Archive for category self-publishing
Yes, I would usually have put up an original writing post this weekend, but I seem to have had a lot of posts on other blogs in the last few days. So rather than appearing in your inbox way too many times in one week, I thought I’d take a bit of a rest.
Today I’m back at Writers & Artists. They told me a lot of writers approach them for advice on self-publishing and self-publishing services, but it’s clear they’re not ready and would be better doing more work themselves. They asked me for a piece to help writers hone their novel before they pay for editorial services.
The number one problem I notice is that new writers try to publish a first draft – so this post is a newbie’s guide to revision and an insight into the secret graft behind a good novel. Many of you guys are more advanced than that, but if so, I hope you’ll know someone you can pass it on to. Even if it’s only your long-suffering family and friends, who are wondering why you haven’t ‘finished’ and published! Here it is…
Meanwhile, if you’d like to share how you revise a novel, or add your tips for getting it in perfect shape for publication, share them here!
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I’ll leave the story to that post, but briefly, I saw an interview on the Writers & Artists Yearbook website, responded to it, and seem to have woken them up to the fact that indie authors are rather more advanced than they hitherto thought.
Even better (and this isn’t in the post) Bloomsbury then asked me to call them. They’d had a rummage through my blogs and wanted me to write for their website and newsletter. (Wow. Big smiles at NYN HQ.)
So W&A – the bible for creatives in the UK – is expanding its coverage of self-publishing as a serious and respectable option. But I detected they’re a tad nervous about it. The editor I spoke to asked if I ‘minded’ writing about self-publishing. That suggests he’s encountering more negative attitudes than positive. No matter. They’re responding to what’s happening in the creative world.
I also have to relish a sense of a circle closing. Years ago, when I was a beginner querying agents and publishers, W&A was my route map for what seemed an audacious and mostly impossible dream. When I wrote the querying section of Nail Your Novel, I recommended using them. Now, thanks to a tweet that alerted me to their post, and a tweet I sent to them, I’ve flipped to the other side and they’re introducing me to their audience. In our online, endlessly connected world, new opportunities might be only a tweet away.
In other news, tomorrow I’m skyping into the Grub Street arts centre in Boston as a guest expert in a seminar on creative book marketing so you’ll get a proper post from me about our discussions. And next Saturday, I’m on a panel at Stoke Newington Literary Festival in north London, talking about multimedia self-publishing. Both those opportunities sprang from relationships made completely on social media. In fact, everything has. Before that, I was an invisible editor and a concealed ghost.
So tell me – what opportunities have come to you from social media? And what tips would you give to help people make the best of it? (Oh, and here’s the Independent Authors Alliance post, in case you’re curious about the W&A Incident… )
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Why is all good fiction driven by characters? How can we widen our repertoire so our fictional people aren’t carbon copies of ourselves? What kind of research can give us greater understanding of situations we have no experience of? Should we bother to create our villains with as much empathy and insight as we lavish on our protagonists? If our MC’s enemy is utterly evil, how can we possibly crawl inside their minds – and why would we?
In the yellow corner is Joanna Penn. In the pinkish corner is me, answering her questions. We’re at her blog The Creative Penn, and you can read a text summary, download a 50-minute audio podcast or watch us grin and and wave our hands while we discuss how to write convincing and compelling fictional people. Do come over.
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How exact do story milestones have to be? I did a lot of planning and put them in the ‘right’ points in the story (25% for the first turning point, half way for the midpoint, 75% for the second turning point). But they’re off by 1-2k words. Will the story feel unbalanced? Or should I keep trimming and adding?
The short answer: Stop! There is much to discuss…
What are we talking about?
Let’s backtrack. Stories have natural turning points, where the plot increases the pressure on the characters. When you build a story from beats (episodes where something changes) you’ll find they often fall into a pattern (usually used in movies).
Act 1, the first quarter, is the set-up with the event that begins all the trouble – the inciting incident. Act 2 is the second two quarters, where the problem is being actively tackled and confronted. Act 3, the last quarter, is the resolution. In each of these phases, the stakes change, and the protagonists’ goals and feelings change.
Why do they divide like this? The audience seems to have an internal clock, and feels the story needs these emotional shifts. They also find it most satisfying when played out in these phases. (BTW, some people call it the three-act structure, some decide there must be four acts because act 2 has two parts. Both terms mean the same thing. Another name for these shifts is plot points. Clear?)
How exact do these act points have to be?
If you’re writing for TV they matter to the minute. Movies could be more fluid, but commercial studio executives are so used to formulae and paradigms that they only commission stories that fit it. And they go to expensive conferences that reinforce this so it becomes holy writ.
Although stories fit a natural structure, the divisions aren’t exact, as Jen is discovering. Here’s another part of her letter to me:
Once we start writing the scenes out, they take on a life of their own, and no matter how careful we are in planning, things will shift around
They do indeed. And that’s good.
Stories are organic. You can’t rush certain sections to get them to a plot point or you might race ahead of the reader. Curiously, when that happens, they might tell you you’re going too slowly. In fact, you might need to slow even more, make sure the reader understands why the scene’s events are important.
Remember, these plot points are emotional crescendos. They are times of greatest tension, pressure and surprise. And they work because of how you’ve primed the reader.
Equal but not equal
Here’s an example in action. My Memories of a Future Life is 102k words. When I released it in episodes, I aimed for roughly 25k words each. I actually got 26k, 31k, 19k and 28k.
I have to admit, I’d forgotten the proportions varied that much (although they obviously worked as readers said they were gripped). I realise this tells us something about the different flavours of each act. (So thanks, Jen, for making me consider it.)
Act 1 contains set-up, which has to be balanced with momentum. That’s tricky and it’s why beginnings are often too slow. The reader needs enough back story to understand what matters, but must also feel they’re seeing characters reaching a point of no return. (I wrote a while ago about a scene that I cut from Act 1 because of the pace – Carol’s performance dress. Not because of wordcount, but because it repeated an emotional point. If I’d left it in, the reader would have felt the story was circling over the same ground.)
In Act 2 we’ve settled down. We’re involved with the characters enough to be curious about their back story and lives. (I could have added the black dress scene here, but the moment for it was gone.) At the same time, the complications are thickening.
In Act 3, we’ve turned a corner. Situations get worse, problems are more desperate. There won’t be much new material because this is a phase of consequences. Bad choices come back to bite. Fuses burn up. We’re building to a crisis.
Act 4 is the climax, and the reader will be turning pages fast. But it has a lot to pack in. The denouement will be intense and pressured. There will be reversals where it doesn’t go as planned, and moments when all seems lost. There will be revelations. Each of these story beats will need immense space, as if time has slowed down, to do justice to their impact and to allow the characters to react and adjust. There will be many ends to tie. After the final action, you don’t just tip the reader into the street, blinking. You need a leave-taking, to send the characters on into new lives. The reader knows they’ll be leaving them behind, so will savour the chance for a few less-pressured, appreciative moments before parting for good.
Here we can see there are good, organic reasons why each act may not hit the same wordcount, even though it will feel near enough to the reader.
Novels aren’t movies
Although there’s a lot that novel-writers can learn from movie storytelling, the media are not the same. The popular prophets of the three (or four)-act structure – Robert McKee, Syd Field and Blake Snyder – are script doctors. They’re not talking about novels and they probably don’t read them. Indeed movies and TV have to fudge the plot points with fillers – extra miles in a chase, a scene where the character polishes his revolver and stares into a glass of whisky. There’s usually music or a montage to divert the audience’s attention from a scene that’s spinning its wheels. In novels you can’t use fillers; they don’t work. And what’s more, you don’t have to.
So Jen, you’ve already done enough. You’re writing in a medium that allows you different act lengths. Enjoy it!
What would you say to Jen?
Little bit of news
My Memories of a Future Life is now on Kobo and Smashwords. I’d put it off because it would look unconvincing without reviews and also because I expected formatting migraines. But it was easy, and I’m an idiot for not doing it sooner like any other go-getting indie. Also, you can now port Goodreads reviews to Kobo – here’s a post by Eric Edstrom explaining how. Even so, I only braved it because of a request from The Alliance of Independent Authors, who are teaming up with Kobo for the London Book Fair and wanted to put my books on a shortlist to be featured. My work is a tiny proportion of the books they’re submitting, so the chance of making the cut is small, but it’s terrific to be asked! Do you put off uploading your books on all platforms? Tell me why (or tell me off) in the comments!
Also, I’m well into edits on Nail Your Novel: Bring Characters To Life. It’s due for release in May, so if you’re interested to know more, sign up for my newsletter.
And third: GIVEAWAY! Over on the Red Blog Dave Malone is giving away copies of his new poetic noir crime novelet Not Forgiven, Not Forgotten. Leave a comment and you might grab one!
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They talk about an exciting two-way process where they discuss images and typographical treatments. But you can’t direct a designer unless you know what your cover should say. And that’s my problem with Life Form Three, which I’ve decided I’ll publish later this year. Perhaps it’s yours too, especially if you have a novel you’re told is too original and doesn’t fit a genre. This is how I’ve solved it.
I decided to do market research. And it’s turned out to be incredibly helpful.
What I did
I picked an emblematic scene from the book and roughed out a cover to illustrate it. I sent it to friends, who I figured might like the book but in different ways. I included a few hyper-critical writers too, because I knew they would give me the truth.
I also found I got more honest critical comment when I asked friends to show the cover to their spouses and report back. If the spouse didn’t have to worry about hurting my feelings, they were far more brutal.
I didn’t ask: ‘do you like this cover’. A ‘yes’ or ‘no’ doesn’t tell you anything. Instead my questions were: What is this book about? What does it say to you? (They’ll tell you anyway whether they like it.)
Do they already know anything about Life Form Three? No – and that’s the point. They are interpreters telling me what I’ve just said in a language I don’t yet speak. I thanked them for their feedback and explained that I wasn’t going to tell them whether their responses were on the right track or not in case I needed to use them again.
I repeated the experiment with another rough cover in a very different style, and gathered another bunch of useful responses. I added more guinea pigs who hadn’t seen the previous version.
What did it cost?
Nothing, except time researching images (which was considerable – so start well in advance). The pictures for the first cover were roughs from photo libraries, which they’ll let you download free to make dummy designs. The second cover was a detail from a painting I knew I could license. I can’t show you either of them here because I don’t have the reproduction rights. (Also, I don’t want you to get the wrong idea – my jurors have been sworn to secrecy!)
Did it work?
Totally. I was very surprised by some of the responses – and that showed how much I needed their feedback. And this brings me to another point. Don’t do a test if the results won’t influence what you do next. With both trial covers, I thought I was onto a good concept. When I tested them, I discovered flaws I couldn’t have thought of.
But after these two exercises, I have clarity. Even though neither cover was right, I know what the real thing should say and I can brief a designer. (And my guinea pigs are still in suspense…)
What kind of brief do you need to provide? A designer won’t have time to read your book. Send a synopsis that captures not just the events but gives a flavour of the storytelling style. Also list the target audience including age group, imagery and themes that might be of special significance or scenes that could carry the spirit of the whole work. Also explain why you chose the title, as the art should enhance it or create intriguing tension. And let the designer know if you want to leave room for blurb quotes and loglines.
Do it early
I’m not going to publish Life Form Three until at least autumn, but I need the cover in advance because that will set the tone for everything else. The blurb and any publicity materials will be created to make sense of it. So it’s essential that the book’s outside is faithful to the inside.
Footnote: how the other half lives
Funnily enough, as I’ve been moving mountains for the right cover, a traditionally published friend is having a very different experience. I know indies are probably past the stage where we have to stress that our production processes are up to professional standards, but this left me reeling.
Out of the blue my author friend was sent a cover by the art director. He hadn’t been consulted about it. It would be worth getting his input too, as he’s been a bestselling children’s author for more than a decade and knows what covers have sold well to his readership. He tells me that when he signed the contract he emailed the art director and offered to send briefing notes, but was curtly told: ‘We don’t need your notes. We know what we’re doing’.
So did they? No. The cover they designed was catastrophically inappropriate. They didn’t ask about the the age group, so they made it look too juvenile. While the book’s competitors have slick images that look like computer games, this cover featured big typography (ie it was cheaper than proper art) and thumbnail graphics. Even the font gave the wrong messages – it suggested the setting was the wild west, whereas the book is set in ancient Persia. Now the author is locked in a dispiriting argument with the publisher about a cover he knows will be a disaster.
You know what? I’m glad I have control of my cover.
How have you decided what to put on the cover of your novel? How have you made sure it sends the right signals? Have you changed a cover so that it could find its true audience?
(I haven’t finished with covers yet. I may need jurors for Life Form Three Version 3. If you’d like to be one of the secret clan, email me or sign up to my newsletter)
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Sorry, you got two trailer posts from me today. It’s my turn at Authors Electric, where I’m wondering how relevant SEO is for fiction writers and readers.
It all started when I saw a link to a post on Problogger which advised bloggers to stop running guest posts with a lot of links because of new Google algorithms. Undercover Soundtrack host, please note. This led to a fun, fulminating conversation with Facebook friends Cyd Madsen, Vivienne Tuffnell and Beth Rudetsky about tails wagging dogs. But getting our work discovered is a real issue for writers, and at Authors Electric I’m wondering how that’s done. Come over and join the debate.
(Thanks for the pic Daveynin)
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I’ve just finished my first novel. A most enjoyable experience only tainted by the reaction from the literary agents I have approached so far! Any and all advice and direction will be gratefully received and much appreciated.
Although we’re now used to writers who publish themselves, there is still a sizeable crowd who are set on finding an agent and a traditional publishing deal. Most of my critique clients, for instance. Why?
1 – Kudos and confidence
If you have an agent or a publisher, you have validation. You’re not just a spare-time scribbler, which you have probably been for countless years before. If you get an agent, your friends, family, total strangers – and you yourself – have proof that you made the grade.
This cannot be underestimated. Getting an agent took me years. By the time I did, I’d already got ghosted bestsellers and a track record coaching writers. But I felt I was sneaking under the wire, using the title ‘writer’ on false pretences until an agent signed me for My Memories of a Future Life.
2 – Developmental input
We all need developmental help. If you’re a good fit for an agent, they can give you perceptive, priceless notes on how your book works and guide your revisions.
3 – Long-term career-building
Obviously, an agent helps you find a publisher, usually with a better deal than you could get on your own.
But agents can’t always sell your first book, and often the only choice is to self-publish. Some agents are giving writers a leg-up with showcase imprints of their own – Jason Allen Ashlock at Movable Type Management set up The Rogue Reader to launch outsider suspense writers. As publishers increasingly opt for ‘safe’ books, we’ll see more agents devising ways to build audiences for their exciting new authors.
So I still think it’s worth looking for an agent. Markets change and new opportunities are opening for writers all the time. If you can, it makes sense to get the support of professionals with more legal and commercial clout than you can muster on your own.
But every silver lining has a cloud. Here are two.
If an agent gives you editorial input, they might be steering you to fit a commercially viable genre. That might completely suit you. But it may not if your aim is to pursue a more individual and creative path. You still don’t have to abandon dreams of traditional publication; many small presses will take submissions directly from authors.
Almost every writer will probably now self-publish at some stage, but not all agents have adjusted to this. I know successful indie authors who have been offered agency deals that claim a percentage of all book earnings – which of course includes royalties from books they published themselves. This was appropriate when all the author’s work came through the agent, but now is plainly unfair. Happily, many agency agreements demand commission only on deals that they have made. If you’re offered a deal that takes a percentage of everything, query it. They might adjust the wording. If not, think hard about whether you want to work with them.
3 The disreputable
Not all agents are reputable. Some ask for money up front to read your manuscript. Even with all the boundaries shifting, an agent should never charge to read your work. Agents earn commission on the back end.
So what do we make of our correspondent here, whose quest for an agent is proving a challenge? Why might you have trouble finding an agent?
1 – Your book may not yet be strong enough. It’s so easy to send off our lovely novel too early. If you nearly made the cut, most agents will try to let you know. But if they dismiss you with the equivalent of a compliments slip, you may need to hone your craft.
2 – You might have pitched the wrong agents – either their lists are full, or they don’t take your genre. Check websites before you hit ‘send’ (although agents are often quite bad at updating their requirements).
3 – You might have a great book but a dull pitch. Pitching is an art and you need to know how to make an agent curious.
4 – Your book may not be commercially viable. You might get feedback about genre mixing, undesirable subjects or unfashionable style choices. Your book might still be a good read in spite of this – and if so, agents are usually genuine enough to let you know.
5 – You might need to kiss more frogs. There are thousands of agents, all very oversubscribed, all with different wishlists. With such pressures, rejection is far more likely than acceptance, even for awesome books. Don’t do anything different until you see a reliable pattern emerge.
Anyway, I’m hoping this will kick off a discussion. What’s your feeling about agents? What would you advise our friend here?
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Apologies to those on New Year diets. Early commenters at my Authors Electric post have already let me know they are distressed at my excessive use of pictures of pies. But they are artistically necessary.
I’m venting about publishers’ porkies. (In case that doesn’t translate outside the UK; it’s rhyming slang. Porky pies. Now you see.) As more authors choose to self-publish for career and artistic reasons, the publishing industry is maintaining the fiction that all those with talent shall be welcomed with open arms, and that writers can’t do without their nurturing support. If self-publishers are ever to be considered as equals by the literary community, this has got to stop.
More pie (much more) at Authors Electric. Do come over and say your piece.
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One of the sweetest compliments a writer can hear is ‘I loved your book, please write the sequel’. And we live in a sequel-minded world. If there are any sure-fire ways to build a readership, a series is one of them.
So if people are asking for a sequel and you hadn’t planned one, should you consider it?
Certainly, a lot of hard work has already been done. You know the characters. Indeed, you may have had trouble shutting them away once edits were done. The chance to shake them awake again may be hard to resist.
You might have plenty of material. Outtakes that you pruned from the original novel, back story you wanted to work in but, mindful of pace or the reader’s attention, you cut. They could all be used, couldn’t they?
These are strong temptations, but they do not mean your novel should have a sequel.
Neither should you write a sequel because the reader has unanswered questions. At the moment, those are part of the novel’s resonance. If you answer them, would the magic disappear? Would your answers, in fact, be wrong now that this dimension of the book belongs to the readers?
What will create a story in your sequel?
Stories need a crisis. If you wrote a sequel, where would this new crisis come from?
In some genres, crisis comes with the territory. It’s a natural hazard of the characters’ job, heritage, world, race, DNA and dynasties etc. With those ingredients, your characters will have stories for ever more. Write them, and enjoy their rich variety.
Other novels, particularly non-genre, tend to be self-contained. The arc of the book was the defining experience of the characters’ lives. You wrote ‘The End’ when this was resolved, as much as possible. If you then put those characters through another story with a shift of similar magnitude, will that be hard to believe? And if the characters don’t have a fundamental disturbance, will they be interesting to read about? Remember, they’ve got to match up – or even surpass – the frisson of the original. But it can be done. Think Toy Story 3.
Should you reassemble the original cast? In a genre novel you might have a team who will always be thrown together. Indeed they might create a pseudo-family who give each plot an emotional core while they deal with the crisis du jour. At the end, they reassemble, tested, battered and wiser.
But in other novels, it may be better if the characters disperse. Daphne Du Maurier’s Rebecca has some perfectly ghastly sequels. Obviously licensed by the estate in an attempt to milk the fans, they squeal a warning for all would-be sequelers. They’re novels constructed by tick-boxes, contriving to drag the scattered characters out of contented retirement and flogging them onto the same treadmill again. In most cases they’ve already given their best, first time round. Leave them be.
So straight sequels may be dodgy, but you might have good mileage in a spin-off. While the principals from book one may be living a better-adjusted life, others could take centre stage. The original characters could be cameos to advise, steer, perhaps muddle everything up because the new crisis is not like the thing that happened to them.
Another possibility is to write the ‘missing years’ or a prequel. Perhaps one of your characters had an interesting interlude from far earlier in their life. Or if your original narrative was first person, perhaps there were other good stories happening around the corner.
Just one character
You might have a central character who still has a lot to offer. This is particularly true of catalyst characters, who stir up trouble but don’t change very much themselves. Throw them into a new situation and they will cause another maelstrom, just because. I get regular requests to write more about a certain catalyst character, who seems to inspire much speculation.
Not wanting to leave
Sometimes we writers want a sequel just as much as the readers do. But we have to take a look at what we would offer. After I finished with My Memories of a Future Life, I spent weeks doodling with aftermath scenes. They were indulgences, from a writer trapped in the deep end, struggling to surface. At the time, I intended them to be a continuation of the narrative but they went nowhere. The characters had stopped opening their hearts, as if what happened next was none of my business. Or perhaps I hadn’t found the right things for them to do.
It’s certainly possible that some of the Future Life people will rear up with a new urgent story. If they convince me that a lot more must be said and done, I shall write it without hesitation.
Until then, there are other stories I need to tell.
Are you tempted to write a sequel to your novel? If you’ve read sequels, what have you liked and what has made you wish the original was left alone? Share in the comments!
If you’re working up an idea for a novel, you might find some useful tips in my book Nail Your Novel: Why Writers Abandon books and How You Can Draft, Fix and Finish With Confidence. And in that case, I find I have plenty more to say and so a second Nail Your Novel is under construction. If you’d like information, sign up for my newsletter.
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- Thanks Karen RT @kareninglis: Excellent piece by Roz Morris in @Writers_Artists> Is your manuscript ready to publish? ow.ly/m6lli 2 hours ago
- @wolfpascoe I wrote about the poetry of medical names here ow.ly/m9SKy (Scroll down to 'what's in a name') 3 hours ago
- @wolfpascoe I used to be a staff editor on a medical magazine and now freelance there. So your book on the art of anaesthesia caught my eye 3 hours ago
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