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They talk about an exciting two-way process where they discuss images and typographical treatments. But you can’t direct a designer unless you know what your cover should say. And that’s my problem with Life Form Three, which I’ve decided I’ll publish later this year. Perhaps it’s yours too, especially if you have a novel you’re told is too original and doesn’t fit a genre. This is how I’ve solved it.
I decided to do market research. And it’s turned out to be incredibly helpful.
What I did
I picked an emblematic scene from the book and roughed out a cover to illustrate it. I sent it to friends, who I figured might like the book but in different ways. I included a few hyper-critical writers too, because I knew they would give me the truth.
I also found I got more honest critical comment when I asked friends to show the cover to their spouses and report back. If the spouse didn’t have to worry about hurting my feelings, they were far more brutal.
I didn’t ask: ‘do you like this cover’. A ‘yes’ or ‘no’ doesn’t tell you anything. Instead my questions were: What is this book about? What does it say to you? (They’ll tell you anyway whether they like it.)
Do they already know anything about Life Form Three? No – and that’s the point. They are interpreters telling me what I’ve just said in a language I don’t yet speak. I thanked them for their feedback and explained that I wasn’t going to tell them whether their responses were on the right track or not in case I needed to use them again.
I repeated the experiment with another rough cover in a very different style, and gathered another bunch of useful responses. I added more guinea pigs who hadn’t seen the previous version.
What did it cost?
Nothing, except time researching images (which was considerable – so start well in advance). The pictures for the first cover were roughs from photo libraries, which they’ll let you download free to make dummy designs. The second cover was a detail from a painting I knew I could license. I can’t show you either of them here because I don’t have the reproduction rights. (Also, I don’t want you to get the wrong idea – my jurors have been sworn to secrecy!)
Did it work?
Totally. I was very surprised by some of the responses – and that showed how much I needed their feedback. And this brings me to another point. Don’t do a test if the results won’t influence what you do next. With both trial covers, I thought I was onto a good concept. When I tested them, I discovered flaws I couldn’t have thought of.
But after these two exercises, I have clarity. Even though neither cover was right, I know what the real thing should say and I can brief a designer. (And my guinea pigs are still in suspense…)
What kind of brief do you need to provide? A designer won’t have time to read your book. Send a synopsis that captures not just the events but gives a flavour of the storytelling style. Also list the target audience including age group, imagery and themes that might be of special significance or scenes that could carry the spirit of the whole work. Also explain why you chose the title, as the art should enhance it or create intriguing tension. And let the designer know if you want to leave room for blurb quotes and loglines.
Do it early
I’m not going to publish Life Form Three until at least autumn, but I need the cover in advance because that will set the tone for everything else. The blurb and any publicity materials will be created to make sense of it. So it’s essential that the book’s outside is faithful to the inside.
Footnote: how the other half lives
Funnily enough, as I’ve been moving mountains for the right cover, a traditionally published friend is having a very different experience. I know indies are probably past the stage where we have to stress that our production processes are up to professional standards, but this left me reeling.
Out of the blue my author friend was sent a cover by the art director. He hadn’t been consulted about it. It would be worth getting his input too, as he’s been a bestselling children’s author for more than a decade and knows what covers have sold well to his readership. He tells me that when he signed the contract he emailed the art director and offered to send briefing notes, but was curtly told: ‘We don’t need your notes. We know what we’re doing’.
So did they? No. The cover they designed was catastrophically inappropriate. They didn’t ask about the the age group, so they made it look too juvenile. While the book’s competitors have slick images that look like computer games, this cover featured big typography (ie it was cheaper than proper art) and thumbnail graphics. Even the font gave the wrong messages – it suggested the setting was the wild west, whereas the book is set in ancient Persia. Now the author is locked in a dispiriting argument with the publisher about a cover he knows will be a disaster.
You know what? I’m glad I have control of my cover.
How have you decided what to put on the cover of your novel? How have you made sure it sends the right signals? Have you changed a cover so that it could find its true audience?
(I haven’t finished with covers yet. I may need jurors for Life Form Three Version 3. If you’d like to be one of the secret clan, email me or sign up to my newsletter)
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Sorry, you got two trailer posts from me today. It’s my turn at Authors Electric, where I’m wondering how relevant SEO is for fiction writers and readers.
It all started when I saw a link to a post on Problogger which advised bloggers to stop running guest posts with a lot of links because of new Google algorithms. Undercover Soundtrack host, please note. This led to a fun, fulminating conversation with Facebook friends Cyd Madsen, Vivienne Tuffnell and Beth Rudetsky about tails wagging dogs. But getting our work discovered is a real issue for writers, and at Authors Electric I’m wondering how that’s done. Come over and join the debate.
(Thanks for the pic Daveynin)
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I’ve just finished my first novel. A most enjoyable experience only tainted by the reaction from the literary agents I have approached so far! Any and all advice and direction will be gratefully received and much appreciated.
Although we’re now used to writers who publish themselves, there is still a sizeable crowd who are set on finding an agent and a traditional publishing deal. Most of my critique clients, for instance. Why?
1 – Kudos and confidence
If you have an agent or a publisher, you have validation. You’re not just a spare-time scribbler, which you have probably been for countless years before. If you get an agent, your friends, family, total strangers – and you yourself – have proof that you made the grade.
This cannot be underestimated. Getting an agent took me years. By the time I did, I’d already got ghosted bestsellers and a track record coaching writers. But I felt I was sneaking under the wire, using the title ‘writer’ on false pretences until an agent signed me for My Memories of a Future Life.
2 – Developmental input
We all need developmental help. If you’re a good fit for an agent, they can give you perceptive, priceless notes on how your book works and guide your revisions.
3 – Long-term career-building
Obviously, an agent helps you find a publisher, usually with a better deal than you could get on your own.
But agents can’t always sell your first book, and often the only choice is to self-publish. Some agents are giving writers a leg-up with showcase imprints of their own – Jason Allen Ashlock at Movable Type Management set up The Rogue Reader to launch outsider suspense writers. As publishers increasingly opt for ‘safe’ books, we’ll see more agents devising ways to build audiences for their exciting new authors.
So I still think it’s worth looking for an agent. Markets change and new opportunities are opening for writers all the time. If you can, it makes sense to get the support of professionals with more legal and commercial clout than you can muster on your own.
But every silver lining has a cloud. Here are two.
If an agent gives you editorial input, they might be steering you to fit a commercially viable genre. That might completely suit you. But it may not if your aim is to pursue a more individual and creative path. You still don’t have to abandon dreams of traditional publication; many small presses will take submissions directly from authors.
Almost every writer will probably now self-publish at some stage, but not all agents have adjusted to this. I know successful indie authors who have been offered agency deals that claim a percentage of all book earnings – which of course includes royalties from books they published themselves. This was appropriate when all the author’s work came through the agent, but now is plainly unfair. Happily, many agency agreements demand commission only on deals that they have made. If you’re offered a deal that takes a percentage of everything, query it. They might adjust the wording. If not, think hard about whether you want to work with them.
3 The disreputable
Not all agents are reputable. Some ask for money up front to read your manuscript. Even with all the boundaries shifting, an agent should never charge to read your work. Agents earn commission on the back end.
So what do we make of our correspondent here, whose quest for an agent is proving a challenge? Why might you have trouble finding an agent?
1 – Your book may not yet be strong enough. It’s so easy to send off our lovely novel too early. If you nearly made the cut, most agents will try to let you know. But if they dismiss you with the equivalent of a compliments slip, you may need to hone your craft.
2 – You might have pitched the wrong agents – either their lists are full, or they don’t take your genre. Check websites before you hit ‘send’ (although agents are often quite bad at updating their requirements).
3 – You might have a great book but a dull pitch. Pitching is an art and you need to know how to make an agent curious.
4 – Your book may not be commercially viable. You might get feedback about genre mixing, undesirable subjects or unfashionable style choices. Your book might still be a good read in spite of this – and if so, agents are usually genuine enough to let you know.
5 – You might need to kiss more frogs. There are thousands of agents, all very oversubscribed, all with different wishlists. With such pressures, rejection is far more likely than acceptance, even for awesome books. Don’t do anything different until you see a reliable pattern emerge.
Anyway, I’m hoping this will kick off a discussion. What’s your feeling about agents? What would you advise our friend here?
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It’s a writer’s prerogative to change their mind. All the time. It’s called revision. We’re steering the story one way, then a stronger idea comes along, or a development proves impossible, or an editor or beta reader persuades us to do something else instead.
As we cut, add and rearrange, our drafts build up unwanted junk. Here are three ways this might be tripping the reader up.
Plot and character
So we’ve changed our mind about where we’re pushing a character or a plot strand. We may have tidying to do.
When movies do this – particularly if they have to recut after shooting is finished – they have to patch the scenes they’ve already got. Inevitably we’ll see characters worrying about stuff that looks important but goes nowhere – often to irritating effect. But writers can edit in infinite detail. Are your characters making an issue of things that now don’t matter?
Quite often a theme won’t become apparent until we’ve wrangled the book through many drafts, but that doesn’t stop us stabbing in the dark to find it. Language, imagery, dialogue and setting will all reflect what we think the themes are. If we’ve had a few reorientations we might end up with theme schizophrenia. Although that can add up to a rich book, it could also make unholy muddle. Look for echoes of earlier themes when you revise – and decide if you still need them.
A town’s streets show the traces of its history. A road might be crescent-shaped because of a building that disappeared centuries ago. The town is stuck with that – but does your novel have story structures that are more fiddly than they need to be? Do your characters serpentine through the plot because they’re navigating vanished landmarks?
Novel-writing isn’t a science. Our story’s evolutionary dead ends might be like junk DNA – a sequence of instructions that seems to say: ‘grow wings, no don’t grow wings, it’s not a bird any more’. Once thought to be useless to a modern human being, junk DNA is now believed to be important – though what it does is still opaque and mysterious.
By serendipity, your novel’s junk DNA might enrich the themes, or provide quirky, unexpected contrast and relief. (Readers are generous and tend to think you have placed every word deliberately. They don’t know how much irrelevant rubbish passes through a book as well.)
Clutter and clarity
So maybe junk isn’t all bad. Sometimes it’s treasure. Other times, though, it can confuse the reader and clutter the story. Your manuscript will be leaner, more elegant, better honed if you strip it out.
Is your novel carrying the baggage of previous lives? Do you de-clutter your stories?
authors, beta reader, characters, clutter, critiques, DNA, entertainment, fiction, Fix and Finish With Confidence, how to write a book, how to write a novel, ideas, infinite detail, inspiration, junk, junk DNA, language imagery, movies, My Memories of a Future Life, Plot, polishing, publishing, redundant DNA, revisions, Rewriting, Roz Morris, story structures, Theme, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life
Usually, the best remedy is to give up and do something else.
But Charlotte Rains Dixon reminded me in a comment here a few weeks ago that sometimes it’s good to push through. Even if you’ve run the tank dry. And sometimes deadlines mean you don’t have the luxury of a break.
Here are some ways I get my muse to pick up.
Behind your pesky page there’s a seductive internet. And you’re sitting there, annoyed with the way your creative day is going.
Do not open your browser. Surfing turns so easily into skiving.
If I’m trying to break a block I go to my reference bookshelf. Not the dictionaries, although The Fontana Dictionary of Modern Thought can provide a surprise or two. But beside these sensible titles I have a collection of oddities that friends have given me (probably because it’s easier than guessing what fiction to give a fussy novelist). Thus I am the lucky owner of Never Hit A Jellyfish With a Spade – How to Survive Life’s Smaller Challenges. The Z to Z of Great Britain. And Mirror Mirror on the Wall – Women Writers Explore Their Favourite Fairy Tales. Any of these, consulted at random, can provide a wild card to astonish the imagination.
Poetry collections are handy too, to remind me to look beyond the surface for deeper significance. Especially if I’m asking myself if I’ve missed the real reason why a scene or event has to be in the book.
It also helps to define a few parameters.
- Work out what can’t happen – both for this individual story and for the readers of your genre as a whole. Then you know where you should be heading.
- Ask yourself what matters in the scene. Why it’s important to the story and to the characters. (If it’s not, job done.)
- Quite often if you’re stuck, your brain is telling you you’re trying to write the wrong thing. Are you forcing the characters to say and do things they would find unnatural? Should you listen to what they would rather do?
- Are you stuck because the scene repeats an idea you’ve used elsewhere in the book? Now you know to make it different.
- Are there hidden significances or issues you’re glossing over? That ‘stuck’ feeling might be your helpful writerly subconscious telling you you’re wasting an opportunity.
Still stuck? Push on anyway
Now this is what Charlotte was talking about. Write anyway. Yes it works. Sometimes you’ll be surprised by what comes out. It’s like having an interrogator refusing to let go.
‘What happens now?’
‘Bah, I don’t know.’
‘That’s not good enough, I don’t believe you don’t know. Tell me again – what happens now?’
When I do this, my first attempts are risible, and I keep deleting. But after a while I find the scent. I’ve often resorted to this in revisions, and written some of my best scenes because I stayed stubbornly in the saddle.
You could follow the lead of science fiction author A E Van Vogt. When he was stuck, he would move to the spare room for the night and set the alarm to wake him after an hour and a half. When it went off, he would force himself to try to solve the problem, inevitably falling back asleep. He repeated this all night and in the morning, voila.
Which just goes to show what it can be like living with a writer sometimes. You can find other less unsociable tips in Nail Your Novel.
Thanks for the cat pic turkeychik
Tell me what you do when you get stuck and time off isn’t an option. Share in the comments!
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Apologies to those on New Year diets. Early commenters at my Authors Electric post have already let me know they are distressed at my excessive use of pictures of pies. But they are artistically necessary.
I’m venting about publishers’ porkies. (In case that doesn’t translate outside the UK; it’s rhyming slang. Porky pies. Now you see.) As more authors choose to self-publish for career and artistic reasons, the publishing industry is maintaining the fiction that all those with talent shall be welcomed with open arms, and that writers can’t do without their nurturing support. If self-publishers are ever to be considered as equals by the literary community, this has got to stop.
More pie (much more) at Authors Electric. Do come over and say your piece.
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I’ve had this question from Kate Calcutt.
How important is the title of a book?
Good titles make you stop and wonder. Catch-22. Wow, what’s that? The Other Boleyn Girl. Wait, there were two? Nineteen Eighty-Four. Why then? What happens? (The book was published in the 1940s, so the forward-reaching, inverted date was startling.)
The more famous you are, the less hard your title has to work. Iain Banks graduated from The Wasp Factory to The Business. Would you have picked up The Business if it had been his first? Barbara Vine gets away with No Night Is Too Long because her name already tells readers what they’re getting. Which is just as well because No Night Is Too Long has zero stopping power and is darn hard to remember.
If you’ve got a long-running series, you can coast with the later titles. The first needs to audition with bells and whistles, but later titles can trade on insider knowledge. Mockingjay would be a challenge to remember unless you’d been primed by The Hunger Games. But it’s really a title that says ‘welcome back’.
But if you don’t have much already on the shelves, your title is your one chance to make a reader stop and consider spending time with you. It is your novel’s chat-up line in a place with hundreds of suitors. It needs to thrum with promise, intrigue.
Is this title okay?
Kate also said: I’m considering a title change from ‘In the Background’, to ‘Life, Captured’.
I’m afraid both of those fall at the first hurdle. They’re so vague that they can’t give a flavour of the book, and a reader is likely to pass them by in favour of a title that makes a strong case for what it’s about. Both these titles could describe just about any story.
Now, you might argue that we want our books to appeal to the widest number of readers. And I’m sure if there was a genre category called ‘for anyone who likes a good read’ we would all hope our book belonged in it. But marketing can’t be about ‘vagueness’ or ‘everyone’. It’s about specifics, individuals and distinctiveness.
Let’s get specific
So what are the specifics of Kate’s book? She described her novel to me as contemporary female fiction – the story of a woman’s life as observed by those in the background of her holiday photos.
Now this is an interesting concept and I can understand why she’s toying with those titles. But they didn’t make me want to pick the book up. In The Background might work with a stunning cover. But titles are seen just as often without their artwork, so we can’t rely on that.
So what shall we do to find a better title? We need to brainstorm.
I’m not saying I’ll get a better title in this post, but here’s a starter. Only Kate knows what really mirrors the soul of the book.
Find words that suggest photos, snapshots, images, likenesses, portraits. Exposure. Shot. Frame. Lens. Subject. Picture. I got down to ‘image’ and I found ‘angel’ – a nice emotive word. Photos aren’t the only interesting concept here. Let’s look up watchers, onlookers, witnesses. And moments. Even jigsaws, as this novel seems to present a life in pieces. Or chorus, as the piecemeal narrative is like the commentary of a Greek chorus. What about biography, as it’s the story of a life? Make a huge list of possible nouns.
Now start another list of verbs and adjectives that could go with those. You’re looking for something surprising or emotive. The blurred girl? Background is a good word if we use it strongly. Could that go with something?
Don’t stop with single words. List questions, enigmas, dilemmas that might arise from the book’s concept.
2. Go for the familiar – and twist
Find idioms that use all the words you’ve listed. And book titles – Amazon is useful for this, as is my beloved Library Thing. Song titles too. As good titles set up a frisson, you can get a powerful effect from altering a phrase that’s already familiar. Look at Anthony Burgess showing off (as ever) with a novel called Nineteen Eighty-Five.
In my scoot around LibraryThing I found a novel called Autobiography of a Family Photo by Jacqueline Woodson. That’s got an intriguing vibe so it’s definitely worth looking at other titles that are similar. There’s also The Photograph by Penelope Lively. The descriptions of these two novels necessarily explain the title, which could give you extra ideas to explore.
3. Look in the text
The perfect title might already be in your novel, hidden in a line of dialogue, or introspection, or a description.
4. Look at the genre
Your book needs to woo the right kind of readers, so you need to capture the right tone. Note, especially, the emotions that titles evoke – that’s the promise to the reader. And avoid misleading ones. Although ‘witness’ is good for the brainstorming list, if you put it in the title you might give the impression that it’s a crime novel.
Write a shortlist of titles. Force yourself to come up with many more than you need. Then put them away and come back when you’ve forgotten what they are. Try the best ones out on friends, then go back to Amazon to see how your shortlist compares with the books already out in the marketplace.
Repeat until satisfied.
You’ll find some more notes on titles in this post by Ray Harvey aka Journal Pulp.
Do you struggle to think up titles? Do you have any tips? Share in the comments! And if you want to continue brainstorming Kate’s book – or if you think of a possible title share it here!
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Everyone’s writing prediction posts right now. I wouldn’t have dared, except the website On Fiction Writing asked what I thought might happen in the industry in the next five years.
Obviously writers can’t be oblivious to what’s going on in publishing, but if you look at what’s changed in the past two years, do we have a hope of predicting anything with accuracy? Anyway, who would trust the predictions of anyone who makes things up for a living? Worlds, economies, social movements roll out of our imagination to suit whatever story we want to tell. (And I see they put my interview next to a novel called The Mad Scientist’s Daughter. Adorable cover anyway.)
The only certainties I can predict – for myself and for other writers in 2013 – are these.
- I will need to weigh up several new social media environment and decide if they’re worth the effort. I will need to remind myself that once upon a time I was scornful of Twitter, Facebook and even – gasp – blogging.
- I’ll need to embrace at least one new platform for publishing, on a device that I don’t see the need for. I will have to remind myself that putting Nail Your Novel on Kindle turned out to be a brilliant move.
- I’ll never decide what’s worthwhile unless I have help – which I will probably find by firing off a tweet or a Facebook post to all you guys.
- I’ll get stuck on the novel I’m writing, and when I think all is irretrievably lost the answer will fall effortlessly onto the page. (I talk about writer’s block in my interview, in case you’re wrestling too.)
- I’ll discover several writers whose work contains such insight, I will not know how I did without them (I talk about favourite writers too)
Predictions aside, I’m also talking about self-publishing, publishers developing new roles as partners for indies, finding readers – and ghostwriting. Do join me there and if you’re in a predictive frame of mind, leave a comment here with conjectures, projections and outright fabrications and fantasies for writers in 2013.
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A publisher was interested so we had a meeting. In a creative, convivial afternoon, we brainstormed ideas. I took reams of notes. But in the end I did nothing they suggested. Not one thing.
They were right
At home I made a beat sheet (one of my all-time lifesaving revision tools, explained in Nail Your Novel). It had been a while since I’d read the manuscript. The beat sheet showed that too much of the first half was atmosphere instead of story. My esteemed colleagues were right that it was slow.
They were wrong
But they were disastrously wrong about how to pep it up. ‘Let’s have a character on the run, a threatening political movement in the wider world of the book, another sub-plot to keep characters busier’… All sorts of plot fireworks, all out of kilter and unnecessary. I knew the central character had a compelling major problem and that the action must come from that, not from a carnival of chaos around the edges.
So how did I fix the book?
As always, the best insight came from examining why I wrote the story the way I did – made possible by the beat sheet (left, with fortifying accessories). I included those slow scenes for a good reason – to introduce ideas and threats that would emerge later. I’d made them strange and intriguing, but I now saw they didn’t have enough momentum in themselves. They didn’t immediately generate interesting situations.
I’d known I was in trouble
I had even suspected they were weak, so I’d tried to solve it with false jeopardy. I confess I made the main character worry that nasty things could happen. I now clutch my head in shame – these extended periods of worrying were not jeopardy, they were nothing darn well happening.
I even realised this, and tried to atone by making the main threat bigger. In hindsight it creaked with desperation.
Agent and publisher were nice enough not to say any of this. Perhaps they didn’t notice or mind. Perhaps only I knew how bad it was, because I knew my desperate motivations.
Unpleasant as it was to examine my writerly conscience, the answers helped me decide what to keep, what to add and what to adjust.
Better. Stronger. Faster.
I returned with a leaner, stronger Life Form 3. A really compelling read, said my agent – not noticing it was actually longer. He didn’t give a hoot that I’d ignored his suggestions. He didn’t even remember them. Unfortunately the publisher’s imprint closed that month – so Life Form 3 was out in the cold again. But that’s another story.
Some writers hate it when editors, beta readers et al make suggestions. I don’t – I welcome them as oblique illuminations from the surface to the murky deep. And if you’re new to the writing game, or need to fit an unfamiliar genre, there’s much that a savvy editor can do to guide you.
But you mature as a novelist by understanding your own style and your individual ways – which includes how you handle your material and second-guess your own process. In a talk given at BAFTA, screenwriter, playwright and novelist William Nicholson said it’s the editor/producer’s job to tell you something’s wrong, and the writer’s job to find out what that is.
Before you act on revision notes, reread your manuscript and examine why you wrote what you did. This is how you stay true to your novel – and how you come into your own as a writer.
Thanks for the camel pic Loufi
In my next post I’ll discuss in detail how to add jeopardy to a story. In the meantime, let’s discuss -
Have you had detailed editorial advice on revisions, and how did you approach it? Do you appreciate it when editors chip in with changes they think would improve a book?
You can find my beat sheet in my book Nail Your Novel: Why Writers Abandon books and How You Can Draft, Fix and Finish With Confidence. A second Nail Your Novel is under construction – if you’d like information, sign up for my newsletter.
And – spoon tapping on glass – this week I had an email from CreateSpace telling me that demand for the print edition has been so high that Amazon placed a bulk order so they have enough stocks for Christmas. Who says indies are killing print?
agents, Amazon, authors, BAFTA, CreateSpace, deepen your story, editors, fiction, find your style, Fix and Finish With Confidence, getting notes from an editor, having ideas, how to edit your book, how to edit your novel, how to write a better book, how to write a book, how to write a good book, how to write a novel, jeopardy, Life Form 3, literary fiction, literature, My Memories of a Future Life, novels, pacing, Plot, polishing, print edition, publishers, publishing, revising, Roz Morris, self publishers, William Nicholson, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life
I’m at Authors Electric today, discussing how indie writers are getting their work to readers by curating collections based on a solid respect for craft and originality. While publishers play safe with marketing pigeonholes, some of these indie groups will be the brands of the future. Come and see…
authors, Authors Electric, Do Authors Dream of Electric Books?, entertainment, Fix and Finish With Confidence, how to write a novel, imprints, independent authors, independent publishers, independent publishing, indie authors, indie groups, indie writers, literature, My Memories of a Future Life, publishing brands, Roz Morris, self-publishing, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel
I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Is my book paranormal or literary? And which age group is it for? How to categorise your novel March 9, 2014
- Reading revolutions: serialising a novel – interview at the Malaysia Star March 6, 2014
- ‘This song says it’s time to get serious’ – The Undercover Soundtrack, Rebecca Cantrell March 5, 2014
- Planning your story – a checklist for success: and win Nail Your Novel in print! March 4, 2014
- Publish or selfpublish? Advice for the 2014 writer March 3, 2014
- ‘Music that flows into the marrow of the soul’ – The Undercover Soundtrack, Birgitte Rasine February 26, 2014
- 7 stages of writing a book – video discussion at IndieReCon February 25, 2014
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See what I did there…