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Archive for category The writing business
I’ve had a question from Samantha Warren, who saw me at the Get Read conference, where publishing journalist Porter Anderson was interviewing me for a session on reaching readers. Some of the discussion was about balancing all the demands in our lives – social media and promotion versus the writing and production of books. In reply, I waved a notebook that I use to keep myself organised, not to mention sane.
Samantha has emailed: First, where did you get that fabulous notebook? Second, how do you organize your to-do list using the notebook? I have post-its everywhere! Any advice you might have for a disorganised amateur would be greatly appreciated.
First things first. The notebook was a freebie at the London Book Fair 2011; a dummy book with blank pages produced by print company CPI Books to advertise their services. They’d probably be pleased to know it’s standing up well to daily use.
Post ideas for this blog (that’s another one crossed off… crossing off is incredibly satisfying, so you must do this)
Consultancy enquiries and bookings, with dates
Events checklist – I refer to this if I have a reading or an event, to make sure I take everything I need. It includes printout of speech or prompts on notecards; backup on Kindle; copies of my books; Moo cards; pens for signing (my handwriting is so dreadful that my signature only looks right in cheap Bic biros….); camera.
WIP reading lists – each book gets a separate page: The Mountains Novel; The Venice Novel; The Flying Novel. That one’s just hatched, after a conversation I had with a gentleman who came to a signing and wanted to talk about My Memories of a Future Life.
WIP launch notes – again, one page for each book, including bloggers who’ve expressed an interest, reviewers, Twitter folks and websites on related subjects who are worth approaching.
Blog and website tweaks – I’m always thinking of improvements I could make to this blog, my writer website and The Red Blog. Fiddling with websites is a great way to fritter away your hours, so I wait until I’ve got a purposeful list, then work my way through it. And cross things off.
Special projects – when I redesigned the cover of Nail Your Novel I made a special page for all the fiddly jobs I’d have to do, such as redesign the livery on the blog, websites I needed to update.
Style guide for the Nail Your Novel print books - as the books are a series, they need to follow a consistent format. Crossheads (including their spacing), title page, copyright page and so on are uniform in all the titles. So that I don’t have to open the previous book and pick through the typesetting menus, I wrote out a house style page.
Which brings me to ….
When I ran an editorial department I had a big ledger that was a schedule for the entire imprint’s output. Every stage of a book’s production process was listed so that nothing got missed: Copy commissioned; art department briefed; interior design approved; copy in; copy edited; 1st proof; 2nd proof etc. When you have 30 titles on the go at once, you utterly believe in systems.
If you’re not self-publishing you won’t need this, but if you are, you might find it useful. I don’t tend to chart the writing stages (eg first draft, beat sheet, edit, beta readers etc), but I do list the publishing nitty gritty. This is just a selection:
- Cover finalised
- Proper images bought (it’s easy to let watermarked roughs slip through on a PDF because you get used to looking at them)
- Book on Kindle
- Book on Kobo
- Book on Smashwords
- Spine finalised
- Index done
- Page numbers taken off prelims for book interior (title pages etc shouldn’t have folios)
- Back cover copy written
- Back cover fully designed.
I also keep track of other places I need to update once the book is published:
- Recent Releases page
- What’s Next page
- website images and headers
- teasers inside the other books
- Amazon author pages
- group blogs I need to inform etc.
So that’s my to-do book. Is there nothing a blogger won’t post about? Here are my writing scarves.
EXCITING NEWS! A while ago, The Guardian Newspaper asked readers to nominate their favourite self-published books. Out of 3200 authors, they featured 34 that were featuring frequently – and My Memories of a Future Life was one of them!
I was so thrilled to see my book made the list, so I’d like to say enormous, heartfelt thank-yous to everyone who took the trouble to nominate me. I’m still grinning.
In the meantime, tell me: how do you keep track of your to-do list? Share in the comments!
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Tomorrow (or maybe today or last week, depending on when you’re served this post) I’ll be taking part in a Book Industry Communication debate on the future of ISBNs. I’m providing the author perspective, so as part of my research I canvassed opinions to see what the mood is.
Much of the feedback centred on whether authors should buy ISBNs or use the free ones from CreateSpace, Smashwords et al. There were sound arguments on each side. But what emerged for me was the way self-publishers view ourselves. It’s a snapshot of our times that goes a lot further than a little piece of industry bureaucracy.
For and against
Julia Jones, one of my co-conspirators at Authors Electric, said she bought ISBNs ‘to behave like a publisher in every way’ – a view shared by many. Plenty of authors feel to have their own ISBN is more professional, lets you be seen and counted, and gives you control.
Other writers – among them author-entrepreneur Joanna Penn – feel having their own ISBN makes no difference: ‘I can’t see any benefit, or evidence that having a paid ISBN helps you sell more books’. As Joanna sells whopping numbers of her novels and non-fiction books, we certainly can’t argue with that. (I agree with her. Personally I’d rather put the money towards a better cover or more editing time.)
But it was a comment from Michael N Marcus, who writes and publishes books about self-publishing that hit a bullseye for me: ‘If you want to be known as an author, the ownership of the ISBN is unimportant. If you want to be known as a publisher, own the ISBNs you use.’
Now that’s a very interesting view. We’ll return to that in a moment.
But look, no ISBNs at all
Most striking was Dan Holloway, who publishes experimental fiction and poetry – both his own and that of others. He doesn’t use ISBNs at all – even for printed books. He says: ‘I write and publish for a niche, dedicated audience, providing an experience they can’t get elsewhere. I work with selected independent bookstores and galleries and send customers to them for my books, rather than having my books available everywhere.’ He’s not even on Amazon.
Dan is a firm believer in direct selling: ‘We should be trying to get our fans to buy direct from our websites if we can to foster community – we want to nurture fans with stickability, who will become our bedrock over the years, and the best way to do that is to have a hub that exposes them to us, our ideas and worlds, and all that we have to offer. I buy all my music direct from bands, for example.’
You might think this is a recipe for obscurity. Au contraire, Dan’s ISBN-free books have twice received special mentions for the Guardian‘s first book award, been shortlisted for the Guardian‘s Not the Booker Prize, and been voted ‘favourite Oxford novel’ by readers at the Oxford branch of Blackwell’s.
Author or publisher? Or something else?
I keep coming back to Michael’s interesting distinction and I think he’s nailed something important. Certainly I put most effort into building an identity as an author rather than a publisher. Like Dan, I am most keen to find people who like my imagination and preoccupations, my way of thinking. Having said that, I like publishing and I want to publish myself; I enjoy the control and creativity. I can also, if needed, wave a CV that demonstrates years as a production editor/chief sub/editorial manager, so perhaps that’s why it’s no big deal for me and you should discount my view as I’m not typical of self-publishers.
Other authors feel ISBNs are an important part of their brand and image – one of many signifiers of their professionalism.
Now, more than ever, there is no ‘one right way’ to self-publish well. We’re all finding our own paths. You might be a Dan, a Julia, a Roz, a Joanna. Most probably you’re something else again. I’d love to know. Oh, and wish me luck tomorrow.
What kind of self-publisher are you?
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There will be changes
Always. Even if you’ve had beta readers. Even if you’re a seasoned pro. Of the 14 or 15 full manuscripts I’ve submitted, there was only one where the editors didn’t want to change anything, beyond tiny niggles. Only one.
There are two kinds of feedback. In traditional publishing, agents – and editors in the initial stages – will tend to give brief, sweeping notes about character arcs, pacing, credibility and relatability. Even though these won’t be as detailed as the work an editor will do, they might keep you busy for a couple of months.
Moreover, an editor who does a detailed critique may have a different vision from those who have looked at it before. (Should you edit to fit another person’s tastes? A million-dollar question, which I’ll come back to.)
Anyway, most of us swallow hard when the detailed report arrives. This is what I do.
Critique report survival tips
Expect a large document that tackles your book in close detail. Sometimes very large – I’ve written 50 pages for a novice author (but there I’m also taking a tutoring role, so my commentary includes discussion of craft).
1 – Read the report without doing anything. Satisfy your curiosity. Don’t make to-do lists or open the manuscript. Just read.
2 – Set it aside. Yell, scream etc. Wait as long as your deadlines allow. This also lets you digest. When you’re even-tempered about it, start work.
3 – Some suggestions will be easy to fix. Some will be harder. Some will be praise and encouragement, though you might not have recognised them. Read through and mark the easy stuff – either highlight on a printout, or colour in the Word document. Tackle these immediately if it makes sense, and feel satisfied that you’re getting this under control.
4 – Now you’re limbered up – and are familiar with your manuscript again – you’re ready for the trickier suggestions. Separate out the ones you don’t agree with.
Often editors make suggestions that skew the book in a way you don’t want. But they may have identified a significant problem. Disregard their solution and delve deeper for the source.
For instance, an editor who saw an early draft of Life Form Three told me it needed another viewpoint character and that one of my story devices was confusing. I didn’t want another viewpoint character, so I made the original one more relatable. The confusing story device was also important to me, so I reworked it. Result? He was happy because the problems were fixed.
Of course, if you have a traditional publisher, an editor might ask for changes to fit their list and readership. Use your judgement, but remember this: if you are named as the author (ie it’s not work for hire) a publisher can’t change anything without your agreement. Dig your heels in if there is something you really disagree with. In a worst-case scenario they might decline to publish, but this rarely happens. (They also can’t make you agree to a cover or title you don’t like, BTW.)
If you’re indie, you of course have complete freedom to decide what to change. But consider whether an unsuitable suggestion is pointing to a problem you should tackle in a different way.
What, another stage of feedback? I’m afraid so. Copy edits are done after main developmental feedback. But they can still throw up enough problems to make you gnaw the desk.
Copy editors notice the tiny details that slipped by when everyone had bigger problems in mind. They also catch the errors that crept in as you went over the manuscript again and again. The murder victim’s hair might have changed colour. The timeline is impossible.
It’s better to be pre-emptive about this. Keep tight control of these details as you edit – especially the timeline. Although you can probably correct physical details such as characters’ ages and hair colour with a few inventive text searches, you can’t fix the timeline so easily and the whole plot might unravel if it’s wrong. (I map out the timeline when I make my beat sheet.)
The beat sheet is one of the tools described in my book Nail Your Novel … more about it here
Thanks for the pic Brainedge
Do you have any tips for tackling critique reports? Did you ever disagree with an editor’s suggestions and what was the outcome? Let’s share in the comments!
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I’ve got a couple of slightly apparitional guest spots around the web today. I’m at Candace Austin’s Tumblr blog, Past Life Ponderings. Her novel is about past lives and she collects other authors who play with those ideas. She’s also keen to know about our own claims to former lives … come this way…
Still with the theme of shadows, I’m also at The Write Life Magazine. This time I’m talking about ghostwriting – how I started, what it takes to do the job and how you might break in. The Write Life is an online magazine, downloadable as an app or on PDF. There is a sign-up form but don’t be put off – it’s free and you also get essays about writers’ life-changing experiences, an interview with New York Times Bestseller Ingrid Ricks and a Q&A with memoirist Susan Shapiro. And it’s very pretty…
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The other day Porter Anderson at Writer Unboxed examined the popular notion of the lonely writer hammering out a novel in solitude. It provoked some interesting discussions about the way we do our work or accommodate our hobby in a busy life.
Chez Morris there are two writers. With no children. When you’ve read this post you’ll agree that’s for the best.
I realise some of our routines and habits must look peculiar to outsiders. But maybe they’ll also look familiar too – especially if you are similarly afflicted.
1 Zombie face
When we’re both deep in writing, it is hilariously difficult for us to have a conversation. When we do, it’s as if we’re trying to talk over a noisy background of in-head chatter: story problems we didn’t solve and new ideas that are streaming in. The real person on the sofa seems to be at the far end of a tunnel.
2 Random outbreaks of notes
We are drowning in paper. Junk mail and envelopes must be binned immediately or they will start to grow a colony of notes. Once this begins, the notes must stay where they were born and may not be thrown away for months.
The most everyday conversation might trigger a sudden need to scribble. While in the car, Dave (who does not drive and therefore has his hands free) often finds himself instructed, like a secretary, to grab the notebook and take dictation. Of course we have a notebook in the car. Don’t you?
3 Other rooms requisitioned
We each have a study, but sometimes we need a change of scene to refresh, cogitate, read or pace with a busy mind.
Suddenly one of us will find we can’t use the dining table because husband is outlining his screenplay on index cards. Wife starts to rue the day she wrote Nail Your Novel. (But is also amused that husband uses it.)
Our rooms would be 15% bigger if we didn’t have such a book-buying habit. Upside: no need for pictures.
…which leads to
With such a vast book collection, they have to be kept in organised places. Dining room for books on history and exotic locations; bedroom for SF, short stories and poetry; my study for fiction; Dave’s study for comic books, mythology and folklore. This careful organisation is banjaxed when a book is appropriated for a WIP. It will make its way into a mysterious pile whose order must not be disturbed. It might grow a fringe of cryptic Post-It notes saying ‘Anne’s sunrise’ or ‘part 2’. Apocalyptic fall-out if other partner wants to use it too.
6 Inability to make long-term arrangements
When a book is near to boiling point, whether there is an external deadline or not, making plans with friends is impossible. Do we want to go to a concert with x and y in three weeks’ time? Er, don’t know, is the answer, because the WIP seems to fill up everything. Even though when that evening comes we might knock off at 7 and open the wine.
7 Moral support
We both know that writing involves a lot of time despairing that our work is rubbish. And we also know how precious we sound when we agonise about it. And how writing is not truly hard like, say, brain surgery or bomb disposal or counselling traumatised asylum seekers. We know we’re soft and ridiculous.
8 Unflinching critiques
Yes, we critique each other, and the kid gloves are off. They were never on anyway. Dave is used to collaborating with writing partners. I’m used to editing and ghostwriting. We’re both too bothered by rough work to worry about ruffled feathers. So our manuscripts get tough love and there is grumbling. But it’s better to keep mistakes within our walls than let an editor, programme controller or a reader see them.
9 Self-publishing v traditional publishing
We’re from different publishing cultures. Which is interesting. Dave’s written more than 80 books (I had to google that) for traditional publishers and he’s worked for games companies. When he has an idea, he knows how it fits the market and which editors might like it.
Me, I write and then find I don’t fit any commercial editor’s needs. Thus I discovered the culture of entrepreneur indie-writers.
And so we are a curious microcosm. In one room, commercial traditional publishing. In the other, commercially-challenged literary indie. In times of strife, the grass often looks greener.
For instance: when we both launched works of fiction.
With My Memories of a Future Life, I’d have sold my soul for an influential endorsement. When Dave launched his reimagining of Frankenstein with Profile books, he was phoned by the national newspapers, appeared on several BBC radio arts programmes and given a login to blog on the Huffington Post. While I was thrilled to see him get such major attention, there was a bit of green-eyed grousing. Several times he was treated to the speech that went: ‘no matter how good my book is, I could not get a start like that’ etc etc. (A lot of etc.) But a year or two on, he’s not as free as I am to make different editions, market it worldwide and do what he feels is needed to keep the book alive. Swings and whatnots.
Anyway: those books are done and more are incubating.
And so we return to #1.
Do you live with another writer, or do you have a close relationship with one as a critique partner? How does it work? If you are the only writer in your family, how does it fit in with the other people in your life?
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All the scribbling world is going indie. New, unpublished writers are, to establish themselves – even if they’re agented. And experienced, well-regarded authors are leaving their imprints – either being dropped or deciding to seek a better way to release their work.
While publishers are probably not short of new material, we know they watch the indie scene to see who does well. At the moment they pounce on the Hocking and Howey high fliers, but in a few years’ time they’ll have a different breed of writer to consider: the well established indie with a clutch of books and a growing audience. The kind of author who used to make up the midlist. I’m wondering, what deals would they offer?
For most of us it’s unlikely to be bidding wars. But one thing’s sure. It’s really going to test the industry because it can’t be a standard midlist deal. Most indie authors will have outgrown that.
Help with production
How much production help will a competent self-publishing author need? Of course, some writers loathe production and will be glad to hand it over. Others, though, relish the control (like yours truly) or will have it so smoothly managed that they’d rather hire the help themselves than hand over a bigger share to have it arranged.
A publisher might be able to offer an economy of scale – although they have often cut staff so much they are using the same freelances who are hired by indies.
Here’s an added complication. The book needs to look professional. How would a deal legislate for a situation where a writer’s production values look like a home haircut? Spin it the other way: what would stop a publisher vetoing an outside editor to keep the work themselves and accrue extra percentage points?
I’ve already made this more complex than I imagined. Suffice it to say: production costs will become a negotiation point.
Help with promotion and marketing
I’m guessing that one of the prime reasons for partnering with a publisher is to gain kudos, exposure and credibility in places we can’t reach by ourselves.
We all know that if a publisher pulls out all the stops they can make a huge difference to a book’s fortunes. But most of the time (ie if they haven’t paid big bucks for the author), they can’t afford to.
What most non-starry authors get is a few mentions in the national press. That can certainly send an indie author reeling with delight. But does it sell copies? The evidence is that it doesn’t. Most books don’t sell unless you keep them constantly on readers’ radar. A splash in the press is short term. Indie authors know they have to keep a sustained campaign of advertising and promoting. The midlist author launch package is little more substantial than a token cork-pop at the book’s birth. It won’t keep the book alive, month in, month out.
There’s worse. At the moment, when you sign a deal, publishers are often secretive or vague about what marketing they will do. They’re used to the writers being so overawed that they never have to explain what exactly will happen or how brief the publicity flare will be.
Indeed, it’s shocking how meagre a publisher’s marketing plan might be. One writer I know was asked for a list of blogs the publisher could contact to run posts about the books. Up until then, the writer had believed the publisher would use their own special contacts, not people the writer already knew about. Another author friend, after two successful books, was sent on a social media course. He learned nothing he couldn’t have gleaned from reading a few blogs.
However, many of my writer friends are excited about the Amazon imprints – even authors who feel they’re finished with traditional publishing. Why? Because Amazon have developed and honed an amazing machine for finding readers. What’s more, the algorithms can work long term with emails and targeted deals. That’s the kind of help we would all take seriously.
I haven’t even mentioned ebooks. As ebook formatting is one of the simplest things for an author to do or source, few of us will need help to make them. Where will a publisher add value? Publicity? The trouble is, their publicity machine is still wedded to print territories, whereas indies are already marketing on the, ahem, wordwide web. Perhaps publishers will start to think globally. Or perhaps ebooks will be left out of publishing deals with indies, as those markets may already be well served.
Getting copies into bookshops is one area where indies struggle – and traditional publishers are acknowledged masters. However, go into your local Waterstones or B&N and you’ll be bewildered by the acres of book spines. What’s the likelihood of someone finding your book by chance, even if it’s there? Except for prominent displays (which aren’t given to every author), publicity is what makes readers pick up a book or ask for it to be ordered – and indies can already get onto the wholesale lists at very little cost. We don’t even need to buy the ISBN. So it is my contention that well targeted, long-term publicity is more significant to an author than distribution to a lot of shops. Do feel free to disagree.
Help with development
It probably seems cockeyed to consider this last. We can’t deny that editors can add a vital nurturing influence. Although successful indie authors will already have their infrastructure for making a book good, few of us would dismiss the chance to do it better. Or am I dreaming?
At the moment a publishing deal is like a fixed-price menu. But the authors of the future will be savvy about publishing. They’ll look for equitable arrangements and publishers will have to be flexible for each situation. A la carte.
Publishers will also need to be more transparent. Right now the culture is to keep the author in the dark. A business relationship can’t be vague like that.
Ultimately a fair deal will take account of what each side puts in. Who, in a publisher, is equipped to strike a fair deal with the entrepreneurial author or their agent? The editors? They know about nurturing content, being its shepherd and handling production. But they aren’t skilled in converting this into workable contract terms and profit shares. And why should they be? That’s like expecting your plumber to be able to fix your computer. The other option is the contracts department. But they’re in a legal ivory tower, away from authors and the realities of book production or selling. It’s as if we need a new kind of job in publishers – a professional who can grapple with all of this.
UPDATE: To be fair, many editors do recognise the need for change. But they don’t necessarily have the skills, systems or company culture to reinvent their relationships with authors. They’ve usually got enough to do keeping up with their publishing schedule – having managed an editorial department I know the realities of getting books out, and how diktats often come from lofty management levels that are impossible to fulfil while making the daily deadlines. So this kind of change is going to take time.
One thing’s for sure. The current standard publishing deal isn’t going to cut it.
Thanks for the dream team pic Permanently Scatterbrained
Let’s discuss this brave new world. Do you self-publish? If a publisher came calling, what would you appreciate help with? What do you want to handle yourself? What do you think would make you attractive to a publisher in return for their help?
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‘The more I wrote, the more my novel seemed to vibrate with meaning and questions. I found these fascinating but they could have drowned the book, whereas most of all I wanted to tell a mysterious story. It was music that kept me straight.’
Today I’m at Writers & Artists, talking about a subject that will be somewhat familiar to regulars here – writing with music. They were fascinated by the concept of Undercover Soundtracks, and asked me to explain to their readers.
(And would it be gauche of me to do a happy dance because my creative salon is being featured on Bloomsbury’s writing blog… Look where you might end up if you start a series just because you want to. Have a great weekend. x)
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‘Tell me about pace,’ said one of the panellists in my video interview at John Rakestraw’s. If we hadn’t had a time limit I’d still be talking now.
A well-paced story is like an act of hypnosis. It has a travelling beat that takes control of the reader’s attention. It proceeds at just the right speed to trap the reader a little longer, urge them to turn another page.
How is it done?
With constant development and change.
You might assume pace is only a concern in fast-moving plots, such as thrillers. Not so. Every story will benefit if it is written with an awareness of pace; even a leisurely character journey.
Indeed, pace is a fundamental in most dynamic artforms – not just storytelling.
Video and music
If you’re making a video, you want to change something every 15 seconds. The change might be subtle, such as fading a colour, or panning a picture so the view reveals more. Or it might be obvious, such as switching to a different image or bringing in new music. Listen to a piece of music and you’ll hear how it’s being constantly modified. Even a simple verse/chorus/verse structure, which appears predictable, is developing. Other instruments are joining, variations are being made with the phrasing, note patterns or rhythm.
Singers do it too. When I used to take lessons, I was told that if a lyric is repeated, it must have different emphasis or emotion. (‘I get a kick out of you’ ‘I get a kick out of you’.) Listen to an actor repeat a line. The repetitions will not be the same (unless for a deliberate effect).
Law of physics
So audiences need change. This is, if you like, a physical law of any dynamic art. They need to be kept attentive while we have our wicked (or wonderful) way with them.
How can we do this in stories?
1 In a story, pace comes from change. Always be developing. In every scene. The change doesn’t have to be big. It can be tiny, such as the reader’s perception of a situation or a shift in a character’s attitude. But every scene should take the reader somewhere they didn’t expect. Scenes with no change lie flat on the page.
2 Remember the singers and actors. Look for repeated lines, emotional changes and plot events. If you repeat something, develop it or make sure it will be read differently – perhaps with new significance. (Unless you intend deliberately to keep it static.) Another type of repetition is the function of a scene – in My Memories of a Future Life, I jettisoned a scene that repeated an emotional beat I had already covered. Here’s the post that explains. This kind of repetition is hard to spot. The surest way I’ve found is by making a beat sheet, where I summarise the entire book by writing the purpose of each scene. This reveals the kind of repetition that will spoil the forward momentum. More about the beat sheet (left) in NYN1.
3 Don’t be slow but don’t rush. An ideally paced story keeps up with the reader’s need for change. Although we want to pull them along, we don’t want to overtake them. Paradoxically, if you do this, they might feel the story is slow. So when your trusted critique partners tell you a scene flags, it doesn’t necessarily mean you have to cut material. Try writing a version where you enlarge a moment, explore it more. See if that does the trick.
4 Use variety. Readers get numbed if too many successive scenes have the same tone (except at the climax). Vary the feel of each scene. Give readers a breather after major revelations. Give them a lighter moment or regroup around the campfire after you’ve put them through the wringer. Another way to use variety is to cut away to a subplot. The contrast will intensify the impact of all your scenes. Again, the beat sheet will show you this at a glance.
5 Become aware of your prose. Pace can come from your style. Not from show-off words or sparkling metaphors, but at a basic, moment-by-moment level. Virginia Woolf said ‘style is a very simple matter; it is all rhythm’. What might she mean? I like to think of it as the fall of syllables in a sentence. This is independent of length; a well-paced long sentence is as easy to read as a short one. But often we use more syllables than an idea needs; we cram in adjectives, adverbs and similes when we’d be better to choose a more vivid verb. (‘She shouted in a harsh voice’ or ‘she roared’.) A smooth sentence, though, makes every syllable count and uses them with grace. It has a quality of control, which keeps the reader in surrender to the writer’s mind.
Pace keeps a story alive and restless, makes it grow in the reader’s mind. It sets up an imbalance, a need for resolution. When this stops, you let the audience go. And the proper place for that is …
thanks for the runner pic Jacobo Garcia
Well that’s my take on pace. What’s yours? Let’s discuss!
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I’ve just finished writing my first novel. I want to get published but I can’t pay for an editor. What can I do? Edith
Every week I get emails from writers who want help but can’t afford the cost of an editor. And I can see why. Good editors cost a big chunk of money and the job can’t be done cheaply. I don’t think seriously committed writers assume anything otherwise.
But sometimes, the writing world can seem like those schools where rich parents hothouse their kids by hiring personal tutors. If you don’t have the spare dollars, will you be left behind?
Not necessarily. Many of the writers I know never hired editors, yet we earned our spurs somehow. And you can still learn the way we did. It still works.
I probably sound like I’m doing myself out of a job here. Certainly a good editor will zoom in on your individual weaknesses (and strengths), and will improve all the novels you write, not just the one they assess. Also I’ll state that I’ve learned heaps from the agents and editors I’ve worked with. But the bulk of my learning came from elsewhere.
It wasn’t all free, but it was considerably cheaper than hiring an editor.
1 Find a good evening class
For two years I went to a novel-writing course at an adult education college. This was fantastic – an intensive two hours each week in which we’d critique a couple of works in progress, guided by a tutor who was also a literary agent. In case you’re in London, it was Morley College in Waterloo. Almost any well-populated area should have adult education facilities, and you can probably access them online too.
Intensive weekend courses are also useful (in the UK Arvon is well regarded), though the cost is getting on for the price of an editor, but there’s definitely something to be said for a regular dose of writing tuition every week to realign your awareness. Writing minds are trained gradually, so hothousing doesn’t necessarily give you an advantage.
Cost: Evening classes at Morley College about £130 per term
2 Find a critique group
Your evening class might fulfil this function, as mine did. But if it doesn’t, find a critique group or a clan of beta readers you can trust with your WIP. They may not be as expert as tutor-level critics, but can still be very valuable as they will react to your work as real readers.
Make sure you pick people who read your type of book (I hesitate to use the word ‘genre’ after last week’s discussion :) ) and who come together with the intent to help each other improve. You don’t want a mutual stroking society, you want people who’ll stop you making mistakes.
How expert do they have to be? Almost anybody can tell you the places where the book bored them, interested them, confused them, stretched their credibility or kept them up well past their bedtime. If they give you solutions as well, ignore them (diplomatically) unless they have reason to know what they’re doing. You find your solutions from your other experts.
A word of caution: although the participants don’t have to be expert, you need to make sure the group is moderated by someone with nous who can recognise when personality clashes or personal issues are interfering with the group’s criticism.
If you can’t find a group in the corporeal world, there’s nothing to stop you assembling a brief email list of trusted early readers.
Cost: Wine, cake and other standard bribes
3 Read craft books
For years I mainlined writing craft books. I gobbled up so many I can’t remember all the titles, and I gave loads away to friends, but the ones I still have are by Robert McKee, Jordan Rosenfeld, Stephen King, Dianne Doubtfire , James Wood, David Lodge, Bob Shaw, Syd Field and Blake Snyder.
And of course, I’m now adding to the writers’ reading burden with tomes of my own, distilled into practical tutorials based on the advice I regularly give when I critique. Hence the characters book.
Cost: the price of a book (or several)
4 Read like a writer
This is what I have always done. Each time I read something that impresses me, I stop and examine how it was done. This means I dither through books, often trapped by a sentence, a description or a wrenching twist. This extreme predisposition to wonder is what made me write in the first place and it’s what inspires and teaches me still.
Cost: what price can you put on pleasure?
The long and the short
It can’t be denied that an editor is a fast track to proficiency. But some of the necessary lessons can’t be learned in a hurry. We need time for unfamiliar concepts to become habit, to make the knowledge our own and to put it to full imaginative use. That isn’t bought with money. It’s earned with time and dedication.
Thanks for the money-burning pic Jurvetson Just for the record, the lady in the pic is not a financially challenged – or blessed – writer, but an entrepreneur making a point about energy wastage. But we’re both talking about money that may not need to be spent :)
Where are you in your writing journey? How did you learn and how are you learning still? Is there anything you’d tell Edith?
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When you’re getting your books into stores, there are certain practicalities to consider. Will the delivery costs eat your profit? Are you on the database they order from? How long will they keep your books for?
I’m still new to this, but there are a few guidelines I’ve established that might help if you’re approaching bookshops to sell your work. And if there’s any advice you’d add, do please jump in! Every shop is different and I’m sure my experience is merely the tiniest visible part of a very large berg. Here are my tips at the Alliance of Independent Authors…
Alliance of Independent Authors, authors, books, books stores, bookseller, bookshop, Cobham, Cobham Bookshop, delivery costs, Fix and Finish With Confidence, getting into a bookshop, how to get your self-published book into shops, how to sell print books, how to sell printed books, how to write a book, how to write a novel, independent authors, Independent Authors Alliance, literature, My Memories of a Future Life, nbsp, print books, printed books, publishing, Roz Morris, self-publishing, selling print books, Surrey, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘The moment of making the first sound or writing the first word is special’ – The Undercover Soundtrack, Pete Lockett April 23, 2014
- How to write a novel: following the strange – guest post on Writer.ly April 16, 2014
- ‘Road trips require a soundtrack; so do some novels’ – The Undercover Soundtrack, Linda Collison April 16, 2014
- How to make an audiobook using ACX April 13, 2014
- ‘A trickle of notes can flood your thoughts with broken things’ – The Undercover Soundtrack, Warren FitzGerald April 9, 2014
- An easy way to make your plot plausible – control your novel’s timeline April 5, 2014
- ‘Tragedy and loss are cornerstones of my story’ – The Undercover Soundtrack, Anne Allen April 2, 2014
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