It’s always a struggle to find time to write. If you’ve got a book in progress, it’s tempting to spend all your free moments on it. But don’t sacrifice time that you would usually spend reading. It’s a false economy.
Similarly, don’t fear that your reading is going to influence your work to a detrimental extent, or that you might end up copying ideas. The chances are you won’t. Your book is much bigger in your mind than anything you read, or watch, or any conversation you overhear. Any influence will be minor by comparison with the huge amount of work you’ve already done.
But if you stop reading while you write your book you might lose touch with the way prose tells stories, and you won’t be using your ideas to their maximum potential. We do many things on instinct, and those instincts are learned unconciously. Reading feeds our muse and our technique.
Today I’m at the wonderful Writers Helping Writers site, run by Angela Ackerman and Becca Puglisi of Emotion Thesaurus fame. They’ve devised a series of writing lectures this year and have invited various coaches to be regular contributors, and I’m honoured to be on their list (note that nice award they have from Writer’s Digest). And because I wrote the piece as the year was turning, my mind was operating in resolution mode. If I was to identify a change that I’d urge writers to make, what should it be? Many of my author clients would do their work a world of good by reading more, but it’s job to persuade them. So here’s my persuasion. Do hop over.
A lucky turn of the radio dial this week and I got a real treat: the Radio 2 presenter Jeremy Vine interviewing Brian Eno. The whole piece is worth listening to, but this exchange particularly caught me.
Vine was trying to pin down what made some of Eno’s collaborators so special – David Bowie, David Byrne, Bryan Ferry. He said this: they all had ‘a different quality of imagination’.
And Eno replied: ‘I think everyone has much more imagination than they give themselves credit for. But the difference is that some people take their imaginations seriously.’
Yes. One thousand per cent.
Today, I’d planned another kind of post. Usually my new year kick-off is publishing options for twenty-whatever. I began to write it. I realised as I did that not much had changed. What I’d say for 2017 is much the same as I’d said in 2016. And when I wrote 2016’s post I referred heavily to 2015’s. I’d lined up some good reference posts – Mark Coker of Smashwords, who looked back at 10 years of ebooks and forward to how the publishing ecosystem will continue to evolve. And to Jane Friedman, who give some great pointers for sizing up a publishing offer from a small imprint.
But lordy, it was a slog. I felt like I was rehashing material I’d already tackled exhaustively. Planet Earth did not need another article about how to publish wisely in 2017.
And then, by chance, out of my radio come Messrs Eno and Vine. Take your imagination seriously.
I thought that’s IT. That’s how I want to go into 2017. While we’re figuring out whether to self-publish or look for a deal, or mix a trad indie cocktail never tasted before, we must not lose sight of this.
What we do is about creation. Listening to what interests us, moves us. Growing as artistic, communicative beings, finding things that seem to peel back something we must say about our world and our lives. This is where the joy of our work comes from, where we make our distinctive contribution.
Eno said more:
‘It’s not just having ideas, but being prepared to push them through and try to make them work. Some people get discouraged very easily, but I think successful artists don’t. They get confidence in what they’re doing and they decide “I want to see how it works; I want to see what happens when I do it”.’
At a time when we’re all making resolutions, and resolutions to help us keep our resolutions, and tips for success, I’d like to offer this one. Who’s with me?
Sometimes, the way to find yourself is to start by being someone else. That’s the subject of this podcast by the messaging app Slack. Each episode they interview people who find their identity in the work they do – and this time they’re looking at disguises. So they typed ‘ghostwriting’ into Google and found my grinning face … (Quick mention here of my ghostwriting course in case you’re professionally curious)
We talked about how I got started, the pressure from publishers to carry on writing sure-fire bestsellers, and the struggle to strike out as myself, writing my own fiction on my own terms. Along the way, presenter Lily Ames describes My Memories of a Future Life in a way I’ve never heard before … which proves yet again that someone else is always better at summing up your novel than you are.
The second half is a seasonal tale of a Vietnam veteran who became Santa Claus – and the surprising ways that this red, woolly-bearded disguise has made a genuine difference in people’s lives.
Find it here on iTunes or stream it directly here (they concentrate on the Santa story in the write-up, but I’m on as the warm-up – you are in the right place!).
And merry everything xxxx
I’m still working on a hush-hush project, but I think this repost from 2012 might be helpful. On this blog I try to cover all your writing needs. Including the short but painful requirement to brag about your year’s achievements to your Christmas card list.
If smugness isn’t as natural to you as it is to Nina and Frederik in the picture below, you might need some help.
Let me confess: I’m a fan of round-robin Christmas letters.
It’s fashionable to diss them in the UK, but I disagree. Even if the missive is smug and airbrushed and claims the golden offspring can split the atom, it’s more meaningful than a card that only says ‘from Nina and Frederik’.
But since I approve of Christmas newsletters, that means I must compose one. And I don’t know what to put.
I spent this year writing, rewriting, talking to other writers and, er, working out what to write next. Sure, there was adventure and atom-splitting, but it happened on the page and in my head.
And that’s my update. One paragraph. How can I spread it out?
When in doubt, study the requirements of the genre.
Christmas letters need boasting, with bells on. Your friends will report a mighty throng of promotions, bonuses, and other unceasing achievements. Traditionally published authors can name-drop with the imprints they’ve wooed but indies also have a wealth of impressive material. Deploy the word ‘bestseller’. Normal folks don’t know how niches work or how chart positions soar and dip every hour. If you’re feeling really bold, trot out blog awards. The Happy Candy Sweetness Blogger doesn’t sound that far from the Costa.
Your newsletter-writing friends will list their accomplishments in karate, ballroom dancing, local politics, golf, the PTA. Fortunately as a writer, you are blessed with the ability to acquire unexpected expertise. Pick juicy subjects you’ve been researching but remember it’s family viewing. Please, no ’50 vile ways to murder with a drug overdose’, it’s ‘needlework’.
Forget how much strife it took to travel afar. Yes, you had to complete twice as much work first. Yes, the night before, you fell in love with your novel and couldn’t bear to leave it. Despite all this, you must say it was the trip of a lifetime (it certainly felt that long without a manuscript to escape to).
You can talk about your works in progress if you pretend they are your cats. The newest is adorable. The fat old thing who’s sprawled on your laptop for years has outstayed its welcome. Another has been forcibly stuffed under the bed and won’t be let out until June. Perhaps leave out the news that little Nanowrimo may be euthanased or chopped up to make something better.
Children and family
Open the study door and check if you have real children, husbands etc. (Hint – you may need to ask their names.) Mention them in the newsletter or the reader may fear disaster. Also, talk about your books that have fled the nest. If your fiction is taking a while to make its mark, report that it is on a gap year while it finds itself. Or finds anyone, really.
Use the Christmas letter as preparation
For a few mad days, there will be socialising. Oh mighty dread. Dialogue will not be editable and we will have to talk to characters we haven’t studied first. Penning a Christmas letter is good practice for your return to earthly form.
Merry Christmas. R x
I’m sneaking away from the internet for a little while, so there won’t be any new posts for a couple of weeks. Meanwhile I’ve cued up a few tweets of writing links to keep your muse simmering – which you can follow at Twitter or on the sidebar here if WordPress and the tweetwires are playing nicely. And here’s a post that deals with a timely writing matter… See you soon
On November 30th, or thereabouts, Nanowrimoers typed ‘The End’. Whether you’re a Nano or not, the next thing you must do is put the manuscript away. Close the file, stow the notebooks, do a happy dance. Unless you have a deadline that demands you thrash it into shape straight away, don’t touch it for at least a month. At least.
Become a stranger to your story
We all know how we can read a page over and over and somehow miss the appalling typo in the first sentence. When we’re too tangled in a novel we see what we think is there – not what is actually on the pages.
To do useful revision work, you need to allow enough time for your novel to become unfamiliar – so that you’re no longer thinking like its writer, but as a reader.
Let the flavours marinate
Your manuscript needs to marinate…
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Novels in progress will always have rough patches and individual quirks, but there are certain common issues I routinely see that have quite simple fixes. Here are a few – and they can make a big difference.
Crucial event is underplayed or buried
Does an event change a character’s emotional state or world view? Does it make them change what they want, or strengthen their resolve? Make sure you haven’t buried it in a hasty paragraph of background or other explanation. These shifts in priorities are milestones in the story. Try showing them in real time so the reader experiences them. If a key event happens before the story timeline, consider making it a flashback.
Big reveal… falls flat
Is your big reveal a damp squib? I’ve read many climax scenes that fail to ignite, but I can tell the author was hoping they would be a thunderbolt. On some level, they know what they want … but they haven’t clarified it. Often it helps to dig into your ideas about why this moment will be so important. Write a mission statement – what do you want the reader to feel when they read this scene or revelation? Freewrite and brainstorm – you might not have given it much thought before now. Once you know what effect you’re looking for, consider what you should add in the earlier parts of the story to make it happen. Does it give the main character some important answers? What answers? And have you asked the questions earlier on? Is the moment a bigger, thematic connection, a sense of order being restored? Look back in the text – have you established a sense of instability, the world gone wrong?
Plot events make no sense
Are your plot events believable? If not, it may be because you haven’t established a plausible motivation, or given context. If we don’t know why a character does something, their actions might seem random or even dumb. What happens is important, but why is more important. Sort out the why – and you can make us believe pretty much anything (usually).
Thanks for the aurora borealis pic Patrick Shyu
Have you had to tackle any of these issues in your work? Have you spotted them in someone else’s – or even in published books? Let’s discuss!
These tips have come from my mentoring work with writers. If you found them useful there are plenty more in my books on character and plot … and let me discreetly mention that a set of Nail Your Novel paperbacks makes a terrific present for other scribblers you know, or even for yourself…
When we’re writing, we just let our instincts pull us on. But at some point we have to decide who our book’s readers will be, and how to categorise it. Enter the G-word: genre. And the various A-words – young adult, new adult, adult, age. Here’s how to unmuddle yourself. Hop over to Anne R Allen’s blog where I’m attempting to pin down some principles.
And you’ll find more discussions of genre – including the whole question of literary – in Writing Plots With Drama, Depth & Heart: Nail Your Novel 3.
‘There’s something timeless and questing and unique about Talking Heads’ – the Undercover Soundtrack, Stephanie Gangi
My guest this week says her novel is steeped in music – and indeed had a massive Spotify playlist to accompany her drafts and rewrites. But certain tracks stood right out, tracks that seemed to catch her attention from the radio, or stick in her mind with an essential flavour of the characters and story. They’re strong vocals – Van Morrison, Rihanna, The Lumineers, Adele. Powerful, sassy, feisty, rocky, tormented and brimming with humanity – and perfect for her novel of obsessive revenge after love goes wrong. Do drop by the Red Blog for the Undercover Soundtrack of Stephanie Gangi.