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My guest this week says she can ignore just about any distraction and write – except if she can hear music. But she also can’t write a character until she has found the perfect song as a vehicle for their personality, back story and secrets. Her debut novel fits rather well with this blog for another reason too – it’s the story of the world’s most reincarnated man, with all the troubles – past and present – that that implies. She is Candace Austin and she’s on the Red Blog with her Undercover Soundtrack.
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You’ve seen this week’s Undercover Soundtrack? I want to tell you how I met its author, Dave Newell.
He emailed me out of the blue because he’d run across a comment of mine on a blog written by Nathan Bransford. It was a post about the difficulty of self-publishing literary fiction, and Dave – whose work is indelibly literary – was asking if I knew where those readers hung out on line.
The funny thing is, I left that comment more than two years ago. When I look at it I was talking about episode 2 of My Memories of a Future Life, which had just gone live. Oh, nervous days – I probably wrote it in the hope that it would lead ME to a secret vast land of literary readers. (It didn’t; I should probably work on that.) Probably no one else took much notice, and so it stayed there, falling under new comments and posts, sedimenting into the substrata of the ever-renewing, multiplying internet. Then two years on, Dave Newell typed a few words into Google and it led him there.
We struck up a conversation. I don’t know that I was much help with his problem, though we had fun talking. But I did offer him a guest spot on The Undercover Soundtrack, which I’m very glad he took. Especially as I then had an email from a fan of the series who told me how excited he was to discover this author. (I’m sure there were other converts too, only they didn’t email me to share.)
So does this story have a bigger payoff? Does it end with a hardback deal, an Amazon landslide, a red carpet? Actually no. But it does end with a special reader, who was charmed by a post by someone he’d never heard of. As Dave Newell leaped on a random comment by someone he’d never heard of, which had been made by someone visiting a blog hoping to find likeminded folk. A chain of strangers finding they have kindred interests; that’s rather nice.
Author platforms are also on my mind because this week I was a guest speaker at an online author marketing conference called Get Read. A message we heard constantly was that platforming is a long game, and we might feel like we’re getting nowhere, giving so much of ourselves and wondering if anyone notices. This episode reminds me to keep the faith.
It also reminds me that platforming is full of contradictions. That for all its widewidewide reach, it operates at a micro scale, person to person. That our blurts on websites and social media seem trivial but are actually eternal, and might be summoned to the top of a search by the right Google spell (just like bad party photos). The take-home point of my GetRead session was this: be yourself and stay gregarious. Anything you write might find a new reader, an ally, or a friend.
It’s a bit of a different post this week, but I’d love to discuss this question. Has someone found you because of a comment, post or a tweet you’d long forgotten? Have you followed a trail and made a worthwhile contact?
authors, blogging, commenting on blogs, Dave Newell, facebook, Fix and Finish With Confidence, GetRead, google, how to build a writer platform, how to find readers, how to write a book, how to write a novel, literary fiction, literature, My Memories of a Future Life, Nathan Bransford, novels, platform, publishing, Roz Morris, social media, social media for authors, social media for writers, The Undercover Soundtrack, twitter, worth commenting on blogs, writer platform, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life
When this week’s guest was on his final rewrite, Adele’s Someone Like You was playing from every radio. He says it seemed to reinforce the story he was polishing – a tale of first love, the transition into puberty and the emotional and physical barriers of the adult world. He says he’d been scribbling notes for years, but first felt emboldened to write the novel – based on his childhood memories of 1960s London – when a Neil Young song convinced him he was sitting on a story. He is Barry Walsh, the novel is The Pimlico Kid and he’s on the Red Blog talking about its Undercover Soundtrack.
GIVEAWAY Barry is offering a signed print copy of The Pimlico Kid. For a chance to win, leave a comment on the post or share it on Twitter, Facebook, G+ or anywhere else (and don’t forget to leave a note here saying where you shared it).
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If you follow me on Twitter, Facebook or in Google’s Confusing Circles, you might have seen me celebrating when a bookshop reviewed My Memories of a Future Life - on Amazon. ‘I was so impressed’ (it read) ‘that I persuaded Roz to hold a signing…’
That’s a bit astonishing in the current climate, and the Alliance of Independent Authors were soon wanting the story of what I’d done to get into their good books.
Much of it was luck, I have to say – I clicked with their tastes. And I’ve had a hit and miss relationship with other bookstores. But if you’re contemplating approaching bookshops with your print editions, you might find my experience useful…
And tell me here: have you approached bookshops or other retail outlets with your work? How did it go?
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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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Another Soundtracker returns this week, a new book under his belt. Andrew Blackman had set himself a steep challenge with his second novel. His story of love in the internet age had seven narrators, each needing their own voice and style. Early feedback from his agent said they weren’t distinct enough, and for a while, Andrew despaired of finding a solution. Then, as he always did in times of trouble, he turned to music. Which saved the day. He’s on the Red Blog with the Undercover Soundtrack to his second novel, A Virtual Love.
GIVEAWAY Andrew is offering a signed copy of A Virtual Love. For a chance to win, leave a comment on the post or share it on Twitter, Facebook, G+ or anywhere else (and don’t forget to leave a note saying where you shared it).
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From last resort to new career – how I self-published and how it’s changed my outlook as a writer: speech for the Society of Young Publishers, Oxford
This week I was invited to give a talk on my self-publishing adventures to the Society of Young Publishers in Oxford. Inevitably they also got a few opinions (at the end) on how I now see my role as a writer :)
I’ve since had requests to publish it here, so…. here goes.
I wasn’t new to publishing when I self-published. More than two decades ago my first job was in the editorial office of a small publisher where I handled every kind of non-fiction title – books, directories, partworks, magazines, a newspaper – and even, once, a novel. From there I moved to magazine editing. In parallel I developed a career as a writer – I’ve ghosted 11 novels and 8 of them have been bestsellers. I also mentor other writers – originally for a literary consultancy and now freelance.
I’m fully armed with literary agents – two of them, actually. In spite of this, I ended up self-publishing. Here’s the story.
I self-publish a writing book
Nail Your Novel: Why Writers Abandon Books And How You Can Draft, Fix and Finish With Confidence was the book I published first. I wrote it as a natural extension of the writing blog I’d just started. It’s my writing process distilled into 10 steps – how to take an idea, flesh it out, draft it and revise it thoroughly. It’s 40,000 words, which proved too dinky for the market. But that was deliberate. I knew from the online community that writers wanted a book that wouldn’t snaffle their precious writing time but told them only what they needed.
No one would publish it, so I thought it had better not sit around. I set it up on Lulu – the most straightforward print platform at the time – and told my blog and Twitter followers. I also gave away free PDFs. This was three years ago, so the giveaway packed a punch. NYN got good reviews, sold about 20 print copies a month and became quite widely known – at any rate, strangers would email me telling me how useful it was.
So NYN ticked over on Lulu as a nice accessory to my blog, but I still wanted a deal for my fiction. It wasn’t respectable to self-publish fiction – especially if you’d secured an agent.
Most people self-pub with ebooks first, especially now. I didn’t. Three years ago when I brought out NYN I’d never seen an ebook. I had a house full of print. I’d worked with print and I wasn’t convinced that making an ebook was worth the fuss.
No doubt this reasoning has been repeated in publishers up and down the land.
I was even getting requests for a Kindle NYN but it took a catastrophe to boot me over. One day Lulu deleted a bunch of Amazon listings and then bickered with Amazon – and its authors – about whose fault this was. My book, which was generating a buzz, vanished from sale for several weeks – and so did my reviews. The links from bloggers who’d written about it went to dead ends.
Clearly I had to find out about sales avenues, instead of just being a writer. I read my most trusted bloggers, filled a few information gaps, formatted NYN and wrote a how-I-did-it post for my readers.
Woot, I’d launched an ebook. I say launch, but that ‘how-to’ post, a Facebook event and a few tweets was the only launch I did.
Again, I was thinking with my writer head. I had no idea how books should be introduced to the market. When I worked for the small publisher, the marketing manager handled it. When ghostwriting, I was never the focus – the celebrity authors had an army organising bus stop posters and appearances on Breakfast TV.
But, probably only by the grace of bloggers, my tiny launch sold five times as many copies in one month as I’d sold in print. There must have been quite a few people waiting for a Kindle NYN because it spent a long time in the Kindle top 10 for books on writing and it’s still in the top 50.
I revamped the print edition and put it on Amazon’s CreateSpace (because I’d got fed up of middlemen). NYN immediately got offered on a 4 for the price of 3 deal and is always on a bundle deal of some sort. Now it’s catching up with e-sales.
Does blogging and social media sell books? Yes, but I did it by accident
So, I had a book out but my goodness I needed to learn more about promotion. Off to my bloggers again. It turned out my blog got top marks for being a good platform -
- I stuck to a subject I could blog about until the end of the world
- I could demonstrate with my background that I knew what I was talking about
- my posts were useful and accessible
- I was happy to answer commenters and develop posts into a conversation.
All of this I did entirely by accident. The tight focus on writing came from my background in magazines – where you give readers useful advice and don’t dilute your value with off-topic material. The rest happened because I was having fun.
I was relieved to find I didn’t have to do a hard sell – because I’d seen some pretty grotesque campaigns around Twitter and Facebook.
As with blogging, social media marketing seems to work by a gentlemanly process of relationships – people get to know you, enjoy your company in an interview or a blog post. It’s the way books have always sold on in traditional publishing – by generating curiosity so that one day the reader stops and picks up the book. It is, to quote one of my guru bloggers Joanna Penn, hand-selling on a global scale.
By mid-2011, NYN was doing well. My agent had given up trying to sell my own novel. The typical feedback was: ‘we really enjoyed it but it’s too unconventional’.
Meanwhile, in traditional publishing, a number of novelists were daring the unthinkable – they were going indie. They were writing articles explaining why, many describing exactly my predicament – too unusual for the market.
I decided it was time to publish My Memories of a Future Life. I put it through a rigorous round of edits and got an editor friend to scourge it as well, and it was ready to go.
The promotion problem
Publishing my novel was very liberating, but how would I launch it? People who wanted writing advice wouldn’t necessarily like my fiction. I couldn’t change my blog into a hybrid of writing advice and marketing for my novel – that would annoy the readership I’d built up.
That took care of its online home, but where should I promote it? So far I’d learned how to sell a book that was helpful to people – which was easy and unembarrassing. But a novel isn’t helpful and nobody needs it. All I could do was try to drum up curiosity. But where?
All the advice I’d found was about marketing genre fiction – where you create a buzz on forums, Goodreads groups and books blogs. But my novel is contemporary fiction with literary sensibilities. Its tag line is ‘what if your life was somebody’s past’, so it seems to be a reincarnation story, but is no more about reincarnation than We Need To Talk About Kevin is about a crime. Publishers said it was too much like a thriller for literary readers and too psychological and poetic for thriller readers. And the narrator isn’t regressing to a past life, but looking to an incarnation in the future – so that might add a label of speculative fiction – or not, depending on your take on the story.
I began to see why publishers passed in favour of something easier.
(You might be wondering if such a duck-billed platypus of a novel would ever work, but it’s got a respectable clutch of high-starred reviews, none of them paid for and none of them calling in favours.)
Some writers hire publicists but that wasn’t an option for me:
- I wouldn’t know how to assess whether a publicist was any good
- I didn’t know anyone else who’d marketed an equivalent book so couldn’t use them as a template or find suitable publicists through them
- I didn’t have any budget anyway.
I weighed up my novel’s biggest asset – a thought-provoking distinctive idea – split the book into four parts and released it as a Kindle serial over four weeks. Then I followed with the complete novel on Kindle and in print.
I called each instalment an ‘episode’ to echo the freshness of serials like Lost and also to suggest how to approach it – as a modern, multi-level thought-provoking story.
This meant I was handling an exhausting 4 launches instead of one – but it created an event, and people around Twitter, blogs and Facebook helped to build the anticipation – and even wrote reviews for the individual episodes.
My lovely readers
Here I found I’d underestimated my lovely followers – they were curious to see, at long last, the kind of novel I’d written. Also, subscriptions to my blog doubled – suggesting I’d passed some kind of test. Perhaps I’d proved, after all this talk, that I also walked the walk.
I was careful never to abuse this generosity. I wrote posts about the novel on my main blog only if they were useful to writers. For instance, I discovered that splitting the novel in four was an excellent way to test the story structure. I also wrote about how to produce a print edition and another post about how to write back cover copy – with examples of my laughably rotten versions.
Another accident – the novel’s blog gets a new life
Once the releases were out, I was going to leave the novel’s blog as a static site. Then I wrote a post called The Undercover Soundtrack – about how I used music as inspiration to create characters and crucial story developments. It fitted nicely as the novel is about a musician.
I suddenly thought I’d like other authors to tackle this, rather like Desert Island Discs, so I turned it into a series. It’s building a following from readers who like the concept and it also allows me to showcase other authors – karmic payback for all the advice and support they’ve given me.
I now get emails from publishers and publicists asking if their authors can take part – which is nice for a site that started as a way to launch a self-published novel (and by the way, you’re welcome to email me too). The boundaries are blurring.
My changed outlook
So I became a self-publisher by necessity. It wasn’t initially as a positive choice, just the only way to get my work to an audience who were increasingly curious about it. But my experiences and the recent shifts in the industry have changed the way I think about my role as a writer.
In my conventional publishing experiences, the author is a cog and a lot of decisions are left to others: blurbs, covers, style questions – sometimes even editorial direction. The book becomes the ‘property’ of the publishing team. Now, though, I’m used to being in charge.
The genie’s out of the bottle. Authors are learning what’s possible and that they can have far more control. And that’s before we even think about royalties, especially with ebooks.
But before you worry this will become a strident call to arms, let me say this – the ‘empowerment’ of writers works both ways. Level-headed, professional authors are also learning what we want help with.
To take me as an example: I’m writing NYN 2 and I’ll self-publish because I have the resources to do a good job and to find readers. (Indeed I’ve had 5 small-press offers to republish book 1, but I didn’t need editorial services and they didn’t have a wider reach into relevant markets.) So I can write, produce and sell books on writing.
But that’s non-fiction.
With my fiction, I can take editorial charge, I can find a compatible developmental editor – but I’d be just as happy to build a relationship with an editor in a publishing house. Also, I need help to find an audience. My novel does pick up new fans, but I have to work non-stop to get it to new readers and I’m doing it very inefficiently because I’m guessing. And I certainly can’t get the notice of influential reviewers.
Writers will weigh up these options, and savvy publishers could too. Some writers can lead the process and produce top-notch books. Others will gladly leave many jobs to the publisher. For every writer that equation will be different. Probably for every book it will be different.
To take an example – my husband, Dave Morris, recently had a critically acclaimed hit with an interactive app of Frankenstein. He’s a game designer as well as a writer and could have programmed the app himself and put it in the app store, but he preferred to partner with a publisher. He found a home for it with Profile Books – which gave Frankenstein a prestigious launch.
Message 2 for publishers – don’t throw away your competitive advantage
One of the problems is that marketing strategies are steering editorial decisions. I know Big Six editors who don’t read submissions from unknowns and instead trawl the indie bestsellers on Amazon. My own agent tells me he’s had plenty of phenomenal novels from first-time writers that reached the editorial board and were rejected because they didn’t fit with what sells.
Obviously there’s no simple answer, but this pressure is squeezing out the original, unusual books written by people who dared to be different, the game-changing novels that will be the classics of the future.
This is bad for our art form. It’s bad for everyone who likes a good read. It’s ghettoising our next generation of original writers, who 10 years ago would have had a chance to build a career.
It’s especially worrying when you consider that a lot of self-publishing bestsellers are not the most original work but derived from what’s already successful. So if publishers copy the copies, where does everyone end up?
Publishers need to take a longer-term view. They need to have confidence in innovation.
Innovation is where the big hits arise. Harry Potter and Twilight weren’t like anything that was already successful. The competitive advantage of publishers is their experienced editors who can take a nurturing view.
There can’t be a publisher – or indeed an agent – who doesn’t have a stack of outstanding manuscripts they couldn’t get commercial backing for. I’ve suggested before that agents should help them self-publish under a special imprint, but it’s not what they’re geared up for. But publishers are.
Publishers should start ‘Discovery’ imprints on print-on-demand and ebook, perhaps produced as a flexible partnership with the author but released under the publisher’s banner. They should showcase a handful of titles every few months that they passionately believe in. The major reviewers would take notice, because the titles would come with the seal of approval of an editorial department. Those authors are going to self-publish anyway, so why not get involved?
This partnership approach is where the real publishing industry of the future will be formed.
The session ended with Q&A … so who wants to start…?
agents, authors, editors, episodes, facebook, first job, Fix and Finish With Confidence, harry potter, how to market your book, how to market your novel, how to nurture talent, how to sell a self-published book, how to sell books, how to write a novel, literary agents, literary consultancy, literary fiction, literature, Lost, magazine editing, marketing your self-published book, My Memories of a Future Life, nurturing writers, nyn, Oxford, publishers, publishing, Roz Morris, self-publishing, serialisation, Society of Young Publishers, speech, title books, Twilight, twitter, We Need To Talk About Kevin, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel
Sorry, but that’s the wrong way round.
Except in a very few cases, it doesn’t work.
You can build a platform with a non-fiction book. If you’re offering expertise, it’s easy to find the people who need it. If you write about a life experience, you can connect with readers who seek similar support. And there are far fewer of you – and more room to be heard.
Before you use your novel to launch your platform, go and look at Facebook. Goodreads. Twitter. Everyone is waving a novel.
The number of people you will reach by starting this way is negligible.
There are many examples, of course, of successful self-published fiction authors. Everyone has their favourites to brandish. I’m going to talk about Joanna Penn. She didn’t start with a novel. She started with a blog – The Creative Penn – and built a loyal following while she taught herself about the writing and publishing world. By the time she launched her first novel, Pentecost, she had a great relationship with a lot of people.
Relationships are what sell books, both fiction and non-fiction. That’s what a platform is.
So to build your platform, get out there and blog, tweet, Facebook or whatever. Be natural, be yourself and build relationships. It’s also much less of a strain if you’re not trying to sell something.
And since you’re not using your novel to build your platform, what are you going to do with it?
You might as well, um, query with it.
Stop grinding your teeth at the back there. We’re agreed that relationships sell books? Agents have relationships with publishers. Publishers have relationships with distributors, the press, the places you cannot get reviewed if you do it all yourself. Yes, agents and publishers take their cut, but that’s because they have a much bigger reach than one little writer on their own.
If you don’t like the way a deal adds up, you can always refuse it. Or negotiate. But if you never try, you don’t know what might have happened. If you want to have a publishing career (and why otherwise would you build a platform) it make sense to explore all the options.
‘But every agent has different taste…’
Good writing is good writing. All agents are able to spot it. If you target enough agents who are a good fit for you, you will find out whether you are ready to go into print (or pixels) – or whether you should develop more. It is worth knowing that, isn’t it?
‘But it takes time…’
You’re going to have to spend that time building your network anyway. And what’s the hurry? You can’t – or didn’t – learn to write overnight.
‘But everyone’s publishing…’
I understand you’re impatient to get out into the big publishing party. Really I do. When I first held a book that was filled with my words I felt the earth quiver.
But I’m now seeing a lot of people who have whizzed onto Kindle, are finding their novel doesn’t sell, and are getting dispirited. That’s a shame. That’s the sound of dreams shattering.
Please don’t mutter the name of Amanda, the lady my friend Porter Anderson dubbed Amanda Hocking [example of everything]. That’s exactly what she is – an example of anything you like, including holy amounts of luck (and I wish her plenty more luck, BTW). But will the law of probabilities allow that to happen to you?
Build the relationship first
Relationships sell books. Build the relationship first, in whatever way you like, partnering with whoever seems right. That may be conventional industry routes; it may be creative collectives. Then you will have a platform, and you will have readers.
Thanks for the pic, Scottnj
While we’re on the subject of being grown-up about platforms, I’m planning a newsletter! Add your name to the mailing list here.
So, agree? Disagree? Sending the lynch mob…? I’m sure you’ll have plenty to say in the comments
agents, Amanda Hocking, Amazon, beginners, building a platform, facebook, fiction, get published, Goodreads, how to get published, how to write a book, how to write a novel, Joanna Penn, Kindle, literary agents, marketing your novel, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence, novels, polishing, publishing, Roz Morris, self-publishing, The Creative Penn, twitter, writing, writing a novel - Nail Your Novel, writing business, writing life
Last year, the only plans I had as 2010 clicked to 11 were to finish my troublesome novel Life Form 3 and get it agented. Continue the blog and my consultancy and nurture ideas for my next novels. I did those, but I also find myself looking back at some self-publishing ventures that were not, in 2010, even a twinkle in my champagne glass.
Writers used to work in isolation. Now we are a community of experts and explorers. We show the way when we can and we cheer each other on.
Not only can we spread knowledge, we can change attitudes. One of the quantum changes of 2011 has been that we now accept quality authors can publish without being chosen for it. That’s not to say ‘traditional publishing’ is dead – just that we now have extra options for reaching readers.
To everyone who is part of this, I raise a glass. Its predictions for 2012 are inscrutable, of course. The only plans I can be bothered to make in any detail are creative. But going on previous form there will be exciting things I cannot imagine right now.
And may it be the same for you. Happy new year.
blogging, facebook, goals for your writing, happy new year, inspiration, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence, novels, publishing, Roz Morris, social media, twitter, writing goals, writing life
Everyone who’s reading it is telling me on emails, Facebook, Twitter and in reviews where they think the story is going, what crumbs they’re following and what their hopes for it are.
This is so interesting. The size of print novels was largely dictated by the economics of production and distribution, which meant it didn’t pay to release fiction that was too long, or too short, or even serialised. But the Kindle has none of these constraints, and it can connect through social networks too. Through Kindle, people can gather around campfires and enjoy stories as a communal experience and it will only get better. It’s going to be so exciting to see what new storytelling forms we get in the next few years.
Anyway, around our own little campfire, Part The Second has arrived. For .co.uk click here and .com find it here. To listen to a free audio trailer of episode 1 (35 minutes), go here.
Amazon, facebook, fiction, interactive stories, Kindle, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence, pianos, publishing, Rachmaninov and Ruin, Roz Morris, social media, twitter
I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘Road trips require a soundtrack; so do some novels’ – The Undercover Soundrtrack, 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
- How many words do you write a day? And do you have to force yourself? How successful authors do it March 30, 2014
- ‘Pictures in melody’ – The Undercover Soundtrack, Aaron Sikes March 26, 2014
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