Posts Tagged how to write a novel

Self-editing masterclass snapshots: accents and making a character sound distinct in dialogue

guardThis week I’m running a series of the sharpest questions from my Guardian self-editing masterclass. In previous posts I’ve discussed three/four-act structure, endings and characters who are either bland or too disturbing to write. When I posted on Tuesday I forgot there would also be an Undercover Soundtrack to disturb the sequence, so here, slightly later than trailered, is Masterclass Snapshots part 3.

Lee carson

Regional accents to make a character sound distinct

One writer had his characters encounter people with strong local dialects. He asked how he should render their speech.

We discussed why he wanted to do this. He explained that it was to include a flavour of the setting and emphasise that the main characters were in unfamiliar territory. The odd speech was one good way to show this – with caution. Strange spellings or contractions will trip up the reader if overused. We discussed other ways of achieving this effect – perhaps by showing local customs and attitudes, lifestyles and so on. All of this will create a sense of a different culture.

This led to another good discussion – how do you make characters look distinct through their dialogue? Favourite phrases are useful, and that might be a way to show foreignness too. Habitual gestures are also good.

Humour styles are a very interesting way to differentiate people. (Curse words too, but some writers might not explore this very thoroughly.) I often see manuscripts where writers have given all their characters the same sense of humour, which makes them look like clones. In reality, you could take any group of people and they’ll all have their individual ways of expressing humour. Some enjoy wordplay. Some will try to grab attention and be the joker of the group. Some will be understated and enjoy the odd ironic quip. These are all ways to use dialogue to create a three-dimensional, distinct character.

nyn2 2014 sml(There’s more about this in Writing Characters Who’ll Keep Readers Captivated, including a discussion of phonetic Glaswegian.)

Thanks for the pic Lee Carson

Tomorrow: editing is more than tweaking the language

Have you had difficulty making your characters sound distinct? How have you tackled this?

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Self-editing masterclass snapshots: bland friend and upsetting antagonist

guardThis week I’m running a series of the sharpest questions from my Guardian self-editing masterclass. In previous posts I’ve discussed three/four-act structure and endings. Today it’s two questions about difficulties with characters.

heyjowwhereyougoingwiththatguninyourhand

The bland friend

One romance writer had a character who was the supportive friend for the protagonist. She worried that, in all the scenes of tea and sympathy, the friend was bland. I suggested giving her a rough edge that showed the limits of this tolerant soul. I drew inspiration from Dave’s mother, easily the most accommodating person I ever met. But she couldn’t abide spiders, and would not have been bothered if you squashed one while removing it from her presence. Suppose, I said to my romance writer, your nice lady is so mortally afraid of spiders that she always stamps on them?

The antagonist you’re afraid to write

Another lady had an antagonist who made her feel inhibited. She knew he should have more darkness than she had written but she feared to explore it. She also recognised this was cheating the book. What if, I said, she put that worry into another character, let them act out her discomfort? Would that free her to unlock the antagonist? She seemed to feel that would do the trick. I also encouraged her to look for the kernel of good that let him feel positive and justified about himself – and maybe even disturbed him.

nyn2 2014 smlContradictions are a great way to make two-dimensional characters into compelling story-people. I’ve written about it at greater length here. And of course, there’s even more about characters here.

Thanks for the pic, heyjoewhereareyougoingwiththatguninyourhand

Tomorrow: accents in dialogue

I’m really curious about this question of the character who upsets us so much we feel inhibited when we write them. Have you had experience of this? Let’s talk.

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Self-editing masterclass snapshots: endings and epilogues

guardThis week I’m running a series of the sharpest questions from my Guardian self-editing masterclass. Yesterday I ran a post about three/four-act structure. Today it’s a great point about how you tie up the end.

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Tying up the ends at The End – should you write an epilogue?

One student in the class had written a major climax scene, then another scene to tie up the subplot ends, then an epilogue so we could see what the characters did next. She asked, how many climax scenes could you have? How long should you go on after that? She also felt she didn’t know when to let go and allow the book to end.

Deciding the order of the end events is tricky. You need a main climax, which obviously is the major plot thread. Other threads can be solved in less prominent positions, and often work well in the post-climax scene, as the dust is settling, as a leave-taking for the whole book.

But then what? Do you need an epilogue to show life going on? At what point do you pull the plug and send the reader away?

This is very much a gut decision, but I’ve seen a lot of writers who can’t leave their characters behind. They embark on epic epilogues which dilute the ending, water down its poignance or sweetness, or delay the final punch for too long.

But I know why we write them. I did it myself with My Memories of a Future Life. I wrote several more chapters after the end, page after page, but I recognised that this was so that I could let go. It was an act of exorcism, just for me. I never intended those chapters to be in the book.

Of course, in your mind and in the reader’s there’s always more to tell. So answer this – what will an epilogue add? And who are you adding it for – the reader or yourself?

Thanks for the pic peddhapati

Tomorrow: two difficult types of characters

Do you have trouble tying up the end of a novel? Have you ever written extra chapters so you could ‘let go’? Have you ever had feedback that suggested you’d paced these ending chapters wrong, either too abruptly or too slowly?

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Revision and self-editing: masterclass snapshots

guardYesterday I was teaching a course for Guardian newspapers on advanced self-editing for fiction writers. My students kept me on my toes and I thought I’d explore their most interesting questions here. There are quite a few of them, and the weather is too darn hot, so instead of giving you a giant reading task I’ll be posting them in short bites over the next 7 days.

middle

Three/four-act story structure – how strictly must you stick to it?

Briefly, most stories have a beginning, middle and end, and seem to work best when the major turning points are at 25%, 50% and 75%.

It’s a formula followed by Hollywood screenplays, and it’s certainly useful for novelists – but as a guideline, not a hard rule. In novels it probably won’t matter if you begin your climax at 80% instead of 75%. If you begin at 90% the ending might feel abrupt because you might not have time to come down the other side. You might also have too much of a lull beforehand. On the other hand, it might be perfect.

Where the structure rules become really useful is if you spot a problem. If the end seems too sudden, or too drawn out, would repositioning it help?

Tomorrow: ends and epilogues

Thanks for the pic TMAB2003 on Flickr

Let’s discuss! Do you find the three/four-act structure is useful to you, too formulaic? Has it helped you iron out a problem in your manuscript?

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Ghostwriting FAQs: should you get a ghostwriter, do you want to become one?

‘Can I ask you about ghostwriting….?’ As you may know, this is how I first got published, writing novels that were released under the names of other people. I was the secret hand that wrote these (and others…)

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I get asked about ghostwriting all the time, from people curious about it as a career path, or thinking about hiring a ghostwriter, or the plain curious. So here’s the dirt. Or as much as I can safely reveal.

Which books are ghostwritten?

Celebrity biographies and novels If someone has an interesting life story or is popular, a ghostwriter might be engaged to help them write a memoir. If that sells they might be asked if they fancy doing novels.

Megabrand genre novels It’s well known that James Patterson uses ghosts, outsourcing early draft work to keep up with demand. And that publishers hire writers to keep popular authors feeding the market after they die – eg Robert Ludlum. There are also plenty of other big-name authors in commercial fiction who are still alive and use ghostwriters, unacknowledged. (Knowing wink. You would be scandalised.)

So there’s plenty of work.

The Ghost + Robert HarrisHow do you find ghostwriting gigs?

It’s all about who you know.

Editors and agents If you have a literary agent, let them know you’re up for ghosting. Also it’s worth mentioning to book editors you’ve worked with.

Journalism Journalism is another way to break in, especially for non-fiction. You might meet someone who wants help writing their life story or a book on their patch of expertise (but see below).

Author services companies I get frequent approaches from author services companies, who want reliable ghostwriters they can recommend to clients. I don’t know what the terms are, but, in general, I worry about working for services companies. Judging by other areas of publishing, one party gets a bad deal – either the client pays over the odds, or the freelance gets a lot less than market rate.

Pros and cons Cons first. You’re caught between two masters – which you realise when the ‘author’ wants one thing and the editor wants another. You will be amazed at the issues that blow up into diplomatic incidents and you’re left trying to please both. (Knowing wink. You’ll earn every dime.) Commercial ghostwriting is satisfying because the book will be published, and because of the cost of hiring you, it will probably be well marketed. Depending on your deal, should be a worthwhile addition to your CV and earnings stream. If you ghostwrite for an author services company, you may find there’s no long tail because the book is far less likely to earn in money or reputation.

What will you be paid? Deals vary, obviously. But to generalise, you get much better terms if you have representation. My agent is horrified at the contracts I have from my ghosting days.

My personal beware list2009experimentcrop

Don’t do any ghosting work for individuals unless you’re very sure they’ll get a publishing deal. Even if they’re a celebrity you know personally.

Don’t do any work on spec for agents. In more naive days I spent four months rewriting a thriller for a phenomenally well-connected gentleman, persuaded by an agent to do it for a future profits share. The book never sold and I never saw any payment.

Be even more careful of the situation that might land you in court – or worse. I get a lot of approaches from people who want me to help them write a book about their murder trial. Such a book couldn’t be published without cast-iron legal backing, which only a major publisher has the chops for. And as for the chap who wanted me to write the book about how he was manipulated into assassinating … No I can’t tell you. (Knowing wink with a nervous twitch. You might be dead.)

Can I hire a ghostwriter myself?

Question. Can you afford to pay six to nine months’ salary for a writer to do a proper job of your book? This is why, in commercial publishing, ghostwriters are generally funded by the publisher, not the writer (although they don’t always get a fair fee – see above). But if you have a strong concept for a book and a writer who is a good match, you could seek a deal together.

What about royalty-split deals? See the caveats above, but these are frontier-busting times. Indies are leading the way with new ways to fund books, as we’re seeing with ACX for audiobooks and translation deals.

How can I break in?

Aside from personal contacts, there are opportunities for beginners if you know where to look. Book packagers are companies that dream up commercial ideas for novels, which they pitch to publishers. Some of these become phenomenally successful. They need writers.

They give you the plot in painstaking detail, so your job is to flesh out the story into scenes. Sounds a doddle? There are two downsides. One – the pay is rubbish. Two –they demand rewrite after rewrite because they design the story by committee and change their minds. But it is a way to get experience, and you might make useful friends. Find them in Writers’ and Artists’ Yearbook, or the US equivalent. Contact them and ask if they’re looking for writers. If you send them a sample and it’s good enough, they might ask you to try out for a live project.

Have you any questions about ghostwriting? Or wisdom to add? Your turn!

 

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How to fix a plot hole

470346677_8ee3532e15_zI’ve had this great question:

I have bought your book, Nail Your Novel, and it has been really helpful. I was having a blast. Loving my characters, villains, setting, plot. But after 70.000 words I have a huge abyss in my story, I hit this blank between the middle of act II and the climax. Everything before and after that is just fine, but it seems that no matter what I do, I can’t resolve this blank spot.

Eric Alatza, first-time writer, Brazil. (Oh my: Brazil. I know the web is world wide so this shouldn’t give us pause, not for even a picosecond. Especially as you might be reading this in Brazil too. But it reminds me, in London, how much I appreciate that self-publishing and social media lets us reach …. anywhere. #momentofawe #howmuchdoIlovetechnology)

Okay, here’s how I’d attack Eric’s problem.

1 Does your story climax really fit?

You’re trying to join the end to the rest of the book, but does it fit? Has the story evolved beyond your original plans? Do you believe in this ending?

I had this problem with Lifeform Three. In my first draft I had written a storming finale, planned from the start, and indeed it had a lot of material I was chuffed with. You will never see it because it wasn’t the ending the book needed. As I wrote, the characters had taken on deeper issues, confronted essential questions – and my original ending was logical but disappointing. So I nuked it – yes, the entire final third of the book – and started again.

I’m wondering, Eric, if your spider sense is telling you this, which is why you can’t jump the chasm to the finale you planned. Ask yourself:

  • Is the ending unsatisfying in terms of themes explored, questions posed, other threads left dangling?

Also:

  • Are you forcing the characters in a direction they don’t want to go?
  • Will a character have to be uncharacteristically stupid to bring about this climax?

Is a new ending too painful to contemplate? Well, it costs nothing to brainstorm. Just as an exercise, cut loose and see where else you might go.

learning from fahrenheit 4512 Check your midpoint

You mention you have problems with the story’s middle. Is that because your ideas so far don’t seem significant enough?

If so, ask why. The middle of act II is traditionally a turning point. Perhaps the story stakes magnify, or an event turns everything on its head. Mr Darcy proposes to Elizabeth, which surprises and appals her. Nothing can be the same after that conversation. Perhaps there are new alliances that change the nature of the conflict – as in The Hunger Games. It might be the point where the character’s flaw, inner problem or true self first emerges as a dominant force – in Fahrenheit 451, the midpoint is where Montag meets a new mentor character. In the film of The Godfather, the midpoint is the scene where Michael Corleone commits murder, setting him on a new path. It might be a transformation that is subtle but deep. In My Memories of a Future Life, it’s where my narrator truly surrenders to the future incarnation. (I tried to write that without giving spoilers…)

So is your midpoint important enough? Have you got that sense of transformation and escalation? If not, brainstorm ways to find this significance. (And allow yourself to think of solutions that might mess up your planned ending.)

3 Get fresh inspiration

As always, you might be running on empty. When I’m stuck, I go to LibraryThing.com and search for novels that tackle similar themes, issues and situations. I also post an appeal for recommendations on Twitter and Facebook. (I’d do it on Goodreads too if I could work out how.)

Dissatisfaction is progress

There is a reason why you’re balking, although you may not consciously know it yet Our instincts are rarely articulate, but they are usually right. You know the rule about inspiration and perspiration? To fill a plot hole, do more digging.

Drafting is more than transcribing your notes

All the stages of novel-writing are creative. We’re constantly triaging our ideas and refining them. Whether we’re outlining, drafting or editing, we might find new insights and directions. Be ready to make the most of them.

2 nynsMore about the Nail Your Novels here. Even available in Brazil.

Thanks for the pic Corinnely 

What would you say to Eric?

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Studying Ray Bradbury: a beat sheet of Fahrenheit 451

learning from ray bradburyI get a lot of emails about the beat sheet revision exercise I describe in Nail Your Novel. I’ve just prepared an example for my Guardian masterclass using the opening of Ray Bradbury’s Fahrenheit 451 so I thought you guys might find it helpful.

Bradbury is one of my heroes for the way he explored science fiction ideas in a lyrical style – and indeed he described himself as a writer of fables rather than SF. Strong influence there for my own Lifeform Three, in case you were wondering. Anyway, creating the beat sheet made me admire Fahrenheit even more so I thought it would be fun to share my discoveries here. (Discreet cough: spoiler alert…)

First of all, what’s a beat sheet?

It’s my absolute rescue exercise for revision. Think of it as an x-ray of your draft. It lets you check the structure, pacing, mood of scenes, character arcs, keep control of plots and subplots, wrangle your timeline – all the problems you can’t see when you’re lost in a sea of words. And you can learn a lot if you make a beat sheet of a book you admire.

Here’s how it’s done. You summarise the book, writing the scene’s purpose and add its mood in emoticons. Either use an A4 sheet and write small, or a spreadsheet. Be brief as you need to make this an at-a-glance document. Use colours for different plotlines or characters. Later you can draw all over it as you decide what to change. This is the first third of Fahrenheit 451.

 

  • Intro Montag, startling wrongness, brutality of burning scene :0
  • Meets C, explanation of fireman job + role. Establishes M’s alienation from
    natural world & how people are isolated
  • M ” home. Wife overdosed :0 !
  • Horror/desperation of rescue, texture of deeper sadness :0, concealment of
    true feelings, everyone’s doing this
  • Morning. Wife doesn’t remember. M isolated with the horror. TV gives people substitute for company
  • M meets C again, disturbed by her, fascinated by her curiosity & joy
  • Intro to mechanical hound. Brutal games other firemen play. M hated it & feels threatened by hound. Guilty secret :0
  • Friendship with C deepens. She’s misfit. Explanation of how kids are
  • taught in school. Other kids as brutal as firemen. M increasingly drawn to her outlook
  • M progressively more alienated & uncomfortable :0 Goes with firemen to house. Steals book ! Woman defends her books & sets fire to herself !!
  • Men shaken. Captain B pulls them together
  • M too upset/afraid to go to work. Tries to talk to wife. Wife’s priority is for him to keep his job & buy gadgets. Can’t comprehend or notice M’s distress :0
  • B visits – pep-talk, history lesson. Wife finds concealed book ! Does B know?
  • M confesses :0 ! Is B friend or foe? ? !
  • M confesses to wife ! He has 20 books !! Now she could be in trouble too. Furious. Persuades her to start reading !!!…

 

So that’s how it’s done.

Now, even more delicious, what can we learn from Mr Bradbury?

learning from fahrenheit 451Introduce the world and keep the pace moving – variety and contrast

Beginnings are tricky – what information do you show? Bradbury gives us a lot, but makes it memorable and entertaining with his use of contrast.

First is the startling close-up of the books being burned and the brutal relish in his description. Next is the conversation with Clarice McLellan, the kooky neighbour who seems to come from a completely different, gentler world. Third scene is Montag’s home life. (We can see this from the colours – blue for work, orange for the conversations with the intriguing girl, yellow for home.)

We’re probably expecting the home scene, so Bradbury keeps us on our toes and breaks the pattern. It’s no regular scene of domesticity. It’s Mildred Montag’s suicide bid. There follows a horrifying scene where technicians pump her out, routine as an oil change. It builds on those two emotions we’ve seen in the earlier scenes – the brutality from scene one (brought by the technicians), and the sensitivity from scene two (Montag’s reaction). In just three scenes, the world is established – and so is the book’s emotional landscape. A brutal, despairing world and a sensitive man.

Connecting us with the character

In the next scene, Mildred is awake, chipper, and has no memory of the previous night. Only Montag knows how dreadful it was and he can’t make her believe it. She is only interested in talking about the new expensive TV gadget she wants. This confirms Montag’s isolation and disquiet. And ours. We are his only confidante. We’re in this with him.

Change

In each of those scenes, something is changing – Montag is being surprised or upset (or both). Although Bradbury is acquainting us with the world and the characters, he is also increasing Montag’s sense of instability. As you’ll see from the beat sheet, the later scenes continue that pattern.

Pressure and relief: reflects the character’s inner life

Look at the emoticons. They show us the mood of each scene and, cumulatively, of the book. But successive scenes of pressure (action, perhaps, or upsetting events) can wear the reader down. That’s one of the reasons why we might have a moment of relief – downtime around the campfire, or a brief flash of humour. These relief scenes often carry enormous impact because of the contrast.

Fahrenheit 451 builds this atmosphere of a brutal world, and we notice it quickly. The only relief is in the conversations with Clarice – so the reader’s need for relief mirrors Montag’s internal state. Reader bonded to the main character by the author’s handling of mood. What perfect, controlled storytelling.

I could go on, but this post is long enough already. And we need time to discuss!

nyn1 2013 ebook j halfreslf3likeThe beat sheet is one of the tools in Nail Your Novel: Why Writers Abandon Books and how you can Draft, Fix and Finish With Confidence. More here

And more about Lifeform Three here

Have you made beat sheets of your own novels, or novels you admire? Are there any questions you want to ask about beat sheets? Or let’s carry on the discussion about Fahrenheit 451. Ready, aim, fire

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Which courses should I take to become a writer?

4063109507_ab9b84c033_zI’ve had this question from Ellie Jackson, who blogs at aquamarinedreams.wordpress.com

I have just graduated from high school and dearly wish to become a writer/author. I am asking different authors what their recommended education would be – pursue a degree, take courses, or read books and blogs and get as much experience possible?

You want more than just to use writing in your job, right? You want to write books that will be your signature in the world.

A degree?

I’m guessing that careers advisers would pick the obvious – take a qualification in English, perhaps literature. That’s the way I was advised, but studying English didn’t help me write. It was the subject I was good at and a way of keeping me parked in education while I figured out a profession to aim for. (I went into publishing.) Casting around my real-life friends who’ve ended up as published writers, they have degrees in archaeology, history, theology, PPE. Husband Dave has a degree in physics. Some of my writer friends don’t even have degrees.

Writing courses

None of my writer cronies have a formal education in writing. They – we – wrote as a natural pastime and this became such a habit that we always had a book in the works. We read craft books when we found them, but mostly went with our instincts and learned by reading with awareness. Then we gathered our courage, queried an agent or an editor and had a period of rude awakening when we discovered our blind spots (and also strengths).

Not everyone gets that kind of feedback or opportunity, of course, especially as publishing deals are now more scarce than ever. But we now have far more ways to find mentors – hiring an editor, joining online or real-life writer groups. I had my baptism of fire in an evening class at Morley College in London, where we read excerpts of WIPs and discussed them critically, guided by an agent. All genres, all types of writer. Eyes were widely opened.

Good as that was, I’ve done miles more learning since. Each novel gives me new craft challenges, and Ever Rest is no exception. To be a writer you have to relish that work as much as the days when the muse is obliging. It also means you don’t have to get all your learning in one hit.

Last word on courses

Creative writing qualifications might prime you with the basics, but I don’t think they’ll equip you any better than learning by practice, training your sensitivity, reading observantly and experimenting on your own soul. Creative writing degrees probably exist because there’s a demand for them, not because they’re necessary.

What’s my evidence for this? In more than 20 years as an editor, I have not noticed that clients with MFAs or creative writing qualifications are any more adept than those without.

Again – which course?

Here’s what I’d do. Get a fallback skill you can ultimately use for freelance work. It’s unlikely you’ll be able to make a living just by writing, so train in a skill that will pay the bills and scale up or down as needed. Even if you aim to write a high-selling, lucrative genre such as romance, you still need to earn while you build a reputation, a network and a body of work.

It’s more likely, though, that you won’t give up the day job. Sorry. Many acclaimed writers I know are also immigration officials, teachers, night watchmen (good for story material), doctors, lawyers, PR consultants, tailors, journalists, farmers, electricians. I don’t subsist solely on writing. I freelance as a fiction editor and also as a magazine editor. And occasionally a film and TV extra.

whatremains44This doesn’t demote your writing to ‘just a hobby’. If you are arranging your life around your writing, it is not a hobby.

Should you try to work in book publishing?

Here’s an upside – you meet useful people and learn handy skills (for me it was how to make books – dead useful with the invention of CreateSpace).

Here’s a downside – little reading time of your own. You must read to develop your art. Although you learn a lot from rough or unsuitable manuscripts, or the latest upcoming bestsellers, you need to read for your own education and for your current WIP. See my previous remark about prioritising.

Experience

We’ve talked about ‘experience in writing’ – but experience in another sense counts too. The best education for writing isn’t craft books or courses. It’s life. If we only mix with writers, that’s all we know – like those authors whose main characters are always authors, or pop stars who only write songs about the agony of fame. That’s a rarefied life that doesn’t resonate well with the people who might be your readers. This fantastic post by Randy Susan Meyers at Beyond The Margins talks about the things she learned from frustrating jobs where people treat you impolitely, reveal their true natures or regard you as invisible. We write more truthful, relatable, enduring books when we get out.

Becoming a writer isn’t necessarily about getting qualifications. The learning process is too long for that. You can’t bank on making a living through it – although you might, the business is too precarious and fickle for such guarantees. So what is your best plan for success? To build a life that enables and enriches your writing. Good luck. And let me know what the other authors say.

Thanks for the writer pic Alan Weir

What would you say to Ellie? Share in the comments (especially if you’re a careers adviser)!

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How to write a novel to an outline and still be creative

8108383545_0a63c2bddf_zAs you may have seen from the interwebs, I’ve finished the first draft of Ever Rest – which I’ve been announcing with giddy hullabaloo because I’m relieved to have got to the end.

I wrote it with an outline, but even so, it changed a lot in the telling – and this is what I want to talk about today.

Planning v pantsing

Hands up: who’s a planner? And who writes by the seat of their pants?

Planning versus pantsing is supposed to be one of the great divides between writers. On the one side we have systematic processes; on the other, an argument for natural connection and creative flow.

But it is possible to write with a detailed outline – and go with your instincts. An outline isn’t a straitjacket.

Indeed, Ever Rest started to bust its sleeves as soon as I got typing.

The first was the point-of-view characters. I originally nominated three. Pretty soon there were two others. Perspectives galore, who weren’t originally planned for.

Four main characters completely defied my expectations. I thought I knew who they were, but when they got on their hind legs and talked they acquired unexpected dimensions. They then did a thing they weren’t supposed to, which shook up the entire third act.

And this was a book I’d planned (more here about my writing process).

Wasted plans?

It might seem as though all that dithering with cards and marker pens was wasted. I might as well have made it up day by day. But no; I still stuck to the plan.

Before I put my cards into order for writing, I knew them very well. When my characters took me by surprise, I knew which scenes could be shuffled into better positions. I also found new gaps, and scribbled more cards. And I wrote the last section backwards from the end.

So an outline doesn’t bind you to one path through the story. It does, however, provide a useful framework. A lot of storytelling is form and structure, crescendos and revelations. Without this, you might write your way into an aimless wilderness – which is one of the dangers when we make it up as we go. An outline keeps that mechanism in order; it is a safe space where you can interpret, experiment and follow inspiration.

And despite my deviations, I realise the book is, in essence, what I was aiming for all along. My outline was a series of wishes thrown into a well. The writing made them come true.

My tips for using an outline creatively

  • Stick with your outline – it was made with an awareness of patterns, structure and themes. It imposes coherence and shape. But adjust to take advantage of new insights. You may find you can use events you’ve planned in a better way – give them to different characters or shuffle them to new positions.
  • If you want to make a drastic detour, make a list of the pros and cons. Is Mary the murderer after all? Spend five minutes making a list of the consequences if she is.
  • Some writers use an outline up to a point – then abandon it as inspiration shows the true direction.

But don’t feel that the previous work was wasted. It wasn’t. It’s what got you here.

Thanks for the pic Axisworks

nyn1 reboot ebook darkersmlThere’s more in Nail Your Novel about writing outlines and using them creatively.

Do you outline your novels? If so, how strictly do you stick to them? If you don’t outline, how do you work? Let’s discuss!

 

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How much time should writers spend blogging and building websites?

bloggingI’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?

Oh my, do I have websites – here, here, here and of course right here. That’s four web homes. (I’ll explain why later, but first:)

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.

Quick detour – should your site be self-hosted? I’ve blogged about this here and here, including the importance of your own URL. (I’ll be talking about that later.)

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.

manuscriptyfillerShould you blog about writing and publishing?

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? firstYou 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?)

ucovwhatMy Memories of a Future Life and The Undercover Soundtrack

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.

Lifeform Three

This is a separatelfsite site with its own URL, knitted into the others.

Time taken: like the main aucovuthor site above.

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.

 

blogshotSo 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.

Thanks for the blogging pic, Mike Licht of Notions Capital.com 

 

guardNEWS 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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