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I’ve had a question from Tina L McWilliams: Besides Twitter, LinkedIn, Facebook etc, a website is obviously essential. But what type? Some writers have simple ones, with their books, an author biography and so forth. Others – you and Joanna Penn included – have ‘education’ sites. Which I love, and return to regularly. (Thanks! Ed) So, could you discuss the importance and the time involved with both?
Why have them at all?
If you’ve got Twitter, Facebook, G+, you’re certainly making good connections. But you’re fitting a limited format with little room to customise. You need a place to invite folks to when they want to know more.
Also, you control your website’s destiny. A social medium might disappear – or your crowd might (MySpace, anyone?). But your site is yours.
How extensive does the site have to be?
If the site’s raison d’etre is to tell people who you are, you don’t need more than a few static pages – about you, your books, contact details. Perhaps a page of upcoming events if you do a lot of these (I don’t so I use social media for this). And voila: a website.
If you add a blog, you get noticed more. Search engines favour sites that are frequently updated. Human visitors like to see they’re on the blog of a person who regularly shows up, and notices when new folks call. There are a lot of dead, forgotten sites out there, so you need to make your site look alive.
Honestly? The ether is choked with sites about writing and publishing.
Here’s a reason not to: being distinctive If you write straightforward posts about ‘show not tell’ you might find it hard to be noticed – and that’s one of our goals, right? So your posts need to be individual. A lot of writers blog about their lessons and mishaps on their writing journey, so you might find it hard to reach further than immediate friends.
Here’s a reason to: getting your material shared If the content is useful or strikes a chord, it’s more likely to be shared. Certainly a lot of people want to learn about writing and publishing. And you might win fans for your gloriously whacky voice (like Chuck Wendig).
But consider this:
Who do you want your content shared with?
Most authors who blog about writing will only reach other writers. That’s fine for me because writing tuition is part of what I do (but it’s not everything – see below). If you’re blogging to help people develop a taste for your fiction? You might be better choosing something else:
- your issues, if your fiction is issues based
- your historical period if appropriate
- other books in your niche
- host other authors (like Jane Davis), campaign for better recognition for indie authors (like Paul Sean Grieve), start a blog series like David Abrams on The Quivering Pen with My First Time or me with The Undercover Soundtrack.
Blogging to promote your fiction? The dilemma for literary authors
I still haven’t sussed this myself. Partly this is because my kind of fiction doesn’t suggest bloggable ‘topics’. One book might deal with, say, musicians, reincarnation and despair (My Memories of a Future Life). Another might feature repressive regimes and ruined country houses (Lifeform Three).
Even so, those aren’t really my ‘subjects’. I can write the odd guest post about them, but not regular blogs. Ever Rest and my embryonic ideas are different again. My signature, if I have one, is thematic: ideas of the soul and memory, conditions of haunting. I have only realised this as I roam about in Novel 3. I could blog about those themes, but it might discharge my need to explore them in the books.
So subject and issues blogging isn’t going to work for me. But it might be good for you.
Make it regular
Your blog needs to look current. So make blogging a regular appointment. Include a calendar so visitors can see the pattern. A list of previous or popular posts will tempt them to stay longer. The longer people stay on your site, the better.
How frequently should you blog?
As often as you find manageable. Experts say that for SEO significance it should be several times a week, but that might exhaust most of us. And think of it from the reader’s perspective. How much time do you have to read blogs, even the ones you love? Once a week is probably plenty to keep you on the radar.
Which brings me to… what I do and how much time I spend.
Why do I have so many sites?
It was an accident, but it seems to work. Each site has a distinct purpose, and they’re all connected to one hub and to each other.
Nail Your Novel
This one you’re reading is my original site. More here about how it started, where you can also see charming screenshots of how my blogs looked in 2011 (eek!).
Post frequency: I put up a writing/publishing post once a week plus a trailer for The Undercover Soundtrack. Plus signposts if I’ve got a guest spot or devilishly exciting news like a launch. Overall, at least 2 posts a week.
Time taken: I can’t just slap a post out. I spend at least 5 hours of cogitating, checking examples to make sure I’m not making idiotic assumptions, finding pics. You don’t have to spend as long if that’s not your style. Later there are comments to answer, shares to acknowledge and other networking to do. Every few months I might tweak the sidebar icons, so that’s another occasional hour or two. I reckon my blog swallows a full day a week – at least. (Is that shocking?)
Post frequency: twice a week. One trailer to introduce my guest, written by me. One Soundtrack post. Although I don’t write these, they take time behind the scenes. I book guests well in advance (as you’ll know if you’ve featured!). When posts come in, I read them, write back with praise (of course!) and quite often ask for tweaks if I think this would make them fit the format better.
Time taken: about 2 hours per week, depending on resubmissions.
How it started: I’d built a blog for writers, but it wasn’t designed for introducing my fiction. When I launched my novel, I worked out a separate profile-building strategy and wrote this post full of bold plans. I reread it just now and added updates for what lasted and what proved daft or impossible to sustain. Mostly the latter. You might find it amusing.
Another reason to have a separate site was to claim the URL. There are several reasons:
- Easier for readers to find in a Google search
- A handy and sensible URL to put on business cards
- Allowed me to create a separate site with artwork in the novel’s livery (if I went self-hosted again I could have done this without making a separate site, but that would have been too disruptive)
- I can transfer it if I want
Roz Morris, author
I got this by accident. I broke the original Nail Your Novel site, so tried WordPress hosting. I found I’d been given a blog called RozMorris, which sat idle before I realised it even existed. Then I decided to use it as a hub for the others.
Time taken: a few hours to set up introductory pages. I’ve added other material gradually as I write it for other purposes – perhaps 20-30 minutes at a time.
Updating when a new book launches I set aside a few hours to add a new page, update pics and the main header, then all the versions of it on my newsletter head, FB page, blog head and sidebar, G+, Twitter biography… I’ve got a master list in my production schedule so I don’t miss anything.
So many sites!
I did warn you. If I was starting now, I’d have one blog and one author site for everything else. But The Undercover Soundtrack became its own entity, and I couldn’t graft Lifeform Three on without breaking it. I also couldn’t leave Lifeform Three as a poor cousin with no presence of its own.
So my web-web is like a house that’s been extended and extended as times change and the family grows. I don’t doubt it looks messy to purists, and especially when explained here. I’m anticipating comments of horror. However, I don’t think readers mind if the navigation is clear. I doubt they notice the different URLs. But they would certainly baulk if they had to learn a different visual grammar each time. Even though the artwork on each site is different, it follows the same core design so they find what they want quickly.
And yes, apologies. This post is a tad late. Because sometimes life gets in the way of blogging.
NEWS I’m thrilled to announce I’m teaching a Guardian Masterclass in advanced self-editing techniques for fiction writers. Of course, London might not be a manageable distance for you, but if it is, here’s where to find out more. And … psst … it’s one of the many good things that have happened because once upon a time, I started a blog.
Do you have a blog, a website or both? How much time do you spend on them? Do you want to suggest a way for me to streamline mine? Tell me in the comments!
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My guest this week says her first novels were fuelled by nostalgia and the past. She wrote them while living in a small market town in England, and harking back to her former homes in California and Ireland. Her soundtrack connects her back to those places and their people. Traditional emigrant songs that remind her of stoic characters in her family, while the gay anthem of La Cage Aux Folles is symbolic of friends in the LBGTQ community and her themes of loyalty and personal autonomy. There’s also a special place for the BBC shipping forecast, which she used to listen to in bed as a child, finding poetry in its strange names. She is Orna Ross – and she’s on the Red Blog with her Undercover Soundtrack.
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‘What are your views on head-hopping? In my steep learning curve, I gathered it was frowned upon (maybe just for newbies?).
Head-hopping. First of all, what’s Robert talking about?
All narratives have a point of view – the ‘eyes’ through which a story is told. It might be a dispassionate third-person camera following everyone. It might be a more involved third person account with insights into one or more characters’ thoughts and feelings (close third). It might be first person, where there is only one person’s experience.
Head-hopping is where the point of view changes. It’s not always verboten – we’ll come to that. But it’s often done unintentionally – and when it is, it can cause a logic hiccup. It can even kick the reader right out of the story.
It’s easiest to spot POV slips in first-person stories, where the narrator describes something they couldn’t possibly know or experience – another person’s intentions, or an event they aren’t present at. (Indeed, this is usually where writers realise the limitations of first-person narration. And so the character finds a diary or a secret blog…)
Head-hopping problems are not confined to first person (or close third), though. A third-person scene might be following one character’s experience, then slip into a perspective that somehow doesn’t fit. Maybe it’s just a paragraph, or a line. It’s often hard to spot. If you asked the reader what was wrong they might not be able to explain it. But they’ll sense something’s off and they’ll disengage from you.
However, point of view shifts aren’t bad per se. In most novels we need to accommodate a lot of characters and their stories. Here’s part 2 of Robert’s question:
I’ve been reading a lot of Stephen King, and my word, does he head-hop! Is that because he is such a good storyteller? Or should he be advised to avoid this? (I can write to him and let him know…)
Hah! It’s a while since I read Stephen King, and the chances are even slimmer that I’ve read the same Stephen King as you, Robert! But some general points.
He might indeed have got it wrong. All writers have blind spots. And it’s entirely possible that he wasn’t edited rigorously.
But also … he might have got it right!
The only way to tell? When you notice it, ask yourself if it was an inconsistency that shook you out of the story, even slightly. A good POV shift keeps you immersed.
Let’s explore a few ways to shift point of view and do it well.
Two ways to shift point of view
New chapters – a new point of view gets a new chapter. You might even write some chapters first person and some third – as Deborah Moggach does in Tulip Fever. In each she follows one character’s experience closely. And if two of the principals share a scene? She writes one chapter from one point of view, and revisits the event in a separate chapter for the other person’s. She always remains disciplined about which point of view she is following. Charles Dickens writes some of Bleak House in first person, following the experience of Esther Summerson. Her honest, diary-like narrative is a warm contrast to the conniving characters in the Dickens-narrated sections.
Shift within the scene – yes you can get away with it, if you are well behaved. You might:
- Show one paragraph from one point of view, the next from the other. Make sure the reader will be able to follow which is which without getting confused. But if the scene is intense, you might leave the reader punch-drunk from trying to follow two strong experiences. It might be better to…
- Switch the entire point of view during the scene – so the first half follows one character’s perspective, then swivels to the other until the end. I’m doing this in Ever Rest as I have several protagonists, all getting into dire angst. Note this is usually a one-time change – it can bust the reader’s patience if you flip back again.
(There’s more about point of view in my characters book)
What we leave out
One of the keys to point of view is judging what to leave out. The writer always knows a lot more than the reader. We know every main character’s thoughts, back story, front story. And that’s why it’s hard to spot head-hopping in our own work – because we make the mental switch without realising. But the reader can’t. They get lost, even if only by a micron.
All points of view have their limitations and boundaries. We have to write within them.
Control is everything
Robert says: In my first book, I found some errors where there was a transfer of POV. When I edited them to stick to the main POV, I thought it read better.
Amen. And this is why: when you begin a story, you establish a set of conventions. In the same way as we set up rules about the story world (whether it’s realistic contemporary, medieval with magic etc) we also set up rules for how we will tell it. If we’re going to shift between experiences, we establish the pattern from the earliest chapters. If we break that pattern, it disturbs the flow. Of course, we might use that to disorientate or shock – imagine a story where the surprise appearance of a new narrator might cause delicious mayhem. That’s the head-hopping principle – used for deliberate impact.
Skilful writers never fumble the reader’s experience. And point of view is a potent storytelling tool.
Thanks for the Rear Window pic x-ray delta one
Do you have problems with POV and head-hopping? Do you have examples of when it’s been used to create an interesting effect – or writers who seem to be getting away – gasp – uncorrected? Share in the comments!
NEWS The audiobook of My Memories of a Future Life is now live! You can find it on Audible in the US and the UK. If you’re thinking of trying out Audible for the first time, you can get the novel free when you sign up. It will also be on iTunes but that takes a little longer to percolate.
If you’re thinking of making an audiobook yourself, either with ACX or by some other means, you might find my posts about the process helpful.
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My guest this week says music has always been a companion to his writing. He drafted his first book in restaurants, bars and cafes while travelling the world, and now he turns to music to settle into the writing mood. In his fiction he likes to explore the bittersweet, the unresolved, the questions, the dark side of a strength, and draws inspiration from the songwriters and performers who can break your heart in three minutes flat – while fitting the shape of a tune. He is David Gaughran and he’s on the Red Blog with his Undercover Soundtrack.
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Sandy’s nervous. It’s her first book launch. She says she’s keeping away from the internet today.
I’m nervous. Unlike Sandy, I mainline social media and will probably be checking Facebook and Twitter even more frequently than usual to see if anyone else is as excited as I am that…
WE’VE JUST LAUNCHED THE AUDIOBOOK of My Memories of a Future Life. Don’t worry, I will calm down soon.
You can find it on Audible in the US and the UK. If you’re thinking of trying out Audible for the first time, you can get the novel free when you sign up. It will also be on iTunes but that takes a little longer to percolate.
If you’re thinking of making an audiobook yourself, either with ACX or by some other means, you might find my posts about the process helpful.
And that’s it! Back tomorrow with a cracking Undercover Soundtrack. R xxx
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This morning I was scratching my head for a post to write, so I asked on Facebook for ideas. Immediately, Vivienne Tuffnell volunteered this great question: ‘How do you keep motivated when your books aren’t flying off the shelves?’
Before I could even type a reply, Zelah Meyer had countered with: ‘delusional optimism and a long-term view’!
Which is about what I would say (at least, the second bit).
We’ll assume for the moment that you’ve done everything possible to ensure your books are up to scratch, with appropriate covers, well-honed descriptions and sharp metadata. You know the book’s good. You’re doing all you can, as your promotion budgets and tastes allow. But those sales aren’t stacking up.
How do you take courage?
Keep calm and build a body of work. Actually, I see this as the only possible plan. Writing is a lifelong thing anyway. If you’ve had the gumption to start, and stick with it, it’s a default habit built over years. Having ideas is as usual as taking breaths. You finish a book and you don’t settle until you’ve got another under way.
Also, building a portfolio makes business sense. Whether we’re the Big Five/Four/Three/Two/AmazOne or an individual writer, this is what we’re doing. With more books we get more chances to be found by readers. And when we are found, we look like more of a presence.
Does this mean you have to churn them out? No. We are taking a long-term view. Write and publish fast if that suits your nature, your material, your market. If it doesn’t, you’re still building a body of work. However long the book takes, once it’s finished, it’s out for ever.
But everyone else…
What about all those posts on Facebook, G+ and Twitter where people share a stellar sales rank or triumphant sales numbers? Some days that can be like a big wet slap. Even though you know how sales ranks surge and plummet by the hour. What can you do, apart from congratulate them – and write?
First, remind yourself it doesn’t reflect on you or mean you should ‘do more’. (Except write. Did I mention that?)
And second, there is something you can do. Keep making meaningful connections, fishing in the internet sea for the other people who think like you, write like you, read like you. Writing is all about connection anyway.
Also, remind yourself how the ebook jungle has changed. I published Nail Your Novel when there was far less competition, and clocked up a good 10,000 sales with so little effort I couldn’t be bothered to count any further. I now can’t believe it used to be so easy. Now, with all the books clamouring for readers, we have to work so much harder for each sale.
Author/editor/songwriter/poet Jessica Bell (left) wrote about this recently at Jane Davis’s blog. I hit on this strategy myself, completely by accident, when I wrote Nail Your Novel. In fact, if I hadn’t got those nonfic titles I’d be feeling pretty discouraged, simply because selling literary fiction is hard, hard, hard. My novels sell only a fifth as many as my Nail Your Novels. But that means I’m five times as thrilled by a fiction sale as I am by a Nail Your Novel sale (though I’m still quite thrilled by those, thank you very much).
What if you only have one book?
A significant number of writers have just one title, and feel no desire to write another. Creatively that’s fine. One book might be all you need to say. Ask Harper Lee. But you are likely to feel this sales problem very keenly. Especially if it’s fiction.
I do know writers who made a big splash with just one novel. For instance, John A A Logan with his literary thriller The Survival of Thomas Ford – but he published at that goldrush time, when a free promotion could work miracles. It was many years before he released another book, and the momentum he got with the first kept him going nicely. He also supplemented it with a lot of hard work on Kindle and Goodreads forums. Now, though, it’s rare that one book will get you noticed enough.
In this situation, your best bet is to go for volume (again). Team up with other likeminded one-book authors and form a collective. Perhaps release a box set.
If the book is non-fiction, you could use it to launch a speaking or tutoring career, which gives people more chances to encounter you. It’s the volume principle again – but you’re producing performances instead of books.
It’s not all about sales
Let’s remember we don’t write simply to chase sales. Except for a few stellar bestsellers, there are more lucrative lines of work. But the satisfaction factor? Every new comment from a reader, every email, every new review, tells me I’m writing what I should be writing. It’s worth the struggle.
Stop this relentless positivity, please
So this probably all sounds very well adjusted. Do ever stop being so darned positive? Certainly I do. I had a towering strop recently when I saw a report of a speech at a publishing conference where the delegates were discussing how much credibility to give indie authors. It all hinged on sales; nothing else. No thought for originality, craft, quality. It reminded me that the publishing world does not want to give authors credibility if they publish themselves – and if we do, they assume we must be at some junior, paint-by-numbers level. Which is insulting for just about everybody – genre authors included. After that I was not positive at all. Measured in that way, EL James would have far more credibility than Henry James.
But we’re playing a long game. For some of us it is longer than others, but the answer is the same. Write more books, and write them well. And remember the main contest you’re in is not against other writers. It’s against your own standards and hopes; the struggle to do justice to your ideas and your talent.
This post probably isn’t startling information. But if you’re also having a crisis of confidence, I hope it helps. And I really hope my optimism isn’t delusional. This is Zelah, by the way. She really can do this. I’ve seen her.
Thanks for the hare and tortoise pic CarbonNYC
Any thoughts to add? Share in the comments!
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My guest this week says he has to treat music with kid gloves. If he’s sitting at a dinner party and music is playing, he’s likely to get so distracted that he zones out of the real room. This is a familiar scenario to me too. And he’s definitely a writer who has found himself piecing together a novel from many of these moments of surprised distraction – where a track heard by chance perfectly fits the story problem his mind is mulling over. His novel is the story of a disillusioned man learning the way to feel alive once more, his name is Wayne Clark, and he’s on the Red Blog with his Undercover Soundtrack.
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Usually I write from beginning to end with no gaps. This time, I’m writing the characters’ final scenes and retracing.
I usually can’t do this. I need the continuity from one scene to the next, so that I know what each character feels about their mounting troubles as the screws tighten. Indeed I was writing in this orderly way until I hit the half-way point, when a sudden epiphany left everything spinning. By three-quarters, the end was suddenly indubitable, and I was quite unable to concentrate until I’d written it. So I’m finishing the draft by mining my way backwards. The impulse is discharged, and now I can be logical and fill the holes.
Joss Whedon would agree with the new, impulsive me. I recently read an interview where he explained how he assembles his scripts from a series of ‘cool bits’, then gradually fills in where necessary. He says it helps him because he knows he has material he likes, and that keeps him enthusiastic to stitch it together properly. As most of us go through phases where we despair of our manuscripts, this sounds like a good way to keep positive.
On the other hand, the British scriptwriter Robert Holmes would agree with the old me. (We just bought a biography of him because we are devoted fans of original Doctor Who). Robert Holmes hated to plan or write outlines. One producer asked him to write a presentation with ‘a few key scenes’ and he replied: ‘I can’t write a scene before I get to it. I know some writers hop around like this. They’re probably the same people who turn cherry cake into something resembling Gruyere.’
Certainly when I was ghostwriting I was dogged about writing each scene in order. This was partly a discipline to make sure I didn’t avoid scenes I was finding difficult, or where I found a problem I hadn’t solved. And I still find that many good discoveries have come of forcing myself to find a solution on the hoof. But The Mountains Novel has required more discovery (see here and here about my writing methods). It also has more main characters than my other novels. Perhaps it is an ensemble piece, and so an organic assembly seems to suit.
Another reason this hopscotch back and forth feels right is because I know what my characters need. I wrote far enough in formal order to know how they are changing, what will be triumph for them and what will be tragedy. And in the revisions I’ll do more infilling, understanding and reordering.
Anyway, all this means The Mountains Novel is nearly an orderly draft from start to finish. I’ve been incubating it for years, referring to it by this working title, because I was nervous it wouldn’t mature. Its proper name is Ever Rest. I’m sure you’ll probably shrug and say ‘so what’, or wonder why I made an issue of hiding it. Maybe you’ll tell me you like the old title; some people already have. But this is a landmark for me. I now feel secure to declare it: my next novel is called Ever Rest.
Diversion over – do you write your scenes in order? Has any book you’ve written made you revise your working methods? Let’s discuss in the comments!
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My guest this week writes reimaginings of the Robin Hood legends. He uses music to conjure the atmosphere but says he has to avoid anything that’s too tuneful or he’ll pick up his guitar instead. He admits his choice of Scandinavian black metal is a challenging listen – but finds the fast drumming, screaming vocals and glowering noise is exactly right to shift him away from the 21st century and into a time of outlaws, campfires and battles. He is Steven A McKay and he’s on the Red Blog with his Undercover Soundtrack.
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I’m stuck. I outlined a setting, characters and events. But when it comes to put all together, they don’t fit. Every time I try to change something (aspects of the setting, adding or removing characters) things don’t work. I tried killing several darlings (and reviving them),but the plot is still not making sense. I feel like I’m forcing a cat to take a bath. I keep seeing logic holes. I rearrange and new holes appear. I tried a lot of things (including the card game from Nail Your Novel), but I feel there is something I can’t see, which is the piece I’m missing to put in (or take away) to make things work.
Oh my, what a familiar litany. You must have been eavesdropping chez Morris. My desk is currently littered with notes and scribbles about The Mountains Novel.
What stands out for me is this phrase:
‘I feel like there’s something I can’t see, the piece I’m missing to make things work.’
So there are two things you are looking for: coherence and clarity.
(And what’s that got to do with the title of this post? We’ll come to that. But first, let’s tackle coherence.)
Every time you try to streamline, your inner editor-fairy is telling you that’s not the way. Sometimes we’re like detectives following a hunch, and the only way is a 7% solution or strangle a violin. Just what is the connection that makes sense of all this sprawl?
Here’s what I do – and it’s not very different from what you’ve described. I muddle about with possibilities, subtract things, double them, make lists of pros and cons of a new idea, viewpoint or angle, let the idea settle and come back to it anew.
It particularly helps to return to your themes. Jot them down and consider how your plot events and character issues align with them. Perhaps your themes have changed and this is why the novel is looking too sprawling. Has it suddenly become a novel about ‘everything’?
Sometimes you get more coherence by diving into the first draft regardless. If you have a scene order that makes rough sense but isn’t perfect, start writing anyway. See what happens once you live as the characters and let them inhabit the book. You might find their experience fills those gaps and confirms your hunch on a level you couldn’t get by analysis. Or you might see modifications you can make – rewrite cards, shuffle them if necessary, adjust your map as you go.
With The Mountains Novel, I have two big ideas I’m putting together that don’t appear to naturally fit. That’s one reason I’m not going to tell you what they are in this post – but in my gut I always knew they belonged together. And the further in I write, the more resonance I see.
Which brings me to my more practical tip.
I’m currently rereading The English Patient. I love both novel and movie – but they are very different, even though they are made from the same characters, setting and story events. Reading the novel and noticing the differences is suggesting new ways I could use my own ideas – and they’re all the kind of changes we might make when refining a plot -
- characters in the novel have been spliced together to suit the leaner lines of a film
- scenes that happened in the back story of peripheral characters have been reworked as bonding moments for the main players
- the scenes featuring the English patient’s romance are very different and very much condensed, yet true to the spirit of the original novel
- the novel’s climax is not the same as the movie’s, where far more emphasis is on the English patient’s romance
- the novel’s events are more fragmented, less chronological
So find a novel that has been extensively reworked to make it into a movie, and notice how the demands of each medium – and audience – has reimagined common material.
Marco, you’re doing all the right things. You may feel lost, but sometimes this takes a long time (see this post about how I write and here’s the pics version) It’s often frustrating, and you might feel that all you achieve is a big list of duff stuff. But you might not realise how far you’ve come. Sometimes I look through old notes and smirk at the ideas I was trying to shoehorn in but am now wiser about. (My favourite bookseller, Peter Snell of Barton’s in Leatherhead, points out that I have been mentioning The Mountains Novel in enigmatic hints ever since I first walked into his shop in Christmas 2012 and I’m not nearly done with it yet.) But time and persistence will show you what belongs and what doesn’t.
What would you tell Marco? How have you found clarity in a muddled plot? And can you suggest any movie adaptations that depart interestingly from the original novel?
NEWSFLASH Sandy Spangler and I have finished the files for the audiobook of My Memories of a Future Life (here are the posts about our adventures) and I just noticed today on the ACX dashboard that it’s passed the technical vetting. If you’re signed up to my newsletter I’ll be sending an email as soon as it’s out – and I’ll have a limited number of review copies to offer. If you want the chance to get a free copy of the audiobook, sign up here!
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Ghostwriting FAQs: should you get a ghostwriter, do you want to become one? July 20, 2014
- ‘Abhorrent combinations… fear not as the music writes the story for you’ – The Undercover Soundtrack, Josh Malerman July 16, 2014
- How to fix a plot hole July 13, 2014
- ‘Music of raw power, pulling back from chaos and feedback’ – The Undercover Soundtrack, David Penny July 9, 2014
- Studying Ray Bradbury: a beat sheet of Fahrenheit 451 July 6, 2014
- ‘Sadness and longing in the wildest pleasures’ – The Undercover Soundtrack, Rohan Quine July 2, 2014
- Which courses should I take to become a writer? June 29, 2014
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