Posts Tagged how to get published
Hit the ground running with your first pages – 5 book openings critiqued by a literary agent (and me!) at Litopia
Phew, this blog has been busy this week! Last Sunday I was the guest of Litopia, an online writers’ colony and community. Every week they have a YouTube show, Pop-Up Submissions, where five submissions are read and critiqued live on air by literary agent Peter Cox and a guest. This week, that guest was me!
The genres can be absolutely anything, so I found myself assessing a young adult fantasy, an urban American thriller, a travel memoir, an Irish literary character piece (aka ‘upmarket fiction’) and a humorous fantasy crime. We picked out issues such as where to put back story, establishing the tone with the writing style and the choice of events, trying to make a character too likeable… and lots more. It was a fun challenge, and also fascinating to see Peter’s commercial instincts in action. While I concentrated on elements craft, he was asking: ‘Are there too many of this kind of book already? How do you stand out in today’s market? Or is it right on trend?’
We had some technical difficulties, so for some reason the video is a whopping two hours long, even though the show was only one hour. I’ve set it up to start when we actually start talking…
Enjoy! And if you’ve got a manuscript you’d like critiqued, apply here.
Have you got a manuscript that might be ready by July 2018? You might be interested in this competition from the writing/publishing collective Triskele Books. And I’m honoured to announce that I’m the judge in the final!
If you’ve been around this blog a bit, you’ll know that Triskele is a publishing house owned and run by authors. The members provide all the support and editorial finessing that occur in a publishing house (many other posts about them here).
Anyone can enter, whether it’s your first book or whether you’ve published many times before. Triskele are looking for a standout manuscript they can help along and the winner can tailor their input to their needs – whether it’s polishing or developmental work or help with the nitty-gritty of publishing. Last year’s winner, Sophie Wellstood, was so excited after working with Triskele’s feedback that she pitched to a literary agent – and had representation in three days. The only proviso is that the manuscript must be unpublished. Other rules? You’ll find them here.
Triskele’s team will sift through the entries and choose six finalists … and then it’s my job to pick the final winner! I’m sure there will be adventures and insights to report, so stay tuned. If you want to tweet it there’s a hashtag #thebigfive. And perhaps you’d like to have a go.
Sorry, but that’s the wrong way round.
Except in a very few cases, it doesn’t work.
You can build a platform with a non-fiction book. If you’re offering expertise, it’s easy to find the people who need it. If you write about a life experience, you can connect with readers who seek similar support. And there are far fewer of you – and more room to be heard.
Before you use your novel to launch your platform, go and look at Facebook. Goodreads. Twitter. Everyone is waving a novel.
The number of people you will reach by starting this way is negligible.
There are many examples, of course, of successful self-published fiction authors. Everyone has their favourites to brandish. I’m going to talk about Joanna Penn. She didn’t start with a novel. She started with a blog – The Creative Penn – and built a loyal following while she taught herself about the writing and publishing world. By the time she launched her first novel, Pentecost, she had a great relationship with a lot of people.
Relationships are what sell books, both fiction and non-fiction. That’s what a platform is.
So to build your platform, get out there and blog, tweet, Facebook or whatever. Be natural, be yourself and build relationships. It’s also much less of a strain if you’re not trying to sell something.
And since you’re not using your novel to build your platform, what are you going to do with it?
You might as well, um, query with it.
Stop grinding your teeth at the back there. We’re agreed that relationships sell books? Agents have relationships with publishers. Publishers have relationships with distributors, the press, the places you cannot get reviewed if you do it all yourself. Yes, agents and publishers take their cut, but that’s because they have a much bigger reach than one little writer on their own.
If you don’t like the way a deal adds up, you can always refuse it. Or negotiate. But if you never try, you don’t know what might have happened. If you want to have a publishing career (and why otherwise would you build a platform) it make sense to explore all the options.
‘But every agent has different taste…’
Good writing is good writing. All agents are able to spot it. If you target enough agents who are a good fit for you, you will find out whether you are ready to go into print (or pixels) – or whether you should develop more. It is worth knowing that, isn’t it?
‘But it takes time…’
You’re going to have to spend that time building your network anyway. And what’s the hurry? You can’t – or didn’t – learn to write overnight.
‘But everyone’s publishing…’
I understand you’re impatient to get out into the big publishing party. Really I do. When I first held a book that was filled with my words I felt the earth quiver.
But I’m now seeing a lot of people who have whizzed onto Kindle, are finding their novel doesn’t sell, and are getting dispirited. That’s a shame. That’s the sound of dreams shattering.
Please don’t mutter the name of Amanda, the lady my friend Porter Anderson dubbed Amanda Hocking [example of everything]. That’s exactly what she is – an example of anything you like, including holy amounts of luck (and I wish her plenty more luck, BTW). But will the law of probabilities allow that to happen to you?
Build the relationship first
Relationships sell books. Build the relationship first, in whatever way you like, partnering with whoever seems right. That may be conventional industry routes; it may be creative collectives. Then you will have a platform, and you will have readers.
Thanks for the pic, Scottnj
While we’re on the subject of being grown-up about platforms, I’m planning a newsletter! Add your name to the mailing list here.
So, agree? Disagree? Sending the lynch mob…? I’m sure you’ll have plenty to say in the comments
One of the hardest things about being an indie author is getting reviewed in the same places as traditionally published books – especially if what you write is non-genre fiction. Here are a few that came up trumps for me, so I thought if you’re in the same boat you might find them helpful.
Bookviews – to request a review, email email@example.com
For Books’ Sake – email firstname.lastname@example.org
If your novel also carries a frisson of supernatural and darkness, you might also snag the attention of Deb at Pen In Her Hand and BJ at Dark Side of the Covers – who also very kindly gave me reviewerly attention.
And if it flirts with SF and fantasy, you might get lucky, as I did, and find yourself evaluated alongside mainstream-published SF and fantasy, both modern and classic, at Critical Mass. (My review is pasted here.)
Have you found any useful review sites? Leave their URLs in the comments!
In the Norwegian version of the film Insomnia, one of the characters tells an anecdote that is never finished. It appears inconsequential, perhaps a throwaway line to illuminate character. But good scripts never contain spare remarks, and this interrupted fragment quivers through the rest of the story like a deep note from a cathedral organ.
It is like the job the characters are doing – investigating a murder and having to create the ending for themselves. It returns later when parts of the story become dreamlike and the main character is tormented by guilt. It is like the everlasting arctic sunlight that won’t allow the day to end.
So leaving this anecdote hanging is a rather clever move by the writers.
Stories need closure – of course they do. We need to feel they ended in the right place. In most genres this does mean tying up all the ends and solving the mysteries. (We’ve all been infuriated by novels that are deliberately teasing us towards their sequels – The Hunger Games and Twilight. They don’t seem to be playing fair.)
In most genres, the fun for the punters is wondering how the murderer will get caught, how the romantic twosome will get together, how the battle was won, how the world was saved (or lost). That’s what they’re there for.
But if you are writing a story that aims to go deeper than the events, perhaps you don’t want to tie everything up or explain everything.
Insomnia ties up most of its physical threads – it ends when the case ends. But morally it is anything but neat. The characters leave the story with unfinished business and nagging burdens – and this is its true power. It is the toll paid by those who have to deal with murder. The viewer carries it too, as sharer of this experience in all its ambiguity. (Did ever a post try so hard not to give spoilers?) It plays fair, but it deepens the mystery.
Stories don’t always have to give us answers. Sometimes the questions they give us are as important.
Have you got a favourite story that doesn’t answer all its questions? Or do you hate it when writers do that? Share examples, good and bad, in the comments!
Nail Your Novel – my short book about how to write a long one – is available from Amazon. Not too late to nab a Kindle copy if you’re aiming to be a Wrimo!
My Memories of a Future Life is now available in full. You can also listen to or download a free audio of the first 4 chapters over on the red blog.
You might have heard this week that the Ed Victor Literary Agency has started its own ebook and print-on-demand venture, initially to republish clients’ books that have fallen out of circulation.
I said in a comment on my recent post Should You Hit Self-Publish that this was disappointing. Because what I’d really like to see is agents using a model like this to showcase the work of original new writers.
As I said in my post, publishers were once allowed to acquire books purely because they were good, but now they have to worry about selling sure-fire winners to book chains and supermarkets. This means the original, the unusual, the unknown, the pesky cross-genre novelists are not getting publication deals. And yet these books were considered brilliant enough for agents to take them on.
There can’t be an agent in the world who doesn’t have a few titles they’re 100% passionate about but can’t sell.
This is bad for our art form. It’s bad for authors. It’s bad for everyone who likes a good read. It’s ghettoising our next generation of original authors, who ten years ago would have had a chance to build a career.
So what I’d really like to see is this. Agents should start their own ‘discovery’ imprints on POD and ebook. They should showcase, say, six titles every few months that they passionately believe deserve to be read.
The major reviewers would take notice, because the titles would have been stringently picked with the seal of approval of a legitimate agent. It would be another way to encourage publishers to have confidence in these new authors. And even if the showcased titles were too kooky for the mainstream, the publishers might want to know about the author’s other work.
It used to be that if you self-published a book, you’d scuppered all chances of it appearing in print conventionally. Even that’s changing. Kindle Direct Publishing’s latest newsletter features the story of Nancy Johnson, who published her novel on Kindle and has had offers of representation and publishers wanting to buy foreign rights.
All in favour, say aye