How to write a sequel – and when not to. Ep 40 FREE podcast for authors

When we recorded this, sequels were a hot topic in bookworld. Go Set A Watchman, a sequel to Harper Lee’s To Kill A Mocking Bird, had just been released. Many people were curious but also dubious. The top FAQ on Google is ‘Is Go Set A Watchman worth reading?’

So when does a book deserve a sequel? When is one book enough? When do you add something worthwhile and when do you outstay your welcome? And actually, if you’re au fait with Ms Lee, you’ll know that the Watchman/Mockingbird situation isn’t as straightforward as book/sequel. Mockingbird was originally created from the back story of Watchman, at a publisher’s suggestion. Complicated. But one book is still derived from the other, so as far as we’re concerned, that counts.

My co-host is independent bookseller Peter Snell. Stream from the widget below or go to our Mixcloud page and binge the whole lot.

PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

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Music, summer, 1990s Camden – The Undercover Soundtrack, Guy Mankowski @GMankow

Guy Mankowski’s new novel Dead Rock Stars has been brewing a long time. He draws on his experiences growing up in the 1990s, teaching himself to play Nirvana songs on the guitar. (It worked. He went on to play in several bands, including Alba Nova.) Guy says the 1990s was a time when musicians seemed mysterious, and seeing a band poster was like a glimpse of another world. From those feelings and recollections he has created a punky period piece, centred around a teenage boy navigating love and life, helped by the diaries of his dead sister. It’s a coming of age story with first hangovers, first dances, first loves, a sense of hope and optimism. And also, the struggle to find your voice and get it heard. Find him on the Red Blog sharing his Undercover Soundtrack.

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How I became an author – interview on inspirational authors podcast

When I was a kid, I desperately wanted an artistic life. But I lived in a small village in the north of England, where the arts weren’t something you did. Moreover, I didn’t realise that was what I truly wanted, but somehow, I was aiming for it anyway. Complicated.

That journey, from arty misfit to working author, is what I’m talking about on this interview for the Alliance of Independent Authors. The host, Howard Lovy, is fascinated by authors’ origin stories – how we start, what makes us tick, how we discover who we should be, how we find our groove.

We talk about lucky meetings that shaped my future, influential school teachers, finding places I fitted (and didn’t), why my English literature degree was not my finest hour, becoming a ghostwriter – and shaking off that ghost to discover who I should really be.  Do come over.

PS Coming bang up to date, here’s how the current novel is doing

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‘What you do with difficult ideas is turn them into art’ – an interview with Mat Osman @matosman

My guest today, Mat Osman, is now on his second artistic career. You might already know him as a founder member of Suede, who are touring again, and now he’s published a debut novel, The Ruins.

I was drawn to The Ruins because of its musical DNA. Musicians are one of my enduring interests, as you might know from My Memories of a Future Life and my series The Undercover Soundtrack. I’m not finished with musical souls either – there are plenty in the novel I’m finishing, Ever Rest.

As you might expect, Mat’s novel The Ruins has satisfying musical ingredients. It also poses intriguing questions about identity and a sense of self. The main characters are twins, Brandon, a rock musician, and Adam, his reclusive twin brother. When Brandon is assassinated in bizarre circumstances, Adam is dragged into his unfinished business. But it’s more than that. The novel is exquisitely aware of primal bonds – the bonds of twinhood, motherhood and the mysterious, transcendent bond of music itself. Anyway, I’m thrilled that Mat agreed to be interviewed. (My review is here.)

Roz Mat, I’ve said writing is your second artistic career. Is that strictly true? Did music come first or writing?

Mat As a career it was definitely music. I wrote in school but that was mainly because you had to, and from the age of about 12 I was obsessed with music and bands. That life is so all-encompassing that, although I read obsessively (all those plane journeys, all those hotel rooms), I really didn’t consider writing. But when the band split in 2003 I worked for a while as a journalist and I found that I loved to write. I did mainly non-fiction; I edited a London guidebook and wrote about art and travel but I also started to write short stories. It was a way of getting certain odd ideas out of my head. I’d wake up thinking ‘what would it be like to live in a house where everything was just as it was in the 1950s’ and take it from there. One of the advantages of a life in music is that you get used to the concept that what you do with difficult ideas is to turn them into art.

Roz So The Ruins is your first published novel – was it the first manuscript you finished?

Mat Yes and no. The Ruins sprang from those short stories. I did what I think a lot of first-time writers do – cobbled together a few of my best stories that seemed to fit into the same universe and called it a novel. It was a horrible Frankenstein’s monster of a thing, and I cut 90% of it, but it meant that I’d started, and that’s just about the hardest thing.

Roz The novel is brash and flamboyant and fun, with music, rock-star parties, high living and lowlives, twins, Las Vegas casinos, gangsters, a murder. It’s also highly sensitive to the characters’ inner emotional lives. It’s the kind of novel that can operate on several channels, depending on how the reader’s mind is tuned. I’ve seen some reviewers describe it as a story about identity. What I most enjoyed was its examination of deep attachments, how they’re never predictable, never static and have to be formed on their own terms. Adam’s connection with his twin Brandon; Brandon’s connection with his girlfriend Rae and his child Robin; Adam’s connection with Robin and with Rae. What were the main curiosities for you?

Pic by Theo McInnes

Mat I think at its emotional heart it’s about how one wants to be loved: by one person, entirely and deeply, or by millions of people, but in a shallower way. Especially nowadays there’s this constant pressure to have thousands of ‘friends’ and ‘followers’ and Adam is just kicking back against that idea.

The twins thing originally came about because I wanted to write about what would happen if you you could go back and choose the path not taken. Adam gets to see what being selfish and outgoing would have brought him. Brandon tries to be a sober and careful man. But also I have twin nieces and they were a constant inspiration – I love watching the way they are almost forced apart by our expectations. One has to be the smart one, one has to be the funny one, etc. etc. and as they try to fit into those roles they grow to be different from one another.

Roz The blurb mentions that the novel is set in 2010, when a volcano eruption put the world on hold. Does that indicate you began work on it that year? I’m certainly a long-haul writer – the book I’m finishing has been in transit for six years. The idea is even older – from a short story I wrote about 25 years ago. I could have dashed the novel off quickly, but my initial idea didn’t satisfy me. I felt it held a much bigger resonance and transformation – and I needed to discover what that was.

I recognise – I think – similar layers in The Ruins. Are you also a slow-burn writer?  (PS If you dashed it off in just a year, I will flounce out in a jealous huff.)

Mat It took about three years from me thinking ‘this is a novel’ to finishing it, but there were lots of cul-de-sacs and dead ends along the way. I’d had in mind to set a book in that time period for a while. The sense of being stuck while the world falls apart adds a layer of tension to the whole story.

Roz Did you have a process?

Mat I started without a process and found I needed one if I was ever to get anything done. If I was at home I wrote in the Map Room of the British Library. It’s hard-core researcher world – lots of beards and sandals – and I couldn’t even open Twitter or Facebook for fear of lowering the tone. On tour I wrote in hotel rooms. I use a program called Cold Turkey Writer which doesn’t let you use your laptop for anything else until you’ve done a set number of words. I regularly curse it but it got me used to the idea that you just write, every day, and I wrote very long and then cut a lot. And then my publisher cut more.

Roz Did you mind that the publisher cut so much?

Mat I don’t mind it – even the pieces that got cut were useful, I was thinking about the characters while I was writing. At first I hated the idea that there were something like 60,000 words that didn’t get used. Now I just think of them as back-story.

Roz Who were your influences, literary or otherwise?

Mat It’s hard to know who actually influences you and who you just like. But among the writers I love and was reading at the time this lot were definitely part of its world: Michael Chabon, Michel Faber, Patricia Highsmith, JG Ballard, M John Harrison, Muriel Spark, Thomas Pynchon, Raymond Chandler, Jennifer Egan, AM Homes and China Miéville. Lots of films were an influence too – especially Performance and Mulholland Drive.

Roz Another signature element is, of course, the musicians in the band. I want to discuss their connection through music. Away from their instruments, they’re chafing, squabbling. When they play music, they find a place of respect. It’s still a battlefield, but it also straightens them out and unifies them. It’s even ennobling. We feel that music is a personal quest and at the same time, a very scuffed marriage.

Mat Anyone who’s seen the Suede Insatiable Ones documentary will know the truth: most bands only really communicate through music. Most musicians put the very best of themselves into their music which is why often people are disappointed when they meet their heroes. They’re meeting the 100% grumpy, insecure, tired, petty, cruel person rather than the 10% of themselves that they save for their art.

Roz I also loved your sense of the bizarre. When Brandon walks on the frozen lake. The party with the beached chandelier and the red swimming-pool. The half-built complex in the desert where Rae lives with Brandon. Kimi with her electronic voicebox, which becomes a strange musical phenomenon. The couple who live on the boat in the field of bluebells. You make them totally believable. Were any of these from real life? Of course, I might be doing you a disservice by asking you that, as the fiction writer’s job is to make things up….

Mat The frozen lake is right where it says it is in the book – in Tahoe City behind a diner called Rosie’s. I stay there a lot and use it as a short cut. But of course that’s in mid-winter! The half-built complex is based on a spectacular photo-essay on this abandoned real-estate project where they’d cut into the hillside but gone bust before the houses were built. The boat has its origins in Derek Jarman’s house in Dungeness, similarly close to a nuclear reactor. The voicebox and the pool of blood? No idea where they came from.

Roz I saw in another interview that your original title was Control. What led you to The Ruins? Control must have been a suitable title in its own way, though. Can you talk about that?

Mat Control felt, in a strange way, too accurate. Much of the book is about control and I realised it was a title that described without adding anything. Whereas The Ruins felt more oblique but somehow more informative. It was almost called This Is What You Get Instead Of Love but it just looked too ungainly on the page.

Roz Tell me about your path to publication and how you met Repeater Books.

Mat I went all around the houses to end up where I started. Tariq who runs Repeater was the first person to read it. I wanted someone who I trusted to tell me if it was worth pursuing and luckily he liked it, and offered to publish it. But then I went away and got an agent and went through meeting publishers because I wanted to make sure Tariq wasn’t the only person in the world who thought it was any good. I had offers elsewhere but there were certain things – I got to design the cover – that only Repeater were prepared to offer. And they’re fantastic people who love books, which helps.

Roz What are you working on at the moment? Is it similar or are you trying something else?

Mat I’m writing about The Blackfriars Boys; a troupe of Elizabethan child actors who were taken from their families and made to take part in these very satirical, very adult, plays and masques. I wanted to write something that was way outside my field of reference to get a sense of not falling back on my own anecdotes and stories. It makes it a lot slower but there’s something really rewarding about having to invent every little moment.

Roz Are there are any consistent territories or themes you’re drawn to?

Mat The new book has a lot about London. And about how making art changes a person. So there are recurrent themes.

Roz Is there anything you’d do differently with this next novel?

Mat I swore I would write smarter; make fewer revisions and stick to the plot, but I’m finding that’s just not me. I have a mind that loves digression. I have to write out these odd side-alleys only to cut them later.

Roz Does music help in your writing process at all? I know writers who build soundtracks to evoke characters, settings or a general writing mood (hence my blog series, The Undercover Soundtrack). I know others who say music is too distracting and they must have silence. I’m both. I find music infuriatingly distracting. If I can hear builders playing the radio in my street, I find it unbearable – so unbearable that I can usually persuade them to turn it off (hell hath no fury like a writer who believes their work is being spoiled). But that distraction is perversely useful if I’m dithering in a first draft, looking for a way into a character or a scene. I put on music and a battle begins in my mind. I’m trying to ignore the music and concentrate, like swimming against an opposing current, which brings instant focus because I can’t be distracted by anything else. Meanwhile, the music is colouring every thought. An interesting tension emerges. It can’t be builders’ radios, though…

Mat I usually play music when I work, even on headphones. There’s a certain kind of instrumental music that works for me: repetitive but not too energetic. People like A Winged Victory For The Sullen and Bohren Der Club Of Gore. With The Ruins I played a lot of the music the characters listened to as well, just to check the mood. There’s a playlist of every track mentioned in the book at Spotify.

Roz You set The Ruins in 2010, in a time of interesting world crisis. You’ve published it in perhaps the strangest, most disruptive crisis we’ve seen so far this century. Any thoughts? There must be months of plans that have had to change…

Pic by Theo McInnes

Mat I managed to squeak in most of my readings and Q&As before the lockdown, which I’m so grateful for but I’m disappointed I never got to do any of the big literary festivals because a) years of music have made me a feedback junkie and I miss hearing what people have enjoyed about the work, and b) there are so many writers who I admire who I’ve never met.

Find The Ruins here and connect with Mat on Twitter here @matosman

And speaking of novels in progress, here’s how Ever Rest is doing

 

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How to write your memoir – Ep39 FREE podcast for writers

Remember me. The haunting refrain of Dido’s Lament begins this episode. Today we’re dsicussing the most personal kind of writing – memoir. Why would you write a memoir? Revenge? Relief? To make a memorial? Or simply to find a use for your diaries? To tell the unseen things nobody ever knew about you? And here’s the next question: who will read it? Also, what should you include and what should you leave out?

My co-host is independent bookseller Peter Snell. Stream from the widget below or go to our Mixcloud page and binge the whole lot.

PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

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Can you hear me calling? Social media sites for authors – Ep 38 FREE podcast for writers

In some ways, this episode might show its age. We recorded it five years ago, with our friend Adam Waters who’s worked for TV, news organisations, social media organisations and various digital setups. We saw a piece he wrote about how authors can effectively use social media… which mentioned platforms and networks we’d never heard of. So we stuffed him in a sack and brought him to our microphone.

We begin with Toyah. Because: hair. Also because she’s singing about putting a call out into the universe, looking for people who can hear. That’s what we’re all doing, and that hasn’t changed. And while some of the networks and platforms Adam mentions might not now be so prominent, others are still viable and vibrant and it’s interesting to hear the different ways they operate. Some are better for text, some for pictures, some for building relationships with select and personalised groups, some are better just for ‘putting yourself out there’, broadcasting to the world. 2020’s versions might have different names, but the way people interact with them won’t have changed.

My co-host is independent bookseller Peter Snell. Stream from the widget below or go to our Mixcloud page and binge the whole lot.


PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

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Where should your novel begin? Ep 37 FREE podcast for writers

What should go on your book’s opening pages? Is it true that you should begin with action? Should you introduce the characters first? Explain the world? Perhaps write a prologue? What kind of beginning might inadvertently mislead the reader?

That’s what we’re discussing in today’s episode.

Asking the questions is independent bookseller Peter Snell. Answering them is me!

Stream from the widget below or go to our Mixcloud page and binge the whole lot.

PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

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How to write in the holidays and at other disrupted times – Ep 36 FREE podcast for writers

So, Peter asked, why begin this show with The Time Warp from Rocky Horror?

Because we’re talking about how to keep writing over the holiday season and in times of disruption.

He wasn’t convinced. By The Time Warp, I mean.

I tried again. Remember the beginning of Rocky Horror? A couple arrives at a house. Nothing will be as they expect. All plans are out of the window. Isn’t that a teensy bit like trying to keep hold of your writing routine when everything is changed around you? (Or, Roz, is it simply a thin excuse for playing The Time Warp?)

Whatever, when we made this episode in 2016 we had no inkling of how much change we’d be slammed with in 2020. Nevertheless, we hope the advice will be useful.

Asking the questions is independent bookseller Peter Snell. Answering them is me!

Stream from the widget below or go to our Mixcloud page and binge the whole lot.

PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

 

 

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How to get followers for your blog – Ep35 FREE podcast

You start a blog about your writing, or maybe about the books you read… but who will read it? How can you spread the word? How often should you post? That’s what we’re talking about in today’s episode.

A caveat – this show was recorded in 2015 so some of the platforms may work slightly differently now. And there may be new ones! But the principles are timeless and will probably hold for as long as there’s an internet.

Asking the questions is independent bookseller Peter Snell. Answering them is me!

Stream from the widget below or go to our Mixcloud page and binge the whole lot.

PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

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After the red pen – a pain-free way to tackle beta reader comments

Last month I was preparing for beta reader comments on the manuscript of my third novel, Ever Rest.

I’ve now received them, so I thought it might be useful to write a follow-up post for how I tackle them.

I was very lucky – and relieved – that the verdict was overwhelmingly positive. The book works. Nevertheless, each reader found minor queries, which is entirely expected.

Some are easy to solve – a change of word or phrase. They won’t upset the flow. But some will be more disruptive, requiring explanations to be unpicked, dialogue to be altered, scene choreography to change.  Those notes are more stressful.

But I have a strategy!

1 – Merge everything

My first step is to merge all the comments onto one Word doc. Not every query needs to be acted on, unless the reader is a specialist in a factual area, then their comments obviously have extra weight. But I pay serious attention if more than one person raises a particular problem.

Then I get to work. I split the edit into two phases.

2a – the factual and literal stage.

I chop in the new material, amend inaccuracies, add clarifications. Change events if necessary. I keep it rough and obvious. I change the text colour to red so I can instantly see it needs better treatment, like a sore thumb.

2b – the flow stage.

Here’s where I integrate the change properly, re-edit the scene, consider if the characters’ reactions should change, decide if there are more consequences to be stitched in later.

In phase 2b, I might decide that some of the 2a additions aren’t necessary. They might be too literal. Or they might need more oblique treatment. Sometimes a reader’s pain point is not caused in the place they registered it. Like sciatica, it might be referred from elsewhere.

This two-phase system allows me to give all the comments a fair hearing, to accept that something needs to be adjusted, without panicking about the wreckage it might leave, without worrying about the wrong things at the wrong time. It often brings me to better insights, to better understand what I’m making.

I’m just finishing phase 1. My manuscript now has new pieces, chopped in like rough surgery. But I’m excited about healing the joins. I know it’s now more authentic, effective, solid, reliable, which is what I want it to be.

PS I’m teaching a masterclass on back story at Jane Friedman’s online lecture hall! July 1st, book now!

PPS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores (US only at present) use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.

How do you integrate reader comments? Share below!

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