I’ve just guested again at Litopia, the online writers’ colony and community. Each week they have a YouTube show, Pop-Up Submissions, where five manuscripts are read and critiqued live on air by literary agent Peter Cox @agentpete and a guest, or sometimes two. This time the other guest was one of Litopia’s longtime members, Matt Schofield, an award-winning war correspondent who now writes fiction.
The format is simple. Five manuscripts, each with a short blurb. We hear the opening pages, then discuss how they’re working – exactly as agents and commissioning editors would consider a submission. And there’s now an added goody – each month, the submission with the most votes is fast tracked to the independent publisher Head of Zeus, and several writers have already been picked up after appearing on the show. (So we take our critiquing very seriously… no pressure.)
As you can see, there is oodles to learn from the chat room comments alone. The audience might not always know why something does or doesn’t work, but they know when they’re engaged, or confused, or eager to read more. Then your trusty hosts discuss the whys and hows.
This time the submissions had a theme – literary and historical, so in our discussions we aimed to define the characteristics of these. We discussed how literary blurbs are not like genre blurbs, and how a blurb can create the wrong impression about a book or give away too much. We discussed how you might create a coherent literary work out of a story with many points of view. We looked at how an author might unify a novel by setting it in a short space of time or a particular geographical place. We identified a fantastic example of showing instead of telling.
We considered openings that were thematically effective but seemed to need a more human centre. We considered titles – the risks of using a name as a title, and a title that gave the wrong message about the tone of the book. We also discussed awkward phrasing – which led us to identify another hallmark of literary work, the author’s control of language and nuance.
We also discussed Matt’s own fiction, which is emerging – in various guises – from his phenomenal experiences reporting on four wars. How do you make real life into fiction? What about transitioning from journalism to fiction writing – are there stylistic habits that journalists have to unlearn? (Spoiler: yes there are…)
There’s a lot more about beginnings and genre/non-genre notes in my Nail Your Novel books – find them here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.