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As Oscar Wilde didn’t say: ‘Be yourself, everyone else is taken’. (No really, he didn’t.)
In our early novels, we’re more likely to see our main characters as proxies for ourselves. But there comes a stage where we learn more versatility, and to create new hearts, souls and minds to carry our stories. This was one of the interesting findings of a project organised by a team of researchers at Durham University and reported here in The Guardian.
Authors who took part in the survey were asked how they experience their main characters while writing. Those with many books reported that in their early work they saw the main character as a proxy for themselves. Sometimes it was simply wish fulfilment. Sometimes it was a deeper working, perhaps of a problem they couldn’t express in the real world, or an issue they had left undone. It was only in later books that they were aware they were creating individuals who had their own distinct hopes, dreams, values and reactions.
Does it matter?
Interesting though this is, does it matter? It depends. When editing, I’ve certainly seen where it goes wrong. There might be a sense that the main character’s viewpoint is never challenged, or nobody else in the book is as vivid, or all the other characters victimise, worship or pander to the narrator. It can look like the book lacks any perspective that would engage an outsider.
If you’re writing from your own trauma or sense of injustice, no matter how wronged you feel you still have to win the reader round. Indeed Anne R Allen has written hilariously about protagonists who turn readers off - usually because the writer has put themselves too literally into the story.
Here are some of the problems I’ve noticed.
Passive main characters
In a writer’s early books, the main character is often passive. They do very little on their own initiative; they merely react to what is going on. In real life, writing often appeals to people who are observers and analysers. And even if we aren’t, most of us would prefer trouble to go away. But readers find it exasperating if characters don’t at some point take charge or counter-attack. The passive default is generally one of the first reactions a novice writer must unlearn.
Unwillingness to alter events
Sometimes our emotional investment in the book can cloud our critical faculties. At the writing group I used to go to, I remember one lady who read from her novel, which was about a divorce. When we started to question events that seemed far-fetched, she snapped angrily: ‘but that’s what really happened’. Discussions went downhill from there.
Events need to matter more
Drawing on our own experience might produce tunnel vision. It might also stop us taking an idea as far as it could go.
I remember a very early attempt I made to write a story about my experiences with repetitive strain injury when I was a journalist. It was strangely flat. Although I managed to entertain with the strange medical tests, mystery and uncertainty, it was at best lightweight because the stakes weren’t significant. The worst that could happen was that the proxy me might have to get a different job, but that wasn’t a major challenge to my soul that would hook a reader with its urgency. This made me unhappy, because I wanted to write the crisis of somebody’s life…
Then ghostwriting taught me how real life is just material – and material that needs a snappy tailor. (Lots more here about ghostwriting if you’re curious.)
I had a use for my RSI scenario. It was time to adjust real life and amplify. The major amplification was the main character. Now, after writing a lot of fiction as other people, my first novel was the chance to write as me. But my narrator couldn’t be me, the real me muddling through with average demons and crises. She needed desperation. What’s more, her desperation, although it had to be particular to her, had to speak for a more fundamental essence of the human condition – in this case, a search for meaning and love. Perhaps that potential was in my mind all along in that early story, but it didn’t become fully potent until I invented the character who needed it.
If you’ve read My Memories of a Future Life you’ll be recognising her. Carol has elements of my personality and I certainly felt I was her when I wrote her. She comes from things I understand. But she isn’t me. She is herself, created as the person who needs the journey and healing process of that story.
Paftoo of Lifeform Three isn’t me either, though he started with my love of horses and the things we have lost from the past. I then put that in a situation and personality that would cause the utmost trouble, a fight for his very soul. And for Ever Rest I have four, perhaps five viewpoint characters, all with their own consciousnesses, issues and inclinations. I am not those five people.
How to write a character who isn’t like you
Start with something you relate to – what if you lost something that makes you feel alive? Then mine the deeper level and remove yourself. Every time your character reacts, question it. Ask if that’s your own setting, and if it could be bigger, better or different. Find a key for that new character to sing in. Examine their approach to life, betes noires, responses to stress, desires.
In fact, we all have many characters we could create because we already know how to be different. What are you like with your parents? Is it the same as the way you are with your boss? How about the person you are when talking to a person you want to impress, or the head teacher at your child’s school? You already know how to be different at an instinctive level.
So, to mangle the legacy of Oscar even more (because he still didn’t say ‘Be yourself, everyone else is taken): don’t be yourself. Use yourself to invent the people your story needs.
Pic of Oscar by Napoleon Sarony, Wikimedia Commons.
There are a lot more tips about writing a character who’s not like you in Writing Characters Who’ll Keep Readers Captivated
What stage are you at? Who are your main characters? If you’ve created people who are proxies for you, was that intentional? Unavoidable? Brilliantly effective? Has that caused problems or interesting feedback from readers and editors? Have you created characters who aren’t like you? If you’ve written many books, have you noticed a shift? Let’s share thoughts!
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This post is a tad late as I’ve had an oversubscribed weekend, first hosting a workshop at the London Author Fair and then teaching at the Guardian selfpublishing masterclass. In all that whirl I’ve met a lot of writers and would-be selfpublishers and thought I’d share some of the advice I gave most frequently.
1 Whether you intend to go indie or not, learn about selfpublishing
- then you’ll know how to weigh up the value of a publishing deal. As well as the money (which usually won’t cover the time you spent writing), a publisher offers editorial guidance, copy editing and proof reading, cover design as appropriate for the audience, print book preparation, publicity using their contacts and reputation, print distribution.
As I’ve said in this blog post, all of that is services that indie authors do for themselves. Some (not all) are easy to source and manage. Some can’t even be priced, like the publisher’s reputation. But if you have tried to produce a quality book yourself, you’ll have a realistic idea of the value a publisher adds – or whether you can do well without them.
Some of that value might be emotional – the confidence that everything has been done properly and a sense of validation. These may not be as guaranteed as you think. There are always traditionally published writers who sell enough to be looked after well by publishers, and others who decide they are better as indies.
But the more you know about selfpublishing, the more you can assess a publisher’s value as a partner.
2 It isn’t either-or.
Whether you start as indie or traditionally published, you won’t always stay that way.
Traditionally published authors might leave their publishers (or be dropped) and go it alone. They might reissue their backlist or publish in co-operatives with other authors. Indie authors might begin on their own, then strike a deal. Some do all of it concurrently (hybrid authors), choosing what’s best for each project. Some publishers are experimenting with partnering deals – a different beast again.
There are also rights that are much better exploited with help – particularly translations. A few months ago I was emailed by a literary scout because a Spanish publisher was curious about My Memories of a Future Life. If anything more transpires I’ll blog about it (you bet I will), but these are opportunities I’d welcome a publisher for. (Any other offers, I’m all ears!)
Publishing and selfpublishing is now a spectrum. Most writers will zip up and down it, according to where a project fits.
3 Selfpublishing your first book
Don’t be in a rush! Although modern selfpublishing tools let you revise and tweak a naive edition, you cannot edit your reputation.
Most first-time writers map out a schedule for publishing their book, but don’t appreciate how long it will take them to work through issues found by the developmental editor. With first books I often recommend extensive changes and rethinks, or find the writer needs to grasp a technique better – but they’ve already made a plan to get the book onto Kindle in just a month.
What makes it worse is when they see their writer crowd posting on Facebook or Twitter about rattling through their drafts, launch dates etc. I have three things to say about that:
1 These writers might be well practised and on their umpteenth book
2 They might be fibbing (surely not)
3 They might be about to release a book before it’s fit to be published.
I said this yesterday to my Guardian masterclass: when you’re making a schedule for publication, think of your first book as your training wheels. Until you’ve had the editor’s report you don’t know how much work your manuscript needs. For subsequent books, you’ll work smarter, you’ll have a sharper technique and you’ll be able to gauge how long everything will take. But don’t make a timetable for your first book and then discover you haven’t left enough weeks – or months – for a thorough edit.
And this: don’t be swayed by someone else’s schedule. Find the schedule that fits you.
Thanks for the pics, Official US Navy Imagery, Joanna Penn and London Author Fair
What advice would you give to the 2014 writer? Let’s share in the comments
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I see a lot of manuscripts by writers who tell me they’ve been honing their book for years, sometimes even decades. Often these are first novels, slowly maturing as the writer feels their way – not just with that story’s material but with all the controls of their writing craft, and the influences they’re absorbing from other fiction they read. Even their idea of what kind of writer they are might change.
And quite often, I can see these phases in the novel itself, like a Frankenstein monster. In some paragraphs the narrator sprouts a personality, and starts to present a humorous view of proceedings that wasn’t in the narrative before. Sometimes the plot events or dialogue abruptly switch to the conventions of a different genre, or the writer’s vision for the characters seems to change from tragic to dreamy.
When I flag them in my report, the writer usually says that the line or section came from an earlier version, or they were unsure whether to include it or not.
Mood to mood
It’s inevitable that we’ll write or edit in different moods from one day to the next. That’s fine; we’re not machines, after all. And we often get our best revelations from messing and experimenting. But we don’t want to develop a patchwork of tones.
One of the many things we must do as we edit is to create an even tone to give the reader a consistent experience – or at least make sure we don’t change it unintentionally. That doesn’t mean we can’t create characters who are contradictory or multifaceted. Or narrative styles that are flexible and supple. But we must watch out for the moments when our narrative veers too far from variety and we have slipped into a different version of the book.
This is difficult to spot. If we’ve been working on a book for a long time, we’ll have got used to assembling it piecemeal from bits we like. As we read through, we know what it all means and we don’t realise when we’re giving the reader an unwanted mental gear change. We become tone deaf to our book.
We need to edit with an awareness of this moment. If at any point we catch ourselves making a mental hop to process a sentence, this could be because its tone doesn’t quite belong.
This kind of editing is usually only possible in the late stages of the novel, when we’re happy and have stopped experimenting. It isn’t until then that we have the coherent vision of our work, the deep knowledge of what we are trying to do, and therefore the certainty to feel when something fits and something doesn’t. Or, indeed, the strength to let go of the parts that don’t fit – the evergoing purge of darlings.
But if you learn to recognise the shadows of former versions of your novel, you’ll give the reader a smoother ride.
Thanks for the pic petsadviser.com
NEWS If anyone’s in or near London, I’m teaching in the one-day Guardian self-publishing seminar, along with Joanna Penn, Orna Ross, Ben Galley and Polly Courtney. Funnily enough, most of them have been or will be guests on The Undercover Soundtrack – except for Joanna, who writes to the sound of rain. I’m working on her to write me an Underwater Soundtrack. I’m teaching the module on print books, and other modules include marketing, formatting and using social media.
Back to tone! Do you have problems with your novels shifting tone? How have you solved them? Let’s discuss
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I’ve had a question from Samantha Warren, who saw me at the Get Read conference, where publishing journalist Porter Anderson was interviewing me for a session on reaching readers. Some of the discussion was about balancing all the demands in our lives – social media and promotion versus the writing and production of books. In reply, I waved a notebook that I use to keep myself organised, not to mention sane.
Samantha has emailed: First, where did you get that fabulous notebook? Second, how do you organize your to-do list using the notebook? I have post-its everywhere! Any advice you might have for a disorganised amateur would be greatly appreciated.
First things first. The notebook was a freebie at the London Book Fair 2011; a dummy book with blank pages produced by print company CPI Books to advertise their services. They’d probably be pleased to know it’s standing up well to daily use.
Post ideas for this blog (that’s another one crossed off… crossing off is incredibly satisfying, so you must do this)
Consultancy enquiries and bookings, with dates
Events checklist – I refer to this if I have a reading or an event, to make sure I take everything I need. It includes printout of speech or prompts on notecards; backup on Kindle; copies of my books; Moo cards; pens for signing (my handwriting is so dreadful that my signature only looks right in cheap Bic biros….); camera.
WIP reading lists – each book gets a separate page: The Mountains Novel; The Venice Novel; The Flying Novel. That one’s just hatched, after a conversation I had with a gentleman who came to a signing and wanted to talk about My Memories of a Future Life.
WIP launch notes – again, one page for each book, including bloggers who’ve expressed an interest, reviewers, Twitter folks and websites on related subjects who are worth approaching.
Blog and website tweaks – I’m always thinking of improvements I could make to this blog, my writer website and The Red Blog. Fiddling with websites is a great way to fritter away your hours, so I wait until I’ve got a purposeful list, then work my way through it. And cross things off.
Special projects – when I redesigned the cover of Nail Your Novel I made a special page for all the fiddly jobs I’d have to do, such as redesign the livery on the blog, websites I needed to update.
Style guide for the Nail Your Novel print books - as the books are a series, they need to follow a consistent format. Crossheads (including their spacing), title page, copyright page and so on are uniform in all the titles. So that I don’t have to open the previous book and pick through the typesetting menus, I wrote out a house style page.
Which brings me to ….
When I ran an editorial department I had a big ledger that was a schedule for the entire imprint’s output. Every stage of a book’s production process was listed so that nothing got missed: Copy commissioned; art department briefed; interior design approved; copy in; copy edited; 1st proof; 2nd proof etc. When you have 30 titles on the go at once, you utterly believe in systems.
If you’re not self-publishing you won’t need this, but if you are, you might find it useful. I don’t tend to chart the writing stages (eg first draft, beat sheet, edit, beta readers etc), but I do list the publishing nitty gritty. This is just a selection:
- Cover finalised
- Proper images bought (it’s easy to let watermarked roughs slip through on a PDF because you get used to looking at them)
- Book on Kindle
- Book on Kobo
- Book on Smashwords
- Spine finalised
- Index done
- Page numbers taken off prelims for book interior (title pages etc shouldn’t have folios)
- Back cover copy written
- Back cover fully designed.
I also keep track of other places I need to update once the book is published:
- Recent Releases page
- What’s Next page
- website images and headers
- teasers inside the other books
- Amazon author pages
- group blogs I need to inform etc.
So that’s my to-do book. Is there nothing a blogger won’t post about? Here are my writing scarves.
EXCITING NEWS! A while ago, The Guardian Newspaper asked readers to nominate their favourite self-published books. Out of 3200 authors, they featured 34 that were featuring frequently – and My Memories of a Future Life was one of them!
I was so thrilled to see my book made the list, so I’d like to say enormous, heartfelt thank-yous to everyone who took the trouble to nominate me. I’m still grinning.
In the meantime, tell me: how do you keep track of your to-do list? Share in the comments!
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Tomorrow (or maybe today or last week, depending on when you’re served this post) I’ll be taking part in a Book Industry Communication debate on the future of ISBNs. I’m providing the author perspective, so as part of my research I canvassed opinions to see what the mood is.
Much of the feedback centred on whether authors should buy ISBNs or use the free ones from CreateSpace, Smashwords et al. There were sound arguments on each side. But what emerged for me was the way self-publishers view ourselves. It’s a snapshot of our times that goes a lot further than a little piece of industry bureaucracy.
For and against
Julia Jones, one of my co-conspirators at Authors Electric, said she bought ISBNs ‘to behave like a publisher in every way’ – a view shared by many. Plenty of authors feel to have their own ISBN is more professional, lets you be seen and counted, and gives you control.
Other writers – among them author-entrepreneur Joanna Penn – feel having their own ISBN makes no difference: ‘I can’t see any benefit, or evidence that having a paid ISBN helps you sell more books’. As Joanna sells whopping numbers of her novels and non-fiction books, we certainly can’t argue with that. (I agree with her. Personally I’d rather put the money towards a better cover or more editing time.)
But it was a comment from Michael N Marcus, who writes and publishes books about self-publishing that hit a bullseye for me: ‘If you want to be known as an author, the ownership of the ISBN is unimportant. If you want to be known as a publisher, own the ISBNs you use.’
Now that’s a very interesting view. We’ll return to that in a moment.
But look, no ISBNs at all
Most striking was Dan Holloway, who publishes experimental fiction and poetry – both his own and that of others. He doesn’t use ISBNs at all – even for printed books. He says: ‘I write and publish for a niche, dedicated audience, providing an experience they can’t get elsewhere. I work with selected independent bookstores and galleries and send customers to them for my books, rather than having my books available everywhere.’ He’s not even on Amazon.
Dan is a firm believer in direct selling: ‘We should be trying to get our fans to buy direct from our websites if we can to foster community – we want to nurture fans with stickability, who will become our bedrock over the years, and the best way to do that is to have a hub that exposes them to us, our ideas and worlds, and all that we have to offer. I buy all my music direct from bands, for example.’
You might think this is a recipe for obscurity. Au contraire, Dan’s ISBN-free books have twice received special mentions for the Guardian‘s first book award, been shortlisted for the Guardian‘s Not the Booker Prize, and been voted ‘favourite Oxford novel’ by readers at the Oxford branch of Blackwell’s.
Author or publisher? Or something else?
I keep coming back to Michael’s interesting distinction and I think he’s nailed something important. Certainly I put most effort into building an identity as an author rather than a publisher. Like Dan, I am most keen to find people who like my imagination and preoccupations, my way of thinking. Having said that, I like publishing and I want to publish myself; I enjoy the control and creativity. I can also, if needed, wave a CV that demonstrates years as a production editor/chief sub/editorial manager, so perhaps that’s why it’s no big deal for me and you should discount my view as I’m not typical of self-publishers.
Other authors feel ISBNs are an important part of their brand and image – one of many signifiers of their professionalism.
Now, more than ever, there is no ‘one right way’ to self-publish well. We’re all finding our own paths. You might be a Dan, a Julia, a Roz, a Joanna. Most probably you’re something else again. I’d love to know. Oh, and wish me luck tomorrow.
What kind of self-publisher are you?
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I’m somewhat preoccupied with characters as I’m finishing NYN 2: Bring Characters To Life. I’ve recently read two novels with several main characters – one that made them real and the other that didn’t. I thought it would be interesting to compare the key differences.
The former is Ruth Rendell’s The Keys To The Street, which uses several points of view, all with their own internal identity. The shaky one is The Slap by Christos Tsiolkas. It follows eight separate people but they all sound exactly the same.
Briefly, The Keys To The Street is about a handful of characters in Regent’s Park, London, whose lives intersect over one summer. The Slap begins as an extended family gathers for a suburban barbeque. One of the children gets out of hand and one of the other parents gives it a slap. There is uproar and the novel explores the ripples.
In both, the narration is close third person, so although the ‘I’ pronoun isn’t used we’re following the thoughts and feelings of each individual.
Rendell is good at characters who sound distinct on the page. Their vocabulary, thought processes and speech rhythms make them into separate, recognisable people. Tsiolkas’s dialogue, both quoted and internal, sounds like it all comes from the same person.
Characters might sound similar because they come from the same culture and social milieu. But even so, there can be individual variation from the characters’ different natures. In the simplest terms, some would be introvert and some extravert. Some will see the glass as half-full. The emotions and urges behind their speech and thoughts would not be the same.
In The Slap they all have similar levels of aggression and introspection. In The Keys To The Street, there are several characters who are homeless or nearly homeless, but each has their own internal landscape. Some feel persecuted, some are tragically numbed.
Indeed, characters in the same milieu have many reasons not to be similar. They might have an assortment of occupations, which would make them tackle a variety of life problems and people.
In The Slap we potentially have these, but none of the differences are used. The TV scriptwriter sounds just like the civil servant and the businessman. In The Keys To The Street, the girl who works in the museum has different daily influences from the former butler who walks everyone’s dogs. These environments shine through their vocabulary and the comparisons they use. Their back stories are also vastly different, which affect how much each of them will trust other characters. Again, the girl in the museum believes good of people whereas the dog-walker suspects nasty motives in everyone.
Behaviour in extremis
Sequences of anger, sex and other kinds of extremis should tear the characters’ masks off. They should show us who they really are.
In The Slap, all the characters default to one pattern of behaviour when upset or emotional. They want to smash things or people. They brood on conversations and wish they had hit the offending person, pummelled their faces, grabbed them by the hair and shouted obscenities at them. When they curse, which they all do plenty of, they use the same words. Readers really notice when all the characters have the same curse personality. When they have sex, they all have the same preferences and urges.
In The Keys To The Street, the characters react according to their personalities, even when roused to the same emotion. When angry, the mentally unbalanced drug addict uses violence. The dog-walker resorts to blackmail or spits (or worse) in his employer’s tea. The museum curator’s former boyfriend is also violent, but immediately regretful. One emotion: three individual ways to handle it.
Other private moments
Other private moments can be very revealing. In The Slap, many of the characters are inclined to look at their reflection or a body part and think about their lives. In The Keys To The Street, the characters have their diverse ways of reflecting. Many of them don’t need to manufacture a specific thinking activity; they do something from their usual routine. This makes their reflective scenes different from each other. The dog walker collects his animals and does his job, meanwhile plotting and fulminating. The violent psychotic takes crack. The tragic down-and-out goes for his long walks, pushing the barrow that contains his possessions. What they do to get thinking time can be ways to differentiate their souls.
If you’re interested in either of these books, here’s Guardian Book Club on The Keys To The Street
And here’s a review of The Slap in The London Review of Books
Thanks for the pic r h
Have you read other novels that handle several point-of-view characters and differentiate them well? Or conversely, novels that do it badly? Let’s discuss!
GIVEAWAY On the Red Blog, Andrew James is giving away 2 signed copies of his novel Blow Your Kiss Hello. For a chance to win, he wants you to reply or tweet where the book title comes from. If you take the tweet option, include the link to the post and the hashtag #undersound. Find it on the Red Blog now
If you liked this post, you might like NAIL YOUR NOVEL: Bring Characters To Life, coming in May. Find out as soon as it’s released by signing up for my newsletter. Latest edition of this random and infrequent publication can be found here
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All this week, bestselling indie author Terri Giuliano Long is holding a ‘celebrate indies’ event and I’m honoured she invited me as one of the guest posters. (I’m going to be dragging her here for an Undercover Soundtrack soon, about her award-winning novel In Leah’s Wake.) And her timing couldn’t be better because this week the UK’s Guardian newspaper finally published a post admitting that there’s a lot of good to be found in self-published books. (If you think so too, go and tell them!)
In the meantime, here’s my rallying cry at Terri’s – and you can also find out why I consider this much-editioned novel is a beacon for the indie publishing movement.
Do you think indie authors are gaining credibility? Share in the comments!
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Here are some terms we must stop using. ‘Grammar Nazi.’ ‘Punctuation police.’ ‘Spelling snob.’
When did we start forgiving sloppiness and sneering at correctness? If you have a genuine love of the writing craft, isn’t it a point of pride to get these things right?
We are writers. Our prose is our instrument. These are not stuffy, irrelevant rules. They are essential technical skills for communication.
When we get them wrong, we trip up the reader. Or we mislead, or undermine ourselves (and here let me metaphorically wave a copy of Lynne Truss’s Eats Shoots and Leaves).
Yes, the reader might be able to guess what we really mean, or mentally correct it for themselves. But we shouldn’t do that to them. And for every reader who shrugs off a wrong apostrophe, there’s another who sees it as slovenly ignorance. (That’s me, by the way. Unnecessary apostrophes make me apoplectic.)
But good grammar, spelling and punctuation go unnoticed. They aid invisibly and discreetly, like an exquisitely trained butler. They let your content speak and breathe for itself. They give your writing poise and control. Doesn’t every writer want that?
I appreciate that if you don’t know about it, it’s daunting. But make it part of your job to find out. If schoolish tomes put you off, there are plenty of more palatable books. If you really struggle, find a beta reader who can salvage your language for you.
To turn to publishing, let’s look at what happens when we don’t take enough care. You may already have seen this post by British writer Anthony Horowitz in the books blog of the Guardian newspaper. Look at the comments. Look at the bile heaped on books with bad grammar, spelling and punctuation (and particularly how the commenters feel this defines self-published books). If you needed proof that writers are judged on these things, look no further.
So please – no more of the N word, the P word or the S word.
Its and it’s are confused
Its means ‘belonging to it’.
It’s is short for ‘it is’.
If you’re still confused, ask yourself if you mean ‘it is’. If you don’t, it’s probably the other one. See how easy it’s?
There and their
If what you mean is ‘where’, the word you want is ‘there’. You may also use it without any meaning of its own in a sentence such as ‘if I see this mistake again there will be blood’.
If you mean ‘belonging to them’, you need ‘their’.
Reigns and reins
A horse has reins.
A monarch reigns.
You can have a reign of terror, but on a daily basis I see: ‘so-and-so took over the reigns of power’. This is wrong. They are speaking figuratively of leather straps that steer – and so the correct word is ‘reins’.
I also see ‘we had to reign in our spending’. That refers to an act of braking – which is done with a rein.
Nay, nay, nay.
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Anthony Horowitz, apostrophes, commas, copy editing, editing, English, fiction, Grammar, how to write a novel, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence, novels, polishing, proof reading, publishing, punctuation, revising, Rewriting, Roz Morris, self-publishing, spelling, The Guardian, use of English, writing, writing business, writing life
I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘Hidden forms that tell a story’ – The Undercover Soundtrack, Stephen Weinstock November 19, 2014
- I name this book… tips for choosing a good title November 16, 2014
- ‘Each morning, there was a chapter to listen to’ – guest post at Jane Davis’s blog on making audiobooks with ACX November 13, 2014
- ‘Spurred by the song’s rhythm, my typing fingers flew’ – The Undercover Soundtrack, Dianne Greenlay November 12, 2014
- A good editor helps you to be yourself November 9, 2014
- ‘A lyric, a tune fragment, a thrilling chord run’ – The Undercover Soundtrack, JW Hicks November 5, 2014
- Something wicked this way comes: plot book ready soon November 2, 2014
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