Search Results for: writers & artists

Editing seminar snapshots – from Writers & Artists self-publishing day

w&alogoimage_00007smlAs you might have seen from various flurries on Facebook and Twitter, last weekend I gave a talk at the Writers & Artists selfpublishing event in London. There are some interesting discussion points I want to share, and some of you will have crawled out of Nanowrimo and won’t be in the mood for a giant reading task, so I’ll be posting them in short bites over the next 6 days.

Editing – many minds make your book better

My task at the event was to explain the various steps of editing and why they were important – developmental editing, copy editing and proof reading (here’s my post on a publishing schedule for indie authors ).

This care with the book content was an absolute gold standard for the day, and was stressed over and again – guided rewriting with expert help, and attention to detail.

JJ Marsh of Triskele Books  in her talk on how their collective works, said that the combined critical talents of her fellow authors had made her books far better than she could have made them on her own. Psychological thriller writer Mark Edwards, women’s fiction author Talli Roland all talked about the people who helped shoulder the responsibility of getting the book to a publishable standard. Jon Fine, director of author and publisher relations at Amazon, cut to the chase by quoting thriller selfpublishing phenomenon Joe Konrath : ‘Don’t publish shit.’ (Next time I’ll just say that.)

Some of the delegates didn’t need to be told anyway. From a show of hands, roughly a fifth of them had already been working with editors, in thriving professional relationships where their limits were being pushed and they were being challenged to raise their game. If there’s one advantage selfpublishing can give us, it’s the control over our destiny and artistic output, and many of these writers were committed to making books they could be proud of.

Eek, the cost!

True, good editing comes at a cost. Jeremy Thompson of the Matador selfpublishing imprint gave grim warnings about companies that advertise editing services for just $99. And it probably seems unjust that a pastime that should be so cheap has such a steep price tag. Writing is free as air, after all. But publishing isn’t. It never has been. No manuscript ever arrived at a publisher and went straight onto the presses. It went through careful stages of professional refinement – which takes time and money.

That said, there are ways to get useful developmental help without breaking the bank – here’s my post on 4 low-cost ways to get writing tuition if you can’t afford an editor.

Thanks for the picture, Henry Hyde

Tomorrow: how long to allow for rewrites
Have you worked with an editor or critique partner who helped you improve your book? Or perhaps the opposite….? Let’s discuss!


, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,


How to nail Nanowrimo – post at Writers & Artists

nano1nailnanowaNearly November! I’m at Writers & Artists today with a preparation regime for November’s big writing event, National Novel-Writing Month (NaNoWriMo).

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.

Step this way…

, , , , , , , , , , , , , , , , , , , ,


How I make an Undercover Soundtrack – post at Writers & Artists

wamusic‘The more I wrote, the more my novel seemed to vibrate with meaning and questions. I found these fascinating but they could have drowned the book, whereas most of all I wanted to tell a mysterious story. It was music that kept me straight.’

Today I’m at Writers & Artists, talking about a subject that will be somewhat familiar to regulars here – writing with music. They were fascinated by the concept of Undercover Soundtracks, and asked me to explain to their readers.

So this is a w&alogopost about how I started using music when I was ghostwriting – and how its influence enlarged drastically when I was working on My Memories of a Future Life. Do come over.

(And would it be gauche of me to do a happy dance because my creative salon is being featured on Bloomsbury’s writing blog… Look where you might end up if you start a series just because you want to. Have a great weekend. x)

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,


Why the fuss about characters in fiction? Post at Writers & Artists

w&a4Just why are characters the cornerstone of fiction? I’m discussing this – and tips for creating irresistible story people – in the fourth of my pieces for the Writers & Artists website.

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,


How to gather ideas and turn them into a novel – post at Writers & Artists

wa3You 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…

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,


Are you ready to use self-publishing services? Post at Writers & Artists

wa2Yes, I would usually have put up an original writing post this weekend, but I seem to have had a lot of posts on other blogs in the last few days. So rather than appearing in your inbox way too many times in one week, I thought I’d take a bit of a rest.

Today I’m back at Writers & Artists. They told me a lot of writers approach them for advice on self-publishing and self-publishing services, but it’s clear they’re not ready and would be better doing more work themselves. They asked me for a piece to help writers hone their novel before they pay for editorial services.

The number one problem I notice is that new writers try to publish a first draft – so this post is a newbie’s guide to revision and an insight into the secret graft behind a good novel. Many of you guys are more advanced than that, but if so, I hope you’ll know someone you can pass it on to. Even if it’s only your long-suffering family and bloomfriends, who are wondering why you haven’t ‘finished’ and published! Here it is…

Meanwhile, if you’d like to share how you revise a novel, or add your tips for getting it in perfect shape for publication, share them here!

, , , , , , , , , , , , , , , , , , , , , , , , , , ,


How to make a print book using Word – first of a series at Writers & Artists


w&aGosh, this is grown-up. After I gently pointed out to Writers & Artists that some self-publishers are as adept in print as in e-publishing, we got chatting. They were interested in my background (running an editorial department, writing, editing, book production and this blog!) and the result is I’m doing a series at Bloomsbury’s Writers & Artists site on fundamentals for good self-publishing.

This first piece is on turning an ebook file into a print edition. It’s an expanded version of a pair of posts I wrote when I released the paperback of My Memories of a Future Life, and hopefully a little more simplified for first-timers. If you want to know more about how to make lovely-looking books, come on over.




, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,


Reaching readers if you write in multiple genres – could crowdfunding be the answer? An interview

What do you write? Not so long ago, most authors had to choose a genre and stick to it. But many of us are far more versatile. Our minds and our hearts don’t stand still. Book by book, we push boundaries or leap into genres where we hadn’t previously felt at home. As life reinvents us, we move on in our work.

No-one worried about that in the Renaissance, but it rarely went down well in traditional publishing, perhaps for sound commercial reasons. But now authors have more tools to reach audiences by our own efforts. We can take charge of our careers and our creative destinies. Will this breed of polyphonic, genre-agile author finally have their day?

I do hope so.

This path isn’t always easy, and that’s what I want to explore today.

You might recognise my interviewee – Victoria Dougherty, who recently hosted me on her blog and has also been a guest on The Undercover Soundtrack.

We’ve both got eclectic portfolios. I’ve done non-fiction with my Nail Your Novel books and literary fiction that sometimes nudges into futurism. Victoria writes Cold War historical thrillers and personal essays. We’ve both written memoir after a fashion – she has Cold; I have Not Quite Lost. And Victoria has a radical new departure into young adult historical romance, Breath (coming summer 2018). What’s more, she’s having her first stab at crowdfunding – another brave new world.

We’ll come back to the crowdfunding in a bit. My first question was this: how have you ended up with such a varied oeuvre?

Victoria Honestly, I think I’m just bored easily. And I’m usually writing more than one story at a time, too. I find it keeps the creative juices flowing and also adds texture to my work.

Roz How do you manage them all?

Victoria Currently, I’m switching between Breath edits, storyboarding a new Cold War thriller, and writing essays on everything from family squabbles to creating compelling male characters.

Roz So much for versatility. What’s consistent in your work?

Victoria History, spirituality, family lore, dark humour. All of those tend to find their way into my work in one way or another.

Roz I have recurring themes too. I am curious about forces that lie beneath the surface; unusual ways we can be haunted and how we seek soulmates. At heart I’m an unashamed romantic. Places with lively pasts are often a trigger for me – crumbled mansions, houses scheduled for demolition, seaside towns closed for the winter.

Victoria I’m so with you on this, and I, too, get haunted by places. I wrote The Bone Church after visiting an ossuary near Prague with my then infant son. There were bones piled up all over the place. It occurred to me how there were so many different manners of death in that small chamber. People who had died of childbirth, a sword to the ribs, plague, a broken heart. The whole experience made me ache – but in a good way.

The ossuary at Kutna Hora, Prague. Pic by David Staedtler

Roz Your latest project is for a new audience – YA fantasy. What steered you in this direction?

Victoria I never thought I’d write in this genre. Especially a romance, which is a genre I haven’t read very much of. But several years ago, I wrote a piece for the New York Times Modern Love column in their Sunday edition. It was about my youngest daughter being born with a catastrophic illness and how that brought my mother and me closer together. It was also about the curious, counter-intuitive blessings that come with tragic events. Things like wisdom, deeper friendships and getting to know people so far out of my own little universe. Hospitals are tremendously equalising that way.

I could not have imagined the response I got from that essay. People began writing to me, telling me about their stories – their love stories specifically. I have a blog, Cold, where I write personal essays, so it wasn’t entirely out of the ordinary for people to tell me about their lives, but this was different.

Told you you’d seen this before

Without meaning to, I started training my writer’s eye on love. I noticed that every time I wrote an essay about love – especially the romantic kind – there was a swell of interest. Then I started writing little love stories for my own amusement – sometimes no more than a paragraph long. One of those, about a girl born at the dawn of civilisation, became the basis for Breath.

Roz And Breath is more than just prose, isn’t it? There’s artwork too.

Victoria I’m a very visual person. I love old photographs especially, and as I was writing Breath, I dreamed up a pre-Sumerian civilisation and imagined myself on an archaeological dig, excavating my characters’ lives. That’s when I started thinking of adding a visual component to this novel – original artwork from the world I’d dreamed up and old, brown-tinted photographs from some of the great archaeological digs, like the ones taken in Egypt at the beginning of the 20th century. And I loved the idea of writing about past, present, and perhaps even future archaeologists, as they uncovered my fictional universe and helped my characters solve the mysteries of their existence.

Roz So the visuals will be published in the book? Or will they be a separate special edition?

Victoria Both. I think prose and images go together like a face and a voice and can really enhance a story – especially if it’s a planned epic, where a whole world is being created. This isn’t to spoon-feed a certain aesthetic to a reader, never that, but to enhance their experience with elements of beauty and mystery that go beyond the written word. Take their imaginations even further.

Roz Let’s talk about crowdfunding Breath. How did that happen?

Victoria I’m one of 10 authors selected by Instafreebie – a company that connects readers and authors – to pilot a program that teaches authors how to use crowdfunding not only to fund projects but to energise and expand their fan base.

Roz To me, crowdfunding has one rather offputting aspect – having to push for contributions. But obviously you’ve found a balance that suits you. Tell me how you do it – and how other authors might be persuaded to embrace it!

Victoria This is without a doubt the hardest thing to get over. I’ve come to look at it this way: crowdfunding is a bit like venture capital for artists. No-one blinks when any other business raises money, but somehow artists are expected to self-finance, often work for free and even give their work away without any compensation. I don’t subscribe to that way of thinking and in fact find it untenable.

Roz I’m totally with you there. I’ve blogged about it at length elsewhere. We can’t give the impression that books can be produced out of fresh air or just for love, like a hobby. Even priests and doctors get paid. All the other people who work for us need to be paid. Creating books is not free. And writing them isn’t either.

Victoria For most artists, entrepreneurship is the only way we can continue to do what we do. We need to move beyond our own reticence and value what we offer. Joy, meaning, reflection, empathy, and entertainment are worthy and important elements in our lives. They should never be taken for granted.

You mentioned doctors, so I’ve got a good analogy for you: I remember my doctor, who was from Sri Lanka and used to run a medical clinic for the poor there, telling me how once they started charging patients, the entire dynamic of the clinic changed. They were serving the poor, so they only charged a pittance, and were barely able to buy coffee with what they took in, but both the function and the spirit of the clinic changed remarkably. Not only did the patients become more vigilant about their health, they trusted the doctors more and were far more likely to listen to their advice and change unhealthy behaviours. The overall health of the clinic population improved as a result.

The same is true with us artists and the people who consume our work, I think. It’s a pretty basic human response – to invest in something that means something to you rather than just be a passive observer.

Roz I want to do some tyre-kicking here because what you say is so important. A lot of crowdfunding campaigns don’t meet their targets. How do we get people to care enough? Especially as readers could buy a book that’s already finished and have it immediately. What makes them want to pledge money and wait for the product? How are you tackling these challenges?

Victoria Not only has this crowdfunding process forced me well beyond my comfort zone, it has illuminated how to deepen my relationships with present and future readers so that they feel connected and my characters begin to feel like a real part of their lives. Like family.

Roz How are you doing that? Can you give examples? You’ve mentioned to me that it’s already been a formative and amazing experience. Tell me how! And what feedback have you had from supporters to show that it’s working?

Victoria For me, it’s about creating value and making the experience as interactive as possible. Writers spend a lot of time alone and most of us are interior people, but we’re not necessarily introverts. We love being able to talk to readers and feel honoured when they share their stories with us. In fact, I truly consider readers like friends. We confide in each other, support each other, and are there during times of loneliness and self-doubt. The rewards I’m offering in my Breath campaign reflect that. It’s not only a matter of offering advance copies, which are great, but deleted scenes from the novel, personal emails, an exclusive short story and even story-consulting.

Roz Are there any common mistakes that authors make with crowdfunding and community building?

Victoria The first mistake is that they won’t try it. I can tell you without reservation that even if my campaign isn’t a funding success, what I will have learned and experienced in this process has been worth it. As for campaign mistakes – there are a lot of them, and I would have made them all if I hadn’t gotten such excellent advice from Instafreebie.

Videos are crucial. People want to know who they’re dealing with. It builds trust and makes your page more interesting. Really thinking through rewards you offer, so that when people get involved, they feel like they got something substantial in return for their support. Always, always focus on the reader. That’s probably the most important part.

Roz You mentioned that Instafreebie is helping with tactics, especially in terms of using the campaign to establish a long-term fanbase. How does that work? Can you tell us a few surprising things they’ve taught you? What is the basis of their expertise?

Victoria First, they will be featuring our books in their newsletter and then sharing our campaigns with those who expressed interested in our genres. They’re doing their best to create a virtuous circle for us. Most importantly, they’ve taken us through – step by step – the way to build a successful campaign page. That doesn’t mean the campaigns themselves will all be successes – even veteran campaigners have unsuccessful campaigns under their belts – but it helps us minimise mistakes, certainly.

Roz I want to return to where we started – the author who doesn’t fit into tidy boxes. There supposedly are two ways to market books – by category and by author. The latter is the slow road, because we have to seek commitment on a deeper and more individual level.

But whatever we write, I think community will become more significant for all of us. And everything you’ve been saying here chimes with this prediction by Orna Ross at the Alliance of Independent Authors.

More and more authors will embrace the craft and trade of publishing and business as well as that of writing, and develop sustainable author businesses that allow them to make a living from their writing. At the heart of this will be working out their offering to readers and how to build a  community around that offering.’

I love this emphasis on community. Although writing is apparently a solitary activity, we have phenomenal resources for harnessing the positive energy that readers give us if they like our work.

I think readers enjoy keeping in touch and – like you say – feeling involved. I’ve particularly noticed it after publishing Not Quite Lost. People feel they know me. It opens a conversation and they want it to continue. And that’s lovely. It’s not cynical, about selling.

Some authors are setting up private Facebook groups – though I feel that’s risky because Facebook likes to move the goalposts if they think they can monetise. I’ve started using my newsletter much more. In that past, I didn’t know what to do with it.

I used to send newsletters only when I had a book or a course to launch. A year could go by before I had a piece of news, and all the while I was losing touch with people who hoped I was working on another book. So I decided I’d try writing more regularly, about the in-between times while a book is taking shape. Sometimes it’s about making progress; sometimes it’s about life and going round in circles. Like a blog but more personal. Some people unsubscribed because that wasn’t what they were expecting, or they’d forgotten why they were ever interested, but most have stayed with me. (Winning smile: if you want to try it out, it’s here.)

What I’ve described here is slow, of course. It has to grow organically. And here’s where I guess crowdfunding creates an occasion, a way to invite people in because it’s the start of something. It not only kick-starts a book, it can kick-start your community.

Have you got any final thoughts on this?

Victoria You said it so well. We’re in this for the long game and it’s not cynical. It’s actually very special and deeply gratifying.

You can tweet Victoria on @vicdougherty, find her blog here, here books here, and her Kickstarter campaign here. 

Thanks for the ossuary pic Davis Staedtler on Flickr

What am I up to behind the scenes? My latest newsletter

And this blog begins 2018 on two lovely best-of lists. Both The Write Life and Feedspot nominated it as a Top 100 site for writers and self-publishers. If any of you were instrumental in this, xxxxxxxx

, , , , , , , , , , , , , , , , , ,


Doing NaNoWriMo? Nail it with this resource kit

nanoI can’t believe it’s already October. And that means it’s just a month until NaNoWriMo. For the uninitiated, it’s a worldwide writing lockdown where scribblers of all levels undertake to write a 50,000-word draft in just 30 days.

So here’s a list of NaNoWriMo resources I’ve written on this blog and further afield.

1 NaNoWriMo – should you? No, you can’t write a publishable novel in one month – or very few of us can. But that’s not what NaNoWriMo is about. And you can use NaNoWriMo to get a proper, publishable manuscript up and running. Here’s a post about that.


2 So how do you do it? Preparation is key. Yes, it’s allowed. Here’s a work plan I wrote for Writers & Artists.


3. Most outlines focus on the story. Is that too constricting for you? Would you rather just write and see what happens? Here’s another angle. Plan your characters, wing the plot. As demonstrated at Romance University. (But suitable for the staunchly unromantic too.)

nano14. Yes, but HOW DO YOU DO IT? Three old hands share their NaNoWriMo tips.



5. A little book. Allow me to discreetly mention Nail Your Novel: Why Writers Abandon Books & How You Can Draft, Fix & Finish With Confidence. Use it to guide your research, firm up your story and road-test your plot. While you’re writing it will give you strategies to keep you focussed, creative and confident. And when you collapse on a pile of words at the other end, it will hold your hand as you sort out what to do next.


6. So much to read! I should be planning my book!  NaNo advice can come to you in your headphones. In this episode of my radio show, So You Want To Be A Writer, with bookseller Peter Snell, we discuss all things NaNo.

Back tomorrow with a proper post. R x



, , , , , , ,


Editing seminar snapshots: How much should you budget for editing your book? And how should you choose an editor?

w&alogoThis very good question came up when I spoke at the Writers & Artists selfpublishing summit a few months ago. And my answer… deserves a post.

dollar-1071788_960_720First, there seem to be two modes for charging: by the hour and by the wordcount or page. With the wordcount, writers can be quoted a fixed price, so everyone knows where they stand. With an hourly rate, it’s much more difficult for the writer to know how much they’ll be spending.

The convention seems to be that developmental editing is quoted by the wordcount or page, and other phases are priced by hour. Here’s a post that describes the different editing processes and the order to use them in.

Second, editors set their own fees. Does a low price indicate good value? It might if the editor is starting out and doesn’t yet have a reputation. But might they also be lacking in experience? Indeed, might they be a complete amateur?
Conversely, if an editor’s charges are high, does that mean they’re good?
I think everyone can see it’s a buyer beware situation.
How do you tell? Here’s how to navigate the maze and spend your ££$$ wisely.

Establish that the editor is right for you.
For developmental edits, you need a specialist in your field. I would be useless to a fantasy author because I don’t read fantasy. But I can edit its close cousin, magic realism. I can’t edit genre romance of the Mills and Boon variety, but I can edit any number of stories that feature a romantic relationship. So find out what if their tastes are in tune with yours.

Find out where they got their experience.
There are a lot of people setting themselves up as editors. Are they just someone on the internet who’s been to a few critique groups and thinks they can edit? Are they writers whose only experience is helping out their friends? They might be great – everyone has to start somewhere – but they might not at all.

The best editors will have done the job for publishing houses or literary consultancies. Even if they mainly work with indie authors or authors who haven’t yet published, they’ll have that background.

Fiction, non-fiction, memoir, narrative non-fiction?
This may seem obvious, but make sure your editor has developmentally edited your kind of book. If they’ve chiefly worked with non-fiction, or even scientific and technical books, they might be too pedantic to allow for the artistry in a more narrative manuscript.

5730710531_07b49820e8_zThe fussy quotient: will the editor’s approach suit you?
Do you want an editor who’ll be good at explaining how to fix problems? This is where an edit from an experienced professional is far more useful than a critique group. Your beta readers might say ‘the characters are thin’. A good editor will identify why and offer suggestions for fixing it. They’ll spot other potentials in your book too – which you may be surprised about.

Why do charges vary so much?

There are various industry recommended rates (see Writer’s Market, as quoted by Writer’s Digest here), but developmental editors have to set their fees according to how long a project takes them. I spot a lot in a manuscript, so the work takes me more time than it takes a less pernickety editor – because I find there are a lot of points I need to raise. Some authors are eager for this, and some aren’t. Do you want an editor who will approach your work in that depth? You might not. But you’ll pay according to the depth of the work.

Should you ask for a test edit of a small portion of your book?
Opinion is divided. Personally, I’ve never had to do a test edit. All my clients have hired me after an email conversation. But they’re not acting on blind faith because I can demonstrate my approach and degree of thoroughness from the posts on this blog, my books and my video interviews. Some editors might offer a test edit, or they might have a pre-prepared sample that illustrates the kind of comments they make. Be worried, though, if they send a report they wrote about someone else’s book; that should stay confidential.

Copy editing and proof reading

sidebarcropThese are less specialised, and tend to be charged for by the hour. How long will it take to edit or proof your book? It depends what shape the manuscript is in. The copy editor has to take charge of consistency and clarity. So if your use of language is imprecise, the copy editor will have more to do. If your plot is complex, and especially has a lot of time shifts or locations, they’ll have more checking to do. If you’ve been woolly about any of these details, you’ll multiply their workload.

Should you ask for a sample copy edit or proof read?
Unfortunately, a sample is no gauge of how long it will take to do the work because the second half of your book might fall apart, and the copy editor will have to hammer it together. I recently copy-edited one 50,000-word book that took 50 hours, and one that took more than twice that time. What I tend to do is to charge in blocks of 20 hours, then keep the author informed of progress so they at least have a warning of the cost.

So… how much?

But I still haven’t answered that question: how much will editorial services cost you? For a 50,000-word novel, budget GBP£1000-2500 for the developmental edit, the same for the copy-edit and the same for the proof-read. Minimum probably £2000 if your manuscript is really clean. Maximum (depending on the quality of the editor and the manuscript) £7500.

tuition2Phew, that looks like a lot, doesn’t it? If you were traditionally published, you wouldn’t see these costs, but this is part of the publisher’s investment in your manuscript. And yes, there are people who manage to produce good books on a much smaller budget (I have tips here on low-cost options for getting good help ). The sums can be a bit of a shock when the rest of our writing activity seems so cheap and free, unlike, say, skiing or learning to fly. But I hope this post has helped you to see how to get good value.

POSTSCRIPT I’ve had a few emails since I published this post, so a clarification might be helpful.

One reader remarked that copy editing and proofreading don’t usually cost as much as developmental editing. Generally, that’s right. The costs all hinge on how much time the editor has to spend, and that’s related to how much has been done to the manuscript after each stage. But in real life, if a developmental edit leads to a lot of rewriting, that might leave a lot of  tidying for the copy editor. Once we get to proof-reading, it should be a fast and final read with minimal changes … but again if a lot has been altered this will slow things down. I’ve had manuscripts where so much had changed after the copy edit, that the proof read was in fact another copy edit. Which is why I made the point that everything hinges on the cleanness of the manuscript.

Thanks for the money pic, Pixabay and soccerlime for the scrumpled page

Any questions? Fire away!

BTW, my Nail Your Novel books are distilled from the issues I most commonly find in manuscripts. Much much cheaper than getting me in person!  Nail Your Novel: how to write a novel

, , , , , , , , , ,