204 pages. Yes, much bigger than the first Nail Your Novel. Fully indexed. Pages to dog-ear, scribble on, receive coffee stains and the sweat of your genius brow. Contains discussions of all the books it’s leaning on in the photos, and many more besides.
Back with a proper post tomorrow!
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When to trust the reader’s intuition – and when to spell out what a character feels: post at KM Weiland’s Wordplay
Readers don’t have to be told everything. Sometimes they will intuit how a character feels about a plot development or another character. Or they know what’s unsaid. Or they understand that the quiet character who rarely says anything is vibrating with mysterious depths.
Good storytellers are masters of the reader’s curiosity and emotions. They know what they can plant between the lines and how to make readers fill the blanks. So how do they do this? And how might it go wrong?
Today KM Weiland has invited me to her fabulous blog Wordplay, where I’m discussing this tricky – and exciting – balance. Do come over.
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My guest this week says she always found music a distraction rather than a help in her writing. Until a lyric sneaked into her thought processes – and from then on the novel took its own turn. She started writing about a secret siren world in a derelict swimming baths, and a character who is looking for a home. She is Caroline Smailes, the novel is The Drowning of Arthur Braxton, and shes on the Red Blog with its Undercover Soundtrack.
GIVEAWAY Caroline is excited to give away a print copy of The Drowning of Arthur Braxton to one commenter on her post. Extra entries if you share it on Twitter, Facebook, Linked In or G+ – but be sure to leave a note in the comments to let us know that you have!
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My muse is in trouble. I’ve spent too long on facts and analysis. I’ve been longing to tackle the Mountains Novel. Ideas and concepts have been piling up in my files, but now my schedule allows, I can think only of practicalities. My notes look like thin nonsense. I only see the problems, not the potential.
This is what going to press – and e-press – does to your mind. These last weeks have been an orgy of pedantry. Crossing ts and eyes, making an index, hyperlinking cross-references, obeying format rules for the kingdoms of Smashwords, Kobo and Kindle, typesetting the print version, reading onscreen proofs, tweaking bloopers and doing it all again. Oh and I updated the typography in the original NYN too, so that was an extra dose of proofing.
Now, my muse is on strike. I need to win it round. Here’s what I’m doing.
Forgive me if this is the most air-headed post I’ve ever written. I’m blowing away cobwebs.
While finishing the characters book, I’ve been making a list of novels and memoirs that have resonated with themes and ideas I want to explore. There’s nothing like a good book to make me want to write.
Compiling a soundtrack
Of course I’m doing this. I’ve been collecting CDs for the car, tracks for running to. Some of them have come from others’ Undercover Soundtrack posts, especially Andy Harrod, Tom Bradley, Timothy Hallinan and a few that are currently a secret between me and the writers because they’re cued up in my inbox. Thank you, guys, for opening the windows.
Rediscovering the fun in connections
A few things that real-life friends have introduced me to these last few days that reminded me how homo sapiens is an endlessly creative creature.
I have a friend called David Bailey. Yes, like the famous photographer, but not related to him. Though my David Bailey does like taking photographs. And he’s spent much of his life grappling with scornful titters if he wields a camera. Last year, he was recruited for an advertising stunt, where 143 chaps called David Bailey gathered in London, put on black polonecks, were trained to use a whizzy camera and had to spend the day using each other’s middle names.
2 People lying down in Mexico
These foolish things inspire me. There’s something so adorable about found similarity. A brigade of guys called David Bailey, identically dressed and taking pictures. Ten beautifully composed photos where everyone is, curiously, lying down. I could detonate with delight. If I wrote a thousand words I wouldn’t get to the end of why.
Whether your art is visual, written or sonic, so much starts by taking the world and seeing patterns. Repetitions. Connections. One idea boldly takes the hand of another, one character finds another, one event causes another, fractalling on and on. They look as though they should always have been joined. I won’t make the same connections you do, and that’s what makes your art yours and my art mine.
What inspires you?
(Aside: this week, some of the David Bailey pictures are being sold on ebay to raise money for the Marie Curie Cancer Care charity. One of them is by the very famous black polonecked David Bailey; one is by my black polonecked David JW Bailey, who also provided the pics for this post. See if you can tell which is which)
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Characters and personality. Not the ones in your books: I’m talking about you, the brain that’s parked snugly behind your eyes and the temperament that feels the urge to write. Sometimes our human wiring is not ideal for creating the kind of havoc we need for stories – which is quite amusing in its own way.
Anyway, I’m enjoying this conundrum today at Authors Electric – do jump the gap and see.
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My guest this week is part of a program that publishes unusual fiction that drenches all the senses. He describes Alexander Nikolayevich Scriabin as both the ‘inner ear’ and the central nervous system of his novels which were written as collaborations with artists. His Undercover Soundtrack is wonderful, eerie, apocalyptic and elastic; his name is Tom Bradley – and you can meet him how on the Red Blog.
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As indies get ever more professional, an entire service industry is springing up to offer us services for every occasion. At this year’s London Book Fair, the Authors’ Lounge was heaving with suppliers, and no shortage of willing customers. While it’s great to have access to these, authors are ripe for rip-off.
This week David Gaughran highlighted unscrupulous companies that charge exorbitant prices, or hoodwink authors into paying for services that could be obtained for very little or no cost.
So this post is a self-publishing 101; a catch-up for those who are wondering what they need to spend money on. In some cases, knowledge is the answer; all books, authors and genres are different, and one supplier does not fit all.
It’s virtually impossible to publish a book without any expenditure, but we can make sure we use our budgets wisely – and stop writers filling the pockets of unscrupulous suppliers who are getting rich on our dreams.
Some authors don’t know they can create their own user accounts on Smashwords, Kindle Direct Publishing, Kobo and CreateSpace. Or how simple it is – basically, no more difficult than entering your details in a mail-order website.
Some companies offer to upload your books through their account, but this is unnecessary. Even if you don’t make the files yourself, you can still upload them. If your service company went out of business, what would happen to your book listings? Moreover, if a third party controls your access to these publishing platforms, it’s harder to adjust your book’s appearance and description – which as you’ll see is essential to successful self-publishing.
This week, as you may have gathered, I published the follow-up to Nail Your Novel. I was rusty with the e-platforms, but it didn’t take long to get reacquainted.
Basic ebook formatting is dead simple if you can use Word on an everyday average level. You don’t need to be a wizard, but you do have to be meticulous. The best instructions are at the Smashwords Style Guide, a free book with diagrams and reassuringly clear instructions. There are a couple of other useful links in this post I wrote 2 years ago when I first ventured onto Kindle. I reread them when I uploaded my new book last week and it all went smoothly.
Indeed, if you have Scrivener, it will format ebooks for you.
Print book interiors
Print books are more tricky than ebooks, and amateur ones can look dreadful. But there are various tools to help beginners do a good job for very little money.
I recommend you read Catherine Ryan Howard’s book Self-Printed, which I used the first time I ventured onto CreateSpace and I still keep to hand to remind myself how to set up a book. She also has a ton of other useful guidance on book formatting.
How do you make the interior? CreateSpace provides Word templates, if you need help (although I make my books in a design program and upload a PDF). CS templates are pretty plain, and Word isn’t ideal for interior formatting, but it’s fine for novels, which require hardly any design. In any case, a neat finish isn’t created by fancy typesetting, it’s from consistency and readability – and you can find a post I wrote on that here.
If you want a slicker look for little money, try Joel Friedlander’s book design templates for use in Word. Joel has created interiors that you graft your text into – which is exactly what happens when books are designed in mainstream publishers (although they don’t use Word).
Which print-on-demand company should you use? There are two main options: Lightning Source and CreateSpace. LS isn’t suitable for beginners. It costs to start a book project and proofs are expensive. CS, though, is free to set up and holds your hand. Here’s a post I wrote comparing the two for novice publishers.
A great cover is money well spent. But you need to take creative control because you could end up with something unsuitable, horrible, or even illegal if the designer downloaded images from Google instead of sourcing them legitimately. This happens.
When you hire a cover designer, you need to know how to choose them and how to know when the job has been done properly. Identify your genre, familiarise yourself with its most successful covers, then you’ll know how to judge which designer is right for your book. Here’s a post I wrote recently on getting a cover designed.
At LBF I talked to a publicity company to find out how they’d publicise a literary novel. They hadn’t tackled literary fiction before, and seemed unwilling to admit it until I pressed them hard. If I’d been a newbie, they’d have been selling me expensive packages that were unsuitable for my book. (I wasn’t looking to buy anyway; I was asking out of curiosity.)
With marketing, learn as much as you can before you hire publicists or buy advertising. I’ve learned a lot from Joanna Penn’s blog, and this is where I’d send you too.
Not all marketing has to cost money. Book descriptions, price point, tagging, titling and categorisation will all affect whether your book can be found by its ideal readers and you can experiment and tweak ad infinitum. (Remember I said you don’t want to have to ask a third party whenever you adjust your book’s back end? This is a good reason why.) You might find you know more about marketing than you realise, as I did when I was asked to write this guest post.
- Choosing a Self-Publishing Service by the Alliance of Independent Authors
- and Let’s Get Digital by David Gaughran
psst… Editorial services
First, of course, you need a book that’s fit to be published. In a publisher, there would be a team of people handling different editing stages:
- developmental (the big picture: book structure, characters, narrative voice, plot etc)
- copyediting (niggly details like plot consistency, names, timelines)
- proofing (looking for typos and other mistakes)
It’s worth hiring expertise to help you with these and it’s unlikely that you can do it cheap. But you can choose wisely: here’s my post on issues to be aware of.
What other warnings and tips would you add to my self-publishing 101?
Alive and sparking now on all ebook formats
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It’s live! New Nail Your Novel book shows you how to create characters who keep readers hooked and make you want to tell stories
Three guesses what it’s about … but here’s the formal blurb…
How do you create characters who keep readers hooked? How do you write the opposite sex? Teenagers? Believable relationships? Historical characters? Enigmatic characters? Plausible antagonists and chilling villains? How do you understand a character whose life is totally unlike your own?
How do you write characters for dystopias? How do you make dialogue sing? When can you let the reader intuit what the characters are feeling and when should you spell it out?
I’ve mined 20 years’ worth of writing and critiquing experience to create this book. It contains all the pitfalls and sticky points for writers, laid out as a set of discussions that are easy to dip into. And it wouldn’t be a Nail Your Novel book without a good dose of games, exercises and questionnaires to help you populate a novel from scratch.
Whether you write a straightforward story-based genre or literary fiction, Bring Characters to Life will show you how to create people who enthrall readers – and make you want to tell stories.
If you like more heft in your hand, the 200+-page paperback is in progress, and will proceed as fast as an index can be built and proofs can fly the Atlantic.
Ebook price GBP £3.56 USD $5.50 (rough conversion estimate)
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Sometimes I find there’s an inexplicable moment when the tune in my ears tells the story back to me and from then on is part of its world. My guest this week became wedded to a Ravel piano concerto when it started at exactly the moment he began a long, brooding sequence with a killer. He likes to write in public places and his playlist is forever topped up by suggestions from his wide fanbase. Indeed his musical roots run deep; in the 1970s he was in a band that recorded an album for Universal and which ultimately, minus him, became the gazillion-selling group Bread. How cool is that? As cool as this – songs he’s written have been recorded by a number of top artistes in several genres. Now he’s an Edgar- and Macavity-nominated author of thrillers and mysteries. Could it get any cooler? His name is Timothy Hallinan and I’m thrilled to have him on the Red Blog with his Undercover Soundtrack.
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1) Get the characters talking This may sound obvious, but it’s an effort to break out of ordinary narration and hop into the characters’ heads. If we’re writing first person, we have to stop sharing the consciousness of their narrator to let the other people come alive. Writing down what each character says, in their own voices, will probably be quite enough to concentrate on in one pass.
2) Visuals Dialogue needs to be more than just a soundscape. Characters act while they speak. They shrug, pull faces, refill the kettle or polish a sword. The scene has to exist visually in the reader’s mind. While you’re writing, it’s easy to get tunnelled down one sense – usually aural – and forget that there are others.
3) Change As every scene must move the story on, we hope that each dialogue scene will contain something that matters to the characters. They can’t just natter for nothing. Even if they’re establishing their characteristics, it’s better if the scene does something else too. That could be a plot change or a shift in their relationship – perhaps the scene bonds them more tightly or creates rifts.
4) Reactions When your characters are talking, are they also reacting? If your other scenes show their internal dialogue, does this continue while they’re talking, or has this evaporated because you were concentrating on making them vocalise?
5) Subtext The scene might have more heft than a simple exchange of information. It might be a battle to get the upper hand. One character might be telling the other that he loves her, or to stop trying to find out what happened to the missing neighbour. The scene might have a layer that only one group of readers will understand: for instance, if the novel might be read by both adults and children, it may contain meanings that will only make sense to older readers.
6) Language Depending on your genre, the language might add a poetic dimension, reinforce your themes, reflect the characters’ different backgrounds and outlooks. Pathetic fallacy or your descriptions may add colour, feeding the texture and atmosphere of the novel.
7) Declutter Dialogue scenes are meant to run swiftly in the reader’s mind. Although we need context, action and description, we don’t need to add every breath and eyeblink. It may not matter that the character pours a glass of water while he lets out a sigh. You may have been too obvious with your allusions; the reader may be able to fill more blanks than you think. Let the scene sit for a few days, then go back with a fresh perspective and take out the clutter.
Do you have any steps to add? (Apart from a complete phase of changing your mind – which for me happens to me ad infinitum when I’m letting the characters talk to each other.) Share in the comments!
If you found this post useful, there’s an entire section on dialogue in Nail Your Novel: Bring Characters To Life. Weightless editions are ready right now, twinkling on the servers of Amazon.com, Amazon.co.uk, Smashwords and Kobo.
GIVEAWAY Andrew Blackman is offering a signed copy of his novel A Virtual Love on The Undercover Soundtrack. For a chance to win, leave a comment on the post or share it on Twitter, Facebook, G+ or anywhere else (and don’t forget to leave a note saying where you shared it).
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- Psst… the Characters Book is now available in print!
- When to trust the reader’s intuition – and when to spell out what a character feels: post at KM Weiland’s Wordplay
- ‘True love is a sense of returning home’ – The Undercover Soundtrack, Caroline Smailes
- Only connect: how to wake a dormant muse
- 3 ways the author temperament hinders our writing – post at Authors Electric
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