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Posts Tagged writing routine
I’ve had a question from Samantha Warren, who saw me at the Get Read conference, where publishing journalist Porter Anderson was interviewing me for a session on reaching readers. Some of the discussion was about balancing all the demands in our lives – social media and promotion versus the writing and production of books. In reply, I waved a notebook that I use to keep myself organised, not to mention sane.
Samantha has emailed: First, where did you get that fabulous notebook? Second, how do you organize your to-do list using the notebook? I have post-its everywhere! Any advice you might have for a disorganised amateur would be greatly appreciated.
First things first. The notebook was a freebie at the London Book Fair 2011; a dummy book with blank pages produced by print company CPI Books to advertise their services. They’d probably be pleased to know it’s standing up well to daily use.
Post ideas for this blog (that’s another one crossed off… crossing off is incredibly satisfying, so you must do this)
Consultancy enquiries and bookings, with dates
Events checklist – I refer to this if I have a reading or an event, to make sure I take everything I need. It includes printout of speech or prompts on notecards; backup on Kindle; copies of my books; Moo cards; pens for signing (my handwriting is so dreadful that my signature only looks right in cheap Bic biros….); camera.
WIP reading lists – each book gets a separate page: The Mountains Novel; The Venice Novel; The Flying Novel. That one’s just hatched, after a conversation I had with a gentleman who came to a signing and wanted to talk about My Memories of a Future Life.
WIP launch notes – again, one page for each book, including bloggers who’ve expressed an interest, reviewers, Twitter folks and websites on related subjects who are worth approaching.
Blog and website tweaks – I’m always thinking of improvements I could make to this blog, my writer website and The Red Blog. Fiddling with websites is a great way to fritter away your hours, so I wait until I’ve got a purposeful list, then work my way through it. And cross things off.
Special projects – when I redesigned the cover of Nail Your Novel I made a special page for all the fiddly jobs I’d have to do, such as redesign the livery on the blog, websites I needed to update.
Style guide for the Nail Your Novel print books - as the books are a series, they need to follow a consistent format. Crossheads (including their spacing), title page, copyright page and so on are uniform in all the titles. So that I don’t have to open the previous book and pick through the typesetting menus, I wrote out a house style page.
Which brings me to ….
When I ran an editorial department I had a big ledger that was a schedule for the entire imprint’s output. Every stage of a book’s production process was listed so that nothing got missed: Copy commissioned; art department briefed; interior design approved; copy in; copy edited; 1st proof; 2nd proof etc. When you have 30 titles on the go at once, you utterly believe in systems.
If you’re not self-publishing you won’t need this, but if you are, you might find it useful. I don’t tend to chart the writing stages (eg first draft, beat sheet, edit, beta readers etc), but I do list the publishing nitty gritty. This is just a selection:
- Cover finalised
- Proper images bought (it’s easy to let watermarked roughs slip through on a PDF because you get used to looking at them)
- Book on Kindle
- Book on Kobo
- Book on Smashwords
- Spine finalised
- Index done
- Page numbers taken off prelims for book interior (title pages etc shouldn’t have folios)
- Back cover copy written
- Back cover fully designed.
I also keep track of other places I need to update once the book is published:
- Recent Releases page
- What’s Next page
- website images and headers
- teasers inside the other books
- Amazon author pages
- group blogs I need to inform etc.
So that’s my to-do book. Is there nothing a blogger won’t post about? Here are my writing scarves.
EXCITING NEWS! A while ago, The Guardian Newspaper asked readers to nominate their favourite self-published books. Out of 3200 authors, they featured 34 that were featuring frequently – and My Memories of a Future Life was one of them!
I was so thrilled to see my book made the list, so I’d like to say enormous, heartfelt thank-yous to everyone who took the trouble to nominate me. I’m still grinning.
In the meantime, tell me: how do you keep track of your to-do list? Share in the comments!
authors, book production, book production schedule, CPI Books, Fix and Finish With Confidence, Get Read, how to do social media, how to organise your writing time, how to write a novel, Moo cards, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, organise your writing time, Porter Anderson, publishing, Roz Morris, self-publishing, social media, The Guardian, writers and social media, writing, writing a novel - Nail Your Novel, writing business, writing life, writing routine, writing scarves
My guest this week says that for the first part of her life, performing music was everything to her. She spent most of her teenage years singing two-part harmony with her sisters and was set for a career in music when a bout of depression wiped out her desire to perform. During her recovery she began to write romantic comedy, which seemed a natural way to use her awareness of pacing, rhythm, texture and emotion, those innate senses that help us master the reader’s experience. Now she uses music for companionship while she writes and to put her into a creative state of mind. She is Kirsty Greenwood, romantic novelist and founder of the site Novelicious, and she’s on the Red Blog with her Undercover Soundtrack.
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I’m delighted that this week’s guest has included Olafur Arnalds’s album Living Room Songs in his Soundtrack. I discovered it from another guest here, and it got me like a snakecharmer’s pipe. While I’ve been mainlining it to brainstorm The Mountains Novel, my latest guest has been using it to create an environment of conspiracy, calm and sexual tension for his novel Red Lory. He says he puts music on to act as a metronome, guiding his voice while he concentrates on the sentence formation and world-building. He’s also inspired by the way songwriters pack so much into a tight space, which drives him to make his prose more vibrant and potent. He is literary novelist Dave Newell and he’s on the Red Blog with his Undercover Soundtrack.
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It’s ultra-streamlined to suit all writing approaches. If you like to create a detailed synopsis, my tips will get you going. If you want only the barest essentials, they’ll guide you while giving you room to explore and express. And if you’re still undecided or wonder if NaNoWriMo is even possible, hopefully they’ll persuade you to take the plunge.
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My guest this week says she discovers characters through songs – from the outline of their stance to the troubled depths in their souls. For her, this is when the book comes alive and she understands what pulls the characters together – and what will drive them apart. Certain songs became the mental habitats for particular scenes and she played them over and over until she had understood them fully. Her name is Adrienne Thompson and she describes her books as inspirational fiction with a twist – and she’s on the Red Blog with her Undercover Soundtrack.
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I’m thinking about this because the other day I heard an interview with the British actor Peter Bowles. He explained that much of the time in acting life, he’d try to second-guess the director. When his character seized a sword or opened a letter, he’d be trying to figure out how the director wanted him to do it. Partly this was survival – after all, he wanted to be hired again. And he had a team player’s instinct to collaborate and please. However, he was aware that he was missing a fundamental connection – with the author of the text, and what they wanted.
But, said Bowles, this all changed when he put on a mask. Yep,. he couldn’t see the director any more but that’s not as fatuous as you think. It narrowed his awareness to just him and the text. And then it was as if all doubts vanished; the white noise of other people disappeared and he was suddenly certain of the emotions and truth in a dramatic moment. He knew, from inside, what to do.
It strikes me that writers spend a lot of time second-guessing. We’re surrounded by muddling influences. What’s popular in the market, what our favourite authors recently did. Suggestions from our extended writing family. Even, requests from our readers.
Writing has never been so connected. We can bust out of isolation, join social writing communities and cheer each other through Nanowrimo. As soon as a chapter leaves the brain, we can offer it for comment if we wish. Oh I’m not saying it isn’t fantastic to have support and guidance. If I disapproved, I’d hardly bother you with my weekly volume of bloggery. I love the world wide web of creativity we have. But no one knows a work’s bones as well as its creator. Are we taking enough quiet time to discover its deeper, instinctive truth?
I think there’s a part of writing that cannot be social. It must be done alone, unplugged and in a safe space. That’s how we strike out and find true inspiration – for the direction of a story, the meaning of a setting, the innate humour in a scene. It’s how we develop instincts we can rely on and a voice that’s indubitably our own. It’s how we become original and authentic.
Like those actors, there are times when we need to put on the mask and see what we find.
TINY NEWSFLASH Continuing the theme of creating our own space, I’ve revamped my author website with a new design and some extra pages, including Why I self-publish and a picture tour of my writing process.
Let’s discuss in the comments: Do you take time to retreat with your work? What do you do to cultivate your writer’s instinct?
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The other day Porter Anderson at Writer Unboxed examined the popular notion of the lonely writer hammering out a novel in solitude. It provoked some interesting discussions about the way we do our work or accommodate our hobby in a busy life.
Chez Morris there are two writers. With no children. When you’ve read this post you’ll agree that’s for the best.
I realise some of our routines and habits must look peculiar to outsiders. But maybe they’ll also look familiar too – especially if you are similarly afflicted.
1 Zombie face
When we’re both deep in writing, it is hilariously difficult for us to have a conversation. When we do, it’s as if we’re trying to talk over a noisy background of in-head chatter: story problems we didn’t solve and new ideas that are streaming in. The real person on the sofa seems to be at the far end of a tunnel.
2 Random outbreaks of notes
We are drowning in paper. Junk mail and envelopes must be binned immediately or they will start to grow a colony of notes. Once this begins, the notes must stay where they were born and may not be thrown away for months.
The most everyday conversation might trigger a sudden need to scribble. While in the car, Dave (who does not drive and therefore has his hands free) often finds himself instructed, like a secretary, to grab the notebook and take dictation. Of course we have a notebook in the car. Don’t you?
3 Other rooms requisitioned
We each have a study, but sometimes we need a change of scene to refresh, cogitate, read or pace with a busy mind.
Suddenly one of us will find we can’t use the dining table because husband is outlining his screenplay on index cards. Wife starts to rue the day she wrote Nail Your Novel. (But is also amused that husband uses it.)
Our rooms would be 15% bigger if we didn’t have such a book-buying habit. Upside: no need for pictures.
…which leads to
With such a vast book collection, they have to be kept in organised places. Dining room for books on history and exotic locations; bedroom for SF, short stories and poetry; my study for fiction; Dave’s study for comic books, mythology and folklore. This careful organisation is banjaxed when a book is appropriated for a WIP. It will make its way into a mysterious pile whose order must not be disturbed. It might grow a fringe of cryptic Post-It notes saying ‘Anne’s sunrise’ or ‘part 2’. Apocalyptic fall-out if other partner wants to use it too.
6 Inability to make long-term arrangements
When a book is near to boiling point, whether there is an external deadline or not, making plans with friends is impossible. Do we want to go to a concert with x and y in three weeks’ time? Er, don’t know, is the answer, because the WIP seems to fill up everything. Even though when that evening comes we might knock off at 7 and open the wine.
7 Moral support
We both know that writing involves a lot of time despairing that our work is rubbish. And we also know how precious we sound when we agonise about it. And how writing is not truly hard like, say, brain surgery or bomb disposal or counselling traumatised asylum seekers. We know we’re soft and ridiculous.
8 Unflinching critiques
Yes, we critique each other, and the kid gloves are off. They were never on anyway. Dave is used to collaborating with writing partners. I’m used to editing and ghostwriting. We’re both too bothered by rough work to worry about ruffled feathers. So our manuscripts get tough love and there is grumbling. But it’s better to keep mistakes within our walls than let an editor, programme controller or a reader see them.
9 Self-publishing v traditional publishing
We’re from different publishing cultures. Which is interesting. Dave’s written more than 80 books (I had to google that) for traditional publishers and he’s worked for games companies. When he has an idea, he knows how it fits the market and which editors might like it.
Me, I write and then find I don’t fit any commercial editor’s needs. Thus I discovered the culture of entrepreneur indie-writers.
And so we are a curious microcosm. In one room, commercial traditional publishing. In the other, commercially-challenged literary indie. In times of strife, the grass often looks greener.
For instance: when we both launched works of fiction.
With My Memories of a Future Life, I’d have sold my soul for an influential endorsement. When Dave launched his reimagining of Frankenstein with Profile books, he was phoned by the national newspapers, appeared on several BBC radio arts programmes and given a login to blog on the Huffington Post. While I was thrilled to see him get such major attention, there was a bit of green-eyed grousing. Several times he was treated to the speech that went: ‘no matter how good my book is, I could not get a start like that’ etc etc. (A lot of etc.) But a year or two on, he’s not as free as I am to make different editions, market it worldwide and do what he feels is needed to keep the book alive. Swings and whatnots.
Anyway: those books are done and more are incubating.
And so we return to #1.
Do you live with another writer, or do you have a close relationship with one as a critique partner? How does it work? If you are the only writer in your family, how does it fit in with the other people in your life?
authors, criticism, critique partners, Dave Morris, Fix and Finish With Confidence, gaming, having ideas, how to write a book, how to write a novel, lonely writer, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, novels, Porter Anderson, publishing, Roz Morris, self-publishing, solitary writer, videogames, writer support, Writer Unboxed, writer's block, writers' families, writing, writing a novel - Nail Your Novel, writing business, writing life, writing lifestyle, writing routine
Okay, that’s not until November, but many serious NaNo-ers will be starting to prepare in the next few weeks. So I’m at Multi-Story, with a plan for creating your NaNo novel – by starting with its people.
Why start with the characters? Because if you know who they are, you’ll want to tell their stories. If you like to plan in detail, you’ll understand who must do what and when. If you like to wing it, the characters will take hold and drag you into an adventure. So if you fancy designing a novel this way, come over to Multi-Story.
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When this week’s guest was on his final rewrite, Adele’s Someone Like You was playing from every radio. He says it seemed to reinforce the story he was polishing – a tale of first love, the transition into puberty and the emotional and physical barriers of the adult world. He says he’d been scribbling notes for years, but first felt emboldened to write the novel – based on his childhood memories of 1960s London – when a Neil Young song convinced him he was sitting on a story. He is Barry Walsh, the novel is The Pimlico Kid and he’s on the Red Blog talking about its Undercover Soundtrack.
GIVEAWAY Barry is offering a signed print copy of The Pimlico Kid. For a chance to win, leave a comment on the post or share it on Twitter, Facebook, G+ or anywhere else (and don’t forget to leave a note here saying where you shared it).
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You know a project is going to be long, serious and brow-furrowing if the illustration is a scribbled-on notebook and coffee. My third piece for the Writers & Artists website is up today. The web editor saw Nail Your Novel and asked me to write a run-down of points to help first-time writers get started on a magnum opus.
Readers of Nail Your Novel will be familiar with it all – notes, plans, splurging first drafts, confidence-building (and coffee), but if you haven’t been here long you might find it useful. Follow your nose…
authors, beginners, Bloomsbury, brow, confidence building, entertainment, fiction, first drafts, Fix and Finish With Confidence, having ideas, how to begin a novel, how to start a novel, how to start your novel, how to write a book, how to write a novel, magnum opus, My Memories of a Future Life, Nail Your Novel: Why Writers Abandon Books and How You Can Draft, novels, Planning, publishing, Roz Morris, starting a novel, starting your novel, time writers, web editor, Writers & Artists, Writers & Artists Yearbook, writing, writing a novel - Nail Your Novel, writing life, writing routine
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As @NailYourNovel I post 4 to 5 useful writing links per dayMy Tweets
Off duty I tweet as @ByRozMorrisMy Tweets
- ‘The thoughts start flowing again’ – The Undercover Soundtrack, Will Overby December 11, 2013
- From ‘To do’ to ‘Done’ – confessions of an organised author December 8, 2013
- ‘Music to make a creative space’ – The Undercover Soundtrack, Kirsty Greenwood December 4, 2013
- How to write down story ideas so you can remember why they were brilliant December 1, 2013
- Could The Undercover Soundtrack help you reach readers? Post at the Alliance of Independent Authors November 30, 2013
- ‘Sex, drugs, metaphysics and rock’n’roll’ – The Undercover Soundtrack, David Biddle November 27, 2013
- How do I develop something special in my writing? November 24, 2013
See what I did there…