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‘Each morning, there was a chapter to listen to’ – guest post at Jane Davis’s blog on making audiobooks with ACX
Today I’m at Jane Davis’s blog, reflecting on the experience of making Lifeform Three and My Memories of a Future Life into Audible books. If you’ve been following my audiobook journey for a while you may find the ‘how-to’ section is familiar material, but there are plenty of more reflective moments – so I hope they’ll encourage and inspire you if you’re considering an audiobook too.
I also want to introduce Jane Davis. I first spotted her when The Guardian newspaper featured our novels in an article about quality indie authors. I tried to drag her onto The Undercover Soundtrack, but alas she was too honest and told me that music hasn’t really featured in her creative process. So I’ll tell you a little more about her here. She secured a publishing contract when her debut manuscript won the Daily Mail First Novel Award, but has since gone proudly indie, following up with four other titles that deal with tricky subjects in thoughtfully honed prose. Her titles are delicious and hopefully will give you an appetite for more – I Stopped Time, A Funeral For An Owl, An Unchoreographed Life. There’s more about Jane and her books here.
So do join us at her blog for audiobooks, the inside experience.
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I found this interesting note in a piece on Futurebook. Porter Anderson was quoting a speech made by author George Berkowski in advance of the Futurebook conference. It got me thinking about the shaping role of editing, and some crucial differences between indie publishing and traditional.
A quick disclaimer before we proceed. This was not the point of Berkowski’s speech or Porter Anderson’s article. It is merely a sentence that simmered for me after I read it. Also, Berkowski is not talking about fiction, as this blog usually is. His book is How To Build A Billion-Dollar App. But a fiction manuscript is scourged and rebuilt just as thoroughly as non-fiction when it enters a publisher’s editorial department.
This is what I want to explore; how a submission can be greatly changed by editorial input. Improved, usually, but undeniably changed.
My point is the nature of that change.
When a publisher edits, they are focused on their market. That makes perfect sense, of course. Like any business, they aim to please their clientele. If your artistic vision is perfectly aligned with that, that’s terrific (though you still may have drastic rewrites ahead).
But if you’re not? Many a first-time author has been uncomfortable about editors who are dumbing them down, or imposing directions that strip away their originality. Generalising is risky, of course, as one person’s depth is another’s dense mess. But what is good for the publisher may not be good for your creative identity, your long-term brand or your book.
Dare to be different
When you self-publish, you choose the editor who most closely suits your style and vision. There’s a lot more room for you to be daring and different, if that’s what you want. An indie editor will discuss what you want the book to be. Or they can help you find it. They won’t try to force you in a direction. They will help you come into your own.
I have, in reporting on a client’s novel, suggested they are more naturally literary than, say, the thriller market they thought they were writing for; that they were forcing when they should follow their instincts. It goes the other way too. I’ve advised writers who thought they should write literary that their strengths are the gripping page-turner of world-burning mayhem. I’ve steered would-be historical novelists to write non-fiction, as their every fibre screamed against inventing people, scenes and dialogue.
Because I don’t have to please an imprint, I can consider what’s best for the writer. I can truly be the book’s advocate.
Don’t imagine, though, that this is an issue with every indie author. Many know exactly what they aim to write. But if they’re feeling their way, an indie editor will help them be more truly themselves. When such an author is accepted by a publishing house, the process will shape the book to fit the house’s requirements. An indie editor will help you work out what your own requirements are.
Second novels … and beyond
And what about subsequent novels? If you write a second novel that hits different notes from the first, a traditional publisher usually tries to make you change it. You might not have realised how that first novel sealed your doom.
Such feedback might be helpful, of course. On the other hand, many authors resent it. They’re only just discovering their potential. The indie world is full of first novelists who were dropped because they developed, matured or wanted to flex their art a different way. Certainly if I’d had a traditional publisher for My Memories of a Future Life, I would never have been allowed Lifeform Three as novel 2. I would have been told to write another contemporary odd literary book.
If you’re an indie author, your editor can help you embrace new directions. Or you are free to find a different editor.
I freely admit this post exposes my priorities. I am not the person to ask if you want to know about marketing or writing a commercial success. But I’ll certainly tell you the fundamentals of gripping readers and giving them a good ride, whatever you write. I’ll also say that success, both commercial and the deeper reward of satisfaction, comes from good craft and a thorough understanding of where you fit. If your heart truly beats for genre fiction, the devoted reader of that genre will sense it. They’ll also know if you’re painting by numbers. Your best chance of success is to find your groove, be true to yourself, whatever it is.
But this is another reason why indie publishing, at its most careful and respectful, is more likely to produce genuinely original books. Traditional publishing will edit a book for the good of a defined clientele. Sometimes everyone is happy, of course. But in a traditional publisher the priority is the company interest, not the author or the book. I’ve seen enough occasions when this created a ghastly compromise.
Indeed, readers are far more adventurous than publishers can accommodate. The reader couldn’t define for you what they want; they know it when a skilled author invents it. (And thus I refute the oft-repeated claim that indie authors are expert only in marketing, not in the art. But that’s a different brawlgame.)
It’s often said that successful marriage is one that makes you feel more yourself. A successful editor partnership will make your book more itself, not more like someone else.
Let’s re-visit the quote that began all this: ‘publishing is very good at editorial’. It may be, within limits. But I contend that indie authors whose values are originality and craft are doing it better.
And let’s discuss – what’s your experience of working with editors, whether independent or within a publishing house? Have you ever been made to fit a mould that you suspected wasn’t truly suitable for your book?
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Every week, my bookseller friend Peter Snell gets customers who ask him nervously: ‘how do I write’ and ‘how do I get published’? Sometimes they give him manuscripts or book proposals. I get emails with the same questions.
So we decided to team up for a series of shows for Surrey Hills Radio. If you’re a regular on this blog, you’re probably beyond starter-level advice, but if you’re feeling your way, or your friends or family have always hankered to do what you do, this might be just the ticket.
If you follow me on Facebook you’ll have seen the various pictures of us goofing with a fuzzy microphone, recording in the bookshop while customers slink past with bemused expressions. (Yes, that tiny gizmo is the complete mobile recording kit. It’s adorable.) So far the shows have been available only at the time of broadcast on Surrey Hills Radio (Saturday afternoons at 2pm BST), but the studio guys have now made podcasts so you can listen whenever you want. Shows in the back catalogue have covered
- giving yourself permission to write
- establishing a writing habit
- thinking like a writer
- getting published 101
- how to self-publish.
This week’s show will be on planning a non-fiction book and the show after that will be outlining a novel – and will also include sneak peeks of the advice I’ve been cooking up for my third Nail Your Novel, on plot. So you want to be a writer? We have the inside knowledge. Do drop by.
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This seems to be ‘back to basics’ week on this blog. On Thursday I scrambled out a fresher’s guide to ebooks in response to questions at a speaking engagement. And this podcast, recorded the previous week, seems to be the perfect complement. It’s with Nick Thacker, who has a regular show called Self-Publishing Answers, where he endeavours to discover the secrets to writing, publishing and selling successfully.
I’ve answered many of these questions before, but I found it interesting how my perspective on some of them has changed with experience. Especially book marketing. Normally when I’m asked about selling books, I find I run out of useful advice very quickly. I don’t buy advertising, I don’t game the charts and I don’t price strategically – all things that most indies do to get the best marketing advantage. The marketing I do is guesswork, whim and finger-crossing, mainly. Even so, I’ve noticed certain patterns that work – which I didn’t realise until I started discussing them with Nick.
We also chatted about the long-term mindset when it comes to writing – how it’s more important than ever to learn your craft and be patient before you publish. Nick confessed he’d learned a few lessons in that direction too. Anyway, if you’re looking for a bit of advice on writing, publishing and marketing, head this way and listen immediately or download. And he asked about ghostwriting too 🙂
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Some writers say they don’t look at their reviews. I don’t know how they find such sangfroid. If I know there’s a new review I have to pounce, and immediately. Inevitably, we’ll sometimes wish we hadn’t – like one of my regular readers this week, who sent me the anguished message you see in the title of this post.
After sympathy, we had a discussion that went in interesting directions, and I thought it might be useful here too.
My main question to him was this. Are you afraid the reviewer might be right? Have you got a good enough groundswell of opinions from people with sound judgement?
My correspondent replied that he knew he’d taken a risk, but wanted the final note to pack a punch. ‘That apparently has worked,’ he said, ‘and my book is being remembered – for better or worse. I have around twenty 5-star reviews and this is my first bad one.’
Twenty to one doesn’t sound like a bad ratio to me. And we’re all going to get bad reviews.
I got off to an early start with My Memories of a Future Life. Just as I was gathering launch reviews, someone who’d read an advance copy sent me a furious, offended email. I’d passed muster with my trusted inner circle, but this was the first true outsider and it hurt madly. It doesn’t help that with self-publishing, there’s hardly any time for the writer to surface out of the book, so early reviews might hit us with no defences. So I was extremely relieved when the other advance readers were happy.
What did you promise the reader? Marketing
Not everyone will like your book, especially if you’re aiming for something unusual as my friend is here. Part of good marketing is targeting – as much as possible – the right readers. So check these.
- Is your blurb misleading?
- Ditto your title?
- Does your cover send the right messages?
- Does the beginning of your book promise something very different from what the reader gets (allowing for arty misdirection…. )
Nurse the bruise, then look at the averages. Note any consistent concerns and decide if your marketing apparatus could be better tuned.
Should you fight back?
No. Not unless there are libels or factual inaccuracies – which are usually hard to argue in fiction anyway. I’ve commented on Amazon reviews that said the proof-reading in Nail Your Novel was poor and hadn’t realised it was UK English. I intend merely to set the record straight, but often it’s made the reader withdraw the review.
What to do about the reader who’s genuinely offended or upset?
Probably you shouldn’t do what I did. I wrote back. A writer friend told me off for it, saying ‘never apologise for your work’. But his fury was flaming my inbox and I couldn’t ignore it. Actually, it turned out well. He admitted he had mistaken the genre in spite of everything I said – and even sent me a gift as apology. I resolved to be even more extremely careful never to mislead a reader.
What if there’s a problem with the book?
Be honest now. Pride and sensitivity aside, has the bad review touched an important nerve? If so, why?
Did you skimp – either on revising, or getting quality, useful feedback?
Some people self-publish for the sake of fulfilment and completeness or to make a book for family or close friends. They’ll probably not be found by the general reading public. These remarks don’t apply to them.
But everyone else, listen up. I see a lot of writers rush to the market too soon. If you put the book up for the public, you won’t get a free pass. Get the book evaluated by someone who will tell you how to get to publishable standard. Although you might have learned a lot since you started writing, you need a professional to point out the flaws you simply cannot diagnose for yourself. (See my post about editors and how much they can surprise you with what they find. ) You don’t necessarily have to spend a fortune – here’s a post about cheaper options than a bespoke development report. But all writers have blind spots, and if you haven’t had critique partners who have opened your eyes to them and changed you for the better, you’ve missed an important step.
Think to the long term. You will write more books and carry on learning. Make sure whatever you publish is something you’ll continue to be proud of.
Some experienced authors I know recommend novice writers use a pseudonym for their earliest work so they don’t pollute their real name. Get something out, satisfy your curiosity, test the water, learn the ropes. (Unmix your metaphors too.) Your early books may indeed be brilliant, or they may, with the benefit of a few years, be embarrassing. You can’t know how you’ll develop.
Could you withdraw a book that was a mistake?
That’s not as easy as you might think. With ebooks you can update the files but it’s difficult to make them vanish entirely. On Smashwords they’ll stay available to the people who bought them – although in direst straits you could overwrite with a blank file or a note of explanation. If you’ve gathered bad reviews, those will remain.
With print books, it’s even harder to hide. I changed the title of the characters book because I felt it didn’t zing enough. I asked CreateSpace if they could remove the original listing in case of confusion, but they said it wasn’t possible. It had to stay up, even if it was unavailable. And second-hand copies might still be sold on Marketplace. This made little difference to me (and some people still want the old one!) but imagine if this was your book that you wanted to bury. You can’t remove it, or its association with your name.
The good, the bad and the ugly
Sometimes we have to accept that a pie in the face is part of the job. If you look on Amazon I’ve got one or two stinker reviews for my fiction. I’ve had some that were malicious, and there’s little to do about them except make a cup of tea. If I get a remark that cuts seriously, I run it past my critiquing crew. I know they’ll tell me if it’s fair. Then I get on with the next book.
What do you do about bad reviews? Have you ever replied to one, or had a malicious one? Have you ever regretted putting a book out too early? Any advice to give? Let’s discuss!
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‘Can I ask you about ghostwriting….?’ As you may know, this is how I first got published, writing novels that were released under the names of other people. I was the secret hand that wrote these (and others…)
I get asked about ghostwriting all the time, from people curious about it as a career path, or thinking about hiring a ghostwriter, or the plain curious. So here’s the dirt. Or as much as I can safely reveal.
Which books are ghostwritten?
Celebrity biographies and novels If someone has an interesting life story or is popular, a ghostwriter might be engaged to help them write a memoir. If that sells they might be asked if they fancy doing novels.
Megabrand genre novels It’s well known that James Patterson uses ghosts, outsourcing early draft work to keep up with demand. And that publishers hire writers to keep popular authors feeding the market after they die – eg Robert Ludlum. There are also plenty of other big-name authors in commercial fiction who are still alive and use ghostwriters, unacknowledged. (Knowing wink. You would be scandalised.)
So there’s plenty of work.
It’s all about who you know.
Editors and agents If you have a literary agent, let them know you’re up for ghosting. Also it’s worth mentioning to book editors you’ve worked with.
Journalism Journalism is another way to break in, especially for non-fiction. You might meet someone who wants help writing their life story or a book on their patch of expertise (but see below).
Author services companies I get frequent approaches from author services companies, who want reliable ghostwriters they can recommend to clients. I don’t know what the terms are, but, in general, I worry about working for services companies. Judging by other areas of publishing, one party gets a bad deal – either the client pays over the odds, or the freelance gets a lot less than market rate.
Pros and cons Cons first. You’re caught between two masters – which you realise when the ‘author’ wants one thing and the editor wants another. You will be amazed at the issues that blow up into diplomatic incidents and you’re left trying to please both. (Knowing wink. You’ll earn every dime.) Commercial ghostwriting is satisfying because the book will be published, and because of the cost of hiring you, it will probably be well marketed. Depending on your deal, should be a worthwhile addition to your CV and earnings stream. If you ghostwrite for an author services company, you may find there’s no long tail because the book is far less likely to earn in money or reputation.
What will you be paid? Deals vary, obviously. But to generalise, you get much better terms if you have representation. My agent is horrified at the contracts I have from my ghosting days.
My personal beware list
Don’t do any ghosting work for individuals unless you’re very sure they’ll get a publishing deal. Even if they’re a celebrity you know personally.
Don’t do any work on spec for agents. In more naive days I spent four months rewriting a thriller for a phenomenally well-connected gentleman, persuaded by an agent to do it for a future profits share. The book never sold and I never saw any payment.
Be even more careful of the situation that might land you in court – or worse. I get a lot of approaches from people who want me to help them write a book about their murder trial. Such a book couldn’t be published without cast-iron legal backing, which only a major publisher has the chops for. And as for the chap who wanted me to write the book about how he was manipulated into assassinating … No I can’t tell you. (Knowing wink with a nervous twitch. You might be dead.)
Can I hire a ghostwriter myself?
Question. Can you afford to pay six to nine months’ salary for a writer to do a proper job of your book? This is why, in commercial publishing, ghostwriters are generally funded by the publisher, not the writer (although they don’t always get a fair fee – see above). But if you have a strong concept for a book and a writer who is a good match, you could seek a deal together.
What about royalty-split deals? See the caveats above, but these are frontier-busting times. Indies are leading the way with new ways to fund books, as we’re seeing with ACX for audiobooks and translation deals.
How can I break in?
Aside from personal contacts, there are opportunities for beginners if you know where to look. Book packagers are companies that dream up commercial ideas for novels, which they pitch to publishers. Some of these become phenomenally successful. They need writers.
They give you the plot in painstaking detail, so your job is to flesh out the story into scenes. Sounds a doddle? There are two downsides. One – the pay is rubbish. Two –they demand rewrite after rewrite because they design the story by committee and change their minds. But it is a way to get experience, and you might make useful friends. Find them in Writers’ and Artists’ Yearbook, or the US equivalent. Contact them and ask if they’re looking for writers. If you send them a sample and it’s good enough, they might ask you to try out for a live project.
Have you any questions about ghostwriting? Or wisdom to add? Your turn!
Interested in learning more? Professional course in ghostwriting
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I’ve had this question from Ellie Jackson, who blogs at aquamarinedreams.wordpress.com
I have just graduated from high school and dearly wish to become a writer/author. I am asking different authors what their recommended education would be – pursue a degree, take courses, or read books and blogs and get as much experience possible?
You want more than just to use writing in your job, right? You want to write books that will be your signature in the world.
I’m guessing that careers advisers would pick the obvious – take a qualification in English, perhaps literature. That’s the way I was advised, but studying English didn’t help me write. It was the subject I was good at and a way of keeping me parked in education while I figured out a profession to aim for. (I went into publishing.) Casting around my real-life friends who’ve ended up as published writers, they have degrees in archaeology, history, theology, PPE. Husband Dave has a degree in physics. Some of my writer friends don’t even have degrees.
None of my writer cronies have a formal education in writing. They – we – wrote as a natural pastime and this became such a habit that we always had a book in the works. We read craft books when we found them, but mostly went with our instincts and learned by reading with awareness. Then we gathered our courage, queried an agent or an editor and had a period of rude awakening when we discovered our blind spots (and also strengths).
Not everyone gets that kind of feedback or opportunity, of course, especially as publishing deals are now more scarce than ever. But we now have far more ways to find mentors – hiring an editor, joining online or real-life writer groups. I had my baptism of fire in an evening class at Morley College in London, where we read excerpts of WIPs and discussed them critically, guided by an agent. All genres, all types of writer. Eyes were widely opened.
Good as that was, I’ve done miles more learning since. Each novel gives me new craft challenges, and Ever Rest is no exception. To be a writer you have to relish that work as much as the days when the muse is obliging. It also means you don’t have to get all your learning in one hit.
Last word on courses
Creative writing qualifications might prime you with the basics, but I don’t think they’ll equip you any better than learning by practice, training your sensitivity, reading observantly and experimenting on your own soul. Creative writing degrees probably exist because there’s a demand for them, not because they’re necessary.
What’s my evidence for this? In more than 20 years as an editor, I have not noticed that clients with MFAs or creative writing qualifications are any more adept than those without.
Again – which course?
Here’s what I’d do. Get a fallback skill you can ultimately use for freelance work. It’s unlikely you’ll be able to make a living just by writing, so train in a skill that will pay the bills and scale up or down as needed. Even if you aim to write a high-selling, lucrative genre such as romance, you still need to earn while you build a reputation, a network and a body of work.
It’s more likely, though, that you won’t give up the day job. Sorry. Many acclaimed writers I know are also immigration officials, teachers, night watchmen (good for story material), doctors, lawyers, PR consultants, tailors, journalists, farmers, electricians. I don’t subsist solely on writing. I freelance as a fiction editor and also as a magazine editor. And occasionally a film and TV extra.
Should you try to work in book publishing?
Here’s an upside – you meet useful people and learn handy skills (for me it was how to make books – dead useful with the invention of CreateSpace).
Here’s a downside – little reading time of your own. You must read to develop your art. Although you learn a lot from rough or unsuitable manuscripts, or the latest upcoming bestsellers, you need to read for your own education and for your current WIP. See my previous remark about prioritising.
We’ve talked about ‘experience in writing’ – but experience in another sense counts too. The best education for writing isn’t craft books or courses. It’s life. If we only mix with writers, that’s all we know – like those authors whose main characters are always authors, or pop stars who only write songs about the agony of fame. That’s a rarefied life that doesn’t resonate well with the people who might be your readers. This fantastic post by Randy Susan Meyers at Beyond The Margins talks about the things she learned from frustrating jobs where people treat you impolitely, reveal their true natures or regard you as invisible. We write more truthful, relatable, enduring books when we get out.
Becoming a writer isn’t necessarily about getting qualifications. The learning process is too long for that. You can’t bank on making a living through it – although you might, the business is too precarious and fickle for such guarantees. So what is your best plan for success? To build a life that enables and enriches your writing. Good luck. And let me know what the other authors say.
What would you say to Ellie? Share in the comments (especially if you’re a careers adviser)!
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This morning I was scratching my head for a post to write, so I asked on Facebook for ideas. Immediately, Vivienne Tuffnell volunteered this great question: ‘How do you keep motivated when your books aren’t flying off the shelves?’
Before I could even type a reply, Zelah Meyer had countered with: ‘delusional optimism and a long-term view’!
Which is about what I would say (at least, the second bit).
We’ll assume for the moment that you’ve done everything possible to ensure your books are up to scratch, with appropriate covers, well-honed descriptions and sharp metadata. You know the book’s good. You’re doing all you can, as your promotion budgets and tastes allow. But those sales aren’t stacking up.
How do you take courage?
Keep calm and build a body of work. Actually, I see this as the only possible plan. Writing is a lifelong thing anyway. If you’ve had the gumption to start, and stick with it, it’s a default habit built over years. Having ideas is as usual as taking breaths. You finish a book and you don’t settle until you’ve got another under way.
Also, building a portfolio makes business sense. Whether we’re the Big Five/Four/Three/Two/AmazOne or an individual writer, this is what we’re doing. With more books we get more chances to be found by readers. And when we are found, we look like more of a presence.
Does this mean you have to churn them out? No. We are taking a long-term view. Write and publish fast if that suits your nature, your material, your market. If it doesn’t, you’re still building a body of work. However long the book takes, once it’s finished, it’s out for ever.
But everyone else…
What about all those posts on Facebook, G+ and Twitter where people share a stellar sales rank or triumphant sales numbers? Some days that can be like a big wet slap. Even though you know how sales ranks surge and plummet by the hour. What can you do, apart from congratulate them – and write?
First, remind yourself it doesn’t reflect on you or mean you should ‘do more’. (Except write. Did I mention that?)
And second, there is something you can do. Keep making meaningful connections, fishing in the internet sea for the other people who think like you, write like you, read like you. Writing is all about connection anyway.
Also, remind yourself how the ebook jungle has changed. I published Nail Your Novel when there was far less competition, and clocked up a good 10,000 sales with so little effort I couldn’t be bothered to count any further. I now can’t believe it used to be so easy. Now, with all the books clamouring for readers, we have to work so much harder for each sale.
Author/editor/songwriter/poet Jessica Bell (left) wrote about this recently at Jane Davis’s blog. I hit on this strategy myself, completely by accident, when I wrote Nail Your Novel. In fact, if I hadn’t got those nonfic titles I’d be feeling pretty discouraged, simply because selling literary fiction is hard, hard, hard. My novels sell only a fifth as many as my Nail Your Novels. But that means I’m five times as thrilled by a fiction sale as I am by a Nail Your Novel sale (though I’m still quite thrilled by those, thank you very much).
What if you only have one book?
A significant number of writers have just one title, and feel no desire to write another. Creatively that’s fine. One book might be all you need to say. Ask Harper Lee. But you are likely to feel this sales problem very keenly. Especially if it’s fiction.
I do know writers who made a big splash with just one novel. For instance, John A A Logan with his literary thriller The Survival of Thomas Ford – but he published at that goldrush time, when a free promotion could work miracles. It was many years before he released another book, and the momentum he got with the first kept him going nicely. He also supplemented it with a lot of hard work on Kindle and Goodreads forums. Now, though, it’s rare that one book will get you noticed enough.
In this situation, your best bet is to go for volume (again). Team up with other likeminded one-book authors and form a collective. Perhaps release a box set.
If the book is non-fiction, you could use it to launch a speaking or tutoring career, which gives people more chances to encounter you. It’s the volume principle again – but you’re producing performances instead of books.
It’s not all about sales
Let’s remember we don’t write simply to chase sales. Except for a few stellar bestsellers, there are more lucrative lines of work. But the satisfaction factor? Every new comment from a reader, every email, every new review, tells me I’m writing what I should be writing. It’s worth the struggle.
Stop this relentless positivity, please
So this probably all sounds very well adjusted. Do ever stop being so darned positive? Certainly I do. I had a towering strop recently when I saw a report of a speech at a publishing conference where the delegates were discussing how much credibility to give indie authors. It all hinged on sales; nothing else. No thought for originality, craft, quality. It reminded me that the publishing world does not want to give authors credibility if they publish themselves – and if we do, they assume we must be at some junior, paint-by-numbers level. Which is insulting for just about everybody – genre authors included. After that I was not positive at all. Measured in that way, EL James would have far more credibility than Henry James.
But we’re playing a long game. For some of us it is longer than others, but the answer is the same. Write more books, and write them well. And remember the main contest you’re in is not against other writers. It’s against your own standards and hopes; the struggle to do justice to your ideas and your talent.
This post probably isn’t startling information. But if you’re also having a crisis of confidence, I hope it helps. And I really hope my optimism isn’t delusional. This is Zelah, by the way. She really can do this. I’ve seen her.
Thanks for the hare and tortoise pic CarbonNYC
Any thoughts to add? Share in the comments!
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Categories and keywords on online retailers: choose them wisely and the algorithms will target your ideal readers – especially on Kindle. You can make a whole science out of it, but this piece on KDP explains the basics in good, plain English.
Essentially, you pick two categories, and then get yourself in several more specialised lists by including set keywords.
But this system has its limitations. At first writers of genre fiction had many sub-categories to choose from, but writers of literary, contemporary and general fiction found themselves in one immense category where it was hard to be seen. There were few ways to tell the algorithms ‘I’m non-genre but I have a flavour of romance, or loss, or my novel is set in Borneo’. Recently Amazon has made big improvements and refined the choices – find them here.
Despite this very welcome addition, the results haven’t been as good for me as when I unknowingly broke the rules. When I put other authors in the keywords, my sales soared.
I did it in all innocence. Reviewers had been comparing my first novel with Paulo Coelho, Margaret Atwood, John Fowles, Doris Lessing, so I put those names in the keywords. My sales rose, readers seemed happy to have found me this way – so the comparisons must have been useful and valid. Then I discovered writers who did this were being sent warning emails so I removed them – and fizzled back down the charts.
It’s a real shame, because for me, this tactic was more effective than keywords about genres, subjects, settings, themes and issues. And surely the author and their style is a significant feature of any novel. With literary fiction, it’s the most important quality of all. It’s a valid way to talk about a book in the literary world – and yet it isn’t accommodated in the search mechanisms that writers can control. It’s a refinement that would be helpful to both authors and readers.
What’s more, now would be a great time to discuss and lobby for it. Here’s why.
We are connected…
Last week I was watching a videocast from the Grub St Writers Muse and the Marketplace conference. One of the panel members was Jon Fine, director of author and publisher relations at Amazon, so I tweeted @Grubwriters with my point about author comparisons. Jon Fine was rather interested in the idea and replied that it was something they’d never thought of. So…. watch this space!
(Let’s pause for a geek check: I tweeted a question in my home in London at 7.30pm, watched it read out to a room in Boston where it was 2.30pm, and real live people started to talk about it, with voices and hand-waving… and a man from Amazon stroked his chin and said ‘maybe we could…’)
— Roz Morris (@Roz_Morris) May 2, 2014
So I want to kick off a discussion here. Amazon are in the mood to get constructive feedback on this right now. There couldn’t be a better time to discuss it. I’ve shared my one tiny idea for improving the algorithms to help readers find our work; you guys no doubt have more to add. The questions begin!
1 Have you tried a category tweak that got you to more readers – Amazon-legal or not? Is there a category facility you’d like to see?
Jon Fine also said the categories problem was more widespread than Amazon. The industry standard for classifying books by subject, BISAC seems limited in its precision, although possibly it’s geared for booksellers rather than readers.
2 If you are – or have been – a bookseller, what’s your take? Would you find it helpful if the BISAC categories were made more flexible and detailed?
3 As a reader, how do you use search tools to find new books?
Let’s discuss! And change the world… 🙂
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This question appeared in my inbox from Adam Nicholls after I reported on Facebook that I’d managed 4,000 words of The Mountains Novel in one day. Adam DMd me, in not a little anguish: How many words do you write per day? And do you have to force yourself to do it? I love writing, but it’s work. There are two significant points in this question:
- output; books growing steadily at a satisfactory rate
How many words per day? I asked this question of a group I’m a member of, The League of Extraordinary Authors (which now blogs under the name Boxing The Octopus… times change!).
Romance author Melissa Foster says she has no difficulty getting 7,000 to 10,000 words written in a day and that she adores the blank page. No issues with output there. (But there’s more to writing a good novel than stacking up the wordcount, as she points out in the comments below.)
Romance author Colleen Thompson says ‘When on a publisher’s deadline, I write 1,000-2,000 words a day 6-7 days a week. Otherwise, I try to produce 20-25 new pages per week. Right now, I’m editing, so all bets are off!’
And contemporary fiction author Linda Gillard says ‘I don’t have a regular wordcount but I doubt if I do more than 2,000 new words a day. I think of it as a chapter a week. It’s more important to me that I should work every day on the book – research or editing. For every day spent drafting, I spend 3-4 days re-writing/editing. Drafting I find quick, editing slow. Once a book is under way, I expect to work most days.’
Ultra noir detective author Eric Coyote says he ignores wordcounts – ‘because so much of my writing is re-writing. I clock time: 2-6 hours a day. Usually I work a couple of hours in the middle of the day, then a blast at night until 2 or 3am.’
Graham Greene, who was hardly a publishing slouch, would set himself a modest target – 500 words a day he was satisfied with, and he stopped even if he was in the middle of a sentence so he could pick up the following day.
Stephen King talks in this interview for The Paris Review about how he aims for 1,000 words a day.
And since you asked (or Adam did), I track wordcounts if I have a deadline, as when I’m ghostwriting. The plot is agreed beforehand and by the time I write it’s simply a matter of enacting what’s in the outline. I’d usually get 2,500 words done in a day, 5 days a week.
My own fiction is trickier because there’s much more discovery and exploration, even though I plan, so wordcounts grow erratically. They might shrink, too, as I realise I can’t leave the passage I wrote the day before.
The day of 4,000 words isn’t a consistent norm although I didn’t stop there. By the time I closed the file that day I’d added another 2,000. Only time will tell how much of that I’ll keep as I’m sure I was cross-eyed by the end. Indeed, like Eric, I find it more useful to record the hours spent. With novels like mine, part of the work is understanding how to handle the idea. So a session on the book may produce no new footage in the manuscript, but several hours writing notes or reading.
Get on with it
Of course, we could research and tinker endlessly. It’s easy to slip into procrastination instead of getting the writing done. There are two main reasons why we might dither for ever:
- we can’t immerse
- we’re worried about getting it wrong – the inner critic
Where do you write? Stephen King in The Paris Review says he creates a ‘refuge’ where he can shut away. He also remarks that being close to a window is fatal because it’s easier to look outside instead of inwards to the imagination.
I posted last week about getting into the zone, using music. Writing tutor and suspense author James Scott Bell explains in this post how he subscribes to the oft-repeated philosophy of writing when he feels inspired, and making sure this happens at the same time every morning. Yes, be brutal with your muse.
Don’t lose contact with the book
A surprising number of writers feel a stab of stage fright before they sit down with their novel. I do myself, but only if I’ve had to leave the manuscript for more than a few days. The more I keep my contact with the book warm, the more I feel comfortable to venture back inside it. It helps that I’m drawing on the experience that the other novels worked in the end. What if you don’t yet have that or for some reason that isn’t enough?
Warm up the writing engine
Some writers favour freewriting exercises. Freewriting is basically splurging onto the page or screen, regardless of grammar, spelling, quality or any other critical issue. The point is to remove inhibitions and let the ideas flow, to connect with your creativity. Famous exponents include Natalie Goldberg in Writing Down The Bones, Julia Cameron in The Artist’s Way, and another of my cohorts in The League of Extraordinary Authors, Orna Ross.
Get out more
In my conversation with the League of Extraordinary Authors, Linda Gillard had this terrific advice. ‘I find the best way to stimulate the flow of ideas and the desire to write is to put myself in a situation where it’s impossible, eg Christmas.’ Indeed, this is one of the tactics I recommend in Nail Your Novel – if you’re stuck, go and do something messy that will make holding a pen impossible. Make meatballs or go to the gym. Inspiration is no respecter of convenience.
Do you have wordcount goals? Do you find writing a struggle? What would you tell Adam? Share in the comments!
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