Posts Tagged writing life

How to make an audiobook using ACX

Do you want to release your title as an audiobook? If you live in the US, you can go through ACX, the DIY arm of Audible, but ACX wasn’t open to UK authors – until now. For the past month, I’ve had both my novels in production as a test pilot, and now I can tell you what I’ve learned so far about offering a title, choosing a narrator and working with them.

acxWhat’s ACX?

Good question. ACX is a network where narrators and producers can meet authors who want their work released as audiobooks. Once you’ve hooked up, you can then use the site as an interface to create the book, keep track of contracts and monitor sales. In short, it’s genius.

Setting up

You know how tedious it is every time you set up an identity on a new site? All that form-filling and profile-making? ACX requires minimal faff. Once you tell them who you are and what book you’d like to offer, it pulls the detail off Amazon.

Getting voices

You can:

  • opt to narrate and produce the audiobook yourself, but to do this you must have professional-quality equipment and experience of sound editing, or the book won’t pass the quality check.
  • pluck a willing narrator/producer out of the ether – this is what I did.

Pitching your book

Next to your book info, you can add notes to make your book more attractive to collaborators – your platform, sales figures and anything else that will convince them you’re worth working with. Which brings me to…

Costs

Making an audiobook isn’t cheap. An average novel is about 10 hours of narration (roughly 90,000 words) and is likely to cost $200 or more per finished hour.

You have several options if you’re seeking a narrator/producer on ACX

  • pay up front
  • pay a royalty share (which I did)

All the ins and outs of this are much better explained on the ACX site, so check them out there.

mm acxMy acx journey – mistakes made and lucky discoveries

 Choose an audition passage

When I talked to the ACX crew, they told me many writers put up the first few pages as the audition piece. This can be a mistake, because the beginning may not be typical of the book’s action. I looked for a challenging scene with dramatic dialogue as well as the narrator’s internal thoughts, which I felt would test the reader’s approach more usefully.

I added notes about the context of the scene and the style of the book – and waited for auditions.

And lo, they rolled in. (This was in itself a wonderful surprise.) Once I got over the novelty, I realised I needed to tweak my presentation.

Accent& mistake #1 – ACX lets you specify the age, style and accent of the reader. Age and style were easy enough to choose, but accent caused me more trouble. I assumed this had to be British as, obviously, I’m a Brit, my characters are Brits and I write with British language. However, ACX is predominantly US, so that vastly reduced the available talent pool. Some of the voice actors did very credible Brit accents. Some couldn’t pull it off and sounded Chinese or German. Others ignored my stipulation – quite wisely as it turned out they sounded just fine in their natural accents. So I quickly realised accent was a detail that didn’t matter, and edited my directions. Indeed the narrator I chose is American.

Another reason to choose an accent other than your own is if the majority of your readers are in another territory. I sell a lot in the US, so an American accent might make them feel more at home.

Accent isn’t the only deciding factor, though.

Suitability for the material – While the narrator might be able to do a good job with the audition scene, you have to be sure they’ll interpret the whole of your book in the right way. A Regency romance needs a completely different approach from literary fiction, and I can imagine it’s a nightmare to realise your narrator simply doesn’t ‘get’ your book. If you have a contender, poke around in their ACX profile and follow up any websites where they demonstrate other books they’ve narrated. Also, ask them what they like to read.

Acting versus reading & mistake #2 – some books benefit from a reader who will do a lot of gutsy acting, including distinct voices for the main characters. But for most fiction, that’s too much. They’re journeys in prose and need a more intimate, subtle treatment, which might even sound flat to some ears. Listeners know they’re being read to. They don’t need rollicking declamation – or music or sound effects. And a good reader can make it clear who’s talking without bursting into different voices, so you actually need less ‘acting’ than you might think.

I made another mistake here in my original guidance notes for the audition. I didn’t ask for different character voices, but I did explain the book had sections in a different tone – the female narrator, and the future incarnation who was a male version of her. Thankfully, before it went live a friend pointed out that this might cause a lot of horrible baritone overacting, and that I should simply let the text do the work.

Ultimately, you choose a narrator on a hunch that they fit your work. One author I spoke to at LBF said he knew when he’d found his because the guy sounded like the ideal voice he’d have chosen – but better. That’s how I found mine too – although it was by a more roundabout route.

afterMeet Sandy

And here is Sandy Spangler – my narrator!

I had a shortlist of possible voices, including seasoned Broadway actors, but there was one question I couldn’t answer. When I looked into their backgrounds, none of them had narrated a novel like mine, and I was worried they wouldn’t get it. Then I remembered a friend who I’d heard do narration work – on a computer game, of all things. At the time, I noticed how she had an insightful, feisty quality that reminded me of Laurie Anderson. Even better, I knew her reading tastes made her a good fit.

I contacted her. She didn’t know about ACX, but she was keen to give it a go, registered and sent me an audition. Her reading was just right – inhabiting the material with well-judged expression and I knew the book would suit her personality. If you’ve been a subscriber here for a while you might recognise her from some of the goofy photos I’ve used on my posts. But her voice absolutely suits my kind of fiction, and if yours is like mine you might like her too (here’s her ACX page).

Our process

Here’s how we’re working.

Pronunciation guide – All books have peculiar words and names and you need to warn your narrator of these. We set up an editable file on Google docs. As I said, Sandy’s American and I’m a Brit, so we had to decide whether she should pronounce words like ‘leisure’ and ‘z’ in the UK or US version. I decided we could fiddle endlessly with this so I asked her to do whatever was natural. If we tried to anglicise everything there would be certain words we’d miss, or the stresses would still be American. And I didn’t want to get in the way of her doing the most instinctive job. So she says tomayto while I say tomahto. No big deal.

Pace - one of the first tasks is to approve the first 15 minutes of the audiobook. Sandy was afraid I might think she was reading too slow, but I felt the text suited a measured pace. ACX actually advise that you err on the side of slow because listeners can artificially speed the reading up if they want.

Pauses – you need pauses between paragraphs, scene switches, and maybe in other sections too. We spent an email exchange identifying exactly the right kind of pause for each.

Listen to finished chapters – You need to set aside time to listen to chapters as your narrator uploads them to ACX. We have a schedule and a chart where we tick off chapters I’ve approved or asked for modifications (usually these are pronunciations or stresses). ACX gives you a time code so you can pinpoint exactly where an edit is needed.

 

And that’s the story so far. If you’re interested in the finished audiobook, you can sign up for my newsletter here. And you can find out more about My Memories of a Future Life here. Next time, I’ll delve into the narrator’s side, including what exactly is involved in creating an audio book.

In the meantime, tell me: have you made an audiobook? Are you tempted to? Have you any tips to offer or questions to ask? Share in the comments!

 

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How many words do you write a day? And do you have to force yourself? How successful authors do it

Dave writingThis question appeared in my inbox from Adam Nicholls after I reported on Facebook that I’d managed 4,000 words of The Mountains Novel in one day. Adam DMd me, in not a little anguish:

How many words do you write per day? And do you have to force yourself to do it? I love writing, but it’s work.

There are two significant points in this question:

  • output; books growing steadily at a satisfactory rate
  • difficulty.

How many words per day?

I asked this question of a group I’m a member of, The League of Extraordinary Authors. Romance author Melissa Foster says she has no difficulty getting 7,000 to 10,000 words written in a day and that she adores the blank page. No issues with output there. (But there’s more to writing a good novel than stacking up the wordcount, as she points out in the comments below.)

Romance author Colleen Thompson says ‘When on a publisher’s deadline, I write 1,000-2,000 words a day 6-7 days a week. Otherwise, I try to produce 20-25 new pages per week. Right now, I’m editing, so all bets are off!’

And contemporary fiction author Linda Gillard says ‘I don’t have a regular wordcount but I doubt if I do more than 2,000 new words a day. I think of it as a chapter a week. It’s more important to me that I should work every day on the book – research or editing. For every day spent drafting, I spend 3-4 days re-writing/editing. Drafting I find quick, editing slow. Once a book is under way, I expect to work most days.’

Ultra noir detective author Eric Coyote says he ignores wordcounts – ‘because so much of my writing is re-writing. I clock time: 2-6 hours a day. Usually I work a couple of hours in the middle of the day, then a blast at night until 2 or 3am.’

Graham Greene, who was hardly a publishing slouch, would set himself a modest target – 500 words a day he was satisfied with, and he stopped even if he was in the middle of a sentence so he  could pick up the following day.

parisreviewStephen King talks in this interview for The Paris Review about how he aims for 1,000 words a day.

And since you asked (or Adam did), I track wordcounts if I have a deadline, as when I’m ghostwriting. The plot is agreed beforehand and by the time I write it’s simply a matter of enacting what’s in the outline. I’d usually get 2,500 words done in a day, 5 days a week.

My own fiction is trickier because there’s much more discovery and exploration, even though I plan, so wordcounts grow erratically. They might shrink, too, as I realise I can’t leave the passage I wrote the day before. The day of 4,000 words isn’t a consistent norm although I didn’t stop there. By the time I closed the file that day I’d added another 2,000. Only time will tell how much of that I’ll keep as I’m sure I was cross-eyed by the end.

Indeed, like Eric, I find it more useful to record the hours spent. With novels like mine, part of the work is understanding how to handle the idea. So a session on the book may produce no new footage in the manuscript, but several hours writing notes or reading.

Get on with it

Of course, we could research and tinker endlessly. It’s easy to slip into procrastination instead of getting the writing done.

There are two main reasons why we might dither for ever:

  • we can’t immerse
  • we’re worried about getting it wrong – the inner critic

book at the end of the tunnel Nail Your NovelFind a place to immerse

Where do you write? Stephen King in The Paris Review says he creates a ‘refuge’ where he can shut away. He also remarks that being close to a window is fatal because it’s easier to look outside instead of inwards to the imagination.

I posted last week about getting into the zone, using music. Writing tutor and suspense author James Scott Bell explains in this post how he subscribes to the oft-repeated philosophy of writing when he feels inspired, and making sure this happens at the same time every morning. Yes, be brutal with your muse.

Don’t lose contact with the book

A surprising number of writers feel a stab of stage fright before they sit down with their novel. I do myself, but only if I’ve had to leave the manuscript for more than a few days. The more I keep my contact with the book warm, the more I feel comfortable to venture back inside it. It helps that I’m drawing on the experience that the other novels worked in the end. What if you don’t yet have that or for some reason that isn’t enough?

Warm up the writing engine

Some writers favour freewriting exercises. Freewriting is basically splurging onto the page or screen, regardless of grammar, spelling, quality or any other critical issue. The point is to remove inhibitions and let the ideas flow, to connect with your creativity. Famous exponents include Natalie Goldberg in Writing Down The Bones, Julia Cameron in The Artist’s Way, and another of my cohorts in The League of Extraordinary Authors, Orna Ross.

Get out more

In my conversation with the League of Extraordinary Authors, Linda Gillard had this terrific advice. ‘I find the best way to stimulate the flow of ideas and the desire to write is to put myself in a situation where it’s impossible, eg Christmas.’ Indeed, this is one of the tactics I recommend in Nail Your Novel - if you’re stuck, go and do something messy that will make holding a pen impossible. Make meatballs or go to the gym. Inspiration is no respecter of convenience.

Do you have wordcount goals? Do you find writing a struggle? What would you tell Adam? Share in the comments!

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7 essentials for writing a good novel – notes from the Undercover Soundtrack

essentialsYou’ll have seen the posts here about my blog series the Undercover Soundtrackfor logo

Over the years, the posts consistently repeat certain bare essentials, both for reaching the writing mindset and creating a good story. Here they are, and whether you write with music or not, we all need them.

To enter the zone

In front of us is a keyboard and a screen, or maybe a pad and pen. Whether you’re putting on a soundtrack, closing the door on your favourite silent space or seeking the anonymous corner of a coffee shop, the first step is to find a way to delete the outside world.

Start the time machine

Whether we write gritty memoir or the most extravagantly invented fantasy, we need to harvest our emotional memories. Many of our scenes, dilemmas and storylines are drawn from feelings we had at important times with family, friends, loved ones.

To keep the pace

Stories aren’t static. To keep the reader gripped, we need to generate a sense that the world of the story is changing all the time. For me, music is a useful reminder, because music does not stand still. There may be a new instrument snaking into the mix, a new variation on a theme, a creeping, evolving harmony. If this is going on in my ears while I’m spending time with my book – whether I’m musing or typing – I find it keeps me up to the mark – pushing for ideas that give this forward pressure.

And structure  

We’re getting more musical now. A song is not unlike a well-told tale. It creates a territory of familiarity – a pattern we recognise of verse and chorus. Then we have the second verse – familiar, but not the same because the background is more dense or the lyric more intense. The second chorus is usually more substantial than the first, and even if it has the same lyric, it packs more punch. And on the song goes, seeking a climax.

And elegance

For all its variation, a song is tightly disciplined. It develops by adding only what belongs. As story writers we can splash about in ideas, locations, settings, characters and events, but the more they align with the home territory (or exquisitely contrast with it), the more they will seem to belong in one piece.

And contrast

In a piece of music, there might be a breakdown, where most of the elements are subtracted, perhaps leaving only the drum track or the melody at great distance. Breaks are important for a reader too; perhaps a campfire scene, a time out from the pressure to let the reader breathe before the tension comes flying back.

To calm the inner editor

Novels are huge and often daunting. Getting from beginning to end requires persistence, and we always find our confidence tested. Many of my Undercover Soundtrack guests report that music is an essential companion in this. It helps us believe more in ourselves, our story, our characters, our world – and in our ability to finish.

How about you? What essentials would you add? And if music isn’t your aide of choice, is there something you use to get a novel finished?

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Is my book paranormal or literary? And which age group is it for? How to categorise your novel

4245561092_00ff8217b6_zI’ve had this question from Alexandra:

I’m not sure which category my story would fit into. I had originally intended it to be for 9-13-year-olds (my protagonist is 13), but realised I was dumbing down my language in an attempt to suit the reading level. So I decided to write without thinking about age groups or categories. But now I’m close to the end, I still don’t know how to categorise it. Is it young adult with no sex or violence? Literary? Teen? Paranormal?

Let’s break this down.

Age of protagonist

Readers in any non-adult genre are fussy about the age of their protagonist. They usually like them to be at the top end of the range or a little older. But a 13-year-old main character doesn’t mean you’re writing a book for 13-year-olds. You might easily have a child point of view in a book for adults (Henry James’s What Maisie Knew; Michael Frayn’s Spies).

Language

Certainly the language for child readers has to be appropriate for their age. If you’re feeling hamstrung and frustrated by this, it might be a sign that you won’t be able to keep it up for the whole book. But good writers for children won’t feel they’re dumbing down. They’ll find ways to get variety and style into their sentences so that it sounds natural.

Not just language and age

But age ranges aren’t just about language or the age of the protagonist. The real difference is the emotional development and interests of the audience. So pre-teens are interested in different things from teenagers and YA, and books for adults are different again.

Stories for pre-teens will be more adventure based, whereas stories for teens will be about the trials of that very turbulent time of life. You could even take one story event and make entirely different books out of it, depending on the age you write it for.

Take Geraldine McCaughrean’s White Darkness, which is about an expedition to the Antarctic with a mad, exciting uncle. If it was written for pre-teens, the biggest issues would be the survival situation. But the most compelling trials are emotional – disillusionment with a family member, learning who you are, dealing with relationships. Really, it’s a story of growing up, not of polar exploration. That’s what makes it a teen book.

So to work out your age range, identify the most significant trials the characters go through.

Literary or paranormfaint mmal?

And so to the second half of the question. Oh my, you’ve come to the right place! My debut novel, My Memories of a Future Life, has paranormal ingredients – regression to other lives – but it isn’t paranormal. This is because the paranormal elements are not my main focus. My curiosities in the story are despair, hope, how we live, how we heal and scare each other. I’m using ideas of reincarnation to create unusual pressures in the lives of my characters, but reincarnation is not my subject. My subject is the people and how these experiences are the making of them. Indeed, the paranormal element might even be psychological.

This approach would probably annoy a fan of paranormal fiction. They want to lose themselves in a story that uses the paranormal events as the main fascination. That doesn’t mean they don’t want well-drawn characters with compelling arcs, or good writing, or innovative twists. But they want to see their liking for paranormal ingredients to be given due respect.

Here’s another example. I’ve just been editing a novel set in a historical conflict, but it’s literary, not historical. Why? The emphasis is more on the themes and the people than on the historical period; the period is merely a set of circumstances that give the characters their challenges. Why is The Time Machine science fiction, but The Time Traveller’s Wife is not?

Or both?

Could a novel be both literary and genre? In a sense, we are all on a line, and some authors fold the line over to touch. Like Ray Bradbury. He writes science fiction, but his stories are metaphors that also unwrap the human condition. Just when you thought it was clear.

Which are you?

So if you’re still puzzled, how do you tell which category and age group you belong in? By reading good examples of the genre.

It’s all a question of how the material is treated.

To sort out the literary/genre question, read books in the genre. Then read some literary or contemporary fiction that uses elements of that genre. If you’re wavering between children’s, teen or adult, read books for different age groups. Which treatments and approach pushed your buttons, gave you the most satisfaction? The odds are, that’s what you’ll strive to write.

Thanks for the pic LouisaThomson

faintnyn2More about characters, including child characters and teen characters, in Writing Characters to Keep Readers Captivated: Nail Your Novel 2.

Have you had trouble working out where to categorise your novels? Any advice to add? Let’s discuss in the comments!

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Reading revolutions: serialising a novel – interview at the Malaysia Star

serialmalayYou really know you’re in a world wide web when an email arrives from a journalist on a newspaper in Malaysia. Elizabeth Tai contacted me for a series she was writing called reading revolutions. She’d seen that I had originally released my first novel, My Memories of a Future Life, as a four-part serial on Kindle, and wanted to ask me how that worked and why I did it. We talk about pros, cons, cautions – and tips I’d give to anyone considering doing the same. Come on over…

And in the meantime, tell me: where’s the furthest-flung place you’ve had a surprise email from about your work?

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Publish or selfpublish? Advice for the 2014 writer

7345133320_0dd41c6fc1_cThis 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.

guar teaching w joanna

Teaching at the Guardian selfpublishing masterclass: pic courtesy of Joanna Penn

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.

LAF workshop

Workshop at the London Author Fair: that’s Dave looking thoughtful on my left!

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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7 stages of writing a book – video discussion at IndieReCon

7 stagesDo you need help to get your novel started or finished? Four of us experienced scribblers talk about how we stay creative through the tough times and reveal our secrets for drafting, fixing and finishing, not to mention keeping our confidence. Solutions include running, composing music, meditation and lying on the floor scribbling on sheets of A4 using the hand you don’t normally write with.

My co-conspirators are Orna Ross (who is the author of Go Creative, several literary novels and leader of the Alliance of Independent Authors), Kevin Booth (who’s a translator as well as an author and trained as an actor before he took up writing), and Jessica Bell (who runs the Vine Leaves Literary Journal as well as having a parallel career as a singer-songwriter, which you might well know already from her appearances on The Undercover Soundtrack).

We’re forming the creative posse at IndieReCon, a free online conference for writers at all stages of their publishing careers. Do come over – and check out the other terrific events in the line-up. There’s info from all kinds of experts in publishing, writing and marketing.

Anyway, here we are, wrong-handed and full of ideas.

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Writing: a journey in music – guest post at Helen Hollick

tuesdaytalkYou may recognise Helen Hollick as a recent guest on The Red Blog, where she stirred up a storm with raging seas and black-hearted doings, all devised with the music of Mike Oldfield, among others. She’s also a bestselling author who’s hit major charts with her pirate novels, so that’s probably a better reason why you might know her.

After she guested for me, she was curious to find out more about how I use music and how I developed the idea of The Undercover Soundtrack into a blog. Especially as it’s been going for more than two years now – and contributors are now lined up into July!

Some of you NYN old-timers might have heard this tale before, but in case you haven’t, or you want a brief intro to my fiction, or you want to see where Helen lives on line, head over to her blog

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Clashing tones: a peril when we spend a long time writing a book

frankensteinI 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

guarmasterNEWS 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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