside Patrick Barkham and Sarah Perry. Given Escalator’s and WCN’s input into the book’s long road to publication,it seemed a fitting, albeit for me bitter sweet, occasion.

The Listeners is a novel about grief, and how we try to come to terms with the things we’ve lost –it’s dedicated to my brother, who was an untiring supporter of the book during its drafting process. I’m sure he’d be proud to see it on the shelf, though I have no doubt that he would take enormous delight in poking constant fun at the smirking face that gurns out from the back cover.

Edward Parnell is the author of The Listeners. Winner of the Rethink New Novels Competition 2014. Available in paperback, hardback, and on Kindle.

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Former Escalator winner Guinevere Glasfurd-Brown publishes her debut novel

Posted By: Stephanie McKenna, 25 January 2016

With a month left to apply for Escalator, our former Escalatee Guinevere Glasfurd-Brown explains why the talent development programme was so important for her. Guinevere recently published her first novel The Words in My Hand, described as a 'startling debut' by The Sunday Times.

In the week that my debut novel The Words in My Hand was published in the UK, Writers' Centre Norwich launched the Escalator writing competition for 2016. I want to encourage all who are serious about their writing to apply.

I was one of ten new writers mentored on the 2011/12 intake. The year-long programme and Arts Council England funding secured as part of it gave me time and space to develop my novel from an initial sketchy outline to a full first draft. The Arts Council grant funded two research trips to the Netherlands – research trips I could not have afforded by myself – and provided paid time to write. One-to-one mentoring sessions challenged me to produce work to a series of deadlines and showed me what life as a writer was like.

Something shifted in me as I went through the year. I no longer saw my writing as a hobby, but work. Bit-by-bit, Escalator enabled me to move writing from the periphery to the centre of my life.

The extraordinary thing is, I very nearly didn't apply. I didn't think my writing was good enough or that I had a novel in me, not then. I couldn't claim that I'd wanted to be a writer since I was a child. I'd had a couple of short stories published, but had no track record as a novelist. In the end I realised I definitely wouldn't get it if I didn't apply. So, doing my best to banish my inner critic, I gathered my thoughts, put together the best application I could, sent it off and then put it out of my mind.

The WCN Escalator programme is such a rare opportunity. Take it. Apply.

The Words in My Hand tells the story of the affair between Dutch maid, Helena Jans and French philosopher René Descartes. It is a story that was hidden at the time and almost entirely lost from history since. Published by Two Roads Books (an imprint of John Murray Press), it is The Times' Book of the Month. Foreign language rights have sold in five countries outside the UK, and an edition has been published in Australia and New Zealand.

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One is the Loneliest Number: Why Writers Need Each Other by Lynsey White

Posted By: Writers' Centre Norwich, 15 April 2015

Two years ago I was one of the lucky ones. The lovely folks at Writers’ Centre Norwich plucked my novel proposal from a fat pile of applications and, one chilly morning a month or so later, I found myself sharing tea and cake with nine like-minded souls: my fellow Escalator Literature winners.

We were already short story writers, and playwrights, and poets, with non-fiction under our belts, but we’d never, not one of us, written a novel before. There was only the tiniest shard of ice to be broken by then – tea and cake tends to get writers chatting – but round we all went, taking turns, quickly thawing that last shard of ice by describing our novels.

Describing them made them seem real. We went home with fires in our bellies and started to write.

And then… cue Chopin’s ‘Funeral March’, if you will.

Self-doubt, as Sylvia Plath wrote, is the enemy of creativity. You might feel a splash of self-doubt while you’re writing a poem, a story. But poems and stories are usually measured in days, or weeks, with the gem of your final draft to look forward to. Novels are written chin-deep in an ocean of doubt, and at times you’ll be sailing so far from the shoreline that doubt becomes certainty: your novel is the worst thing ever written since time immemorial. If anyone read it, they’d bellow with laughter. It ought to be pitched overboard, and you might as well jump in after it, into the wet dark of oblivion, because really you’re not a writer and you never were. You’re a fraud, a sham, a charlatan…

But, wait. What’s that? The thin hum of an engine, the paddling of oars, the warm sweep of a lighthouse beam. It’s the friends you made on Escalator, your fellow sailors, steering you back to shore with a hot cup of tea and a blanket; a large wedge of cake. ‘Me too,’ they say. ‘We know just how you feel. Join the club.’

A boatload of rescuing writers will never say: ‘Haven’t you finished that book yet?’ or ‘Just write the damn thing!’ or assign you the hash-tag #firstworldproblems for saying you’re lost, or stuck, or sinking. Writing isn’t rocket science, of course. It isn’t coal mining. But the shocking aloneness of sitting in front of a keyboard all day with your own brain for company needs to be countered with tea, cake, and community as often as possible.

That’s exactly what my time on Escalator gave me. And it’s why I’m launching Write Club at the Maddermarket Theatre: a space for writers, whether old or new, to meet, and write, and talk. There’ll be plenty of prompts to get you started, or time and space to keep going with something you’re writing already, whether prose or poetry. Tons of feedback, of course, and even more importantly there’ll be free tea and cake.

If you’re drifting, or drowning, or dipping a first shy toe in the ocean of writing, then why not come along and join us?

Write Club at the Maddermarket will run for eight weeks every Saturday morning, 11.30 to 1.30, from April 11th 2015.

More about Lynsey and sign up online go to the Maddermarket Theatre.

Lynsey White is a writer and teacher based in Norwich. Her short fiction has won the Bridport Prize and a Canongate Prize for New Writing. In 2013 she was one of WCN’s Escalator Literature writers, and has just completed her first novel with a grant from Arts Council England. She teaches creative writing for Norfolk County Council and the Norwich University of the Arts, and has recently joined the editorial board of The Lighthouse Literary Journal.

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(tags: Escalator)

IdeasTap Inspires Winner Lindsey Fairweather, Looks Back on the Programme

Posted By: Writers' Centre Norwich, 10 March 2015



A lot can happen in six months. I applied for the Inspires scheme on a whim, when I was heavily pregnant with my second child; he was just a couple of weeks old when I went to the writing workshop all semifinalists were invited to attend. When I found out I'd made it through that round, too, and won a place on the scheme, I was delighted but anxious. The timing seemed terrible, but there was no 'pause' button, for the scheme or for my personal life, so I decided to see if I could justify my mentor's faith in me.

Under writer-translator Daniel Hahn's expert guidance (and with my baby strapped to my chest or sleeping in his pram or babbling in my arms), I started to produce new work. More than anything else, Danny gave me confidence. His thoughtful editorial brain coupled with his belief in me and my work helped me to refine my first novel, On Earth, As It Is, and send it out once more, to various literary agents here in the UK and in my native US. Meanwhile, while my two-year-old was at nursery and my newborn was napping, I started writing something new - scenes about my childhood, about a loved one who was ill, about motherhood - and trusted that the shape of the work would surface. And it has.

The scheme didn't teach me how to write - instead, it taught me how to be a writer. The practical advice, straight from agents and published writers, proved invaluable. Writing can be lonely, and luckily my experience with Inspires was anything but. My colleagues and I went on a lovely weekend together in Norwich; I hadn't been back since completing my MA and I found it even more enchanting than I'd remembered. I am not used to being wined, dined, and housed because of words I've written, so the whole weekend felt surreal (not least because it included a lunch with one of my literary heroes, Ali Smith, who had read work from all of us and had detailed, supportive thoughts to share). Crucially, we also learned about the business side of writing, and about how to seek representation - all useful, I thought, for the lucky ones who make it that far.


And now I'm one of the lucky ones. Toward the end of the scheme, I moved to Spain with my family, and while I was finding my way around Madrid, the marketing wizards at Writers' Centre Norwich were contacting literary agents on our behalf. Several agents wrote to me after reading the start of my novel, asking to read the rest, and soon I found myself with four offers of representation. After speaking with all of them, I'm delighted to have signed with a fantastic agent, Andrew Gordon at David Higham Associates.

Recently, I flew back to London for our showcase event, where agents and friends came to hear us read. I loved seeing my colleagues again - their work is funny, moving, fresh, dark, deep. I know they will find success and I can't wait to read their stories and books. As for me, I'm hopeful that my novel will find a good home; if and when it does, I will owe a great deal to the scheme for giving me the tools, the contacts, and the confidence I needed, just when it seemed impossible to write, let alone publish. It has made all the difference.


Take a look at the extracts from the IdeasTap Inspires Winners here.


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(tags: IdeasTap, Escalator)

A Brand New National Writing Competition

Posted By: Rowan Whiteside, 04 April 2014

We’re delighted to announce the launch of IdeasTap Inspires: Writers’ Centre Norwich Writing Competition!

We’ve teamed up with IdeasTap to offer ten winning fiction writers aged 18-30 a place on a unique national creative development and mentoring programme. Designed to help fledgling writers progress in their creative career, the winners will receive six months of mentoring, be given vital industry advice, attend a bespoke writing retreat and be introduced to agents and publishers.

This writing competition is all about giving writers the tools and the opportunities to take the next steps with their writing, so we’ve enlisted amazing professional writers; Daniel Hahn, Kerry Hudson, Alex Preston and Nicola Upson, to share their wisdom. They’ll also teach you essential writing skills, invite you to parties*, feedback on your work and generally be a supportive, encouraging presence.

And that’s not all- if you’re one of our ten winners you’ll also be invited to a masterclass, attend a writing retreat for a weekend of intensive craft development, meet your fellow winners at an inaugural gathering, be introduced to industry professionals (including agents and publishers) and celebrate all your achievements at a London Showcase event.

75 commended writers will also be invited to attend a free masterclass, taught by the likes of C.J Flood, Carolyn Jess-Cooke, Ross Raisin or Emma Jane Unsworth, and will receive support from Writers’ Centre Norwich and IdeasTap.

As Patron Ali Smith says; "Here's a programme which will help and inspire on all the levels. It starts with inspiration and it ends in good writing. You can't get better than that."

So, what are you waiting for? Head over to IdeasTap now, and send in your application or find out more about the competition.

IdeasTap Inspires: Writers’ Centre Norwich Writing Competition closes for entries at 5pm on the 12th of May.

(Of course, there are a few provisos. The most important of these are that you must be aged between 18-30 and a resident in England. You must also be a member of IdeasTap to enter**.)

IMage Copyright Henry Merino
Jump for joy! A new writing competition which is free to enter!

IdeasTap Inspires: Writers’ Centre Norwich Writing Competition is organised in collaboration with national arts charity IdeasTap, as part of IdeasTap Inspires, a free national training programme for young people building careers in the creative industries. IdeasTap Inspires is supported by Arts Council England, via a £250,000 Exceptional Award.

** You mean, you’re not a member? Quick, set up an account now.

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Artistic Rivalry and Literary Friendships - A Guest Blog from Emma Claire Sweeney

Posted By: Rowan Whiteside, 14 January 2014

Emma Claire Sweeney, Escalator Winner, writes on literary friendships and her new project Something Rhymed.

By the time I won an Escalator Award back in 2005, I was already firm friends with Emily Midorikawa – the fellow writer with whom I've launched Something Rhymed, a website about famous literary friendships.

I met Emily during a time when we were both living in rural Japan – working as English teachers by day, and scribbling stories in secret by night.

We both have fond memories of the moment we first dared to admit our literary ambitions: we were in a garlic-themed restaurant at the time, chatting over bowls of noodles.

I clearly remember talking with Emily that night about the way novels give us the illusion that we can mind read. Over a decade later, I keep circling back to this notion. But I only recently realised that my preoccupation with this likely stems from my yearning to be a more eloquent interpreter of my autistic sister – something I've blogged about here.

The Waifs and Strays of Sea View Lodge – the novel I'm completing for my agent, Veronique Baxter at David Higham – is inspired by my relationship with my sister, and its main theme goes back to my first literary conversation with Emily: the impossibility of truly knowing even those closest to us but the restorative powers of our attempts to do so.

From our discussion back in that garlic-themed restaurant to the final redrafting of this novel, Emily has joined me on each of my deviations, uphill struggles, and delightful discoveries. And she has given me the great privilege of sharing her intellectual, creative, and emotional journey too.

Until this point, our writing careers have grown roughly in tandem, but now, both nearing the end of novel drafts, we fear that the coming year could put new pressures on our relationship. Wary of the dangers of artistic rivalry, we are keen to glean tips from our literary heroines on how to sustain an invaluable friendship through potentially trickier times.

Throughout 2014, our new website, Something Rhymed, will be profiling a different pair of female writer pals each month, and we’ll be challenging ourselves (and our blog followers) to complete an activity based on a prominent feature of that particular friendship.

We’ll be posting regular updates on our progress, and would love for you to get involved by letting us know of any literary pals we could profile.

Or you might like to make it your New Year’s resolution to complete the activities alongside us. You can find out about the first challenge here.

About Emma Claire Sweeney

Emma Claire Sweeney won an Escalator Award back in 2005, after graduating with distinction from UEA’s Creative Writing MA. Her fiction has also been granted Arts Council and Royal Literary Fund Awards, and has been shortlisted for several others, including the Asham, Wasafiri and Fish. Most recently, she has been published in The Times, Mslexia, and The Independent on Sunday. She is represented by Veronique Baxter at David Higham and is currently completing The Waifs and Strays of Sea View Lodge – a novel inspired by her autistic sister.

Last year, Emma Claire published The Memoir Garden – an Arts Council sponsored collection of poems comprising the words and experiences of adults with learning disabilities.

Having co-written literary features, this year Emma Claire and her long-standing writer friend, Emily Midorikawa, launched Something Rhymed.

Visit Emma Claire's website.

Follow Emma Claire on Twitter @emmacsweeney

About Emily Midorikawa

Emily Midorikawa grew up in Yorkshire. She is a half-English, half-Japanese writer of novels, short stories and non-fiction. She has an MA in creative writing from the University of East Anglia and her work has been published in, amongst others, Aesthetica, Mslexia, the Telegraph, The Times and the UEA anthology Otherwheres.

Her as-yet-unpublished first novel A Tiny Speck of Black and then Nothing came joint-third in the SI Leeds Literary Prize 2012, third in the Yeovil Literary Prize 2013, and was long-listed for the Mslexia Novel Competition 2013.

Emily is one of the writers involved with Tangled Roots, a literary project that celebrates the stories of mixed-race families from Yorkshire. With her writer friend Emma Claire Sweeney, she runs the website Something Rhymed, which profiles the literary friendships of famous authors.

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52,190 Words of 'Light Relief' - A Guest Blog from Escalatee Robert Mason

Posted By: Rowan Whiteside, 19 December 2013

Robert Mason, an Escalator graduate blogs on exploring new disciplines, the Escalator experience, and publishing Other People's Dogs.

Escalator Literature 2009/10 was crucial for me – it made me decide that this writing malarkey was serious. After thirty years as an illustrator that was a massive realisation and surprise, and, having painted pictures since I was an embryo, I felt some guilt about my new direction. This lasted for about a week; the concomitant poverty has been more tenacious.

Escalator was enjoyable and nerve wracking: I had no prior experience of presenting or formally discussing my writing, though friends from the UEA Creative Writing courses had been incredibly generous and helpful, informally. So, to receive feedback, in a public place, from my mentor Courttia Newland, and to have to read to literary agents, in a public place, was demanding. To do those things without weeping was a triumph.

Perhaps most valuably Escalator opened my eyes to tangible practicalities of literary life: how to write synopses, how to use social media (still not 100% there), how agents operate and – most interestingly – how practising authors actually work. My appreciation of the latter went from indiscriminate absorption of all information imparted to a far more selective mode, as I realised that all writers differ and that it was OK to put together my own working routines. Some pointers, such as write original material at one time of day, and edit at another, were invaluable: thanks to Alex Preston for that. I manage to adhere to it some of the time.  

Other People’s Dogs
is not my Escalator book: The Rec – now re-titled Retribution – is still ongoing and I think it’s going well. OPD began life a year or so earlier, as (50,000 words of) light relief between two longer manuscripts. Its genesis was, definitely, as ‘dog book’, rather than ‘memoir’: I dislike that m-word. But my dog book differs from most in that, while the majority are concerned with a one-to-one relationship between dog and owner, OPD is written by someone who adores dogs but has never owned one. So a degree of autobiography was inevitable, in describing serial, irresponsible relationships with any number of canines, over many years. And, for me, that aspect of the book has been the most interesting, as it threw up dilemmas revolving around memory, wish fulfilment, truth, fiction, etc. All of which sounds too serious: OPD is predominantly humorous – and that’s an h-word I dislike. Oh God, I’ve written a humorous memoir. Shoot me now.

I’ve been very lucky in getting Ian Pollock, an old RCA friend, to illustrate the book, and I’m hugely grateful to Barrie Tullett at Caseroom Press for sticking with me while I dithered and edited – two activities that can seem fiendishly similar. My sincere thanks to them, and to  Courttia Newland and WCN for the Escalator experience.

So, if you want to read a dog book written by someone who has never owned a dog, or a memoir written by someone who can’t remember what he had for breakfast, look no further.

You can purchase a copy of Other People's Dogs online, or from The Book Hive.

Read a review of Other People's Dogs.

Robert Mason

Robert Mason graduated from the Royal College of Art in 1976. He embarked on a thirty-year career as an illustrator, working for many major publishers and producing artwork for books by Rose Tremain, Robertson Davies, Robert Musil, Angela Carter, Alan Moore and many others. In 2006 he virtually stopped drawing and began to write, and in 2009 applied successfully for a place on WCN's Escalator Literature programme. Robert ran the Illustration course at the (then) Norwich School of Art from 1990 to 2006, and eventually retired from the (now) Norwich University of the Arts in 2013. He has written two short books about Illustration; Other People's Dogs is his first non-Illustration title. He lives in Norwich with his wife, the totally brilliant jeweller Elaine Cox.

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Escalator Alchemy- A Guest Blog from Escalatee Jon Curran

Posted By: Rowan Whiteside, 05 December 2013

Escalatee Jon Curran writes about the transformative power of the Escalator Writing Competition

Most stories are about transformation – ugly duckling into swan, frog into prince, kilt-wearing Scotsman into wild-haired, woad-faced Mel Gibson. And like all the best stories, the Escalator scheme has been, for me, a story about transformation.

This time last year, I had a few thousand words written down and some ideas that excited me about where the story might go from there. I’d get up each morning before the sun had risen and the rest of the family was awake and write a few more pages, moving the story forward piece by piece. I didn’t think of myself as any kind of writer though, just someone who wrote in the spare corners of the day that no-one else wanted.

Over the last year, through the Escalator programme, that scant start has turned into something that’s starting to look like a real novel. More than that though, I’ve started to become someone who thinks of himself as a writer, albeit one still in the early stages of the journey. Being an Escalatee puts you in the company of nine fantastic and hugely-talented writers as companions in the journey, and that’s been a wonderful experience. The journey isn’t always smooth. After the elation of winning a place on the scheme comes the part when you wake up in the middle of the night and wonder to yourself how you’re actually going to manage to pull this off. Me? Write a novel? Are you kidding?

That’s where David Rain – Escalator mentor extraordinaire – proved himself as adept an alchemist as any in medieval Baghdad, where my novel is set. I would troop down to London with characters, plots, themes all jumbled around in my head– and David would somehow help me to make sense of them all. We’d wash it all around over coffee and there! A glimmer amongst the base metals, and lead would turn into gold. It seemed effortless, but I’m sure it wasn’t, so I’m eternally grateful to David for helping to get the thing off the ground.

The Escalator scheme has been about pushing myself, trying things I’ve never tried before, and growing as a result. Reading from our work at a special showcase for friends and family here in Norwich made for a great evening, and a fitting end to our Escalator year, but of course the real work – the actual writing – goes on.

I still get up early in the morning as it’s my best time to write, but I now think of writing as the thing “I do”, and other things rotate around that.

Over the summer, my six year old daughter made a sign to put on the door saying “Quiet Please – Writer at Work”.

That is quite a transformation for one year.

About Jon Curran

Originally from Rochdale, Jon Curran spent his formative years in West Africa, the Middle East and Suffolk. After leaving university, Jon worked in the magazine industry before following the dotcom boom into IT. He now lives in Norwich with his wife and two lovely daughters.  Jon’s fiction has appeared in Inferno magazine, and he was one of the co-founders of the community blog “This Low-Carbon Life”, writing on environmental and community themes. He is working on his first novel, The House of Wisdom, set in 13th Century Baghdad.

Visit Jon’s website.

Follow Jon on Twitter @jaysaulc

Read an extract from The House of Wisdom

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Permission to Write - A Guest Blog from Escalatee Kyra Karmiloff

Posted By: Rowan Whiteside, 19 November 2013

Kyra Karmiloff, 2012 Escalator Winner, blogs about writing nerves, her experience of Escalator and how the programme helped her to improve as a writer.  

It was about this time last year that my lovely friend, the talented novelist and past Escalatee, Susan Sellers, started breathing down my neck to enter this year’s Escalator Literature Writing competition. I was feeling very despondent about my writing – ready to give up on it all after 10 long years of heartache and two novels withering away in the lightless files of my laptop. Reluctantly, I agreed to give it a bash and set out revisiting old pieces, tossing one after another into the bottomless bin on my screen.

A pointless endeavor, I told myself, as I picked the chosen one and started dusting it down. Two weeks and eight-hundred edits later, I had my five thousand words ready. Or so I thought. With just days to go before the closing date, I printed out my competition piece, read it aloud for the nth time, made a few last changes and printed it again. Sixteen prints and two ink cartridges later, I put the blasted thing in an A4 envelope, addressed it, stamped it and put it in my bag. I dressed to go to the post office, took one final look at the words still humming on-screen, made a very final change, opened up the envelope, threw its contents away, printed out a fresh copy containing the much-improved first line, and sealed up the envelope again. I got in my car, started the engine, turned it off, went inside and repeated the whole process again, all for one word which was never going to make the difference between success and failure, but the opening sentence really was better in its original form.

It was a blessed relief to finally push the heavily-sellotaped envelope into the post box. It was out of my hands now. “All done,” I told Susan. Then silence. For weeks. Then an email, one morning before Christmas, telling me that I had made the shortlist and would hear in the New Year if I was one of the ten winners. Weeks of worry followed. A flicker of hope had been reignited: perhaps I would become a real writer after all. No no, said my brain. My bank balance agreed. Yes, yes, said my long-suffering friends and family.

And so it was that I became one of the 10 Chosen Ones. For this year at least.

What ensued was the most amazing, nurturing and spirit-lifting experience I have had as a writer. Writers’ Centre Norwich provided us not only with wonderful support and guidance, it gave us a stamp of approval, a permission to write. We received help applying for funding from the Arts Council, allowing us to cut down on work in order to focus on our projects, and were given months of invaluable mentoring. I was lucky enough to have been chosen by the amazing Tobias Hill, who not only helped me turn a scruffy idea into a fully-fledged story, but gave me back my confidence as a writer. Most of all, what the scheme provided us with was a license to be who we are – writers – and do what we love doing best: writing. No longer solitary scribblers, tossing hour after hour at a pursuit that felt like little more than pure indulgence, we were now recognized talent, bona fide novelists. It was like receiving Dumbo’s feather and jumping off a cliff, knowing we would fly.

I took my little competition piece, looked it in the face and decided that it deserved some limbs, a beating heart, a personality or two, and a name. What started as a few paragraphs bullied onto a page by a well-meaning friend now became the beginning of a novel, my third and hopefully the lucky one. The one that will make it onto the shelves of Waterstones, where there is space: I’ve checked. In fact, last time I went to peruse the rows of K’s, a thoughtful shop assistant had cleared a great big gap precisely in the spot where The Witchfinder’s Lover will, with any luck, sit one day. Yes, yes, said my brain!

Find out more about Escalator Literature Writing Competition.

View all the 2012 Escalator Winners.

About Kyra Karmiloff

Half-English, half-Russian, I did most of my growing up in London. After completing my degrees at UCL, I set up as a freelance writer and researcher, mainly in the field of Language and Child Development, while continuing to dedicate as much time as possible to my fiction. I am the author of three non-fiction books and have had many articles published in magazines and online. During tough times I have also been a DJ, a dog-groomer, a stable-girl and cleaner – anything to stay self-employed and keep writing. I live in Fen Ditton with my boys and my partner, Rocky, a film director with whom I collaborate. I now make a living writing film treatments and researching new material, while continuing to pursue my novelist ambitions.

The Witchfinder’s Lover is a coming-of-age story of two siblings growing up in Cambridge during the turbulent years of the Civil War, whose lives are transformed by the arrival of Matthew Hopkins, the man responsible for mounting the deadliest witch-hunt in British history.

Visit Kyra's blog.

Follow Kyra on Twitter @KKarmiloff

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Keep Calm and Carry On- A Guest Blog from Lynsey White

Posted By: Rowan Whiteside, 29 October 2013

Escalator Literature Writing Competition
winner Lynsey White blogs about her experience of the programme and the importance of keeping on going.

In the immortal words of Ronan Keating, ‘Life is a rollercoaster. Just gotta ride it.’

There have been times, during this Escalator year, when I’ve joked that the scheme should be renamed Rollercoaster to better reflect the ups and downs of the process. From our inaugural meeting at Writers’ Centre Norwich, back in January, to the recent ‘Showcase’ reading at Foyles bookshop, the year began and ended with stimulating and inspiring company (and some of the best nibbles I’ve ever tasted).

To have nine such talented writers for bedfellows was an honour in itself. But as January turned to February an ice wind nipped at the heels of my Escalator win: ‘You’ve told these nice people you’re writing a book. You know what? Now you’ll actually have to write it.’

And not only write it, but share it. My lovely – and undeniably canny – mentor, Michelle Spring, was poised by her email inbox (or so I fantasised), waiting for the satisfying plop of my first delivery. Waiting to see right through me. ‘This woman thinks she can write? Oh boy.’

Like a scene in a Hollywood movie, an ominous ticking began.

So I sat myself down at the empty white screen and the nagging black cursor was flashing in time with that ticking, and maybe the ticking was actually somebody’s fingernails drumming… and slowly that somebody took on a face, and that face was Michelle’s as she fired off a gently encouraging email: ‘You mentioned you might have some work for me, Lynsey…?’ And words would burst onto the screen in a frenzy of typing – and frenziedly vanish again in a fit of despair. I would hold up my plot for inspection and peer through the strange lacy holes in the framework. Oh god. I can’t do this. A short story, fine, but a novel? A novel’s so long…

But gradually, painfully, brewing my fiftieth tea of the day, I put fingers to keyboard one morning and started to write. The mere fact of a reader as witty and wise as Michelle being willing to read my poor efforts was more of a spur than I’d known it would be. The best book, we all know, is a book that’s not written yet. Something still wrapped in the cosy cocoon of your head. As that book takes its first clumsy steps on the page it’s invariably awful. It wobbles and stumbles and bashes its feet on the furniture. Hence, my first drafts had been jealously guarded till now. ‘No one’s died of embarrassment yet,’ I reminded myself as I mailed my first pages and met with Michelle, a week later, for tea in a quaint Cambridge pub.

There were things that she liked. There were things that she didn’t. Keep going, she said. So I did. When the feedback was more bad than good I would sit on the train home from Cambridge, my wreck of a book in my lap, and I’d ruminate on the pros and cons of giving the whole thing up and retraining in something more sensible – crocodile wrestling; clown school – instead. I was right. I can’t do this. I suck.

But the weeks and months passed, and in time – as I wrote and rewrote the damn book, and regrouped with my nine fellow writers for moral support – something started to happen. All right, so I’d written a terrible sentence, a scene that was dead on the page. I had too many characters. Far too much wallpaper. Barely the hint of a story… So what? These were challenges, gauntlets thrown down as we thrashed out the wheat from the chaff of my novel. I stopped being precious about it, and grew a new layer of skin. Michelle fizzed with ideas, and instead of resisting her input (it’s my book, get off!) I would hear the soft click of a brilliant idea as it fell into place, and rush back to the screen – mostly black now, not white – as that brilliant idea stitched a hole in the plot or suggested a subtext or sped up a scene.

Writing novels is hard. We Escalatees have been gifted with our first sniff of real professionalism this year and – for this Escalatee at least – that’s meant glimpsing the troubles as well as the joys. In these turbulent times for the publishing industry, a writer must sail in the cutthroat seas of the Amazon one-star review. Mere talent won’t keep you afloat. What you need is resilience. I’ve so many reasons this year to be grateful to WCN and my mentor, Michelle, but it’s this, above all, that I’m thanking them for: the simple, but vital, ability – in the face of the utmost despair and self-doubt – to keep calm, and keep going.

And so, as we come to the end of our Escalator year, I’m making another bid for a name-change – but this time to ‘Carousel’, in the vain hope that WCN will let me go round for another year.

Find out more about Escalator.

See the 2012-2013 Escalator Winners.

If you think you'd benefit from a professional critique, then take a look at our TLC Free Reads competition, which is open for entries now.

About Lynsey White

Lynsey was six when she first fell in love with writing, eleven when she wrote her first novel (which, sadly, remains unpublished) and seventeen when she made it into print with a poem in The Rialto. In 2002 she won the Bridport Prize for short stories and a Canongate Prize for New Writing. Her work has been taught on a creative writing syllabus at Birkbeck College and translated into Braille by the RNIB (alongside stories by the rather better-known Robert Harris and Agatha Christie). After a spell presenting arts shows on local radio she moved into Adult Education, where she currently teaches short story writing. She’s also a travelling piano teacher, a nonfiction copywriter and, occasionally, an editor. Most recently she was shortlisted for the 2011 Fish Short Story Prize. Her novel-in-progress is Madder Hall: a playful take on the haunted house genre, set in the 1970s.

Visit Lynsey's website.

Follow Lynsey on Twitter @LynseyAnneWhite

Read an extract from Lynsey's novel
, Madder Hall.

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A Lovely Bunch- Celebrating the 2012 Escalatees at the Showcase

Posted By: Rowan Whiteside, 09 October 2013

Escalator Literature offers ten winning writers a year of professional development, including one-to-one mentorship with a professional writer, a series of workshops designed to help the writers improve all aspects of their craft, support on applying for an Arts Council England Grants for the Arts award and the ever essential peer support.

Laura Stimson, Programme Manager at WCN, writes on our Escalator Literature Showcase, an evening event where our ten Escalatees read short extracts from their work to an audience of friends, family and literary agents.

On Friday we celebrated the end of the Escalator Literature programme with a showcase event in London. This sounds rather final but in fact, it felt like the beginning of things, with the ten Escalator winners spending the evening talking to agents and each other about what comes next. I came into the Escalator programme half way through, having been on maternity leave, but feel I’ve gotten to know the ten writers quickly. They feel like a group, each of them integral to the dynamic, each of them glad to be part of a cohort. They’re a lovely bunch.

Chair of Mentors Michelle Spring kicked off the readings by introducing her mentees. First, Mary Nathan, whose novel Michelle described as having a vivid sense of time and place. Mary read from a scene of her intricately visualized book that was rather aptly set just the other side of Charing Cross Road, where the showcase took place. ‘I smile widely enough so that it will reach my eyes,’ she read, as her protagonist battles inner torment in Georgian England. Next up, Bridport short story prize winner Lynsey White, whom Michelle described as having moved ‘confidently into the role of novelist’. Lynsey’s almost Dickensian story, gleaming with curses and extraordinary characters, nods towards gothic fantasy. The chapter she read from, entitled ‘Glass Worm’, contains the unique description of glass harpsichord, its melody ‘thin as a needle’.

Mentor Cathi Unsworth introduced her mentees with trademark wit, vigour and lyrical dexterity. Cathi mentored talented namesakes Megan and Meghan. UEA graduate Megan Bradbury’s book is a fact/fiction mash-up; perhaps too casual a term for her agile, sophisticated prose. Amongst other things, it is a sparkling psychogeography of New York city; weaving the reader through this ‘gap toothed’ city. ‘How long will it sit like this, straddling the seasons,’ one line asks. Cathi describes Meghan Purvis’ prose as ‘muscular’, a perfect expression for her book, a vampire novel which ‘swaggers the badlands’ between gothic contemporary noir. Meghan read from a scene which snagged us all; visceral, vibrant, menacing; a real cliff-hanger.

Like many of her Escalator contemporaries, L.E. Yates’ book re-tells history. Her novel From the Mountains Descended Night is framed by one of the greatest literary scandals of the eighteenth century, a story which her mentor David Rain described as ‘highly original, grippingly readable.’ Her scene describes an interaction between James McPherson and Samuel Johnson, in which Johnson first accuses McPherson of having created fiction. Jonathan Curran’s book is another fiction underpinned by real events; the fall of Baghdad in the 13th Century. Told through the eyes of a boy, it describes what was once a city bright with science, philosophy, and learning, destroyed by cataclysmic political events. As his protagonist daydreams the horrors to come, he imagines fires burning ‘high and bright inside his eyelids’.

Tobias Hill’s first mentee, Kyra Karmiloff also uses real world scandal to frame her novel. Set in the days of the Witchfinder, her book unpicks the delicate and destructive relationship between siblings. Kyra read from a scene describing ‘barber surgeons’, the game the siblings play, which involves lathering their bodies with lye suds and ‘shaving’ their bodies, removing the soap. Sue Healy, Tobias’ second mentee, read a hilarious, beautifully constructed scene from her book, The Hole in the Moon. It’s a vivacious, funny, often sad story of dwarfism, brotherhood, pornography, love and destruction. ‘Abroad shouldn’t be rainy,’ protagonist Dan P contemplates, on arriving into Hungary, ‘abroad should be roasting.’

Mentor Natasha Cooper worked with two historical novelists. Ian Madden’s story is a fictional look at the real life relationship between artist JMW Turner and ‘the woman who was not his wife’, whom he lived with. The scene he read from, a wonderful illustration of the passion and eccentricity of an artist, did something rather clever; it allowed the listener to omit the male voice and transport firmly into the mind of the female protagonist. We finished the night’s readings with Linda Spurr, whose story set in ancient Arabia, tells of woman’s struggle for autonomy. Using scent as its driving force, which she writes about with great agility and beauty, hers is a love story to frankincense and one woman’s ambition to capture it.

It was a special evening. Special because it marked the culmination of the programme. Special because it allowed the authors to meet and talk with agents. Special because they genuinely enjoy each others' company and have formed a true cohort. Special because listening to ten authors read may, on paper, sound excessive but was in reality a delight. One which was over all too soon.

Find out more about each of our Escalator winners, and read extracts of their work.

Read Sue Healy’s blog on the Escalator experience.

Find out more about Escalator Literature.

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What a Difference a Year Makes- Celebrating the 2012 Escalatees

Posted By: Rowan Whiteside, 04 October 2013

After a year of professional development our ten winning genre fiction writers have almost reached the end of the Escalator Literature programme. They’ve spent a year writing furiously, assisted by a programme which included one-to-one mentorship with a professional writer, a series of professional development workshops, support on applying for an Arts Council England Grants for the Arts award and the ever essential peer support. Tonight they’ll be celebrating all of their achievements at the Escalator Showcase at Foyles, along with an audience of friends, family and literary agents.

Our ten talented writers were winners of our genre focussed Escalator competition – let me introduce you:

Megan Bradbury
is a graduate of the UEA Creative Writing MA, and won the Charles Pick Fellowship in 2012. She has been working on her first novel, Glass Satellites which documents a history of New York through the figures of writer Edmund White, photographer Robert Mapplethorpe, urban planner Robert Moses and poet Walt Whitman.
Read an extract from Glass Satellites.

Jonathan Curran
has had short stories published in Inferno magazine and in Let the Galaxy Burn. In August of this year he was long-listed in the Words with Jam First Page Competition. Over the year of Escalator he has worked on his first novel, House of Wisdom which is set in 13th Century Baghdad.
Read an extract from The House of Wisdom.

Sue Healy
’s short stories and drama have won the Molly Keane Memorial Award, the HISSAC Prize, the Meridian Prize, the Waterford-Annaghmakerrig Award and the Ted O’Regan Arts Award, amongst others. She has been working on her novel The Hole in the Moon which is a humorous Magic Realist tale which weaves redemption plot and love story.  
Read an extract from The Hole in the Moon.

Kyra Karmiloff
is the author of three non-fiction books and currently makes a living writing film treatments whilst pursuing her novelist ambitions. Her novel The Witchfinder’s Lover is a coming-of-age story of two siblings, whose lives are transformed by the arrival of witch hunter Matthew Hopkins.
Read an extract from The Witchfinder’s Lover.

Ian Madden
’s short fiction has appeared in the Edinburgh Review, Wasafiri and the Bridport Prize anthology. He is currently working on a historical novel called The Second Mr Booth, which tells the tale of Sophia Booth who lived with celebrated artist JMW Turner.
Read an extract from The Second Mr Booth.

Mary Nathan
works in educational publishing as a freelance editor and writer, and has written more than 20 books for pupils and teachers. Her novel, 23 Maudlyn Street, is a gothic tale which explores the mysteries within a doctor’s house.
Read an extract from 23 Maudlyn Street.

Meghan Purvis
has completed a Ph.D in Creative Critical Writing at UEA. Amongst others, her poetry has appeared in Rialto, Magma and The Frogmore Papers. She has been working on a historical supernatural thriller, The Wages of Dying.
Read an extract from The Wages of Dying.

Linda Spurr
teaches creative writing in the Rickmansworth area and is a former sports journalist. Over the year she has been working on her novel Frankincense. Frankincense tells the story of Nashwa, who resists marriage and fights the customs of her culture.
Read an extract from Frankincense

Lynsey White
is an award-winning short story writer, with honours including the Bridport Prize and a Canongate Prize for new writing. She has been working on a novel set in the 1980s called Madder Hall, which plays with the trope of the haunted house.
Read an extract from Madder Hall.

Lucy Yates
completed a Creative Writing MA at UEA, and has stories published in a range of anthologies from Parenthesis to Tesselate. She has just finished her novel, From the Mountains Descended Night, which explores one of the biggest literary scandals of the 18th century – that of The Poems of Ossian and the forger James Macpherson.
Read an extract from From the Mountains Descended Night.

Please do take the time to read these impressive pieces of writing, and join us in offering our heartiest congratulations to our accomplished Escalatees!

Read Sue Healy’s blog on the Escalator experience.

Read Susan Sellers’ blog on the long lasting effects of Escalator.

Take a look at the full biographies of our Escalatees.

Find out more about Escalator.

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Writing Friends are Important: Susan Sellers on How the Escalator Competition Continues to Provide Support

Posted By: Rowan Whiteside, 01 October 2013

Susan Sellers was an Escalator winner in 2007-2008 where she completed her first novel, Vanessa and Virginia. She began her second novel, Given the Choice, with her Escalator mentor Sally Cline and the support of an Arts Council Grant for the Arts. It is published this month by Cillian Press. Here Susan blogs on the challenge of writing the second novel, and the importance of having writing support:

I vividly recall when I launched Vanessa and Virginia during my Escalator year in 2008, a friend saying to me 'of course, what's really difficult is writing a second novel.' At the time I laughed and thought 'how can anything be more difficult than the first?' But he was right.

I had been researching the close, sometimes turbulent relationship between Virginia Woolf and her painter sister Vanessa Bell for the best part of ten years, and with Vanessa and Virginia I simply plunged in, without thinking too closely about the process.

Given the Choice was different. The pitfalls seemed to announce themselves in flashing neon even before I stumbled into them. There was also - if this is possible - an acceleration in every kind of displacement activity. It remains a mystery to me why all those otherwise tedious tasks - organizing email, dusting, even on one memorable occasion hemming my sitting-room curtains - can suddenly seem so utterly compelling when writing is at stake.

I can honestly say that without the ongoing support I have received from WCN, my Escalator mentors
and the other writers who were with me on the scheme, I might never have finished Given the Choice, let alone bring it to the point where it could be published.

I owe part of the inspiration to Sally Cline, who, in an early mentoring session after I had finished Vanessa and Virginia, challenged me to write something contemporary in order to break away from Bloomsbury. One of many surprises about Given the Choice is that the character who quickly emerged was a sassy businesswoman, working in the glamorous and controversial art and music worlds.
I also remember a day when, flushed with the excitement of completing a full draft, Sal wondered whether my ending was the right one. I thought about Charles Dickens and how, when he first finished Great Expectations, he congratulated himself on breaking with convention only to be told by Bulwer-Lytton that his ending was too sad and he should pen a new one. I liked my ending but Sal encouraged me to play around with it. What happened next proved crucial not only in determining the outcome for my characters, but in shaping the book Given the Choice has become.

Find out more about Given the Choice.

Find out more about Escalator Literature Writing Competition.

About Susan Sellers:

After a nomadic childhood, Susan Sellers ran away to Paris. Renting a chambre de bonne, she worked as a barmaid, tour-guide and nanny, bluffed her way as a software translator and co-wrote a film script with a Hollywood screenwriter. She became closely involved with leading French feminist writers and translated Hélène Cixous. From Paris she travelled to Swaziland, teaching English to tribal grandmothers, and to Peru, where she worked for a women’s aid agency.
Susan is a Professor of English and Related Literature at the University of St Andrews. In 2002 she won the Canongate Prize for new writing and, following a year with Escalator, published her first novel Vanessa and Virginia in 2008. Her second novel, Given the Choice, which she began with Escalator, is published this month by Cillian Press.
Susan is hard at work on a third novel, and meets regularly with her Escalator peer group to keep her writing on track and herself sane.

Visit Susan's website.

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Writing and Redemption: Sue Healy on Escalator Writing Competition

Posted By: Rowan Whiteside, 27 September 2013

Sue Healy was chosen as one of our ten Escalator Winners in 2012. Through Escalator Sue has received a year of professional development, including one-to-one mentorship with writer Tobias Hill, a series of workshops designed to help her writing career, peer support, and advice and support on applying for an Arts Council Grant.

This time last year I was looking at ten-or-so pages of notes for a story idea I had about a guilt-ridden, embittered dwarf and a cult in Hungary. I was fretting about how I could whip these scraps of writing into some sort of shape as a proposal for the Writers’ Centre 2013 Escalator Award for a genre novel. It was pretty raw material, but somehow, I did. I was selected and twelve months on, that angry dwarf has found redemption via the completed manuscript of my debut novel The Hole in the Moon. Moreover, I have the draft of a screenplay of the same story which has been selected for write2screen’s Script HotHouse, also supported by the Writers’ Centre. This progress is entirely down to the support and professional development I’ve received over the past year.

I’d had success as a creative writer before embarking on the Escalator Scheme. By that time, I had already won a number of national awards for my short stories, which have all been published in various anthologies, and I’d had my first radio play broadcast, and a play staged. However, my end goal had always been to write a novel but since graduating from my 2009 MA in Creative Writing from UEA, mustering the focus, determination and dedication to do so whilst working full-time, was proving difficult. Then along came the Escalator.

The first gift the Escalator provided was affirmation. If my project was good enough to be selected, then this tale of an angry challenged man and his (comic) journey towards self-acceptance, deserved my time and respect.

As part of the scheme, you are provided with a number of one-on-one mentoring sessions with an established writer. This writer selects the project with which they wish to work and mine was chosen by novelist Tobias Hill. Tobias was a perfect mentor, providing me with just the right balance of challenge and encouragement – and he ‘got’ my humour. Moreover, the deadlines we set of 10,000 words per month were achievable but enough of a stretch to help me keep on pace. I had the story down by the early summer and the present draft by autumn.

The financial support provided by a Grants for the Arts bursary was heaven-sent. The Escalator Award does not provide the funds, rather you are coached through the Grants for the Arts application – a Herculean task. However, rather like childbirth, the laborious application process dims in the bright light of reward. In my case, the grant meant I could cut down on the day job, book time at a writers retreat and travel to Hungary to research.

Throughout all this time, my Escalator peers and I kept in contact via email and occasional informal Norwich based meet-ups when we advised, cajoled and bolstered each other through the challenges the year provided and cheered for each other as the rewards began to notch up (successful grant applications, finished novels, agent interest etc…). We were also more formally assembled for the series of helpful professional development workshops that took place over the year. And we’re not done yet. I’m looking forward to a showcase presentation of our work at Foyle’s Bookshop in London, which will see us winding up the year in style.

Looking back over my journey from last September to today, I have a sense that I have made five years’ worth of progression as a writer. Perhaps my embittered dwarf is not the only one who’s found redemption via the Escalator Scheme.

About Sue Healy

From Ireland via Hungary but currently living in the U.K., I find both my homeland and Hungary mesmerising theatres, forming the backdrop of my novel, The Hole in the Moon.

I graduated from UEA’s MA in Creative Writing. My short stories and drama have won the Molly Keane Memorial Award, the HISSAC Prize, the Sussex Playwrights’ Prize, the Meridian Prize, the Waterford-Annaghmakerrig Award and the Ted O’Regan Arts Award. I have also been short-listed for the Fish Short Story Competition, and the BBC International Playwriting Award, amongst fourteen other prizes and my prose has been published in seven literary publications. My BAI funded radio drama ‘Cow’ was broadcast earlier this year and my radio drama series ‘The Daffodil’ will be broadcast in 2014. My screenplay adaptation of ‘The Hole in the Moon’ has been selected for Write2Screen’s Scripit HotHouse. I currently teach creative writing at a Norfolk prison.

Read a sample from The Hole in the Moon online

Follow Sue on Twitter @SueHealy

Visit Sue's website.

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