Now to Writing the Love Scene...

I know I could leave this until later, but I write sequentially, whether it's a first or last draft...

So I'm now at that stage where my hero, Hugh, has resolved his conflict, and Sarah has remembered enough to make sense of the past, so getting the pair of them together shouldn't be difficult, should it?

The storm has made it easier to create the opportunity, but why do two confident people then suddenly turn shy!

I know some writers, and readers, prefer the action to stop at the bedroom door. I've no problem with that.

I think it really is about the characters and how they feel. If you know your characters well then you'll know what is right for them.

I've never had any doubts about my current couple in the novella, they've clearly been attracted to one another from the moment they met again; and as their relationship has progressed, on the few occasions they've been able to kiss you could see the lighted fuse slowly heading for the powder keg...

But give them the opportunity to be alone together and for Hugh to propose...

I really can't blame either of them for this temporary hiccup, as they've both got issues that they've had to deal with. And their story is set in a time when there were moral expectations for young women.

When I went back to the scene today they were making progress, but I think they will only let the reader stay for a while before they demand privacy; they'll tell me when enough is enough...

As the final part of tying up the past has still to be finished to reach the happy ever after (HEA) it will only need one more chapter to complete the draft.

I know I said Chapter 16 was going to be the last one, but I was wrong, it will definitely be Chapter 17. :D

I've no doubt that when I begin the second draft and put in the missing scenes, some of the current chapters will change number. I may even end up with a couple more than I have now...

First Novel Award for the Bridport Prize 2014...

Must say a big thank you to Claudia on the Writing Magazine, Talkback Forum, for letting everyone know there were details available of this addition to the competitions on the Bridport Prize website.

This is the Peggy Chapman-Andrews Award for a first novel extract ( first chapter of a novel, minimum 5,000 words, maximum 8,000 words in total, plus a 300 word synopsis), with a £1,000 prize, expert mentoring and possible publication.

This will be a popular competition, so only the best will get through to the longlist and shortlist...

Entrants must be resident in the UK, 16 years old or over. Nor currently represented by a literary agent.

They can either have a completed, or a part-written novel. But do be aware that for the latter case, if you progress through the competition to the longlist stage, you will need to have a minimum of 15,000 words available, and for the shortlist a minimum of 30,000 words.

The longlist will only consist of 20, sifted by the Bridport Prize readers from all entries. Those 20 will go on to The Literary Consultancy and A. M. Heath Literary Agents, who will shortlist to 5.

The winner and runner-up (receives £500, plus other elements) will be chosen by them and the named judge, Alison Moore. There are qualifying criteria for the winner- not agented or previously published a novel (self-published is okay, as is being published in another genre, such as short stories, poetry, non fiction).

(Full details of entry, prizes, terms and conditions can be found via the above link.)

Bridport's entry fees are high, £20 an entry. Entries can be submitted online or by post (see the relevant links in the Entry Format section of the terms and conditions).

Closing date is 31st May 2014.

There is a lot to read on both the main page, and the one with the terms and conditions, but do read them fully.

When you have to pay a high entry fee, it's a shame to waste both your time and money by missing an essential piece of information that could result in your hard work being disqualified.

If you enter, good luck.