Your first pages – 4 more book openings critiqued at @Litopia by literary agent @agentpete author @anniesummerlee and me!

I’ve just guested again at Litopia, the online writers’ colony and community. Each week they have a YouTube show, Pop-Up Submissions, where four manuscripts are read and critiqued live on air by literary agent Peter Cox @agentpete and a guest, or sometimes two. This time the other guest was longtime Litopian Annie Summerlee @anniesummerlee , who has published short stories in a range of online publications.

The format is simple. Four manuscripts, each with a short blurb. We hear the opening pages, then discuss how they’re working – exactly as agents and commissioning editors would consider a submission.

As you can see, there is oodles to learn from the chat room comments alone. The audience might not always know why something does or doesn’t work, but they know when they’re engaged, or confused, or eager to read more. Then your trusty hosts discuss the whys and hows.

On this show we talk about:

Where to start the story – this was a huge issue for every one of the entries. Although a novel’s opening chapters require a lot of scene-setting, they need to offer more too. The reader needs to become engaged with the story and the characters, not just the descriptions of the world. Here you can see what happens when the author gets that balance wrong.

Writing from the viewpoint of an animal – this is enormously tricky. Vocabulary, world view and description all have to be carefully tailored to make this work. Has this author managed it? Judge for yourself and see how your impressions compare with those of the genius room and the panel.

Need for more dialogue and action – many of the openings were heavy on description but light on character involvement.

Titles that are too long, too difficult to remember or misleading – titles have to do so much. They are one of the first ways we reach out to the reader. Are we doing it effectively? On the show, we always spend a while considering the title for each entry and whether it’s doing its job. And some of them are just right! Come and see why.

Comparison titles – what they are and why it’s useful for you to identify them.

Blurbs that need more attention – it’s so hard to summarise your book in just a paragraph. One of the best ways to learn is to see the mistakes that others make – and when a writer has a blurb that hits all the spots.

Tiny writing details that matter – all these authors wrote smoothly and vividly, but sometimes there was an odd word choice or lexical repetition. Notice how they matter!

Action versus emotion – why do we make a distinction about that? One of our most interesting discussions.

The importance of knowing your genre – so that you give readers the thing they enjoy. Though you then also give them more than they were expecting.

Self-publishing – we briefly discuss self-publishing! How it’s more feasible today than ever – and why. And tips for success.

Find the full show here. And if you’ve got a manuscript you’d like critiqued, apply here.

There’s a lot more about writing in my Nail Your Novel books – find them here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

Your first pages – 5 manuscripts critiqued at @Litopia by literary agent @AgentPete @AJ_Dickenson and me!

I’ve just guested again at Litopia, the online writers’ colony and community. Each week they have a YouTube show, Pop-Up Submissions, where five manuscripts are read and critiqued live on air by literary agent Peter Cox @agentpete and a guest, or sometimes two. This time the other guest was Andy Dickenson @AJ_Dickenson, ITV reporter and YA author.

The format is simple. Five manuscripts, each with a short blurb. We hear the opening pages, then discuss how they’re working – exactly as agents and commissioning editors would consider a submission.

This week’s edition had a range of genres. Speculative fiction, fantasy, sweet romance, contemporary and – a new one on me – Martini-flavoured spy thriller in a grounded steampunk world.

Have you heard of that? I hadn’t. But it turned out to be an accurate description.

As always, the manuscripts had many strengths. They were fluently written and thoroughly realised. The authors often had solid track records in other areas of writing. But how did they do as novelists, and were these submissions ready to wow an agent or publisher?

There were several issues we discussed.

Titles – Some titles suggested the wrong genre. Or weren’t memorable enough. Or didn’t catch the spirit of the text. Some hit exactly the right notes, but even so, the chatroom audience still had questions, worrying about whether the word order could be switched for more oomph.

Blurbs – Blurb-writing is a dark art of its own, and mostly loathed, but whenever you present a manuscript, you have to write a short summary. Some blurbs hit just the right notes, promising plenty of the kind of action that would appeal to readers of that genre. Some gave too much, so the reader was confused by the end. Some gave far too little – a vivid moment from the action, but no indication of the overall trajectory of the book, whether it would be personal essays that dwelt in the moment or a bigger arc, perhaps of tragedy, perhaps of healing. It’s so interesting to learn what the reader needs from that one, agonising paragraph.

Beats of action – one of the openings had an interesting incident, but was cluttered by another incident that took too much of our attention before switching to the important character. At the start of a novel, the reader is so adrift, they are easily overloaded.

Purpose and lack of purpose – one of the manuscripts had a vivid setting with one character observing another. But somehow the narrative lacked purpose – we didn’t know what the protagonist was there to do. This made the narrative hard to understand.

Starting at the wrong moment – two of the manuscripts were trying to front-load a lot of explanation and back story, but had done it in scenes that were not intrinsically interesting.

Developing a writing voice – this wasn’t a problem in any of the manuscripts we examined. All flowed beautifully in styles that seemed natural to the writer and suitable for their chosen genre. But Peter, as an agent, and also as Head Lit of Litopia, sees a lot of manuscripts that lack these qualities, so we spent one segment of the show discussing the elusive ‘it’ factor – how do you find your own writing voice?

Enjoy! And if you’ve got a manuscript you’d like critiqued, apply here.

There’s a lot more about writing in my Nail Your Novel books – find them here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

Fantasy novelists – your first pages: 5 more book openings critiqued by @agentpete @mattschodcnews and me!

I’ve just guested again at Litopia, the online writers’ colony and community. Each week they have a YouTube show, Pop-Up Submissions, where five manuscripts are read and critiqued live on air by literary agent Peter Cox @agentpete and a guest, or sometimes two. This time the other guest was one of Litopia’s longtime members, Matt Schofield, an award-winning war correspondent who now writes fiction.

The format is simple. Five manuscripts, each with a short blurb. We hear the opening pages, then discuss how they’re working – exactly as agents and commissioning editors would consider a submission. And there’s now an added goody – each month, the submission with the most votes is fast tracked to the independent publisher Head of Zeus, and several writers have already been picked up after appearing on the show. (So we take our critiquing very seriously… no pressure.)

As you can see, there is oodles to learn from the chat room comments alone. The audience might not always know why something does or doesn’t work, but they know when they’re engaged, or confused, or eager to read more. Then your trusty hosts discuss the whys and hows.

We talk about:

• Blurbs that promise the right things and seem to live up to their promise… or don’t.
• Titles that set the right tone, or are hard to remember, or are too much like other titles.
• An interesting case of slipped point of view – so easy to do when you’re settling a reader into a story.
• Examples from many flavours of fantasy, all with their own sets of expectations – urban fantasy, timeslip, steampunk, epic, children’s, and fantasy on the borders of science fiction.
• How much information the reader needs in the first pages and what else they need to draw them into the story and its world.
• Worldbuilding – a whole subject of its own in this kind of novel, and it brings its own delights and pitfalls We talk about how easy it is to confuse the reader, and suggest ways to adjust the opening to avoid this.

Find the full show here. And if you’ve got a manuscript you’d like critiqued, apply here.

There’s a lot more about writing in my Nail Your Novel books – find them here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

A world in a word – 3 ways your vocabulary can increase reader belief

I had an interesting comment from a reader of my novel Lifeform Three. She was curious that I’d described a horse’s coat as ‘fur’. Surely the more usual term, she said, is ‘hair’.

She’s not wrong.

‘This might worry readers,’ she went on, ‘who will think you don’t know one end of a horse from the other.’

We’ll return to that in a bit.

The writer’s deception

Fiction writers are, of course, the ultimate fakers. We write experiences we haven’t had. In places we haven’t been to, about people who never existed. And we must make it real. Readers want to believe. Even if they know we can’t have been alive in Victorian London. Or on a fantasy planet.

Vocabulary is one of our tools for this.

1 Vocabulary is occupation, profession

A bomb disposal expert has to sound like a bomb disposal expert. And not just in the way you describe the activities of their work, with technical language and insider shorthand. Their work will give them a life outlook too. Any occupation will add to a character’s slang vocabulary, and even their humour style. Think of medics and their distinctive black humour.

2 Vocabulary is culture and time

Vocabulary shows the culture of the book’s world – the way characters think, the way they behave with each other.

Fantasy authors are a good example. With every word choice, they’re casting the spell of the setting, letting us know we’re not in the everyday. If their world is quasi-medieval, they might choose terms with an archaic or courtly quality.

Historical fiction authors have an additional concern – they mustn’t introduce words or phrases that are inappropriate for the times.

This brings me to character attitudes. Attitudes come from the culture. In our own time, social attitudes change wildly within a decade. Put another way, each era has distinctive values that affect how characters behave to each other. A major bugbear of historical novelists – and readers – is character attitudes that are anachronistic, especially 21st century snark and rebellion. There’s nothing wrong with rebellion, but it must be a kind of rebellion that fits with the times. (Aside: if you want to put ‘bugbear’ in your historical novel, you’re good. It entered English in the 16th century, according to Merriam-Webster.)

3 Vocabulary is individual character

Language also shows character, especially in dialogue and first-person narration (and close third where we follow the character’s thoughts and feelings).

Characters will have different ways of thinking, which come from their education levels, their occupations (or lack of them) and their personalities.

Characters will have their own lexical signature. How they curse. What they say when impressed or upset. Even, how they say hello or goodbye. What they call their parents – Mum and Dad, Mom and Pop, Mummy and Daddy, Mater and Pater. Perhaps one parent is a warm word (Mum), the other is severe (Father). Perhaps they use first names. (There’s loads more about this in my characters book.)

Fur again

Back to Lifeform Three. Of course – of COURSE – I know the correct term was hair, not fur. So why did I use such a weird word?

1 – Temporal setting – Lifeform Three is set in the future. Terms might have changed. My odd choice of word is a cue to the reader; take notice, this is not your time.

2 – Cultural shift – at the time of Lifeform Three, people don’t encounter horses very much. Or any animal. ‘Normal’ terms are created by communities. Dog owners of the 2020s know what to call everything because there is a long tradition and expertise. They talk to each other, read books, write blogs, go to vets, buy gear. All of that creates a shared vocabulary for talking about dogs. If no one does any of that, there is no shared vocabulary.

3 – Character – the narration is from the point of view of an artificial human, who has to invent his own terms for everything.

As I wrote that scene in Lifeform Three, I felt the term ‘hair’ would be wrong.

My perceptive reader noticed. Wondered why. Which is what I wanted.

And should readers be concerned about my grasp of horse lore? In a superb irony, the idea came from a weird comment by a riding instructor. ‘Ram your outside hand into the horse’s neck,’ she called, ‘right into the fur’.

‘Fur?’ I thought. ‘You always pick such peculiar words.’ Peculiar words were one of her tics, bless her.

Years later, about to type the word ‘hair’, I stopped and thought, is ‘hair’ the best word for this character, in this time? Would another word serve me better?

Sometimes, the strange word is the right word.

If you’d like more 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 use Bookshop.org. And if you’re curious about what’s going on at my own writing desk (and my very exciting new novel), look here. You can subscribe to future updates here.

‘To make art by the grace of other artists’ – The Undercover Soundtrack, Camille Griep

My guest this week has set herself the task of reimagining the Trojan War and she says she couldn’t have done it without music. Her soundtrack has a stirring, epic scale with storming emotional keys, from Florence + the Machine to Thomas Tallis. More intimate pieces by Amanda McBroom and Esthero illuminated the interior lives of her Cressida (renamed Syd) and Cassandra (Cas). She is also a much-decorated writer of short stories and the editor of two cultural journals, Easy Street and The Lascaux Review. Drop by the Red Blog for the Undercover Soundtrack of Camille Griep.

‘Music was the writing tool to give me courage for this daunting task’ – The Undercover Soundtrack, Stephen Weinstock

My guest this week is another returner to the series, which is rather appropriate as the concern of his book series is reincarnation. He is a composer, pianist and dance accompanist for musical theatre with the UC Berkeley, Princeton, Juilliard, and the ‘Fame’ school. Last time he guested here he wrote about the hidden structures that tell stories. This time, nearly a year has passed and he finds himself questioning the role music is now playing in his writing life. So this is a slightly unusual Undercover Soundtrack, one of questions rather than statements. Nevertheless, you can expect some stirring musical choices. He is Stephen Weinstock and he’s on the Red Blog with his Undercover Soundtrack.

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

My 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.

‘Hidden forms that tell a story’ – The Undercover Soundtrack, Stephen Weinstock

You can’t read much about writing advice before you trip over an essay about story structure, and how it works invisible magic on the reader. My guest this week has used sophisticated musical structures as the skeleton of his fantasy series, a series of nested reincarnation tales inspired by The Thousand and One Nights – and his influences range from Alban Berg to Frank Zappa. For him, music does not so much conjure up a scene or a character as an entire shape, of how an idea moves into a story and where it eventually goes. He is uniquely qualified to do so, as he is a composer, pianist and dance accompanist for musical theatre with the dance faculties of UC Berkeley, Princeton, Juilliard, and the ‘Fame’ school (though he has not yet said if he is reincarnated). Stephen Weinstock is on the Red Blog with his Undercover Soundtrack.

SHORT BREAK I’ll be taking a short break from blogging but will be back with a post on 30 November.

‘A lyric, a tune fragment, a thrilling chord run’ – The Undercover Soundtrack, JW Hicks

My guest this week says that most of her better ideas are sparked by music. She keeps noise-making apparatus at the ready in every room in her house. When she’s stuck she charges up her headphones with inspirational pieces and does a hand-occupying household activity until the ideas return, which usually isn’t long. Quirky and speculative fiction is her milieu, and her short stories have won prizes. Now she’s launching her debut dystopia novel, Rats, with the Triskele books collective. She is JW Hicks and she’s on the Red Blog with her Undercover Soundtrack.

‘My word-hand is singing’ – The Undercover Soundtrack, Marcus Sedgwick

There’s a shelf chez Morris that holds a set of books with such exquisite titles as Midwinterblood, White Crow, Floodland and, of course, the one quoted in the catchline of this post. So shall I cut to the chase and state that I’m honoured that he’s my guest this week? His novels blend folktales, myth and sometimes futuristic speculation, and music is a significant companion in the writing – from the mournful and joyous gypsy and folk ballads of Eastern European to the romantic compositions of Gustav Mahler. For his latest novel, The Ghosts of Heaven, no music would fit – so he composed his own. Do join me on the Red Blog for the Undercover Soundtrack of multi-award-winning author Marcus Sedgwick.