Posts Tagged authors

Print options and free books: two of my own rules I’m breaking this year…

2989166090_f5b8087687_zIn my last post I talked about publishing options in a changing world. Well, this year I’m reversing a couple of my own fervently held policies. So today I confess. (I’m an indie. I reserve the right to change my mind.)

Change #1 Putting print editions on IngramSpark

If you’re self-publishing, one of the main debates is which print on demand company to use. CreateSpace is free and has the most seamless interface with Amazon, which is where you’ll get the bulk of your sales because most of your marketing is online. But Ingram Spark has better distribution links with other outlets. And bookshops balk at ordering CreateSpace titles because the delivery time is slow and returns aren’t possible. So current wisdom is to buy ISBNs, print for Amazon only on CreateSpace, and print for other needs on Ingram Spark. (A lot more about this here. )

Why I didn’t put my books on IngramSpark

The Ingram Spark route isn’t free. You have to buy ISBNs (if you haven’t already). You also pay a fee for each book you set up. Revisions cost you more again. (However, if you’re a member of the Alliance of Independent Authors you get a discount and the revisions fee is waived. ) You’ll also have to modify the book’s print files. (The paper is thinner than CS, so your cover’s spine will be narrower. You might also need to tweak the title page with a new ISBN. None of this is difficult, but you might need expert intervention.)

The cost in itself isn’t that offputting – and it’s certainly not much compared with the cost of the book’s production. But it’s dumb to spend any time or £££s unless you’ll see a return – and that’s what made me dubious.

Although my book would be more easily available, how would it get seen? Just putting it in a catalogue won’t get it noticed by bookshop buyers. That’s like a tree falling over in a wood with no one to hear it. Shops don’t know about a book unless reps visit or the press makes hoopla. The bookshops I’ve been successful in are the ones I visit personally. All the rest of my marketing is online, and the sales funnel to Amazon. So, while I acknowledge that Ingram Spark offers better infrastructure, it’s for a market where I’m invisible.

What changed my mind

At the end of last year, I read this piece in The Bookseller. Ingram have acquired a network called Aer.io, which allows users to build storefronts and add ‘buy’ buttons for books in the Ingram catalogue.

Over the past few years, I’ve seen a lot of online bookselling portals, but usually you have to upload your book details yourself (or a publisher does it). Then, within a year, the venture goes the way of most start-ups, and vanishes. But Aer.io has a catalogue already – all the books already on Ingram, including IngramSpark. So every time anyone builds a bookstore with Aer.io, a reader could amble in from the internet and they could order my books. (BTW, I was directed to the Aer.io piece by the Hot Sheet, a publishing industry newsletter for authors from Jane Friedman and Porter Anderson.) Holy distribution, Batman! I’m making my Ingram editions as we speak.

Change #2 – a free book!

freeAs you know, I have strong opinions about free books. Here they are.

Why I didn’t

See above. I didn’t think a free book would do much for me. My catalogue isn’t big enough to give a book away – although I have five titles, they’re for two distinct audiences. I can’t dash off a new one quickly – either the Nail Your Novels or a piece of fiction.

What changed my mind

It started with an email. Just before Christmas I was contacted by Goodriter, a daily deals site for everything authorly – books, courses, services for self-publishing, book marketing, copywriting, blogging, tutoring etc. It’s like Bookbub, but exclusively for writers (give or take a ‘w’). Goodriter invited me to contribute to a bundle of writer freebies.

I could see it was a great way to meet more readers, but did I want to give away a ‘proper’ book? Then I suddenly realised I could make an ebook shortie about characters as an introduction to my Nail Your Novels, which would be useful in its own right and an aide-memoir if you’ve read the big book. Anyway .. voila.

instant fix characters sml

Once I’d sent the freebie to the giveaway, I had coffee with another author friend, who pointed out something I’d never realised about free books. They’re now such an established part of reading life that they find their way into retailers’ recommendation algorithms all by themselves, and get you visibility on lists where you wouldn’t otherwise be seen. ‘Put that book on Amazon, Smashwords et al,’ she said. As I was already half-way there, I did.

I admit I still have misgivings. I deplore the trend that pressures authors to give away their work. But the acid test is whether it pays me back in sales. That won’t become apparent for many months and I shall report. Watch this space.

And grab that free book before I change my mind.

Thanks for the U-turn photo Martin Howard

Over to you. Are you breaking any of your own rules this year? We are among friends. Come and tell me.

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Solo self-publish, seek a book deal, something in the middle? Advice for the 2016 writer

2016Last year I wrote a round-up of the advice I’d give on publishing options. A year on, would I say the same? In some cases yes, in some no…

The sales problem

This time last year a main concern was how indies were feeling the pinch with dwindling sales. Did we think it could get worse?

Oh but it has. There are even more books for sale. Subscription services like Kindle Unlimited are changing the way readers perceive value. Authors who don’t enrol their books seem to get less exposure in the magic Amazon algorithms.

Does that mean it might be better to hold out for a book deal? Well, there are pros and cons, and the points I wrote last year still stand.

So what of traditional publishing?

Were we hoping that traditional publishing might enter a new era of enlightenment, with transparent, fair deals and true author-publisher partnership? Well it hasn’t happened yet. Publishers are feeling the squeeze too much to be generous and forward looking, or to embrace new methods of working. Authors still have to scrabble hard to avoid the contract traps of rights grabs, reversion clauses that never revert and discount sales that don’t qualify for a proper royalty.

A traditional deal might get you kudos or help with marketing, but this is often shortlived. Unless you strike lucky, it may not be as good as you could drum up yourself. I have a traditionally published author friend whose first book series won awards. His second series launched recently, and the only publicity was a tiny mention in the Sunday Times.

With a traditional deal, you’ll get editorial services (of course). But a lot of corners are being cut. Publishers are slimming their departments and farming the work out to freelances. Or maybe they’re not even doing that. Over Christmas I was talking to an editor friend who this year proof-read a batch of books for paperback release. They were already out in hardback, so this was supposed to be a just-in-case read. In book after book, she found appalling errors – inane grammar, impenetrable sentences, stupid inaccuracies and plot improbabilities. These weren’t unpublished manuscripts, remember; they were books that had been through the process.

I do, of course, know several authors who are happy with their publishers. All of them have one thing in common; without exception, they never tried self-publishing.

I’ve only just realised this as I write and it’s quite startling.

Let’s examine the comparison from other angles. I also know several authors who self-published first, then got book deals – and felt they were much better off as indies. Some of them halted the process, gave back the advance, and reassembled their indie publishing team. That’s still not looking good for traditional publishing. Let’s try to give it a better crack: I know several traditionally published authors who ventured into self-publishing … and decided they were happier without the extra burden.

Let’s examine that.

Ultimately: what do you want?

‘I want an old-style publishing deal because I just want to write…’
It’s probably unfashionable to say this, but many authors still hope for the old-style deal. There is undeniable satisfaction in having a book accepted. Also, you don’t have to learn the mysterious processes necessary to produce a book. And as for marketing…..

Hold it there. Whether you get a book deal or not, you will have to be your book’s ambassador. Always. Indeed, if your book is a serious contender for a publisher’s list, one of the things you’ll be judged on is your online reach. If you haven’t built one, you’ll be urged to start. The publishing deal will not let you ‘just write in peace’. You have to be a marketer as well as a writer, no matter which path you choose. The part that you can offload, if you wish, is the book production. Does this illuminate where the traditional publisher’s guaranteed contribution is?

Nail Your Novel how to spot scam publishing offers‘I want top production values, with as much or as little control as I choose…’
It’s never been so easy to hire top production skills. And if you haven’t gathered your own team of professionals, assisted self-publishing is now a good option. In the past, many operators have been rogues, taking advantage of the inexperienced and starry eyed with overpriced and substandard services, sneaky rights grabs and unsuitable marketing efforts. (See here for a post about spotting unscrupulous publishing ‘deal’s and other scams. ) Some of them are still stinkers. But in 2015 I began to notice genuine contenders. These are like plugging your book into a well-run production department, with sales teams who’ll give you a fair crack in the bookshops. Some of them have a quality bar, so they’re halfway between a curated imprint and a self-publishing service. Qualifying for their list means you get that stamp of approval. (I’m building a list of assisted self-publishers I’d recommend, so contact me and I’ll introduce you to some good folks.)

Nail Your Novel - should literary agents publishGetting noticed

But producing the book is just the start. The problem is getting noticed and building a readership. This is why it’s such a gamble to make a business out of an art, because no one can predict what will be successful. Thought of like that, it’s not surprising that traditional publishers try to keep so much and spend so little. It’s not evil; it’s survival. Perhaps the new, sustainable way to publish will be assisted self-publishing outfits who are choosy about the books they accept, who will build a reputation for their taste and let the writer take the financial risk. Endorsement may prove to be the magic dust that money can’t buy – even if authors foot the bill. Agent-assisted self-publishing looks attractive for that reason too, even though it makes industry purists blanch. (Just so I can say ‘I told you so’, here’s a post I wrote about agent-assisted self-publishing in 2011 )

Thanks for the dancer pic Lisa Campbell, and the handshake pic Liquene,

As ever, I throw the floor open to you. What are your publishing plans for 2016? Have your views changed from last year? Are you a self-publisher who’s had a traditional deal and what are your experiences comparing the two? If it’s not too late for resolutions, dare I ask if there are any you’d like to share?

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How should you credit your editor? Advice from a former publisher

Celeste_Holm_and_Oscar_from_Gentleman's_Agreement_trailerShould your editor be credited as a contributor to your book? What about your proof reader, copy editor? And where should you credit them?

Long ago, I ran an editorial department in a small publisher, so I thought it might help to give some guidelines.

Here’s my post about front matter, which explains all the fiddly stuff like title pages, half-titles, contents pages and so on. Today, I’ll concentrate on those editorial people you’d like to thank. And indeed, whether they would be better not mentioned at all.

Collections

If the book is a collection of curated material, eg short stories, poems or essays, it’s usual to credit the person who put it all together. Put it on the main title page, the cover and the spine – eg ‘edited by Roz Morris’. That would also go in the ‘main contributor’ section of the book’s official listing on KDP, Smashwords, CreateSpace, Ingram etc.

Non-fiction with many contributors

The rules are the same as for a collection. When I was a publisher, I had a number of titles that I conceptualised, outlined, found contributors for, edited and shaped. Individual authors were credited in their own sections, but I was the guiding force behind the work. So my name went on the cover, spine and title page.

Does it seem like I’m labouring this? That’s because I want to make the point about who is in charge of the final book.

Let’s talk about editors of novels, memoirs and single-author non-fiction.

Novels, memoirs and non-fiction – credit the editor or not?
No.

Some indies put the editor in the front credits along with the author, or as an additional contributor. Do not do this.

If you’d like to mention them as a significant influence or supporter, a better place is the dedication or acknowledgements, according to how strongly you feel about them, obviously. The same goes for your proof reader or copy editor. But … and it’s a very big but.

Like this: BUT.

Please ask them first. Many editors have a policy that they do not want to be mentioned.

Now that might seem harsh. And they would surely find the exposure helpful, wouldn’t they? A mention in the credits would surely do them nothing but good.

Well no; it’s not as simple as that. The developmental editor, copy editor and proof reader are merely giving guidance. The final text of the book is down to you, the author.

This especially holds for developmental editors, who might give extensive notes for reworking. Some books leave my desk needing considerable revising, and I might not see them again. That’s fine; that’s my role. But I shouldn’t be credited in the published book if I didn’t see the final version. I’ve had editing clients who have added reams of extra material they didn’t let me see – and then wanted to publish the book with my credit. This is an extreme example, and most writers wouldn’t do that, but that credit might harm my reputation.

Equally, I see a lot of authors whose editors are very happy to be namechecked, and their supportive partnership warms everyone’s creative cockles. The bottom line is this: please ask.

Do we need a group hug? Here’s a post about why your editor admires you.

If the editor is happy to be named, where’s the best place?

The dedication before the book begins
Remember the reader has limited interest in your cheerleaders at this stage. Also remember, they have a blipvert attention span for your sample, and you should be getting them ensnared in the guts of your book.

If you want to explain at greater length what everyone did, the place for that is in ….

A longer acknowledgements section at the back
As the reader takes leave of you and your words, they’ll be happy to let you list your influences and influential people.

And check how your various folks would like to be described. A developmental editor from the book’s formative years might be described as ‘guidance and support’. Someone who had more direct control over the final book might be named by role – for instance your copy editor and proof reader.

But don’t feel obliged to mention us. It’s not compulsory. The bulk of the work, by far, was yours. Not ours.

Thoughts, theories? Have you named editors in your published books, and how did you handle it? Editors, copy editors, proof readers – what do you think?

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‘A sense of collective trauma across a century’ – The Undercover Soundtrack, Suzie Grogan

for logoMy guest this week is a writer of non-fiction. Her book is an exploration of the legacy of the World Wars on mental health – the soldiers who developed shell shock, broke down afterwards or endured their nightmares in silence. And those on the home front too, the families torn apart by grief or traumatised by air raids. Her soundtrack is honest and searching, seeking a way to do justice to a tough subject. There is the gentle despair of Nick Drake, the Question of the Moody Blues, and a reading of Wilfred Owen by Kenneth Branagh. The author is Suzie Grogan and she’s on the Red Blog with her Undercover Soundtrack.

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Quirky tales and the difficulty of leaving a book behind: My Memories of a Future Life featured at Triskele Books

triskeleJW Hicks collects writers of quirky books, and I’m honoured she’s chosen me for her collection on the fab blog of the Triskele Books collective. (You might recognise Jane as a recent guest on The Undercover Soundtrack with her novel Rats.) She’s prised me out of my writing cage to answer questions on whether I start with characters or plot, what ghostwriting does to your writing style, how I keep track of ideas, and whether I worry the ideas will dry up. (In fact, I confess to acute separation anxiety when I finish a book. I don’t want to leave it. Does anyone else get that?)

Anyway, it’s all there at Triskele – you can get there with a hop, a skip or a tricycle .… or you could ask a soothing voice to guide you there in a dreamy state. At your own risk, of course.

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The inner horse – and your fictional character’s true nature

Lifeform Three Roz MorrisI was teaching a masterclass at The Guardian yesterday and we were discussing characters. One of my students said this:
‘I think of my characters as horses.’

To be honest, I couldn’t believe my ears. If you know me on Facebook and Twitter, you’ll know I’m rather fond of the equine breed, so when one of my students said ‘I think of my characters as horses’, I thought I was still in bed at home, waiting for the alarm.

Not as mad as it seems

But she went on to explain. She ran a carriage-driving centre, and found that all of her horses were such different temperaments they were a great basis for building fictional characters.

Stay with me here, because it makes glorious sense. One of the fundamentals of a character is what they’re like in the core of their soul, the things they can’t fake or change. Whether they’re bold in new situations, whether they feel safer following the crowd or prefer to be in charge, what kind of personalities annoy them, whether there are bad past experiences that have left scars, whether they’re naturally friendly or touchy-feely, or prefer to keep to themselves, whether they’re gentle or insensitive.

If you hang around horses a lot – and, I can imagine, dogs – you’re used to the company of a creature that can’t pretend. It always shows the material they’re made of. Then if we start to imagine those behaviours translated into a human character, who might try to cover them up, and whose life might make more complex demands…

The Johari Window

Indeed, this is not unlike the Johari Window, which can be useful for designing characters. It’s a grid, split into four, in which you write:

  • the things the character and everyone else knows
  • the things only the character knows
  • the things everyone else knows but the character doesn’t
  • the things that are unknown – the traits, fears, and feelings that no one suspects.

These last two are where we can have most fun with the character: the impulses that drive them, behaviours they are not in control of, and make them complex and interesting.

That’s the horse self. (And a nice excuse for me to include a picture of my own Lifeform Three.)

Use this to write a character who is very different from your own personality

Another student asked how to write a character who is very different from you.

This is where advice to ‘write what you know’ seems somewhat unhelpful. If we followed it we wouldn’t write murderers, queens, abuse victims, abusers, fatally jealous people, talented artists, heiresses, politicians, housemaids in Victorian houses, wizards…

On the other hand, ‘writing what you know’ is the place to start. All characters will have certain traits that we can relate to. Again, these come back to very simple impulses. What do they want to protect? What makes them feel threatened? What gives them joy and release? What makes them feel safe? If you start with those, you can find your way into most characters.

nyn2 2014 smlThere are more tips for your fictional people in Writing Characters Who’ll Keep Readers Captivated: Nail Your Novel.

Do you have any off-the-wall tips for getting to the hidden depths in a character? All pets welcome.

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Bereavement, a bid to exist, a way to control an antisocial persona: why we write

why we write pauline blogWomen-Writing-Women-Box-Set-Cover_finalJPEGsmlFear not, I won’t inflict every post on you that we release for the Women Writing Women campaign, but this is one that celebrates and explores creativity. Pauline Baird Jones invited us to answer the question: why do we write?

Inevitably, this led us all to search for where we started. And here you see something we all have in common – not just the group here but all of us on this journey. Carol Cooper did it to get into the best gigs at college.  Jessica Bell did it because otherwise she felt she’d disappear. Jane Davis did it after a friend died. Kathleen Jones did it when she ran out of stories to read as a child on a remote farm. Orna Ross did it to give an overdramatic teenage personality a safe space to express. Joni Rodgers did it when blood cancer put her into isolation. And me? An overexpressive kid with something to prove, I guess, and too much shyness to be big in real life. Come over to Pauline’s blog and discover the full story.

And if you feel inclined to share, tell me here: why do you write?

 

 

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‘Music was solace, understanding and escape’ – The Undercover Soundtrack, Jake Kerr

for logoMy guest this week describes a journey – of looking for a life path, of circling around it many times until he found where he was meant to fit. He says he thought he wanted to be a DJ because he loved music, and indeed became a music industry journalist. Then one day he started writing stories – and realised this was how he wanted to use the experiences that music gave him. It was clearly a good move as he has been nominated for the Nebula, the Theodore Sturgeon and StorySouth Million Writers awards. He studied fiction under Ursula K. Le Guin and Peruvian playwright Alonso Alegria and is now contributing to Hugh Howey and John Joseph Adams’s Apocalypse Triptych. He is Jake Kerr and he’s on the Red Blog with his Undercover Soundtrack.

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Seven genre-busting novels – introducing Women Writing Women

Women-Writing-Women-Box-Set-Cover_finalJPEGsmlYou remember I posted recently about authors collaborating? Well, I wouldn’t advise you to do anything I wouldn’t try myself.

If you know me – and some of my friends – on Facebook, you might have seen some coy posts about how we’ll be revealing a big secret project.

Well here it is.

Seven writers of quality indie fiction are releasing an ebook collection called Outside the Box: Women Writing Women.
We’ve each of us proved our worth with awards, fellowships, teaching posts and commercial success. We’ve all self-published to keep our hard-earned independence and our artistic identity. Now we are teaming up to create an ebook box set of novels that feature strong, idiosyncratic female protagonists. And it will be available for just a brief period – from February to May 2015.

Power in a group

Now here’s where we can explore the power of the group. We’ve already been interviewed by The Guardian books pages, Books + Publishing (the Australian counterpart of Publisher’s Weekly) and have interest from the arts programmes of BBC Radio 4. If any of us had approached them on our own, we probably wouldn’t have got even a reply. But together?

We hope there’s more to come. Much more. These last few months we’ve been working behind the scenes, making contacts, sending emails. Certainly I’ll have a lot of learning to share about pre-launch campaigns. I am learning loads from these guys. (I should say ‘women’, but you know what I mean.)

So what do we hope to achieve?

To hit some charts, obviously. To reach readers who are hungry for strong literary fiction beyond the bounds of traditional genre tropes.

We also want to prove that fine, original authors are self-publishing as a mark of independence and integrity, and doing work of value and quality.

You might ask: is that still necessary? Does anyone still consider self-publishing to be ‘vanity’ or second rate? They clearly do, because this is one of the issues we’ve been asked about most frequently. And we have all encountered attitudes in the books world that demonstrate we are regarded as inferior. Try joining a professional body, applying for a grant or entering an award, or requesting a review. (Happily, we are already changing minds. Book bloggers who are wary of self-published books have welcomed us.)

Who are we?
Our coalition is:
Me, obviously (more than 4 million books sold as a ghostwriter, creative writing coach for The Guardian, literary author, editor);
Orna Ross, founder of the Alliance of Independent Authors, named one of the 100 Most Influential People in Publishing by The Bookseller;
Joni Rodgers, author/ghostwriter of multiple NYT bestsellers, short-listed for Barnes & Noble Discover Award;
Kathleen Jones, widely published Royal Literary Fund Fellow and frequent BBC contributor;
Jane Davis, winner of the Daily Mail First Novel Award hailed by The Bookseller as “One to Watch”;
Carol Cooper, physician, medical journalist, and winner of the 2013 BMA Book Award;
Jessica Bell, publishing editor of Vine Leaves Literary Journal and author of the bestselling Writing in a Nutshell series.
You’ll also know them all from The Undercover Soundtrack, except for Jane who doesn’t use music in her creative process. (But maybe we can change that!) Find our ‘who are we’ page here. And yes, you can see we dressed up for the occasion.

WWW head shot bannersml
How much?
The collection is priced at USD$9.99 GBP7.99 – yes, that’s not throwaway pricing, but at roughly £1.15 per book it’s still a bargain. The box set (or e-anthology, if the word ‘box’ raises your hackles) will be available for just 90 days from February 20, though pre-orders have just opened now. Right this minute.

Out and about
We’ve got a host of blog appearances planned. We’ll be sharing plenty of information about the hows and wherefores, the triumphs and pitfalls. We’ll also be talking about our publishing journeys, our inspirations, our methods. And our work – our unconventional characters and their relationships, our themes and topics like body image culture, abortion, prostitution, euthanasia, domestic abuse, same-sex marriage, bereavement, psychological recovery and rogue healers.

If you have a blog and your readership would be interested in us, we’d love to be mentioned – or interviewed if that’s what you normally do. If you want to tweet about it and like lists of pre-prepared tweets, find them here. And if you post a review, fill in the form on this link and we’ll send you a digital swag bag that includes a free book plus lovely links, delicious downloads and some playful surprises.

Our hopes
If nothing else, we hope to bust some barriers in 2015. We want to prove that indie publishing is a positive choice for writers of quality, to show that writers can make good publishing decisions and lead the creative process. And if you’re happy with traditional publishing, we hope to add more power to your arm, by demonstrating that authors should be included in business and promotion decisions, treated as partners and offered fair deals.

It’s going to be exciting. Check us out at www.womenwritewomen.com.

7 unforgettable books by award-winning #WomenInLiterature. Only $9.99! Avail. Only 90 days! http://goo.gl/D1fyqW #WomenWritingWomen

WWW FULL BANNERaml

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How to turn a short story into a novel

I’ve had this question from Kristy Lyseng:
I have trouble when it comes to depth and expanding my writing. I always end up with short pieces. Are there any tips or tricks I could learn for writing longer pieces instead of short ones, both fiction and non-fiction?

Oh what a good question. Here are some ideas.

Stonehenge replica proved disappointingly small in This Is Spinal Tap

Spinal Tap were hoping it would be bigger

How much do you plan?

Maybe you’re confident you can keep control of short pieces, and bring them to a satisfying conclusion. With a short piece, you can keep it all in your mind in one go, but with a novel that’s much harder. So to write something longer, you need more detail, to spend longer in the planning or you’ll run out of puff. (Or, if planning hasn’t been part of your method until now, you’ll probably need to start.)

Most novelists plan. They might write a detailed outline they stick to firmly. They might plan and then twist and knead it as other ideas occur to them. But the vast majority of them plan. (Here’s my post on how to write to an outline and still be creative.)

sidebarcropGo the distance

When you write that plan, you need to make sure the idea has enough mileage. This may be where you’re getting stuck and I’ve been there myself. My earliest experiments in writing were longish short stories. I’d get an idea and work it into a situation with a few surprises and a twist at the end. I could get about 5-7,000 words, but no more. I dearly wanted to get my teeth into a big novel, but couldn’t envisage how to make it vast enough.

Actually, the solution was simple. I needed to spend longer on the plan. Some of my short story ideas could have been novels if I’d known how to persevere. Indeed Ever Rest has its germ in a short story I wrote nearly 20 years ago. (It’s wildly different now.)

What to enlarge

So has your idea got the scope to be a novel? There’s only one way to find out. Climb in and explore.

Take your time over it. If it seems to be a short story, let it rest, then come back and see if some of your characters could have bigger lives, or secondary concerns, or the story problem could have more dimensions than you saw initially. Could you add a subplot or a second story arc? Flesh out the characters’ back stories? Increase the significance of the setting in historical and geographical terms? Look for themes and create other story threads that complement them? Look at the structure too. Maybe the structure of your short story is the entire novel arc, super condensed. Maybe what you’ve designed so far is only a section, as far as one of the early turning points, and you could extend it far further. Keep coming back and looking for new layers. You can’t plan a novel quickly, but the more time you spend on it, the more you’ll see.

Here’s my post on how to outline – developed for Nanowrimo, but it lists the essentials for making a good start.  Here’s a post on troubleshooting your novel outline. And here’s one about filling the gaps in your story. And here’s how I work – in pictures.

A writer of two minds

Another thing I didn’t realise in the early days is that you have to be two kinds of writer. One does the big-picture thinking – where are we going, what are we doing, what’s the overall aim? The other is doing the moment-by-moment writing and development, crafting the sentences and enacting the characters. Very few people can do both simultaneously.

The wonders of revision

Also, don’t forget you can revise. You don’t have to get it right in one go. The outline can take you several weeks if you need it. When you’ve written the first draft, you can go back over that too (indeed you should). Here are some posts from my Guardian masterclass on self-editing, which demonstrate all the wonderful ways to improve your book when you revise.

ebookcovernyn3There’s a lot more about adding subplots and generating story in Writing Plots With Drama, Depth & Heart: Nail Your Novel.

Do you have difficulty making your stories long enough? Is there a natural length that you handle comfortably and are you happy with that? What would you tell Kristy?

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