Posts Tagged My Memories of a Future Life

‘Summoning Christmas in July’ – The Undercover Soundtrack, Jan Ruth

for logoThis week we have a seasonal Undercover Soundtrack – and one that examines the imaginative lengths a writer has to go to. When you hunker down to read a Noelish tale on a snuggly sofa with snow at the windows and a fire crackling in the grate, spare a thought for the writer, who was probably in flip-flops and T-shirt, shutting the curtains against the sun blazing on her laptop screen. Such was the lot of this week’s guest, who began writing her Christmas collection of off-beat romance stories in July. She says she relied heavily on music to create the mood – and risked husbandly disapproval (though he didn’t mind the unseasonable baked goods that were also necessary). So are we about to drag you through the infuriating radio canon of Slade, Mariah and Bing? No, let me reassure you this Soundtrack is a dignified collection, with Katherine Jenkins and Sarah Brightman. Mostly. Drop by the Red Blog to meet Jan Ruth and her Undercover Soundtrack for summoning Christmas in July.

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Living the stuff of novels: the ghostwriter’s lot

In this season of the notorious Zoella ghostwritten novel, I’m getting deluged with questions from people who know I ghostwrite. What’s it like? Who have I done? Well, I can’t tell you that because it’s a trade secret. Also because to divulge the details might get me shot. (Though I can give advice on how you get into it – here’s my recent post on that.) As the nation sings Zoella, Zoella, I thought you might like this piece on ghostwriting, originally penned for Authors Electric.

nick_blickWrite what you know? Ho ho ho

An acquaintance from my dance classes read My Memories of a Future Life last month and has since been seeing me in a whole new light. I can tell by the thoughtful looks he gives me as we wince through stretches and wobble through pirouettes; an expression that says ‘I never knew you had that weird stuff going on…’

After class the other day he said to me: ‘that freaky scene with the hypnosis in the underground theatre… you must have been to something like that?’

‘No,’ I said. ‘It’s research and imagination.’ He looked a little disappointed.

I stomp on your dreams

Had that taken away a little of the magic? Do readers prefer to think they’ve been led through your rearranged memoirs than the fruits of your persuasive art?

Some clearly do. There’s a long tradition that people who’ve had extraordinary lives sit down to dash off a novel. Many of them are not writers, and so the actual words came from people of ordinary amounts of courage and glamour, in charge of something no more racy than a blank page.

I know; I’ve done it. This is the lot of the ghostwriter.

The ghostwriter

A publisher introduces me to an ‘author’, and I write the novel they would if they could.

A surprising number of writers ghost for others, leaving behind our literary egos to live on the page as someone totally different. (It’s great discipline and allowed me to develop a method for getting novels ship-shape to order – all boiled down into my writing books.)

No, I didn’t do Jordan or Madonna. For some reason, I’ve trended in testosterone, with a run of adventurers and special forces types. I don’t know why. I don’t have a Y chromosome, for starters.

I now have an arsenal of rather wonderful faked experience. Just as you never forget how to ride a bicycle, I’ll never forget how to fly a plane, microlight, glider, hang-glider, helicopter. Or handle guns. Or hotwire various vehicles. I’m a dab hand with plastic explosive. I can make you believe I’ve abseiled out of helicopters into thin air, tracked assassins through jungles and India’s most impoverished slums, humanely killed a fatally wounded rhino and inhumanely despatched drug bosses. And done a whole rainbow of hallucinogenics.

In real life, my passport rarely gets any outings. But between the covers I’ve out-trekked Michael Palin.

After all that, hypnotising someone in an underground theatre is child’s play.

Fake to fake

Once, I went to meet my publisher and arrived in time to see my ‘author’, giving a presentation to the sales reps. Behind him was a wall of advance copies, floor to ceiling like bathroom tiles. I stood at the back and watched while he enthralled them with titbits of the characters and plot in the book I’d built on my hard drive.

We were faking, both of us. He was faking being a writer. I had faked being the soul who lived the stuff of novels. I watched for a while, then like a good ghost, slipped out, unseen.

It always amuses me to hear that maxim, ‘write what you know’.

Any questions? You can ask whatever you like, but I may have to answer with a seraphic smile. Or tape over my mouth.

Thanks for the pic NIck_Blick

3nynsNAIL YOUR NOVEL PLOT BOOK Right now, chez Morris, the plot book is in the final throes of production. If you want to share my pain, er, pick up some handy professional tips, I’m currently formatting for print (part 1 and part 2). Then I’ll have to write the back-cover blurb (share the torture of that here). And if you’d like to know as soon as it becomes available, sign up for my newsletter. glownews

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‘Harmony from fragments’ – The Undercover Soundtrack, Rochelle Jewel Shapiro

for logoMy guest this week had a real struggle to get her novel into shape. She was used to seeking inspiration from music, but found that nothing she listened to was helping. In her head was a jumble of characters and voices, all clamouring but making no sense. Then she happened upon a video of her own daughter-in-law, singing an a capella composition of her own that layered and alternated lines from random blogs. This quirky piece gave her the courage to put her characters together – and see where the harmonies came. She is Rochelle Jewel Shapiro and she’s on the Red Blog with her Undercover Soundtrack.

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Editing seminar snapshots: writing for a blog vs writing for a book

image_00006smlThis week I’m running a series of the best discussion points from my talk at the Writers & Artists selfpublishing event. So far I’ve covered how producing a good book requires an editorial team, how authors need to allow enough time to use their feedback properly and author control. Today, it’s a rather thoughtful question about writing and self-editing in the digital age.

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Who are you? Self-editing to self-censorship

I had a very interesting discussion with a lady who had written a book on creativity, and was turning some of it into a blog. She said she found she was editing differently when putting it on line. Where passages from the book contained deeply personal information, she was removing this, feeling it was not suitable for the public world of a blog, though she was happy to have it in the book.

I wonder, has anyone else experienced this? Are you a different writer in the depths of your book? Less self-conscious perhaps? More secure in your relationship with the reader? Is your blog more of your upbeat, ‘party’ persona and your book a buried, contemplative one?

Last week in Thought Catalog. Porter Anderson talked in about the modern phenomenon of writers sharing so much about their daily lives, which has never been possible before. He asked, does this ready familiarity with an author’s life spoil the mystique necessary to let a book do its proper work on the virgin snow of a reader’s mind?
He talks of ‘a certain remove by the artist of his or her daily private life from the stage…’ so that the book can speak for itself.

But after my conversation with the blogging writer, I wonder this: what might we keep back for a book, let ourselves tell only in a story? Surely a person who is committed to writing always holds something in reserve, a true kernel that gets its expression only in communication with the page, that indeed maybe doesn’t exist except in the private vault where the book speaks for us. That’s what makes us writers. Perhaps on our blogs we are comparatively extrovert. We may not mean to censor or conceal; we tailor our copy for a short-order medium. In our books, we inhabit an introverse. Do you?

Thanks to Henry Hyde for the pic of me, and to Sean Mundy on Flickr for the eye.

Anyway, let’s discuss. Does this say something about the different qualities of blogs versus books? Does it suggest what we might be missing if more of our reading time is taken up by ephemeral media such as blogs and newspapers, rather than books? Especially as we increasingly read them all on the one device? And where are you most you? Am I mad?

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Editing seminar snapshots: negative criticism and author control

image_00006smlThis week I’m running a series of the best discussion points from my talk at the Writers & Artists selfpublishing event. So far I’ve covered how producing a good book requires an editorial team and how authors need to allow enough time to use their feedback properly. Today, it’s how to cope with criticism.

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Editing – an ordeal or not?

Henry Hyde (who took the pic of me!) asked the very good question of how writers respond when they receive a report. He’s the editor of a magazine, and said that contributors are often aghast when their work is red-penned. So what the blazes does a writer make of a 40-page document of major changes (as I described in my previous post)?

Well, I try to be gentle. I also encourage the author to see the report as criticism of the work, not them – although it’s often hard for them to see that. The more writing you do in a professional environment, the thicker your soles become and the more you’re able to see a manuscript as a work for others to help you with, rather than a bundle of your most tender nerve-endings.

It helps to have sensitive criticism, though. In traditional publishing, I’ve had savage editors who seemed to relish their chance to tear an author down – and generous souls who make it clear they are working for a book they already believe in. I hope I’ve learned from them how to be the latter.

The author has control

One author brought up an interesting point about a copy editor who had rewritten her dialogue, converting it unsuitably from period to a modern voice. With hindsight it was clear that the editor was probably working in an area outside her experience and thought all books should be edited the same way – a salutary warning to choose your team carefully. And several authors asked: ‘what if the author disagrees with the editor’?

A good question. It is, of course, entirely up to you what you do with a proof-reader’s tweaks or an editor’s recommendations. You are in control. Burn the report if you like, we’ll never know – but we’d prefer to think we’d been useful. I’m careful to make suggestions rather than must-dos, and to encourage an author to explore what they’re aiming for.

A good editor will also try to ensure they’re in tune with the author before any precious words change hands (let alone precious $$$). (Here’s my post on how a good editor helps you be yourself.  I’m not tooting my own trumpet here – for most of you who are reading this, it’s likely I won’t be the right editor. Be highly wary of anyone who says they can developmentally edit absolutely anything.)

Let me reiterate: it’s your book. YOUR book. The editor, copy editor and proof reader make suggestions, not commands. (The same applies in a traditional publishing contract, provided you haven’t assigned moral rights – which isn’t usual.)
Use this power wisely. (And, to return to Messrs Jon Fine and Joe Konrath , don’t publish shit.)

Thanks Toni Holopainen for the pic of the man undergoing a thorough edit
Next (and finally): self-editing to self-censorship
If you’ve worked with editors, how did you feel about their criticisms? If you’ve been through this process several times, have you toughened up? Have you disagreed with an editor’s suggestions, and what came of it? Have you ever paid for an editorial service and concluded it was a waste of time and money? Let’s discuss!

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‘We become readers in our listening’ – The Undercover Soundtrack, EJ Runyon

for logoMy guest this week wrote her book from a soundtrack of nostalgia – she describes it as a mix of Spanish-language songs and an American flavour of yearning. She used music and lyrics as signposts and milestones, to transport her into the mind of a child, to show the passing of time and the key moments of her young life. At one point, the character learns the violin and the author searched the internet until she had tracked down actual lesson books that would have been used by a child of that period. She is writing coach EJ Runyon, and she’s on the Red Blog with her Undercover Soundtrack.

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Editing seminar snapshots – how long to allow for rewrites

w&alogoThis week I’m running a series of the best discussion points from my talk at the Writers & Artists selfpublishing event. Yesterday I covered how producing a good book requires an editorial team. Today, it’s about allowing enough time to use their feedback properly.image_00007sml

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Editing – will it derail your schedule?

One of the points I made was how long to allow for rewrites after the editor has done their worst – er, best. (Here’s my post on a publishing schedule for indie authors. )

I get a lot of enquiries from first-time authors who have already set a publication date and allowed a nominal fortnight or so to sort out the book after my report. They have no idea how deep a developmental edit might go. Especially for a first novel, or a first leap into an unfamiliar genre, you might need a few months to tune the book up. I know some writers who’ve taken a year on a rewrite, and I recently wrote a document of 20,000 words on a book of 100,000. Equally, other authors don’t need as much reworking and should have a usable manuscript inside a month.

But don’t make a schedule until your editor delivers their verdict – er, worst.

Thanks, Henry Hyde, for the pic of me :)
Next (after a brief sojourn at The Undercover Soundtrack): negative criticism
Have you had editorial feedback (whether from an editor or critique partners) that required major rewrites? How long did it take you to knock the manuscript into its new shape? Were you surprised?

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Editing seminar snapshots – from Writers & Artists self-publishing day

w&alogoimage_00007smlAs you might have seen from various flurries on Facebook and Twitter, last weekend I gave a talk at the Writers & Artists selfpublishing event in London. There are some interesting discussion points I want to share, and some of you will have crawled out of Nanowrimo and won’t be in the mood for a giant reading task, so I’ll be posting them in short bites over the next 6 days.

Editing – many minds make your book better

My task at the event was to explain the various steps of editing and why they were important – developmental editing, copy editing and proof reading (here’s my post on a publishing schedule for indie authors ).

This care with the book content was an absolute gold standard for the day, and was stressed over and again – guided rewriting with expert help, and attention to detail.

JJ Marsh of Triskele Books  in her talk on how their collective works, said that the combined critical talents of her fellow authors had made her books far better than she could have made them on her own. Psychological thriller writer Mark Edwards, women’s fiction author Talli Roland all talked about the people who helped shoulder the responsibility of getting the book to a publishable standard. Jon Fine, director of author and publisher relations at Amazon, cut to the chase by quoting thriller selfpublishing phenomenon Joe Konrath : ‘Don’t publish shit.’ (Next time I’ll just say that.)

Some of the delegates didn’t need to be told anyway. From a show of hands, roughly a fifth of them had already been working with editors, in thriving professional relationships where their limits were being pushed and they were being challenged to raise their game. If there’s one advantage selfpublishing can give us, it’s the control over our destiny and artistic output, and many of these writers were committed to making books they could be proud of.

Eek, the cost!

True, good editing comes at a cost. Jeremy Thompson of the Matador selfpublishing imprint gave grim warnings about companies that advertise editing services for just $99. And it probably seems unjust that a pastime that should be so cheap has such a steep price tag. Writing is free as air, after all. But publishing isn’t. It never has been. No manuscript ever arrived at a publisher and went straight onto the presses. It went through careful stages of professional refinement – which takes time and money.

That said, there are ways to get useful developmental help without breaking the bank – here’s my post on 4 low-cost ways to get writing tuition if you can’t afford an editor.

Thanks for the picture, Henry Hyde

Tomorrow: how long to allow for rewrites
Have you worked with an editor or critique partner who helped you improve your book? Or perhaps the opposite….? Let’s discuss!

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‘Hidden forms that tell a story’ – The Undercover Soundtrack, Stephen Weinstock

for logoYou can’t read much about writing advice before you trip over an essay about story structure, and how it works invisible magic on the reader. My guest this week has used sophisticated musical structures as the skeleton of his fantasy series, a series of nested reincarnation tales inspired by The Thousand and One Nights – and his influences range from Alban Berg to Frank Zappa. For him, music does not so much conjure up a scene or a character as an entire shape, of how an idea moves into a story and where it eventually goes. He is uniquely qualified to do so, as he is a composer, pianist and dance accompanist for musical theatre with the dance faculties of UC Berkeley, Princeton, Juilliard, and the ‘Fame’ school (though he has not yet said if he is reincarnated). Stephen Weinstock is on the Red Blog with his Undercover Soundtrack.

SHORT BREAK I’ll be taking a short break from blogging but will be back with a post on 30 November.

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I name this book… tips for choosing a good title

3919477288_8ff29f2eda_oFor every manuscript I see with a head-turning title, there’s another with a title that’s limp, unassertive and would never tempt a reader to look closer. Or a title that’s too tricky to remember.
I had a great discussion about this recently with Peter Snell (you know, from Barton’s Bookshop) in our show for Surrey Hills Radio (find it here, on show number 10) and I thought it might be fun to elaborate on it further.

Numbers are powerful
For non-fiction, you might add a sense of value by putting a number in your title. 50 Tips To Help You Build A House sounds like it offers far more than just Tips To Help You Build A House. Numbers also create a sense of insider knowledge, that an expert has chosen just the tips you need and discarded the others. When Peter and I recorded the show in the bookshop, we’d set up the microphone in the countryside section, where there were plenty of titles like 100 Finest Country Houses. One book might have country houses, but the 100 Finest sounds more persuasive. Suppose another book of country houses misses out the best ones?
Tip: a non-fiction title should sound authoritative, assertive.
For fiction, numbers can add a sense of frisson, a specific tipping point – Catch-22, Station Eleven, Fahrenheit 451. They seem to say ‘at this moment or place, or with this concept, something significant happens’. (And look at the startling oddness of Fahrenheit 451. The unconventional word order stirs up a sense of disturbance. Ray Bradbury’s titles all have this quality.) 1984 is a clever shuffling of the date of the novel’s publication. We can imagine how sinister it must have seemed in 1948. This will be us, it seems to say. Come and see. (Is anybody currently writing 2041?) Anthony Burgess wrote a tribute to Orwell’s novel and, naturally, called it 1985.
Tip: numbers are good for attracting attention.

‘One’ is special
In our discussion, Peter mentioned One Flew Over the Cuckoo’s Nest, and took us in a new direction. This title suggests a person on their own, the one who dared to go against the crowd. It conjures up a character. It also seems to speak for all of us while also being about one individual.
Continuing the power of One, David Nicholls’s One Day sounds momentous; simple yet significant. It’s also a common phrase, with overtones of hope and dreams.
And how about The Girl With The Dragon Tattoo? (Bafflingly, its original Swedish title translates as Men Who Hate Women. Perhaps a Swedish-speaker could explain if the original has a special quality that makes up for the apparent blandness.)
Tip: consider the bold and emblematic individual, time or event.

What’s in a name?
We like a sense of a character in a title. Names can conjure this up, but they might be hard to remember, especially if the name is used in isolation. If you read a post or a feature about a novel called Mary would it stick in your mind so you could find it later? Memorable titles will set up a little more. A Prayer for Owen Meany: why does Owen need to be prayed for? Or they might set a tone of irony – The Book of Dave. Or grab attention with a clever phrase – Memento Nora. The Rosie Project. Each Harry Potter book had a promise of adventure – The Philosopher’s Stone, The Deathly Hallows. (Also she was writing a series.  Harry 2, Pottered About Some More, might not have done the trick.)
Tip: if using a name, add something to create a sense of curiosity.

Made-up words, or words that are difficult to pronounce
Years ago, I made this mistake with my first novel. I set my heart on calling it Xeching, after the meditative treatment performed by characters in the future part of the book. It seemed to carry resonance, but only if you knew what it was, of course. Agents pointed out that it was too hard to remember, not to mention incomprehensible. It’s perhaps the absolute showcase of a disastrous title – it means very little and is hard to spell. (I was thinking with my designer head, imagining it in a big, intriguing font on the cover.)
Your unwise title may seem to have many points in its favour. But will this meaning be apparent to somebody happening on your book for the first time?
You might create a striking effect, though, by mis-spelling a word, if the mis-spelling is easy to remember. A novel about murders in the cyber-age might be called Killr.
Tip: tricky spellings and made-up words are hard to ask for in bookshops and difficult to find in online searches. And that’s assuming they’re remembered at all.

Personality of the book
Some titles snare us with a sense of personality. The Girl Who Circumnavigated Fairyland In a Ship of Her Own Making. Kill The Poor by Lemony Snicket (itself an eye-catching nom de plume). Everything is Illuminated by Jonathan Safran Foer.

Instability is good
Lauren Oliver’s Before I Fall carries a promise – something must be done before time runs out. Look at the tension in Philip Pullman’s The Good Man Jesus and the Scoundrel Christ. John Steinbeck’s East of Eden is potent with downfall. New twists on famous quotes or concepts are easy for readers to remember.

Words that suit the genre
In our radio discussion, Peter remarked that certain words seem to embody the appeal of a genre – and mentioned angels, demons. (Though I threw a spanner in the works by mentioning Marian Keyes’s Angels, which is chick-lit. Or did I throw A Spaniard In The Works like John Lennon?)
The treatment of the title also tells the reader a lot. My friend David Penny is preparing to publish his historical crime novel, Breaker of Bones. I saw a conversation about it on Facebook where another friend (who didn’t know Penny’s work) asked why it wasn’t Bone Breaker. That would be an entirely different kind of novel.
Tip: look up genres on Amazon and on Goodreads lists to see if there are words and title styles you should consider.

Sum up a feeling – how memorable is it?
The least successful titles I see are when the author is trying to sum up a feeling in the book. These often become generalised and vague. Finding The Answer. The Past Returns. All My Tomorrows. Husband Dave came up with clever suggestion here. If you think of a possible title, tell it to your friends. Then, a week later, ask them if they can remember it. (Try to pick the friends who don’t have superhuman powers of recall.)
The Mountains Novel (now Ever Rest) might have been christened Comeback. This certainly fitted in some ways with the story. It was pithy. However, when I googled, I found reams of novels called Comeback, many of them in the crime genre – a rather misleading flavour.
Not only that, I couldn’t remember Comeback. I simply couldn’t. In my mind, it became Countdown, though lord knows why. If it couldn’t stick for me, it certainly wouldn’t for a reader. Anyway, Ever Rest suits its mood far better.
On the show, Peter Snell added the bookseller’s perspective on commonly used titles. It’s a right royal pain to find the book the customer actually wants.
Tip: Once you’ve identified a feeling or theme you might highlight in a title, you can brainstorm strong, striking and emotive words for it.

Again, how memorable?
If your name is well known, you don’t have to try that hard with the title. Readers know to look for the next book by you. They’re more likely to find you by searching for your name, not your book title. On the show we discussed how the fantasy author Jack Vance (whose work I love) has many titles that are little more than labels (The Planet of Adventure, Trullion).
Daphne Du Maurier, Jane Austen and Charlotte Bronte all got away with name-titles (Rebecca, Emma, Jane Eyre). But they were writing in less competitive times. Would Lewis Carroll have got very far if he’d published Alice’s Adventures In Wonderland today?

Thanks for the pic Lisby

Oh, and speaking of titles with a number

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Have you any tips to share on coming up with titles? Do you find it difficult? If you have decided on a title, what others did you consider? How did you make the choice and why?

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