Submitted by Suraya Dewing on Friday 6 January 2017
The Story Mint has just published its first Anthology of collaboratively written short stories. There are twelve stories written by 32 authors from eight countries. It is an amazing achievement and it is a world first.
We learnt a great deal from this experiment. However, it was so successful we intend to repeat it.
Submitted by Suraya Dewing on Thursday 8 December 2016
We have just released Everyone Has a Story, which is a set of short stories created from The Story Mint’s earliest serials. There are 12 stories, written by 32 authors from 8 countries and, as Kalli Deschamps says in her review, “The serials are well written with a beginning, middle and ending; complete as though written by one author.”
Submitted by Suraya Dewing on Wednesday 2 November 2016
As writers we mix our experiences, associations and stories in a unique way. No-one else will tell a story like each of us does even if it is on the same topic.
Submitted by Suraya Dewing on Friday 7 October 2016
While we were at the Melbourne Writers Festival I attended a session chaired by a successful Melbourne independent bookseller. He had two publishers, Henry Rosenbloom, founder of Scribe Publishers and still in business after 40 years, and Louise Ryan, Penguin Publishers on the panel. As can be expected they were asked what publishers look for in a manuscript. Both had the same answer. That answer made me sit bolt upright.
Submitted by Suraya Dewing on Tuesday 26 July 2016
Why do writing experts always advise us to use the writing principle of show don’t tell?
I find that when I am reading a writer who uses show don’t tell I am absorbed and fully engaged with the story. Those stories are the ones I cannot put down.
The reason for this is the language is cinematic and active sentences prevail. There is more detail and description. I am not simply told something happened I am shown what happened and I am part of the action as a reader. Love that feeling.
Submitted by Suraya Dewing on Thursday 30 June 2016
A major building block in a good story is tension. Tension can be as simple as surprise at the way the writer has shaped a sentence, conjured an image or set up a series of events that create within the reader a curiosity that will not be satisfied until we find the answer to our initial question, why, what or how.
Tension is the key to engaging readers and to keep them turning the pages of your short story, novel or piece of non-fiction. There is no reason to keep turning the pages if nothing is happening.
Submitted by Suraya Dewing on Saturday 4 June 2016
Fires burned in the hearts of students from Room 26 of Matipo School this week and it was exciting to witness. We were giving the stylecheck a trial run in the class to see if it could make writing more fun for students.
Their teacher arranged the 25 students into teams of two or three and asked them to write what they liked about Matipo School.
Submitted by Suraya Dewing on Wednesday 4 May 2016
Alex Keegan says in his article writing winning stories that writing for competitions is a way to increase your output, and this is true. This is one positive outcome of not winning. Winning is a bonus!
And who of us doesn’t want to win? Yes, we all do!
Submitted by Suraya Dewing on Sunday 10 April 2016
Stories build nations, organisations and families. They shape our national character and reveal the heart of an organisation.
Stories surround us and those stories give our lives meaning.
Over the years, there has been a lot of conjecture about whether the world will be taken over by machines; some have even suggested that the time will come when Artificial Intelligence runs the world and people will be redundant. This is the stuff of science fiction but there are those who believe that science fiction predicts the future. And there is evidence to support that.
Submitted by Suraya Dewing on Wednesday 30 March 2016
When writers start out, they frequently try to write in ways that will show off their skill with words. They employ a number of techniques such as unexplained twists at the end, or introduce new features that don’t really add anything to the story. This often leads to complicated story lines and characters who are portrayed in one way but behave in the opposite way.
For example, a writer may describe a character as reserved and then several pages on have him or her jumping about at a party showing off his or her karaoke skills. Reserved? Hmmm, not really.