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Posts Tagged literature
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, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, 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 life
I’m delighted that this week’s guest has included Olafur Arnalds’s album Living Room Songs in his Soundtrack. I discovered it from another guest here, and it got me like a snakecharmer’s pipe. While I’ve been mainlining it to brainstorm The Mountains Novel, my latest guest has been using it to create an environment of conspiracy, calm and sexual tension for his novel Red Lory. He says he puts music on to act as a metronome, guiding his voice while he concentrates on the sentence formation and world-building. He’s also inspired by the way songwriters pack so much into a tight space, which drives him to make his prose more vibrant and potent. He is literary novelist Dave Newell and he’s on the Red Blog with his Undercover Soundtrack.
authors, Dave Newell, deepen your story, entertainment, fiction, Fix and Finish With Confidence, how to write a book, how to write a novel, literary fiction, literature, Living Room Songs, music for writing, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Olafur Arnalds, publishing, Red Lory, Roz Morris, self-publishing, snakecharmer, songwriters, soundtrack, Southern Gothic, Southern Gothic literature, The Mountains Novel, The Undercover Soundtrack, undercover soundtrack, writing life, writing routine, writing to music
I’m thinking about this because the other day I heard an interview with the British actor Peter Bowles. He explained that much of the time in acting life, he’d try to second-guess the director. When his character seized a sword or opened a letter, he’d be trying to figure out how the director wanted him to do it. Partly this was survival – after all, he wanted to be hired again. And he had a team player’s instinct to collaborate and please. However, he was aware that he was missing a fundamental connection – with the author of the text, and what they wanted.
But, said Bowles, this all changed when he put on a mask. Yep,. he couldn’t see the director any more but that’s not as fatuous as you think. It narrowed his awareness to just him and the text. And then it was as if all doubts vanished; the white noise of other people disappeared and he was suddenly certain of the emotions and truth in a dramatic moment. He knew, from inside, what to do.
It strikes me that writers spend a lot of time second-guessing. We’re surrounded by muddling influences. What’s popular in the market, what our favourite authors recently did. Suggestions from our extended writing family. Even, requests from our readers.
Writing has never been so connected. We can bust out of isolation, join social writing communities and cheer each other through Nanowrimo. As soon as a chapter leaves the brain, we can offer it for comment if we wish. Oh I’m not saying it isn’t fantastic to have support and guidance. If I disapproved, I’d hardly bother you with my weekly volume of bloggery. I love the world wide web of creativity we have. But no one knows a work’s bones as well as its creator. Are we taking enough quiet time to discover its deeper, instinctive truth?
I think there’s a part of writing that cannot be social. It must be done alone, unplugged and in a safe space. That’s how we strike out and find true inspiration – for the direction of a story, the meaning of a setting, the innate humour in a scene. It’s how we develop instincts we can rely on and a voice that’s indubitably our own. It’s how we become original and authentic.
Like those actors, there are times when we need to put on the mask and see what we find.
TINY NEWSFLASH Continuing the theme of creating our own space, I’ve revamped my author website with a new design and some extra pages, including Why I self-publish and a picture tour of my writing process.
Let’s discuss in the comments: Do you take time to retreat with your work? What do you do to cultivate your writer’s instinct?
acting, actors, authors, British actor, creativity, deepen your story, entertainment, fiction, Fix and Finish With Confidence, having ideas, how to be creative, how to be original, how to develop a writer's instinct, how to get inspiraed, how to write a book, how to write a novel, improv, inspiration, literature, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, novels, Peter Bowles, publishing, Roz Morris, UK actor, working with masks, writing, writing a novel - Nail Your Novel, writing life, writing routine
Before words. Before thought or language. My guest this week spends his professional life challenged by the reflexes and intricacies of the long-ago brain. By day he is an anaesthetist; an inducer of sleep and guardian of the unconscious. Sometimes that’s more eventful than you’d think. By night he is a poet and a playwright. His latest book fuses night and day in a memoir of his profession. He is Wolf Pascoe and he’s sharing his Undercover Soundtrack at the Red Blog.
anaesthesia, anaesthetics, anaesthetist, anaesthetists, authors, Breathing for Two, deepen your story, entertainment, fiction, Fix and Finish With Confidence, hospitals, how to write a book, how to write a novel, inducer, intricacies, literature, medical, medicine, music for writing, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, OR, pascoe, physician, playwright, poet, poetic meditation, poetic memoir, professional life, reflexes, Roz Morris, self-publishing, The Undercover Soundtrack, undercover soundtrack, Wolf Pascoe, writing, writing life, writing to music
I always feel a tad self-conscious when I get asked to write about what I’ve been up to. Post an entire piece without trying to help, inspire, solve problems…? Can’t I turn it into advice, just a teensy bit? No, said Women Writers, just write what you’ve been doing. Once I started, it turned out I had quite a bit to report for the past few months, so here it is….
And since we’re sharing news, tell me … in the past year, have your writing dreams become a step more possible?
PS WordPress informs me this is my 500th post. Which must indicate somethingorother about progress!
authors, creativity, culture, dreams, Fix and Finish With Confidence, guest post, guest posts, how to write a novel, literature, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, publishing, Roz Morris, self-publishing, sharing news, tad, update, Women Writers, Women Writers Women Books, Women Writers Women Books blog, writing, writing a novel - Nail Your Novel, writing life
As you saw last week, I’m plotting The Mountains Novel on cards. I know the big picture – how it begins, where the characters can go and what the final note is. I’m now shuffling the events to get the strongest order and viewing the results with a critical eye.
Here’s what I’m looking for.
1 Finding the logic gaps
Is a story beat missing? Should a character react to an event? Is there a consequence I should cover?
2 Characters fitting the plot
Am I forcing a character to do something to suit the plot instead of what comes naturally to them? Is anyone behaving for the plot’s convenience, instead of the truth of the story? For instance, is someone doing something dumb so that the plot can advance?
This isn’t always bad, by the way. Sometimes characters do things that aren’t in their best interests or that spoil things for themselves – and it’s part of their complexity. And if they do, I need to make a feature of it.
3 Is anything predictable?
Could I introduce more twists and surprises? While plotting step by step, it’s easy to follow an obvious pattern. Now I need to make sure everything happens in the most interesting way, and look for opportunities to misdirect the reader or reinforce my themes. I also need to watch out for convenient coincidences.
I’m wondering if I need comic relief? The Mountains Novel is quite elegaic, and too much might get monotonous or precious. I’m looking for opportunities to add lighter moments so that I don’t wear the reader out.
5 Other rethinks
I’ve realised I’ve called two characters by the wrong names. One of them started out as comic relief, a variation on a stereotype who would give the reader something familiar to follow in a bizarre situation. But he is now so much of an individual that the name seems crude. This is annoying, because when I invented it I was rather delighted. But funnily enough, it would suit another secondary character, whose role must change because of the character who has developed. Can I adjust my mental image of the name? Or should I (reluctantly) consign it to outtake history?
6 Reviewing my wrong turnings
While I was conceptualising The Mountains Novel, I wrote reams of notes for possible story directions. With each new exploration, I didn’t dare read the old material in case I lost my way. But now I’m confident in its direction, I can look back over those early conjurings and see if there is material that might be useful. Many of them won’t fit, but some will add richness.
You can find other tips on outlining and troubleshooting in Nail Your Novel, which writing teacher and literary agent Lisa Cron recently recommended as part of her shortlist of essential writing books (hooray!).
And – hooray #2! My Memories of A Future Life (nailed novel) has been given a Seal of Excellence for Outstanding Independent Fiction by Awesome Indies. This was a big surprise as they first assessed it two years ago and I never thought they’d even remember it. Thanks, guys!
Do you troubleshoot your outline? If so, what kinds of things have you changed that made a big difference?
authors, authors. Awesome Indies, Awesome Indies Seal of Approval, books, comic relief, deepen your story, entertainment, Fix and Finish With Confidence, having ideas, how to plan your novel, how to write a book, how to write a novel, literature, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, novels, outlining a novel, outlining your novel, Planning, Plot, publishing, Roz Morris, secondary character, troubleshoot your plot, writing, writing a novel - Nail Your Novel
There will be changes
Always. Even if you’ve had beta readers. Even if you’re a seasoned pro. Of the 14 or 15 full manuscripts I’ve submitted, there was only one where the editors didn’t want to change anything, beyond tiny niggles. Only one.
There are two kinds of feedback. In traditional publishing, agents – and editors in the initial stages – will tend to give brief, sweeping notes about character arcs, pacing, credibility and relatability. Even though these won’t be as detailed as the work an editor will do, they might keep you busy for a couple of months.
Moreover, an editor who does a detailed critique may have a different vision from those who have looked at it before. (Should you edit to fit another person’s tastes? A million-dollar question, which I’ll come back to.)
Anyway, most of us swallow hard when the detailed report arrives. This is what I do.
Critique report survival tips
Expect a large document that tackles your book in close detail. Sometimes very large – I’ve written 50 pages for a novice author (but there I’m also taking a tutoring role, so my commentary includes discussion of craft).
1 – Read the report without doing anything. Satisfy your curiosity. Don’t make to-do lists or open the manuscript. Just read.
2 – Set it aside. Yell, scream etc. Wait as long as your deadlines allow. This also lets you digest. When you’re even-tempered about it, start work.
3 – Some suggestions will be easy to fix. Some will be harder. Some will be praise and encouragement, though you might not have recognised them. Read through and mark the easy stuff – either highlight on a printout, or colour in the Word document. Tackle these immediately if it makes sense, and feel satisfied that you’re getting this under control.
4 – Now you’re limbered up – and are familiar with your manuscript again – you’re ready for the trickier suggestions. Separate out the ones you don’t agree with.
Often editors make suggestions that skew the book in a way you don’t want. But they may have identified a significant problem. Disregard their solution and delve deeper for the source.
For instance, an editor who saw an early draft of Life Form Three told me it needed another viewpoint character and that one of my story devices was confusing. I didn’t want another viewpoint character, so I made the original one more relatable. The confusing story device was also important to me, so I reworked it. Result? He was happy because the problems were fixed.
Of course, if you have a traditional publisher, an editor might ask for changes to fit their list and readership. Use your judgement, but remember this: if you are named as the author (ie it’s not work for hire) a publisher can’t change anything without your agreement. Dig your heels in if there is something you really disagree with. In a worst-case scenario they might decline to publish, but this rarely happens. (They also can’t make you agree to a cover or title you don’t like, BTW.)
If you’re indie, you of course have complete freedom to decide what to change. But consider whether an unsuitable suggestion is pointing to a problem you should tackle in a different way.
What, another stage of feedback? I’m afraid so. Copy edits are done after main developmental feedback. But they can still throw up enough problems to make you gnaw the desk.
Copy editors notice the tiny details that slipped by when everyone had bigger problems in mind. They also catch the errors that crept in as you went over the manuscript again and again. The murder victim’s hair might have changed colour. The timeline is impossible.
It’s better to be pre-emptive about this. Keep tight control of these details as you edit – especially the timeline. Although you can probably correct physical details such as characters’ ages and hair colour with a few inventive text searches, you can’t fix the timeline so easily and the whole plot might unravel if it’s wrong. (I map out the timeline when I make my beat sheet.)
The beat sheet is one of the tools described in my book Nail Your Novel … more about it here
Thanks for the pic Brainedge
Do you have any tips for tackling critique reports? Did you ever disagree with an editor’s suggestions and what was the outcome? Let’s share in the comments!
agents, authors, beginners, beta readers, blogging, copy editing, critique reports, critiques, deepen your story, developmental edit, developmental editing, editorial feedback, editors, entertainment, feedback, fiction, Fix and Finish With Confidence, hiring an editor, how to write a book, how to write a novel, literature, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, publishers, publishing, Rewriting, Roz Morris, self-publishing, traditional publishing, using an editor, working with an editor, writing, writing a novel - Nail Your Novel, writing business
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…
authors, beginners, books, business, Candace Austin, celebrities, deepen your story, design, entertainment, Fix and Finish With Confidence, former lives, future lives, ghostwriting, how to be a ghostwriter, how to write a book, how to write a novel, Ingrid Ricks, interviews, Laura Pepper Wu, literary fiction, literature, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, new york times bestseller, past lives, publishing, reincarnation, Roz Morris, self-publishing, Susan Shapiro, The Write Life, what were you in a past life, who were you in a past life, writing, writing a novel - Nail Your Novel, writing life
Wherever you are, you can be at the Edinburgh ebook festival. It’s a two-week programme of online bookish events starting at 11am every morning with a short story and rolling on until 11pm with reflective conversations about reading and writing. That’s 11am BST, Being Scots Time. There are author events, residencies where writers discuss issues for publishing and creatives, workshops and a daily sheeping forecast. When in Scotland…
Each night at 10pm I’m providing the music via selected reruns of The Undercover Soundtrack. So here I am, explaining to what an Undercover Soundtrack is and what listeners can expect. Do come over.
authors, book festival, comedy, deepen your story, Edinburgh, Edinburgh ebook festival, entertainment, fiction, Fix and Finish With Confidence, guest post, guest posts, how to write a book, how to write a novel, inspiration, literature, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, publishing, Roz Morris, self-publishing, sheeping forecast, The Undercover Soundtrack, undercover soundtrack, writing, writing a novel - Nail Your Novel, writing life, writing to music
All the scribbling world is going indie. New, unpublished writers are, to establish themselves – even if they’re agented. And experienced, well-regarded authors are leaving their imprints – either being dropped or deciding to seek a better way to release their work.
While publishers are probably not short of new material, we know they watch the indie scene to see who does well. At the moment they pounce on the Hocking and Howey high fliers, but in a few years’ time they’ll have a different breed of writer to consider: the well established indie with a clutch of books and a growing audience. The kind of author who used to make up the midlist. I’m wondering, what deals would they offer?
For most of us it’s unlikely to be bidding wars. But one thing’s sure. It’s really going to test the industry because it can’t be a standard midlist deal. Most indie authors will have outgrown that.
Help with production
How much production help will a competent self-publishing author need? Of course, some writers loathe production and will be glad to hand it over. Others, though, relish the control (like yours truly) or will have it so smoothly managed that they’d rather hire the help themselves than hand over a bigger share to have it arranged.
A publisher might be able to offer an economy of scale – although they have often cut staff so much they are using the same freelances who are hired by indies.
Here’s an added complication. The book needs to look professional. How would a deal legislate for a situation where a writer’s production values look like a home haircut? Spin it the other way: what would stop a publisher vetoing an outside editor to keep the work themselves and accrue extra percentage points?
I’ve already made this more complex than I imagined. Suffice it to say: production costs will become a negotiation point.
Help with promotion and marketing
I’m guessing that one of the prime reasons for partnering with a publisher is to gain kudos, exposure and credibility in places we can’t reach by ourselves.
We all know that if a publisher pulls out all the stops they can make a huge difference to a book’s fortunes. But most of the time (ie if they haven’t paid big bucks for the author), they can’t afford to.
What most non-starry authors get is a few mentions in the national press. That can certainly send an indie author reeling with delight. But does it sell copies? The evidence is that it doesn’t. Most books don’t sell unless you keep them constantly on readers’ radar. A splash in the press is short term. Indie authors know they have to keep a sustained campaign of advertising and promoting. The midlist author launch package is little more substantial than a token cork-pop at the book’s birth. It won’t keep the book alive, month in, month out.
There’s worse. At the moment, when you sign a deal, publishers are often secretive or vague about what marketing they will do. They’re used to the writers being so overawed that they never have to explain what exactly will happen or how brief the publicity flare will be.
Indeed, it’s shocking how meagre a publisher’s marketing plan might be. One writer I know was asked for a list of blogs the publisher could contact to run posts about the books. Up until then, the writer had believed the publisher would use their own special contacts, not people the writer already knew about. Another author friend, after two successful books, was sent on a social media course. He learned nothing he couldn’t have gleaned from reading a few blogs.
However, many of my writer friends are excited about the Amazon imprints – even authors who feel they’re finished with traditional publishing. Why? Because Amazon have developed and honed an amazing machine for finding readers. What’s more, the algorithms can work long term with emails and targeted deals. That’s the kind of help we would all take seriously.
I haven’t even mentioned ebooks. As ebook formatting is one of the simplest things for an author to do or source, few of us will need help to make them. Where will a publisher add value? Publicity? The trouble is, their publicity machine is still wedded to print territories, whereas indies are already marketing on the, ahem, wordwide web. Perhaps publishers will start to think globally. Or perhaps ebooks will be left out of publishing deals with indies, as those markets may already be well served.
Getting copies into bookshops is one area where indies struggle – and traditional publishers are acknowledged masters. However, go into your local Waterstones or B&N and you’ll be bewildered by the acres of book spines. What’s the likelihood of someone finding your book by chance, even if it’s there? Except for prominent displays (which aren’t given to every author), publicity is what makes readers pick up a book or ask for it to be ordered – and indies can already get onto the wholesale lists at very little cost. We don’t even need to buy the ISBN. So it is my contention that well targeted, long-term publicity is more significant to an author than distribution to a lot of shops. Do feel free to disagree.
Help with development
It probably seems cockeyed to consider this last. We can’t deny that editors can add a vital nurturing influence. Although successful indie authors will already have their infrastructure for making a book good, few of us would dismiss the chance to do it better. Or am I dreaming?
At the moment a publishing deal is like a fixed-price menu. But the authors of the future will be savvy about publishing. They’ll look for equitable arrangements and publishers will have to be flexible for each situation. A la carte.
Publishers will also need to be more transparent. Right now the culture is to keep the author in the dark. A business relationship can’t be vague like that.
Ultimately a fair deal will take account of what each side puts in. Who, in a publisher, is equipped to strike a fair deal with the entrepreneurial author or their agent? The editors? They know about nurturing content, being its shepherd and handling production. But they aren’t skilled in converting this into workable contract terms and profit shares. And why should they be? That’s like expecting your plumber to be able to fix your computer. The other option is the contracts department. But they’re in a legal ivory tower, away from authors and the realities of book production or selling. It’s as if we need a new kind of job in publishers – a professional who can grapple with all of this.
UPDATE: To be fair, many editors do recognise the need for change. But they don’t necessarily have the skills, systems or company culture to reinvent their relationships with authors. They’ve usually got enough to do keeping up with their publishing schedule – having managed an editorial department I know the realities of getting books out, and how diktats often come from lofty management levels that are impossible to fulfil while making the daily deadlines. So this kind of change is going to take time.
One thing’s for sure. The current standard publishing deal isn’t going to cut it.
Thanks for the dream team pic Permanently Scatterbrained
Let’s discuss this brave new world. Do you self-publish? If a publisher came calling, what would you appreciate help with? What do you want to handle yourself? What do you think would make you attractive to a publisher in return for their help?
agents, Amazon, authors, book publicity, books, business, contracts, Fix and Finish With Confidence, future of publishing, how to write a book, indie authors, literary agents, literature, marketing, marketing campaigns, midlist, midlist authors, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, publicity, publishing, publishing deals, Roz Morris, self publishers, self-publishing, writing, writing a novel - Nail Your Novel, writing business
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Connect with me here too
As @NailYourNovel I post 4 to 5 useful writing links per dayMy Tweets
Off duty I tweet as @ByRozMorrisMy Tweets
- ‘Music to make a creative space’ – The Undercover Soundtrack, Kirsty Greenwood December 4, 2013
- How to write down story ideas so you can remember why they were brilliant December 1, 2013
- Could The Undercover Soundtrack help you reach readers? Post at the Alliance of Independent Authors November 30, 2013
- ‘Sex, drugs, metaphysics and rock’n’roll’ – The Undercover Soundtrack, David Biddle November 27, 2013
- How do I develop something special in my writing? November 24, 2013
- 2 Tone Records and two cities riven by conflict – The Undercover Soundtrack, Catriona Troth November 20, 2013
- Social media: a message in a bottle November 18, 2013
See what I did there…