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Posts Tagged writing life
My guest this week has written a novel of exiles – artists, sculptors and musicians displaced from their home countries by the border shifts after World War II. The central character is doubly exiled, born between genders at a time when such things were poorly understood. Music helped her create their personalities, guide her research and develop their histories. She drew on a rich heritage of opera, jazz and folk – and even composed her own folk song for the novel. She is Kathleen Jones and she’s on the Red Blog with her Undercover Soundtrack.
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‘Can I ask you about ghostwriting….?’ As you may know, this is how I first got published, writing novels that were released under the names of other people. I was the secret hand that wrote these (and others…)
I get asked about ghostwriting all the time, from people curious about it as a career path, or thinking about hiring a ghostwriter, or the plain curious. So here’s the dirt. Or as much as I can safely reveal.
Which books are ghostwritten?
Celebrity biographies and novels If someone has an interesting life story or is popular, a ghostwriter might be engaged to help them write a memoir. If that sells they might be asked if they fancy doing novels.
Megabrand genre novels It’s well known that James Patterson uses ghosts, outsourcing early draft work to keep up with demand. And that publishers hire writers to keep popular authors feeding the market after they die – eg Robert Ludlum. There are also plenty of other big-name authors in commercial fiction who are still alive and use ghostwriters, unacknowledged. (Knowing wink. You would be scandalised.)
So there’s plenty of work.
It’s all about who you know.
Editors and agents If you have a literary agent, let them know you’re up for ghosting. Also it’s worth mentioning to book editors you’ve worked with.
Journalism Journalism is another way to break in, especially for non-fiction. You might meet someone who wants help writing their life story or a book on their patch of expertise (but see below).
Author services companies I get frequent approaches from author services companies, who want reliable ghostwriters they can recommend to clients. I don’t know what the terms are, but, in general, I worry about working for services companies. Judging by other areas of publishing, one party gets a bad deal – either the client pays over the odds, or the freelance gets a lot less than market rate.
Pros and cons Cons first. You’re caught between two masters – which you realise when the ‘author’ wants one thing and the editor wants another. You will be amazed at the issues that blow up into diplomatic incidents and you’re left trying to please both. (Knowing wink. You’ll earn every dime.) Commercial ghostwriting is satisfying because the book will be published, and because of the cost of hiring you, it will probably be well marketed. Depending on your deal, should be a worthwhile addition to your CV and earnings stream. If you ghostwrite for an author services company, you may find there’s no long tail because the book is far less likely to earn in money or reputation.
What will you be paid? Deals vary, obviously. But to generalise, you get much better terms if you have representation. My agent is horrified at the contracts I have from my ghosting days.
My personal beware list
Don’t do any ghosting work for individuals unless you’re very sure they’ll get a publishing deal. Even if they’re a celebrity you know personally.
Don’t do any work on spec for agents. In more naive days I spent four months rewriting a thriller for a phenomenally well-connected gentleman, persuaded by an agent to do it for a future profits share. The book never sold and I never saw any payment.
Be even more careful of the situation that might land you in court – or worse. I get a lot of approaches from people who want me to help them write a book about their murder trial. Such a book couldn’t be published without cast-iron legal backing, which only a major publisher has the chops for. And as for the chap who wanted me to write the book about how he was manipulated into assassinating … No I can’t tell you. (Knowing wink with a nervous twitch. You might be dead.)
Can I hire a ghostwriter myself?
Question. Can you afford to pay six to nine months’ salary for a writer to do a proper job of your book? This is why, in commercial publishing, ghostwriters are generally funded by the publisher, not the writer (although they don’t always get a fair fee – see above). But if you have a strong concept for a book and a writer who is a good match, you could seek a deal together.
What about royalty-split deals? See the caveats above, but these are frontier-busting times. Indies are leading the way with new ways to fund books, as we’re seeing with ACX for audiobooks and translation deals.
How can I break in?
Aside from personal contacts, there are opportunities for beginners if you know where to look. Book packagers are companies that dream up commercial ideas for novels, which they pitch to publishers. Some of these become phenomenally successful. They need writers.
They give you the plot in painstaking detail, so your job is to flesh out the story into scenes. Sounds a doddle? There are two downsides. One – the pay is rubbish. Two –they demand rewrite after rewrite because they design the story by committee and change their minds. But it is a way to get experience, and you might make useful friends. Find them in Writers’ and Artists’ Yearbook, or the US equivalent. Contact them and ask if they’re looking for writers. If you send them a sample and it’s good enough, they might ask you to try out for a live project.
Have you any questions about ghostwriting? Or wisdom to add? Your turn!
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I’ve had this question from Ellie Jackson, who blogs at aquamarinedreams.wordpress.com
I have just graduated from high school and dearly wish to become a writer/author. I am asking different authors what their recommended education would be – pursue a degree, take courses, or read books and blogs and get as much experience possible?
You want more than just to use writing in your job, right? You want to write books that will be your signature in the world.
I’m guessing that careers advisers would pick the obvious – take a qualification in English, perhaps literature. That’s the way I was advised, but studying English didn’t help me write. It was the subject I was good at and a way of keeping me parked in education while I figured out a profession to aim for. (I went into publishing.) Casting around my real-life friends who’ve ended up as published writers, they have degrees in archaeology, history, theology, PPE. Husband Dave has a degree in physics. Some of my writer friends don’t even have degrees.
None of my writer cronies have a formal education in writing. They – we – wrote as a natural pastime and this became such a habit that we always had a book in the works. We read craft books when we found them, but mostly went with our instincts and learned by reading with awareness. Then we gathered our courage, queried an agent or an editor and had a period of rude awakening when we discovered our blind spots (and also strengths).
Not everyone gets that kind of feedback or opportunity, of course, especially as publishing deals are now more scarce than ever. But we now have far more ways to find mentors – hiring an editor, joining online or real-life writer groups. I had my baptism of fire in an evening class at Morley College in London, where we read excerpts of WIPs and discussed them critically, guided by an agent. All genres, all types of writer. Eyes were widely opened.
Good as that was, I’ve done miles more learning since. Each novel gives me new craft challenges, and Ever Rest is no exception. To be a writer you have to relish that work as much as the days when the muse is obliging. It also means you don’t have to get all your learning in one hit.
Last word on courses
Creative writing qualifications might prime you with the basics, but I don’t think they’ll equip you any better than learning by practice, training your sensitivity, reading observantly and experimenting on your own soul. Creative writing degrees probably exist because there’s a demand for them, not because they’re necessary.
What’s my evidence for this? In more than 20 years as an editor, I have not noticed that clients with MFAs or creative writing qualifications are any more adept than those without.
Again – which course?
Here’s what I’d do. Get a fallback skill you can ultimately use for freelance work. It’s unlikely you’ll be able to make a living just by writing, so train in a skill that will pay the bills and scale up or down as needed. Even if you aim to write a high-selling, lucrative genre such as romance, you still need to earn while you build a reputation, a network and a body of work.
It’s more likely, though, that you won’t give up the day job. Sorry. Many acclaimed writers I know are also immigration officials, teachers, night watchmen (good for story material), doctors, lawyers, PR consultants, tailors, journalists, farmers, electricians. I don’t subsist solely on writing. I freelance as a fiction editor and also as a magazine editor. And occasionally a film and TV extra.
Should you try to work in book publishing?
Here’s an upside – you meet useful people and learn handy skills (for me it was how to make books – dead useful with the invention of CreateSpace).
Here’s a downside – little reading time of your own. You must read to develop your art. Although you learn a lot from rough or unsuitable manuscripts, or the latest upcoming bestsellers, you need to read for your own education and for your current WIP. See my previous remark about prioritising.
We’ve talked about ‘experience in writing’ – but experience in another sense counts too. The best education for writing isn’t craft books or courses. It’s life. If we only mix with writers, that’s all we know – like those authors whose main characters are always authors, or pop stars who only write songs about the agony of fame. That’s a rarefied life that doesn’t resonate well with the people who might be your readers. This fantastic post by Randy Susan Meyers at Beyond The Margins talks about the things she learned from frustrating jobs where people treat you impolitely, reveal their true natures or regard you as invisible. We write more truthful, relatable, enduring books when we get out.
Becoming a writer isn’t necessarily about getting qualifications. The learning process is too long for that. You can’t bank on making a living through it – although you might, the business is too precarious and fickle for such guarantees. So what is your best plan for success? To build a life that enables and enriches your writing. Good luck. And let me know what the other authors say.
What would you say to Ellie? Share in the comments (especially if you’re a careers adviser)!
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I’ve had a question from Tina L McWilliams: Besides Twitter, LinkedIn, Facebook etc, a website is obviously essential. But what type? Some writers have simple ones, with their books, an author biography and so forth. Others – you and Joanna Penn included – have ‘education’ sites. Which I love, and return to regularly. (Thanks! Ed) So, could you discuss the importance and the time involved with both?
Why have them at all?
If you’ve got Twitter, Facebook, G+, you’re certainly making good connections. But you’re fitting a limited format with little room to customise. You need a place to invite folks to when they want to know more.
Also, you control your website’s destiny. A social medium might disappear – or your crowd might (MySpace, anyone?). But your site is yours.
How extensive does the site have to be?
If the site’s raison d’etre is to tell people who you are, you don’t need more than a few static pages – about you, your books, contact details. Perhaps a page of upcoming events if you do a lot of these (I don’t so I use social media for this). And voila: a website.
If you add a blog, you get noticed more. Search engines favour sites that are frequently updated. Human visitors like to see they’re on the blog of a person who regularly shows up, and notices when new folks call. There are a lot of dead, forgotten sites out there, so you need to make your site look alive.
Honestly? The ether is choked with sites about writing and publishing.
Here’s a reason not to: being distinctive If you write straightforward posts about ‘show not tell’ you might find it hard to be noticed – and that’s one of our goals, right? So your posts need to be individual. A lot of writers blog about their lessons and mishaps on their writing journey, so you might find it hard to reach further than immediate friends.
Here’s a reason to: getting your material shared If the content is useful or strikes a chord, it’s more likely to be shared. Certainly a lot of people want to learn about writing and publishing. And you might win fans for your gloriously whacky voice (like Chuck Wendig).
But consider this:
Who do you want your content shared with?
Most authors who blog about writing will only reach other writers. That’s fine for me because writing tuition is part of what I do (but it’s not everything – see below). If you’re blogging to help people develop a taste for your fiction? You might be better choosing something else:
- your issues, if your fiction is issues based
- your historical period if appropriate
- other books in your niche
- host other authors (like Jane Davis), campaign for better recognition for indie authors (like Paul Sean Grieve), start a blog series like David Abrams on The Quivering Pen with My First Time or me with The Undercover Soundtrack.
Blogging to promote your fiction? The dilemma for literary authors
I still haven’t sussed this myself. Partly this is because my kind of fiction doesn’t suggest bloggable ‘topics’. One book might deal with, say, musicians, reincarnation and despair (My Memories of a Future Life). Another might feature repressive regimes and ruined country houses (Lifeform Three).
Even so, those aren’t really my ‘subjects’. I can write the odd guest post about them, but not regular blogs. Ever Rest and my embryonic ideas are different again. My signature, if I have one, is thematic: ideas of the soul and memory, conditions of haunting. I have only realised this as I roam about in Novel 3. I could blog about those themes, but it might discharge my need to explore them in the books.
So subject and issues blogging isn’t going to work for me. But it might be good for you.
Make it regular
Your blog needs to look current. So make blogging a regular appointment. Include a calendar so visitors can see the pattern. A list of previous or popular posts will tempt them to stay longer. The longer people stay on your site, the better.
How frequently should you blog?
As often as you find manageable. Experts say that for SEO significance it should be several times a week, but that might exhaust most of us. And think of it from the reader’s perspective. How much time do you have to read blogs, even the ones you love? Once a week is probably plenty to keep you on the radar.
Which brings me to… what I do and how much time I spend.
Why do I have so many sites?
It was an accident, but it seems to work. Each site has a distinct purpose, and they’re all connected to one hub and to each other.
Nail Your Novel
This one you’re reading is my original site. More here about how it started, where you can also see charming screenshots of how my blogs looked in 2011 (eek!).
Post frequency: I put up a writing/publishing post once a week plus a trailer for The Undercover Soundtrack. Plus signposts if I’ve got a guest spot or devilishly exciting news like a launch. Overall, at least 2 posts a week.
Time taken: I can’t just slap a post out. I spend at least 5 hours of cogitating, checking examples to make sure I’m not making idiotic assumptions, finding pics. You don’t have to spend as long if that’s not your style. Later there are comments to answer, shares to acknowledge and other networking to do. Every few months I might tweak the sidebar icons, so that’s another occasional hour or two. I reckon my blog swallows a full day a week – at least. (Is that shocking?)
Post frequency: twice a week. One trailer to introduce my guest, written by me. One Soundtrack post. Although I don’t write these, they take time behind the scenes. I book guests well in advance (as you’ll know if you’ve featured!). When posts come in, I read them, write back with praise (of course!) and quite often ask for tweaks if I think this would make them fit the format better.
Time taken: about 2 hours per week, depending on resubmissions.
How it started: I’d built a blog for writers, but it wasn’t designed for introducing my fiction. When I launched my novel, I worked out a separate profile-building strategy and wrote this post full of bold plans. I reread it just now and added updates for what lasted and what proved daft or impossible to sustain. Mostly the latter. You might find it amusing.
Another reason to have a separate site was to claim the URL. There are several reasons:
- Easier for readers to find in a Google search
- A handy and sensible URL to put on business cards
- Allowed me to create a separate site with artwork in the novel’s livery (if I went self-hosted again I could have done this without making a separate site, but that would have been too disruptive)
- I can transfer it if I want
Roz Morris, author
I got this by accident. I broke the original Nail Your Novel site, so tried WordPress hosting. I found I’d been given a blog called RozMorris, which sat idle before I realised it even existed. Then I decided to use it as a hub for the others.
Time taken: a few hours to set up introductory pages. I’ve added other material gradually as I write it for other purposes – perhaps 20-30 minutes at a time.
Updating when a new book launches I set aside a few hours to add a new page, update pics and the main header, then all the versions of it on my newsletter head, FB page, blog head and sidebar, G+, Twitter biography… I’ve got a master list in my production schedule so I don’t miss anything.
So many sites!
I did warn you. If I was starting now, I’d have one blog and one author site for everything else. But The Undercover Soundtrack became its own entity, and I couldn’t graft Lifeform Three on without breaking it. I also couldn’t leave Lifeform Three as a poor cousin with no presence of its own.
So my web-web is like a house that’s been extended and extended as times change and the family grows. I don’t doubt it looks messy to purists, and especially when explained here. I’m anticipating comments of horror. However, I don’t think readers mind if the navigation is clear. I doubt they notice the different URLs. But they would certainly baulk if they had to learn a different visual grammar each time. Even though the artwork on each site is different, it follows the same core design so they find what they want quickly.
And yes, apologies. This post is a tad late. Because sometimes life gets in the way of blogging.
NEWS I’m thrilled to announce I’m teaching a Guardian Masterclass in advanced self-editing techniques for fiction writers. Of course, London might not be a manageable distance for you, but if it is, here’s where to find out more. And … psst … it’s one of the many good things that have happened because once upon a time, I started a blog.
Do you have a blog, a website or both? How much time do you spend on them? Do you want to suggest a way for me to streamline mine? Tell me in the comments!
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Sandy’s nervous. It’s her first book launch. She says she’s keeping away from the internet today.
I’m nervous. Unlike Sandy, I mainline social media and will probably be checking Facebook and Twitter even more frequently than usual to see if anyone else is as excited as I am that…
WE’VE JUST LAUNCHED THE AUDIOBOOK of My Memories of a Future Life. Don’t worry, I will calm down soon.
You can find it on Audible in the US and the UK. If you’re thinking of trying out Audible for the first time, you can get the novel free when you sign up. It will also be on iTunes but that takes a little longer to percolate.
If you’re thinking of making an audiobook yourself, either with ACX or by some other means, you might find my posts about the process helpful.
And that’s it! Back tomorrow with a cracking Undercover Soundtrack. R xxx
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This morning I was scratching my head for a post to write, so I asked on Facebook for ideas. Immediately, Vivienne Tuffnell volunteered this great question: ‘How do you keep motivated when your books aren’t flying off the shelves?’
Before I could even type a reply, Zelah Meyer had countered with: ‘delusional optimism and a long-term view’!
Which is about what I would say (at least, the second bit).
We’ll assume for the moment that you’ve done everything possible to ensure your books are up to scratch, with appropriate covers, well-honed descriptions and sharp metadata. You know the book’s good. You’re doing all you can, as your promotion budgets and tastes allow. But those sales aren’t stacking up.
How do you take courage?
Keep calm and build a body of work. Actually, I see this as the only possible plan. Writing is a lifelong thing anyway. If you’ve had the gumption to start, and stick with it, it’s a default habit built over years. Having ideas is as usual as taking breaths. You finish a book and you don’t settle until you’ve got another under way.
Also, building a portfolio makes business sense. Whether we’re the Big Five/Four/Three/Two/AmazOne or an individual writer, this is what we’re doing. With more books we get more chances to be found by readers. And when we are found, we look like more of a presence.
Does this mean you have to churn them out? No. We are taking a long-term view. Write and publish fast if that suits your nature, your material, your market. If it doesn’t, you’re still building a body of work. However long the book takes, once it’s finished, it’s out for ever.
But everyone else…
What about all those posts on Facebook, G+ and Twitter where people share a stellar sales rank or triumphant sales numbers? Some days that can be like a big wet slap. Even though you know how sales ranks surge and plummet by the hour. What can you do, apart from congratulate them – and write?
First, remind yourself it doesn’t reflect on you or mean you should ‘do more’. (Except write. Did I mention that?)
And second, there is something you can do. Keep making meaningful connections, fishing in the internet sea for the other people who think like you, write like you, read like you. Writing is all about connection anyway.
Also, remind yourself how the ebook jungle has changed. I published Nail Your Novel when there was far less competition, and clocked up a good 10,000 sales with so little effort I couldn’t be bothered to count any further. I now can’t believe it used to be so easy. Now, with all the books clamouring for readers, we have to work so much harder for each sale.
Author/editor/songwriter/poet Jessica Bell (left) wrote about this recently at Jane Davis’s blog. I hit on this strategy myself, completely by accident, when I wrote Nail Your Novel. In fact, if I hadn’t got those nonfic titles I’d be feeling pretty discouraged, simply because selling literary fiction is hard, hard, hard. My novels sell only a fifth as many as my Nail Your Novels. But that means I’m five times as thrilled by a fiction sale as I am by a Nail Your Novel sale (though I’m still quite thrilled by those, thank you very much).
What if you only have one book?
A significant number of writers have just one title, and feel no desire to write another. Creatively that’s fine. One book might be all you need to say. Ask Harper Lee. But you are likely to feel this sales problem very keenly. Especially if it’s fiction.
I do know writers who made a big splash with just one novel. For instance, John A A Logan with his literary thriller The Survival of Thomas Ford – but he published at that goldrush time, when a free promotion could work miracles. It was many years before he released another book, and the momentum he got with the first kept him going nicely. He also supplemented it with a lot of hard work on Kindle and Goodreads forums. Now, though, it’s rare that one book will get you noticed enough.
In this situation, your best bet is to go for volume (again). Team up with other likeminded one-book authors and form a collective. Perhaps release a box set.
If the book is non-fiction, you could use it to launch a speaking or tutoring career, which gives people more chances to encounter you. It’s the volume principle again – but you’re producing performances instead of books.
It’s not all about sales
Let’s remember we don’t write simply to chase sales. Except for a few stellar bestsellers, there are more lucrative lines of work. But the satisfaction factor? Every new comment from a reader, every email, every new review, tells me I’m writing what I should be writing. It’s worth the struggle.
Stop this relentless positivity, please
So this probably all sounds very well adjusted. Do ever stop being so darned positive? Certainly I do. I had a towering strop recently when I saw a report of a speech at a publishing conference where the delegates were discussing how much credibility to give indie authors. It all hinged on sales; nothing else. No thought for originality, craft, quality. It reminded me that the publishing world does not want to give authors credibility if they publish themselves – and if we do, they assume we must be at some junior, paint-by-numbers level. Which is insulting for just about everybody – genre authors included. After that I was not positive at all. Measured in that way, EL James would have far more credibility than Henry James.
But we’re playing a long game. For some of us it is longer than others, but the answer is the same. Write more books, and write them well. And remember the main contest you’re in is not against other writers. It’s against your own standards and hopes; the struggle to do justice to your ideas and your talent.
This post probably isn’t startling information. But if you’re also having a crisis of confidence, I hope it helps. And I really hope my optimism isn’t delusional. This is Zelah, by the way. She really can do this. I’ve seen her.
Thanks for the hare and tortoise pic CarbonNYC
Any thoughts to add? Share in the comments!
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Usually I write from beginning to end with no gaps. This time, I’m writing the characters’ final scenes and retracing.
I usually can’t do this. I need the continuity from one scene to the next, so that I know what each character feels about their mounting troubles as the screws tighten. Indeed I was writing in this orderly way until I hit the half-way point, when a sudden epiphany left everything spinning. By three-quarters, the end was suddenly indubitable, and I was quite unable to concentrate until I’d written it. So I’m finishing the draft by mining my way backwards. The impulse is discharged, and now I can be logical and fill the holes.
Joss Whedon would agree with the new, impulsive me. I recently read an interview where he explained how he assembles his scripts from a series of ‘cool bits’, then gradually fills in where necessary. He says it helps him because he knows he has material he likes, and that keeps him enthusiastic to stitch it together properly. As most of us go through phases where we despair of our manuscripts, this sounds like a good way to keep positive.
On the other hand, the British scriptwriter Robert Holmes would agree with the old me. (We just bought a biography of him because we are devoted fans of original Doctor Who). Robert Holmes hated to plan or write outlines. One producer asked him to write a presentation with ‘a few key scenes’ and he replied: ‘I can’t write a scene before I get to it. I know some writers hop around like this. They’re probably the same people who turn cherry cake into something resembling Gruyere.’
Certainly when I was ghostwriting I was dogged about writing each scene in order. This was partly a discipline to make sure I didn’t avoid scenes I was finding difficult, or where I found a problem I hadn’t solved. And I still find that many good discoveries have come of forcing myself to find a solution on the hoof. But The Mountains Novel has required more discovery (see here and here about my writing methods). It also has more main characters than my other novels. Perhaps it is an ensemble piece, and so an organic assembly seems to suit.
Another reason this hopscotch back and forth feels right is because I know what my characters need. I wrote far enough in formal order to know how they are changing, what will be triumph for them and what will be tragedy. And in the revisions I’ll do more infilling, understanding and reordering.
Anyway, all this means The Mountains Novel is nearly an orderly draft from start to finish. I’ve been incubating it for years, referring to it by this working title, because I was nervous it wouldn’t mature. Its proper name is Ever Rest. I’m sure you’ll probably shrug and say ‘so what’, or wonder why I made an issue of hiding it. Maybe you’ll tell me you like the old title; some people already have. But this is a landmark for me. I now feel secure to declare it: my next novel is called Ever Rest.
Diversion over – do you write your scenes in order? Has any book you’ve written made you revise your working methods? Let’s discuss in the comments!
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You started writing a book… but will you finish? Laura Pepper Wu of The Write Life Magazine invited me to her series ’7 Superstars in Writing & Publishing’ to answer that question.
I’m thrilled to be on this because her other superstars are steampunk author and marketing guru Lindsay Buroker, Bestseller Labs founder Jonathan Gunson, Writer’s Digest editor Brian Klems, prolific series novelist and podcaster Sean Platt, magazine journalist Linda Formichelli … and she’s rounding off the series with literary agent Rachelle Gardner! (I’m usually sparing with exclamation marks but I think such a well-connected bunch deserves one…)
In a 20-minute video Laura and I discuss drafting, fixing, beating writer’s block, getting better ideas and writing with CONFIDENCE! And if you scroll through you’ll find the other guys’ interviews too. Come on over…
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‘Music summoned from somewhere unknown; secrets and hope’ – The Undercover Soundtrack, Therese Walsh
My guest this week felt daunted when she embarked on her second novel, worried that she didn’t have the mileage to finish. A duo of songs kept her on course, gave her confidence and made her believe in the reality of her characters and their story. And two is a recurring theme as her novel centres around a pair of sisters with damage, strange hearts and unusual senses. As co-founder and editor-in-chief of Writer Unboxed, my guest is well known to thousands of writers interested in the craft and business of fiction; she is Therese Walsh and she’s on the Red Blog with her Undercover Soundtrack. Plus there’s a GIVEAWAY!
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A week or so ago I talked about making audio books with ACX, the self-publishing arm of Audible. From the author’s end it’s relatively simple – pitch your book, listen to auditions, guide the narrator and review chapters as they’re posted on ACX. But at the other end of the line, the narrator/producer is spending 4-6 hours on each finished hour you hear. What are they doing? When you listen to the files, what problems should you be alert for? And if you’re narrating and producing your own book, what do you need to know?
I put these questions to my narrator, Sandy Spangler.
Sandy: First I print out the pages of the text. Then I review them to refresh my memory and make notes about pronunciation or content/emphasis. Then I prep the ‘studio’ – which is my closet. I set up the laptop and hook up the mic and headphones.
Each chapter (or chunks if they are long) gets recorded in one go because the laptop needs to be outside of the closet, away from the mic or we can hear the fan. I hit record, then shut myself in with mic, headphones, and a glass of water.
Roz: You need studio-grade equipment to meet the quality standards for an audiobook. Podcasting gear won’t cut it. Equipment notes follow at the end of the piece. Back to Sandy.
Sandy: I monitor the audio as I go via headphones. Any time there is a mistake I do a retake and keep going so I don’t interrupt the flow.
Roz: Watch for these when you’re reviewing the uploaded files. Even with the most meticulous narrator, a repeated phrase or two can slip through. The finished quality is the responsibility of both of you!
Sandy: I usually catch around 98% of the errors. The tough ones are when I read a word incorrectly but it sounds right at the time (like make instead of makes) so I don’t catch it. Sometimes I can fix it while editing but sometimes I have to re-record the word or sentence. That’s a pain because it holds up the workflow.
The only time I come out is when I need to check a pronunciation – Roz has some pretty atypical words! Oedema? Nebulae? Roentgen??
Roz: Sorry about that…
Sandy: I record six or so chapters at a time, until my voice gets tired, then load them onto my main PC for editing. I splice together the chapters if they are in chunks, then compress the audio and equalize so the sound quality is good. Then I listen to each chapter and follow along using the printed manuscript to make sure it is correct. I try to fix any mistakes, and make a note of the ones I can’t. I also adjust the pauses between lines so it flows dramatically.
Roz: See the first post about establishing the perfect pause!
Sandy: I listen for the best takes and remove the bad ones, and cut out extra noises like mouth clicks and breaths. I usually end up listening to each recorded line at least twice, sometimes as many as five or six times. I spend more time on the dramatic passages because those feel important to get right.
Roz: This is like the writing process!
Sandy: Once a chapter is complete I run a range check to make sure it fits within the ACX parameters. I adjust the volume as needed, then export it as an MP3 ready to upload.
Incomplete chapters waiting for pickups get put aside until after my next recording session so I can drop in re-recorded lines. Sometimes the new lines need to be tweaked to get them to match the original recording – different days can sound quite different.
Sandy: Do your research before spending money on equipment. Get the best setup you can afford because when you are recording a solo speaking voice there isn’t much to hide behind, and there is only so much you can do in post-production.
Most audiophiles recommend a high-end microphone with a pre-amp to convert the analogue sound to a digital signal. The pre-amp is almost as important as the mic, so if you go this route you have to spend quite a bit of money to get a good sound. If you are planning on doing professional recording full time this is probably the way to go.
USB microphones have a built-in pre-amp, but traditionally sound tinny and aren’t warm enough for audiobooks. However, they have come a long way recently because of the huge rise in amateur voiceover work for video blogs and podcasts. The mic I bought is a high-end professional brand (Shure PG42) and tuned for voice recording. Since this voice project is a bit of an experiment for me, I wasn’t prepared to buy a full mic/pre-amp system, so I invested in one of the best USB mics.
There are some great resources out there for mic comparisons, such as this one. The other advice I would offer is to give yourself a crash course in post-production – for compression, equalisation and to remove mistakes and odd noises. There is a ton of great info on the web, such as articles like this …and video tutorials like this. ACX also has some very useful tips.
Oh cripes, two names that sound the same!
This really caused a hiccup, and made me rather unpopular with Sandy. Listening to her chapters, I discovered I had a Gene (the main hypnotist character) and a neighbour Jean. On the page, they are perfectly distinct, but in the ears… they sound the same. This gave Sandy some extra rerecording and messed up our schedule.
I talked in my previous post about the pronunciation guide. When you write this, check you don’t have two names that a listener might get confused!
Ooh, knotty word
Less of a problem, and certainly more amusing, was a word that didn’t translate well to a US accent. There’s a line where Gene, the hypnotist, is described as wearing a ‘knotty’ jumper. In Sandy’s voice it came out as ‘naughty’. I imagine comics letterers have the same problem with ‘flick’.
This might not have mattered, except that the knotty jumper occurs again in tense scenes that would be rendered farcical if the listener thought a character was wearing a ‘naughty’ jumper. We decided to stay the right side of serious and replace it with a less troublesome ‘rough-knit’…
In the meantime, do you have any questions or tips on working with audio? Do you listen to audiobooks? What do you like or not like about them? Share in the comments!
Stop press! Once your audiobook is finished, you’ll need to market it. Joanna Penn has some great tips in this post.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘The music of exile’ – The Undercover Soundtrack, Kathleen Jones July 23, 2014
- Ghostwriting FAQs: should you get a ghostwriter, do you want to become one? July 20, 2014
- ‘Abhorrent combinations… fear not as the music writes the story for you’ – The Undercover Soundtrack, Josh Malerman July 16, 2014
- How to fix a plot hole July 13, 2014
- ‘Music of raw power, pulling back from chaos and feedback’ – The Undercover Soundtrack, David Penny July 9, 2014
- Studying Ray Bradbury: a beat sheet of Fahrenheit 451 July 6, 2014
- ‘Sadness and longing in the wildest pleasures’ – The Undercover Soundtrack, Rohan Quine July 2, 2014
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