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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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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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You know a project is going to be long, serious and brow-furrowing if the illustration is a scribbled-on notebook and coffee. My third piece for the Writers & Artists website is up today. The web editor saw Nail Your Novel and asked me to write a run-down of points to help first-time writers get started on a magnum opus.
Readers of Nail Your Novel will be familiar with it all – notes, plans, splurging first drafts, confidence-building (and coffee), but if you haven’t been here long you might find it useful. Follow your nose…
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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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It’s live! New Nail Your Novel book shows you how to create characters who keep readers hooked and make you want to tell stories
Three guesses what it’s about … but here’s the formal blurb…
How do you create characters who keep readers hooked? How do you write the opposite sex? Teenagers? Believable relationships? Historical characters? Enigmatic characters? Plausible antagonists and chilling villains? How do you understand a character whose life is totally unlike your own?
How do you write characters for dystopias? How do you make dialogue sing? When can you let the reader intuit what the characters are feeling and when should you spell it out?
I’ve mined 20 years’ worth of writing and critiquing experience to create this book. It contains all the pitfalls and sticky points for writers, laid out as a set of discussions that are easy to dip into. And it wouldn’t be a Nail Your Novel book without a good dose of games, exercises and questionnaires to help you populate a novel from scratch.
Whether you write a straightforward story-based genre or literary fiction, Bring Characters to Life will show you how to create people who enthrall readers – and make you want to tell stories.
If you like more heft in your hand, the 200+-page paperback is in progress, and will proceed as fast as an index can be built and proofs can fly the Atlantic.
Ebook price GBP £3.56 USD $5.50 (rough conversion estimate)
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I have such conversations all the time, but never in that place. I was freelancing on the magazine where once upon a time I was a full-time sub-editor. It was a day of facts, punctuation, page proofs, libel-watching, house style, hard news and deadlines.
Then one of the desk editors told me he’d started a novel and we jumped universes.
First he told me he’d had a story idea. An idle ‘what if’ moment; an entertaining daydream. Then, purely to keep track, it became necessary to write it down.
One day he discovered a book that seemed made for this situation (not Nail Your Novel; we need to have words about that). Before then, he hadn’t known that author manuals existed. He hadn’t done writing exercises since his journalism training, but now he found himself drawing up character sheets and developing back stories.
Ideas continued to ambush him, raining out of the sky like the pieces from random jigsaws. He saw an outlandish person on the train. Big hat, fur coat and tarantula-tight jeans: exactly what his character would wear. Once transplanted into the manuscript, the character disobeyed the story plan and did something else. It’s now a crime novel, which my colleague didn’t intend, but the characters made him do it.
He’s a journalist. He finds the facts, gets the quotes and rattles out the words. This novel, though, is not playing ball. Although it follows him like a mental entourage, it only speaks and moves when he’s not at the keyboard or can’t grab a pen. Strap-hanging on the train, interviewing an expert. Even in the shower. He declared this with some outrage, as though the characters had snuck in and swiped the curtain. Which is pretty much how he regards the whole surprising business.
Writing has been my habit for so long that I’d forgotten what it was like when it was new. Of course we never stop honing our craft but these days my zone of discovery has shifted to marketing, finding where I fit and what new platform I need to learn. Although these tools and possibilities are fresh and exciting, it’s nice to be reminded how I got here and what it all comes back to.
Tell me: how did you get here?
Thanks for the drawing, Freya Hartas, used with permission
NEWS If you’re at the London Book Fair on Wednesday this week, drop by the Kobo stand where I’ll be Writer In Residence! This is a rather astonishing development and I’m still pinching myself, but I’ll write a roundup post afterwards where I can indulge the ‘wow’ moment and hopefully say something useful too. Navigate your way to stand Y505 in the digital zone between 2.30 and 3pm on Wednesday 17th April (or instruct your nose to find coffee because it’s near the cafe).
authors, beginners, books, crime fiction, entertainment, fiction, Fix and Finish With Confidence, having ideas, how to write a book, how to write a novel, ideas, inspiration, Kobo, literature, London Book Fair 2013, My Memories of a Future Life, novelist, novelists, novels, Planning, publishing, Roz Morris, self-publishing, starting to write, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life
Gamebooks, for the unnerdly, are interactive adventures (sometimes called Choose Your Own). The story is printed in scene sections, out of order, which end with a choice – trust the blind beggar or not, decide whether to look for your enemy in the town or the desert. Although I’m not a gamebook fan (apologies to those who are), I’m finding the process rather interesting.
Choices and consequences
First of all, what happens in each thread depends on the character’s personality and previous moral choices. So if they’re captaining a pirate ship, in one version they’re jolly tars and in the other it’s mutiny.
Choices are crucial to good stories. Stuff happens – not because a god dumped events into the plot, but because characters did things, usually under pressure. In a gamebook these choices create a unique path through the adventure. But whatever kind of story you’re writing, the chain reaction of choice and consequence is an essential.
Experimenting with scenes
To proof Dave’s books, I’m not reading one thread at a time, but front cover to back – which is jumbling the story into random episodes. It also means I encounter each scene in many versions.
This was like an x-ray of my plotting and revision process. I make copies of each scene and write umpteen iterations looking for tighter tension, more resonant changes, more interesting (but honest) ways to keep the reader on their toes. In fact my outtakes are rather like my novel in gamebook form, with all its possibilities – what if she says this, what if the characters had met before in different circumstances, what if y had happened before x?
(In fact Dave said this experimenting was part of the fun – he could play each scene several ways instead of having to settle for a single one as he would in a novel. The pic shows his flowcharts. BTW, the print books are Lulu editions for proofing only. Yes, we know the covers are horrible.)
Exploring possibilities is something that writers are often scared by. Often they want to keep a scene the way they first imagined it. But the more we squeeze a scene to see what it can do, the stronger a novel will be.
Because the gamebook contains many journeys, there are also many ends – deaths that are daft or valiant, failures to complete the quest, heroic rescues, solutions where honour wasn’t fully satisfied. Usually only one ending hits the mark. (In gamebooks that’s traditionally the last paragraph, by the way.)
Finding the right ending in a novel usually takes a lot of false starts. But you don’t get there unless you try all the permutations of success or failure and the shades between.
Get the experimenting mindset
To get in the experimenting mood, grab a gamebook and read it in a way it’s not intended to be – from page 1 to the end. You’ll see the many ways an encounter can go, the options for a scene of dialogue, the possibilities for your ending. Once you’re loosened up, go back to your WIP and play.
(Here’s the titles that are currently available in the series I’m proofing for Dave, but gamebook fans can probably point you to other goodies.)
Thanks for the signpost pic Shahram Sharif
Do you feel able to experiment with your stories? If so, what helps you? Share in the comments!
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How to self-publish an ebook and get a traditional book deal – guest spot on The Write Lines podcast
When I was first discovering blogs – and looking for a home for my own fiction – I discovered The Write Lines on BBC Radio Oxford. Presenter and novelist Sue Cook brought together experts from UK publishing to give advice, information and resources for new writers.
Fast forward through a few revolutions and the latest series (now a podcast) is exploring indie publishing – both as a leg-up to a traditional deal and a viable option in itself. Some of the authors whose blogs I was reading as the first series aired are her experts this time – including Nicola Morgan and Catherine Ryan Howard – and me. I feel like I’ve graduated. Exciting times…
In my episode I’m sharing a studio with indie superstars Mark Edwards (one half of the Edwards/Louise Voss partnership) and Mel Sherratt. You can either listen on the site or download….
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November is National Novel-Writing Month, when writers everywhere will handcuff themselves
to their keyboards and aim to get a 50,000-word draft finished in 30 days. Apart from clearing the diary and creating a big Do Not Disturb sign, what can you do to prepare?
And is it even possible?
This is a repost of a piece I ran a couple of years ago, but with NaNo rising as a buzzword again in the writerly ether, I thought it might be helpful. Tomorrow I’ll post some tips for getting your story into good shape before you start.
First of all, do established writers do this or is it just a game?
Certainly NaNoWriMo is not just an exercise. Many established writers use it to get their first drafts done. Novelist Sara Gruen wrote her New York Times #1 bestseller Water For Elephants one NaNoWriMo. What you start in NaNo can go on to great things – here’s a list of all the NaNo novels that have made it into print.
How do you do it?
I’ve never done NaNoWriMo because other projects have got in the way, but I have written a lot of novels to tight deadlines – 50,000 words in two months. And not just first draft, but revised and ready for a publisher to see. It was effectively two NaNoWriMos back to back, which I did several times.
I have several friends who are NaNoWriMo winners. Here are their tips. And the key to success is not just what you do in November, but what you do NOW.
Prepare your story
Zelah Meyer is a NaNoWriMo powerhouse, having consistently delivered 50,000 words for the last five years. Some years, she even lost a week because real life inconveniently got in the way, but even so, she sailed past the finish line. This year she’s hoping to finish the first draft of her trilogy.
Zelah (left) says: ‘Do a rough brainstorm beforehand of where you want to take at least the first 5,000 words or so. I call it plot scaffolding and I’ll often talk to myself on paper about what could happen and where the story could go. I find it helps to know that so that I can avoid writing myself into a corner – but everybody works differently!
‘I ask myself a lot of questions such as “Why does nobody know that he isn’t really the lost prince/company CEO/etc?” I use the ideas I have to flesh out character back story and sometimes that will give me ideas for the plot.
‘If I decide that I need to go back and add in a scene, I’ll do that – but I never rewrite one. Instead I have a second document that I keep open called Corrections. There I make notes of changes I want to make in the re-writes and then continue as if I’d already done them.
‘I also find it helps to have a third document for any names I need to keep track of. This saves me from wasting ages scanning back through thousands of words trying to find out which town the characters were heading for or what you called the hero’s aunt.’
In real life, Zelah is an improvisational performer, and her experiences on stage have strengthened her approach to storytelling. ‘I ask myself: “If I were in the audience, where would I want the action to go now?” and “Which character do I want to hear from now?” Also, everything that is said changes you – both the person saying and the person listening. Everything evokes some kind of emotional response and that colours how things happen from then on.’
Prepare your targets
Gareth Ryder-Hanrahan (left), another NaNoWriMo veteran, says: ‘My one tip is stick to your daily wordcount no matter what – 1,600 words a day even if you’ve been run over by a steamroller. Nothing’s more disheartening than an impossible deadline,’
Zelah’s keen on statistics too. ‘I create a spreadsheet for the 30 days of November with how many words I aim to write on each day. I give myself a contingency of around 5,000 words.’
Prepare your research
If you go and look something up on Google, do you stop there? No; an hour later you can still be happily cyber-faffing. So do all your Googling, Wiki-ing and forum fact-finding before November. Don’t burn through your writing time by looking stuff up. If necessary, put a keyword in the text like [factcheck] and start a file for queries you will Google in December.
You don’t slog through NaNoWriMo on your own. That’s one of the beauties of it. The NaNoWriMo website is, of course, essential, and you’ll find hashtag communities on Twitter, and bloggers who will be wearing NaNo badges and blogging if they have any fingers to spare.
Ann Marie Gamble, another old hand, says: ‘The single best non-official resource I used was Doyce Testerman’s day-by-day blog posts. He described exactly what he was going through so I could think, ah, everyone feels like they are choking on Day 11 – it’s not just me being pathetic. Plus he has a wife and kid, so his coping strategies are more accessible to me than those of the college students in the local NaNoWriMo groups.’
Remember it’s a first draft
NaNoWriMo is about turning off your inner editor. If your draft sucks that doesn’t matter. All first drafts suck.
It is also about a definite goal. Ann Marie says: ‘Keep your eyes on your prize. NaNoWriMo is a chance to build writing habits and experience in finishing a piece. Don’t get sidetracked by questions of quality, plausibility, readability etc. Let your pen fly during this intense month and analyse later.’
Zelah says: ‘When I’m actually working, I remind myself that I’m not striving for perfection at this stage. I have a strip of paper saying “Quantity not Quality” taped to my monitor.
The message is, prepare, prepare, prepare.
- your story
- your research
- your targets
- your support groups
And that, my friends, is why NaNoWriMo starts now.
With all that sorted, just one thing remains. Simon C Larter (left) of the blog Constant Revisions says: ‘How do I convince my wife it’s okay for me to spend so much time writing?’
Are you doing NaNoWriMo? How are you preparing? Is it your first time? If you’ve done it before, do you have any tips? And if NaNo requires you to ramp up your writing routine, how, like Simon, will you convince your nearest and dearest to indulge you? Share in the comments
You can find tips for researching, outlining and what makes a robust story in my book, Nail Your Novel – Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence. Available on Kindle and in print. And tomorrow I’ll be going through a workup routine to get your story sorted before you lock the doors.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘Hidden forms that tell a story’ – The Undercover Soundtrack, Stephen Weinstock November 19, 2014
- I name this book… tips for choosing a good title November 16, 2014
- ‘Each morning, there was a chapter to listen to’ – guest post at Jane Davis’s blog on making audiobooks with ACX November 13, 2014
- ‘Spurred by the song’s rhythm, my typing fingers flew’ – The Undercover Soundtrack, Dianne Greenlay November 12, 2014
- A good editor helps you to be yourself November 9, 2014
- ‘A lyric, a tune fragment, a thrilling chord run’ – The Undercover Soundtrack, JW Hicks November 5, 2014
- Something wicked this way comes: plot book ready soon November 2, 2014
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