Dear me: how fiction authors adapt to writing memoir

If you’ve been following me on Facebook or on my newsletter you’ll have seen I’m taking a creative interlude to work on a collection of travel memoir pieces. It’s a new kind of book for me and it’s raising some interesting challenges, particularly as I’m used to the freedoms of fiction.

So I thought I’d gather together a few other fictioneers who’ve crossed into memoir to discuss the differences.

Let’s meet our novelists-turned-memoirists.

Jean Gill

Jean Gill @writerjeangill has published in a wide variety of genres – historical fiction, fiction in translation, teen novels and a goat cheese cookbook. Her memoir, How Blue Is My Valley, is an as-it-happens account of her first year living in Provence.

Joni Rodgers

Joni Rodgers, who you might recognise from The Undercover Soundtrack and this post about ghostwriters and their soul projects,  had two novels published by small literary publishers, and then a big bestseller with her cancer memoir Bald in the Land of Big Hair, which kicked off a career as a ghostwriter of celebrity memoirs. She has continued to write fiction, and her second memoir is an account of her hybrid publishing adventures: First You Write: The Worst Way to Become an Almost Famous Author and the Best Advice I Got While Doing It.

Jessica Bell

Jessica Bell @msbessiebell will also be familiar from The Undercover Soundtrack. She’s a musician, writing coach, graphic designer and publisher, has released seven books of fiction and verse. Her memoir is GO: A Memoir about Binge-drinking, Self-Hatred and Finding Happiness about her dysfunctional childhood, teen years and music career.

Real events

The most obvious difference between novels and memoir is, of course, real events. And this creates an artistic problem. Real life is messy; it lacks the structures that do much of a novel’s work. Personally I’m enjoying it; the need to stay within boundaries is a challenge. I asked my authors about the main challenges they faced with their material.

 

Joni: ‘The least interesting thing in a cancer memoir is the cancer. I had to distil the complex medical aspects of the story in a way that did justice to my experience while maintaining a compelling pace for the reader. I won’t even pretend I did that on autopilot. I had a terrific editor with an unsparing eye.’

Jean faced an additional challenge with her book because she was writing without a predetermined shape. It was a day-to-day diary of events as they unfolded. ‘Authors with any sense write memoirs looking back, so they can find patterns and resolutions. Instead, I was writing the book ‘live’ as workmen destroyed the house around me and I had no idea what was going to happen next. I haven’t kept a diary since the ones I gave up as a teenager with cryptic codewords.’

Jean says her approach paid off, though. ‘Fans have told me this is part of the book’s charm. The immediacy of all those first impressions, of being in love with Provence, is not filtered by artistic shaping. Moving to another country is always about what you take with you: physically, mentally and emotionally. I came to understand that from writing my memoir.’

How we come across

One of the hardest things to judge with such a personal book is how we’re coming across. As the writer, we know everything and the reader knows nothing, and I know I’m going to be relying on beta readers more heavily than usual. Joni and Jessica say they couldn’t have done it without editorial support.

Joni: ‘Beta readers and a good editor are crucial. I’ve had the good fortune to be edited and mentored by amazing professionals at Big Five publishers and prestigious small presses, so maybe I’m spoiled, but candidly, I was disappointed in the editor I hired to do First You Write. Even more disappointed in the copy editor. Fortunately, my beta readers were top drawer. The Midwives, my critique group at the time, was an amazing posse of well-read, widely published authors, including Barbara Taylor Sissel and Colleen Thompson. That crit group was one of the best things that ever happened to me professionally and personally.’

Jessica says she also could not have done without a professional editor. She began by writing her book as vignettes, then attempted to fill the gaps. But I knew deep down that they were not satisfactory. When I invested in a professional editor, I discovered that many details were lacking. Because I knew my life so well, I didn’t have the same need, or instinct, to explore every fine detail like I do when writing fiction. When writing fiction, I am completely immersed in the details, and also creating those details for myself. When writing memoir, those details already exist. It’s so easy to not realize they aren’t apparent to your reader. The effort it took to dig them out was my biggest hurdle. I felt like I was constantly repeating myself, when in fact, I wasn’t at all. It’s really interesting how unreliable we are as writers of our own lives. I now know that I will still need that editor with my second, third, and fourth memoir.’

(Modest shuffling of feet: Jessica’s first editor was me. To slip into that role for a moment, I’ve worked on many memoirs and each time it’s a special privilege to be invited to help shape such personal material. I also happen to know that Jessica’s editor for the second version was Dan Holloway, so – a shout-out to him.)

Jean had an unexpected source of feedback when her memoir was being made into an audiobook: ‘If you want to know how you come across, nothing beats having to listen to the narration and having to explain to a top voice actor just how funny you thought that sentence was. Even now, the thought makes me hot with embarrassment.’

Real people

Inevitably some people in our memoir will be recognisable. What do we do about that?

Jean says: ‘I changed the names of all but immediate family and I let my sisters read it beforehand, so they could raise any objections. They didn’t.’

I’ve also been contacting people who are recognisable and letting them read the relevant excerpts. And Jean brings up another principle that I’m following: ‘I considered every word I wrote from the viewpoint of that person reading about themselves. Ask me again in a year’s time as the book is being translated into French, so all the villagers will be able to read it. My hairdresser has promised to let me know if we need to sell up and leave the village.’

Jessica says she asked permission from family and close friends to reveal their true identities. And that was nerve-wracking – I remember having a conversation with her behind the scenes on Facebook as she gathered the courage to show the manuscript to her mother.

‘I’m very lucky they gave permission,’ she says. ‘For those I don’t have contact with (or don’t wish to contact) I’ve changed physical attributes, names, and certain characteristics. Sometimes three people have been merged into one character. People who know me and the people in my memoir will most likely be able to work out who is who; I don’t think there is any way to avoid this. The only thing we can do is change our characters enough so that they can’t be recognised by random readers.’

Joni had to write about her family in close detail during traumatic events, especially her husband, Gary. I asked whether that was awkward.  ‘I did struggle with this invasion of Gary’s privacy. He was supportive in a very unexpected way: he didn’t read the book. He said he wanted me to tell the story I needed to tell without feeling like he was looking over my shoulder. To this day, he hasn’t read it. The one concession he asked was that I decline an option on film rights, even though we desperately needed the money. Chemo left us bankrupt. Thanks, American healthcare system! When the film option came up, our children were still small, and I wasn’t in remission. Gary and I agreed that if I died, a movie could be confusing and unhealthy for our kids in later years.’

With that in mind, I think we need a brief feelgood interlude. Here’s a very soppy picture of Joni and Gary.

 

The difficult memories

Jessica had to steel herself to revisit some of the events in her book and was tempted to leave them out. ‘I had a really hard time writing about them. But my editor convinced me to bite the bullet.’ (Just call me Rozweiler.)

Joni also had to grapple with difficult memories. ‘My desire to help other women with cancer far outweighed any awkwardness. Cancer destroyed me physically, emotionally, spiritually, sexually, and financially, and while I was in that crucible, I craved honest conversation about taboo topics like money and sex. To leave out the awkward and even humiliating moments in that story would have been a disservice to readers with cancer, and it would have felt dishonest to me.’

What to leave out?

And not everything belongs in your memoir. Joni says: If life is a sprawling country garden, a memoir is a cut flower arrangement. Choices have to be made, and some are difficult. Here again, I have to sing the praises of my editor, the late, great Marjorie Braman at HarperCollins. Throughout the process, Marjorie focused a single beam of light—the book’s reason for being—on every anecdote, character, sentence, syllable. Much of what I know and practise as an editor now, I learned from Marjorie as we worked through Bald in the Land of Big Hair and my subsequent novel, The Secret Sisters. She never told me what to do, but she always asked the right questions.’

That pruning process might not be straightforward. Jean says that at the time of writing, one of her children was very depressed, and she found her own feelings of helplessness overwhelming. ‘This memoir wasn’t about trauma or therapy so the details of my private life were irrelevant. But I felt silly writing happy little thoughts without acknowledging that pain. This is how I dealt with it. I acknowledged it for the only person who mattered to understand:

‘Happiness is an utterly selfish emotion. How can you be happy when someone close to you, isn’t? How can you be happy in the face of war, starvation, poverty… And yet. How does your misery change others’ lives for the better? Who is helped by your depression? Isn’t it from some kind of secure self that you can reach out a helping hand?’

We are made of many memoirs

But Jessica says each of us might have many memoirs in us. ‘Just because something has happened in your life, that doesn’t mean it has a place in the memoir. For example, to the disappointment of those who have gotten to know me online, this memoir doesn’t talk much about my writing career. That’s an entirely different story, unrelated to my child- and teen-hood, and love life and music. And then there’s my humorous and devastating story of running a café-bar in Ithaca, Greece. I realised these didn’t belong in GO. They are not related to my psychological struggle. They are related to the side of my personality that is confident and ambitious. And they need their own book.’

So let’s sum up. Here’s the gathered wisdom on writing a memoir:

• Beta readers and a good editor are crucial for helping us understand how we come across.
• Seek permission from real people who will be recognisable, and if possible let them read the relevant sections. Change the details of others so they can’t be identified. Consider every word you write about another person as though they were reading it.
• If your memoir is about difficult experiences, dig deep and remember that these details are part of the honest journey.
• Not every experience will fit in one memoir. As with fiction, check that everything serves the story you’re telling. If it doesn’t, consider keeping it for another book.

Thank you to my panel. Here’s where you find them

Jean’s blog is here and she’s on Twitter as @writerjeangill.  Jessica’s website is here and she’s @msbessiebell. Joni says she’ll be hosting a memoir writing retreat this autumn, her website is here or you can follow her on Facebook.

And if you’re curious about the book I’m currently working on, here’s my newsletter.

Bonus! Here’s an episode of my radio show, So You Want To Be A Writer, where bookseller Peter Snell and I discuss the memoirist’s art.

Any insights to share about writing memoir? Or questions? Fire away.

One for them, one for me: ghost-writers and their soul projects

Most writers have day jobs. Some of us ghost-write books for others – here’s my own, suitably censored, introduction to my ghosting activities. And some ghosts are also building our own body of work. I thought it would be fun to talk to some of my nebulous comrades to answer some questions: how do we balance the two types of writing?

The players

Daniel Paisner

Daniel Paisner   @DanielPaisner  –  you might recognise Dan from his recent Undercover Soundtrack. He has ghosted more than 50 books for the great, good, notorious or extraordinary – including tennis champion Serena Williams, Ohio governor and Republican Presidential candidate John Kasich, and Academy Award winners Whoopi Goldberg, Denzel Washington and Anthony Quinn.  He is the author of three novels: Obit, Mourning Wood  and A Single Happened Thing.

Joni Rodgers

Joni Rodgers @JoniRodgers – another Undercover Soundtrack veteran.  Joni had a few novels published, then her cancer memoir Bald in the Land of Big Hair  brought her offers from celebrities and other extraordinary people who wanted her to help them tell their life stories. Since then she has worked as a ghost-writer, book doctor and story strategist. Her own books include Crazy for Trying, First You Write, and Sugarland.

Deborah Ager

Deborah Ager @deborahager1 is the founder of Radiant Media Labs, a consultancy to help experts turn their big ideas into books. Behind the scenes, she has an MFA in creative writing, writes poetry, co-edited the Bloomsbury Anthology of Contemporary Jewish American Poetry (2013) and Old Flame: Ten Years of 32 Poems Magazine (2012) and is working on a novel set during the Great Depression.

Really me

The big question is this:  how different is their own work from their usual ghostwriting milieu? Do the two complement each other in any way?

Joni says she finds there’s considerable synergy and overlap.

Joni: ‘As myself, I write quirky, character-driven fiction informed by politics and travel. Right now I’m working on a screenplay to showcase five actresses over 40 in a story about strong, smart women. My little yop against Hollywood sex/age inequity.

‘My ghost-writing projects are all over the map, but there’s a lot of crossover in the big picture. Every ghost book I’ve written has taught me something that made me a better novelist. Some ghost projects are craft skill boot camp; others take me to places I never could have seen as a casual observer.’

‘I’ve seen things…’

I find this too. Here’s a post about the things I’ve learned to fake …   But that trivialises the true nature of the ghost-client dynamic. The ghost-writer does more than write about derring-do they’ve never done. We climb inside the client’s inner life. We truly walk the miles in their shoes. It’s a privileged, trusted position.

Joni also found that ghost-writing opened unexpected doors for her own writing.  ‘While I was working on a memoir with Kristin Chenoweth, I got to know Aaron Sorkin, who was incredibly generous with his time. Hanging out with him was like a personal masterclass in storytelling. He looked at an early draft of my novel The Hurricane Lover, gave me valuable feedback and encouraged me to explore the possibility of screenwriting. He gave me a stack of scripts and a long reading list, and the final draft of The Hurricane Lover was exponentially better because of that. A few years later, I got a call from a well-known director who was considering hiring me to do his memoir. As part of the vetting process, he read The Hurricane Lover. Though he ultimately decided not to go forward with the memoir, he was so impressed with the dialogue and story structure, he hired me to thrash out a story strategy and doctor some dialogue for a screenplay he was working on.’

An antidote

While Joni finds her two writing worlds run in parallel tracks, Dan realises his fiction might be an antidote to his commercial milieu.

Dan: ‘The stories and characters I’m drawn to in my fiction tend to be small, out-of-the-way, under-the-radar.  I look for moments where we live and work, quietly, where not a whole lot happens. What interests me are the ways we connect with each other, the ways we don’t, and the choices we make in the spaces in-between. What genre is that exactly?  I don’t know, but judging from my sales history this is not the stuff of page-turning, best-selling fiction.  Oh, well…

‘I’ve never really thought about this in just this way, but I suppose there is a connection.  The ‘celebrities’ I work with in my day job tend to be larger than life.  They live loudly, purposefully.  Meanwhile, the characters I choose to spend time with in my novels are somewhat smaller-than-life.  They live quietly, sometimes aimlessly.  I guess without even realizing it, this is how I balance the scales.’

One for them, one for me

One for them, one for me: in theory that’s how it goes. But ghost-writing isn’t nine-to-five. Commissions often come at short notice, and clients, agents and publishers are all clamouring for a book they can sell as soon as possible. How do my friends here manage this balance? Do they have a routine to keep their own books alive while meeting their ghost-writing deadlines? Or do they clear a few months to retreat and create?

Dan: ‘There is no such thing as routine.  The idea is to have two books going at once — one of theirs and one of mine.  But the reality is that almost never happens.  Deadlines extend, mutate, turn in on themselves. Projects overlap. I find that when I’m working on my own novel, I need to clear the decks — shut out all social media and other outside distractions. Very often, I’ll trade off by weeks.  I’ll go hard on a celebrity collaboration for a week, eclipsing my goals, just to have a free week to work on my novel. Last summer, I went away for three weeks to our house in the mountains, just to have that uninterrupted chunk of time.

‘But I find I have to work to create those free moments. I don’t have the luxury of waiting around for inspiration to strike.  I have to schedule its appearance, and if it doesn’t show up in quite the form I was hoping, I just have to work with what I’ve got.’

Let’s hear from Deborah Ager, who spends much of her energy on her Radiant Media clients. Meanwhile, she is persevering with her own poetry, her editing and her novel:

Deborah: ‘Writing is a lot like exercise. My brain will become flabby if I don’t keep chipping away at the writing on a consistent schedule. Even if I only have a short time, I aim to write on a regular basis. It’s too painful to do it the other way.’

‘A good life vs a good living’

And sometimes, a good ghost can be a victim of their own success. Although it’s tempting to take every gig that comes along, Joni Rodgers established early on that she needed to pull back sometimes, for a more fulfilling balance.

Joni: ‘When I was debating whether to take my first ghost gig, my editor at HarperCollins said, ‘Joni, with your skillset and temperament, you could make a better than good living as a ghost-writer’.  Ten years and more than a dozen books later, I’ve realized a good life is more important than a good living. I’ve gotten very selective. For me, carving out time to write my own novels and screenplays is key both to my own happiness and to the sanity and balance I need to serve my clients.

‘As a ghost, you have to bring on all the craft skills and industry knowledge of a successful writer, but you have to set aside all the ego stroking, histrionics and other pseudo-luxuries that might be afforded a pampered author. You have to be the grown-up in the relationship, putting someone else’s needs before your own, listening instead of talking, and keeping to a task schedule so you can deliver the goods on time. You have to be willing/able to subsume your own creative voice and choices in order to stay true to the creative voice and choices of the client. In the publishing process, which is invariably fraught for one reason or another, you are now the Sherpa instead of the mountain climber. You do the heavy lifting and trailblazing; your client gets to plant the flag and ski down to the base camp for champagne. If you’re not genuinely cool with all that, you’re not going to be happy as a ghost-writer, and it’s unlikely you’d be successful — because you wouldn’t be able to serve your clients at the level they’re paying for. But I’m a creative tyrant when it comes to my own soul projects.’

Accept no imitations

Let’s pause on that phrase: the creative tyrant. Amen to that.

As a ghost-writer, I am at the service of another person’s vision. I serve their audience and their publisher or agent. It’s fun to be the missing piece that pulls a book into the daylight. I thought I was easy with the commercial demands of publishing and the inevitable compromises of fitting a market. Until the moment I finished my first novel as myself.

At that moment, I discovered a deep-seated streak of stubbornness. I would take any amount of advice on what didn’t work, but I wouldn’t make the book fit a copycat sales agenda. I think I see that in Dan too, with his quiet explorations, which he publishes through small imprints.

And of course, some of us have embraced self-publishing. We can keep control, nurture and discipline a book for as long as we need to until it’s ready, and make sure it’s true to our hopes. Let’s hear again from Joni:

Joni: ‘I love serving my clients, but ghost-writing can be spiritually and creatively exhausting. I don’t see how truly top-drawer ghost work is sustainable if we fail to stay firmly connected to our mightiest artistic selves. I end up losing ground because I prefer (for creative and financial reasons) to publish my own work, but I won’t compromise on the publishing process, which is time-consuming. Net result: I have three novels and a memoirella collection in my self-publishing queue, waiting for the TLC they need before launch. I keep waiting for a lull on the ghost front, but it doesn’t seem to happen. But I’m not in this to half-bake the books I care about most.

Creative tyrants unite. Huge thanks to Joni, Dan and Deborah. Once again, here’s where to find them: Daniel, Joni and Deborah.

Might ghost-writing be a good career move for you? I’ll be exploring this tomorrow in a post at Jane Friedman’s site. Or if you’re already seriously toying with the idea, you can hop over to her domain right now and read about my course. Early birds get a substantial discount  – you pay US$149 instead of US$199.

Any questions? Even if you don’t ghost-write, you might find yourself balancing passion projects and artistic vision with more commercial work. If so, I’d love to hear your thoughts.

 

How to blog about your book … without giving too much away

Following my post about not talking about novels I’m writing, I’ve had this question:

I am a new author (just signed) and I am struggling with how to share parts of the story to entice readers while also protecting its integrity. Any suggestions?

Don’t be a tease
My first question is this. How far off publication are you?

If it’s more than a couple of months, you might be wasting time by giving specific details about the book. Internet shoppers are slaves to impulse. They want to buy instantly. There’s no shortage of shiny new stuff to keep their £££s busy. If you can’t offer an instant purchase or pre-order, they’ll go somewhere else and who knows if they’ll remember they even considered your book? And if you flirt with them too often without following through, you’ll wear out their interest. Don’t waste your shots.

Be discreet about the book until you have readership
If you’re starting to blog, don’t feel pressured to talk about the book. Everyone’s doing that anyway. Think of blogging as a conversation opener, like any other part of social media. Talk about other material you’re interested in, things you have in common with the people you hope will be your readers – themes, locations, historical periods if appropriate, other books that have been influential. Go out and find like-minded souls in Facebook groups, Twitter, Linked In groups, Google + communities. Comment on posts at other blogs.

You could put a progress thermometer on your blog sidebar with the status of your books. This would let people know you’re writing and help the title become familiar for them.

Ready for my close-up
If you’re close to publication, you can start your dance of the seven veils. Aim to generate intrigue. Here’s what I do, and what I’ve noticed seems effective for the writers in my blogosphere.

Cover and visuals
Readers love to see the evolution of a cover. (Writers do too, to learn!) This is one of your chief opportunities to attract attention and you can get several blogposts out of it, whether you’re indie or traditionally published. Talk about how you fixed on a design concept, any wrong turnings you took (I’ve got a humdinger here as I nearly loused up my second novel with an unsuitable jacket. But it gave me a great yarn for my blog.)

Some authors create mood boards on Pinterest for their work in progress. Or they lay a quote from their book over a picture, like an advert, and put it on Pinterest. This is enormously satisfying, and Pinterest is certainly a phenomenon. Does it lead to book sales? Who knows. I doubt that people go to Pinterest looking for a book to read. But they do look for stuff to share, and if your picture has wide appeal it might get spread around. Again, does that get it to people who might want to know about your book? Who knows. We’re venturing into the haphazard, unmeasurable realm of advertising here. do it if it satisfies you, but don’t let it become more important than spreading the word… in words.

Stories about your stories
What made you write your book? Most of us could pinpoint an experience or a twinkling idea that set us on the path. Work out your origin story – it’s an excellent way to reach out to new readers while remaining discreet. On the blog for My Memories of a Future Life I’ve got a section called Glimpses . And on Lifeform Three it’s Origins.

There are more ideas in this post – keep your stories about your stories.

Should you post excerpts?
I’m cautious about excerpts. Either they spoil a carefully laid surprise or they look bonkers because the reader doesn’t have the context. But there are certain excerpts that a browsing reader would expect to find, and I’m happy to post those. On my novel pages I’ve got the first page and the page 99 test.

Well-polished outtakes are another good way to demonstrate your style and substance without giving too much away. Here’s one of mine . And here’s one by historical thriller author David Penny.

Once the launch party’s over
There will come a time when you can’t squeeze much more out of the launch. Know when to draw back. Now your blog isn’t about an agenda, it’s back to conversation – your personality, little snatches of life. It’s giving people your company, not your campaign. Indeed, this is where you’ll be glad you established this from the start.

Here are two different approaches: Chris Hill  has a mix of author interviews, thoughts on reading and writing. Or this more visual group blog (right) from Joni Rodgers, Colleen Thompson and Dr Kathryn Peterson. And so we go back to the start, until another book is ready.

Thanks for the bird pic TheRealBrute

Have you had to grapple with this issue? How much do you share about a book in progress? How far in advance do you talk about the content? What’s worked for you and what hasn’t? Let’s discuss!

2 days to get 7-novel box set – the band is about to split

Remember us?

The band is about to split. Our magnificent seven will soon scatter. The box set containing our seven novels will evaporate at the stroke of midnight BST on Saturday 23 May.

We might even resume our normal colours.

Here’s a post that explains the box set experiment. Here’s one where we were asked just what kind of political statement we thought we were making. And, in case you feel like tackling a similar venture, here’s one where we explain lessons learned.

And here’s what it’s all about:

And here’s a pretty thingy to watch

So, for the final time, you can get the box set on all ebook platforms here.

And in the meantime, I’m taking a blogging break this weekend, but I’ll be back with The Undercover Soundtrack as usual. See you there.

‘His voice brought me back to where I began’ – The Undercover Soundtrack, Joni Rodgers

My guest this week returns for her third appearance on The Undercover Soundtrack. And it’s for her first novel, which she’s reissuing in a director’s cut, after reclaiming the rights. Plotlines and characters have been reimagined according to her original vision, and music was vital to recreating the book in her mind. Indeed, the story began in music, as she initially didn’t even realise her idea was destined to be a novel. She relates in her post how she’d sit on a gantry with guitar and writing pad, imagining a stage play with songs.  But then the back story began to take shape, and the subtext, and before she knew it, a novel was born. She is NYT bestselling author and ghostwriter Joni Rodgers, one of my partners in crime at the Women Writing Women box set, and she’s on the Red Blog with the Undercover Soundtrack for the novel she contributed, Crazy For Trying.

LIMITED OFFER Psst… Outside The Box: Women Writing Women is available only until 24 May. 7 full-length novels for £7.99 or the dollarly equivalent, including My Memories of a Future Life by yours truly. And it vanishes on 24 May.

How do we label ourselves as writers? Guest spot at Dan Holloway – and the box set is available NOW!

Forgive the capitals in the title. That’s the problem of being in a group of seven, rather excited writers who’ve been working towards this moment since November. Our ebook collection, Outside The Box: Women Writing Women, went live yesterday. If you pre-ordered it, it will have arrived on your ereader. If pre-orders aren’t your thing, you can grab it right now, because it vanishes on May 24. Oh, and it’s seven full-length novels, so clear a weekend or seven.

We’re getting coverage all over the place, including the UK national press. (This is why the release is such a moment of relief and excitement.) But today I want to highlight a particularly thoughtful, searching interview put together by Dan Holloway. He’s asked tricky questions:

Is this collection a marketing idea, a political statement or both? What are our common threads (aside from the possession of two X chromosomes)? Do they help us come up with a ‘label’ for our diverse range of books? What should that label be? Do labels in fiction cause problems? What about the position of women writers in literary fiction? And, my own favourite: is it better for writers to be ambitious and fall short, or to succeed on more limited terms?

It’s a good discussion. Do come over.

And once again, this is our ensemble. And we are very excited.

 

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

Fear 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?

 

 

Seven genre-busting novels – introducing Women Writing Women

You 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.

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

‘Whistling past the graveyard’ – The Undercover Soundtrack, Joni Rodgers

My guest this week is another old-timer on The Undercover Soundtrack. She returns with a playful story about a dishonoured cop and a pulp fiction writer who investigate a series of murders. Her soundtrack is sassy, full of fun and energy, but also undershot with an awareness of the tragic and macabre. She is Joni Rodgers and she’s on the Red Blog with the Undercover Soundtrack to her hardboiled mystery homage, Kill Smartie Breedlove.

‘I listened, eyes closed, hands on keys, remembering the *why* of this book’ – Joni Rodgers, The Undercover Soundtrack

Joni Rodgers was a volunteer with the relief effort after Hurricane Katrina when she had the idea for The Hurricane Lover. The novel came to life over a long, slow period – a whirl of ideas, each falling into place day by day. Very often those insights come in the form of music – for the nature of her characters and for the tumultuous arc of the story itself. Joni Rodgers is at the red blog today drumming up a storm with her Undercover Soundtrack.