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A conversation on Twitter about online writing groups made me remember I had this post, written nearly 4 years ago. I tweeted it and got so many messages about it I thought it might be worth an official rerun. So – if you’ve been with this blog since 2011 you might have a sense of deja vu. If not …. I hope this is useful.
I’ve had this email from Vanessa, which is a fairly common problem.
During the past 12 months, I rewrote my novel 8 times as part of a critique group, and now I’m wondering if I should just go back to my first draft and start over. My book is different now, in some ways better, in some ways worse. I’m not even sure I can work with it in its present, 8th incarnation. I’m feeling a bit discouraged and don’t know how to recapture the original freshness. I think there are some good changes in the revisions, but also a lot of bad direction. How will I sort through it?
Discounting the fact that some of the advice might be misguided, inept or even destructive, even the most accomplished critiquers will offer different approaches when they spot a problem. You get a lot of input and you don’t know which to ignore. You try to knit them into a coherent whole and then realise you’re lost. And the idea is worn to shreds.
A brainstorming draft
If you’re feeling like Vanessa is, you have to see this as is a brainstorming draft. It’s full of other people’s solutions – some good for your book and some a bad fit.
A learning draft
It is also a learning draft – in it you learned how to sketch a character, how to show instead of tell, how to introduce back story without clogging the pipes, how to pace. You could almost view some of it as exercises that have helped you to write better – but some of those exercises will not be pieces that need to be in this book.
Now you will undoubtedly be more practised and more aware. You need to take control of this brainstorming/apprenticeship draft and make a novel out of it again.
As a BTW: one thing you find as you grow as a writer is that other people’s solutions are rarely right for you. You have to pay close attention to the problem they have identified rather than what they tell you to do. If lots of people are saying something is wrong it probably is. But their solution is probably not right for you, even if they’re an accomplished writer.
Get back to your vision of your book
First of all, have you had a break from the novel? Here’s how you can tell. Do you view most of the manuscript as a problem? If you read it through right now would you be beating yourself up for what’s not going right?
Put it away so that you can read it without wanting to have a row with it.
When you’re ready, don’t read that latest version. Find the material from before the crit group, when it was just you and your idea. I always advise authors to keep their first draft because although there will be much to blush about, there will also be glorious tumbles of inspiration. What can vanish after multiple revisions is the raw inspiration and even if you didn’t express it well when you first wrote it down, the spirit of it is usually there.
Read through this and enjoy your original idea. Look out for the interesting edges that have been smoothed away and make a file of them.
Now to your manuscript
Then read the latest version. Make a copy so you can mess about with it. Paste into a new file the sections that your gut wants to keep and that you feel are an improvement on what went before. Clip away those you feel don’t belong – but don’t junk them because they may be useful later or for another book. Don’t try to rework anything yet – just examine what’s already there.
Any sections you don’t mind about either way should stay in the original file. You now have 4 files:
- 1 initial gems with rough edges
- 2 gems from the reworked version
- 3 don’t-minds
- 4 rejects.
File 2 is your new essentials for this story. Now work out where the gaps are and how you’re going to join the dots. Yes it’s very much slimmer than the draft file, but it’s what you like about the book, in concentrate. Look at file 1 and consider how to add its contents in. Look at your ‘don’t mind’ file and figure out if you could work up any of the elements to fit with the new vision. From this you’ll build a new book that you do like from a draft you’re ratty about.
If you’re going to play with the story order a lot, you might find it useful to play the cards game from Nail Your Novel. If you’re not going to reorder you don’t have to worry about this.
Feedback is essential, of course, but you can get lost. This especially happens if you’re feeling your way, as first-time novelists are. While you have been writing with group feedback you have been putting the controls as much in their hands as your own. Now you’ve grown up a little, you have to close the doors, get to know the novel again and plan how you’re going to do justice to it.
Have you had experience revising with critique groups? And what would you tell Vanessa? Share in the comments
Thanks for the pic Hugo 90 on flickr
More about handling critiques and drastic edits in Nail Your Novel: Why Writers Abandon Books and how you can Draft, Fix and Finish With Confidence
beginners, critique groups, deleted scenes, fiction, Plot, polishing, publishing, revising, Rewriting, Roz Morris, unblocking, writer's block, writing, writing a novel - Nail Your Novel, writing life, Writing Plots With Drama
Quirky tales and the difficulty of leaving a book behind: My Memories of a Future Life featured at Triskele Books
JW Hicks collects writers of quirky books, and I’m honoured she’s chosen me for her collection on the fab blog of the Triskele Books collective. (You might recognise Jane as a recent guest on The Undercover Soundtrack with her novel Rats.) She’s prised me out of my writing cage to answer questions on whether I start with characters or plot, what ghostwriting does to your writing style, how I keep track of ideas, and whether I worry the ideas will dry up. (In fact, I confess to acute separation anxiety when I finish a book. I don’t want to leave it. Does anyone else get that?)
Anyway, it’s all there at Triskele – you can get there with a hop, a skip or a tricycle .… or you could ask a soothing voice to guide you there in a dreamy state. At your own risk, of course.
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In this season of the notorious Zoella ghostwritten novel, I’m getting deluged with questions from people who know I ghostwrite. What’s it like? Who have I done? Well, I can’t tell you that because it’s a trade secret. Also because to divulge the details might get me shot. (Though I can give advice on how you get into it – here’s my recent post on that.) As the nation sings Zoella, Zoella, I thought you might like this piece on ghostwriting, originally penned for Authors Electric.
An acquaintance from my dance classes read My Memories of a Future Life last month and has since been seeing me in a whole new light. I can tell by the thoughtful looks he gives me as we wince through stretches and wobble through pirouettes; an expression that says ‘I never knew you had that weird stuff going on…’
After class the other day he said to me: ‘that freaky scene with the hypnosis in the underground theatre… you must have been to something like that?’
‘No,’ I said. ‘It’s research and imagination.’ He looked a little disappointed.
I stomp on your dreams
Had that taken away a little of the magic? Do readers prefer to think they’ve been led through your rearranged memoirs than the fruits of your persuasive art?
Some clearly do. There’s a long tradition that people who’ve had extraordinary lives sit down to dash off a novel. Many of them are not writers, and so the actual words came from people of ordinary amounts of courage and glamour, in charge of something no more racy than a blank page.
I know; I’ve done it. This is the lot of the ghostwriter.
A publisher introduces me to an ‘author’, and I write the novel they would if they could.
A surprising number of writers ghost for others, leaving behind our literary egos to live on the page as someone totally different. (It’s great discipline and allowed me to develop a method for getting novels ship-shape to order – all boiled down into my writing books.)
No, I didn’t do Jordan or Madonna. For some reason, I’ve trended in testosterone, with a run of adventurers and special forces types. I don’t know why. I don’t have a Y chromosome, for starters.
I now have an arsenal of rather wonderful faked experience. Just as you never forget how to ride a bicycle, I’ll never forget how to fly a plane, microlight, glider, hang-glider, helicopter. Or handle guns. Or hotwire various vehicles. I’m a dab hand with plastic explosive. I can make you believe I’ve abseiled out of helicopters into thin air, tracked assassins through jungles and India’s most impoverished slums, humanely killed a fatally wounded rhino and inhumanely despatched drug bosses. And done a whole rainbow of hallucinogenics.
In real life, my passport rarely gets any outings. But between the covers I’ve out-trekked Michael Palin.
After all that, hypnotising someone in an underground theatre is child’s play.
Fake to fake
Once, I went to meet my publisher and arrived in time to see my ‘author’, giving a presentation to the sales reps. Behind him was a wall of advance copies, floor to ceiling like bathroom tiles. I stood at the back and watched while he enthralled them with titbits of the characters and plot in the book I’d built on my hard drive.
We were faking, both of us. He was faking being a writer. I had faked being the soul who lived the stuff of novels. I watched for a while, then like a good ghost, slipped out, unseen.
It always amuses me to hear that maxim, ‘write what you know’.
Any questions? You can ask whatever you like, but I may have to answer with a seraphic smile. Or tape over my mouth.
Thanks for the pic NIck_Blick
NAIL YOUR NOVEL PLOT BOOK Right now, chez Morris, the plot book is in the final throes of production. If you want to share my pain, er, pick up some handy professional tips, I’m currently formatting for print (part 1 and part 2). Then I’ll have to write the back-cover blurb (share the torture of that here). And if you’d like to know as soon as it becomes available, sign up for my newsletter.
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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?
authors, books, fiction, Futurebook, George Berkowski, having ideas, How To Build A Billion-Dollar App, how to write a book, how to write a novel, My Memories of a Future Life, Nail Your Novel, novels, Porter Anderson, publishing, publishing house, revising, Rewriting, Roz Morris, self-publishing, traditional publisher, writers, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, Depth & Heart
This week I’ve been pouring my grey cells into edits for Nail Your Novel 3 so I hope you’ll forgive this brief hiatus in my blogging schedule. The third Nail Your Novel book finally has a title (Writing Plots With Drama, Depth & Heart), a cover and most of its insides. I’ve been adapting and greatly enlarging the posts I’ve published here into an in-depth exploration of what plot is, how it works and how to write a good one. In asking these questions I’ve taught myself a thing or three as well.
If you’re eager for a taster right now, one of my recent shows at Surrey Hills Radio discussed plot – you can find it on this page as show no 6 (we’re working on getting proper titles but we don’t have control of the website!).
The plot book should be out within the next month … hopefully. I’m waiting for comments from my critique partners so I reserve the right to be coy about the actual release date in case they find a howling omission or other embarrassing disaster. If you want to know the very moment it’s out, you can get my newsletter here.
I’ll be back with a proper post next week. I hate to miss a week but sometimes we need to. How about you? Do you have a strict blogging schedule? What makes you bend it? Til next time… R xx
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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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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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My guest this week is another writer with music in his very bones. His novel features four friends who keep their troubled lives on an even keel by singing in a quartet, and is inspired by his own experiences singing bass with an an award-winning capella group. In the novel, his characters are in search of a state of harmony called The Fifth Voice, where all the hearts and minds are playing as one entity. He is Paul Connolly and he’s on the Red Blog with his Undercover Soundtrack.
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My guest this week has written a novel of exiles – artists, sculptors and musicians displaced from their home countries by the border shifts after World War II. The central character is doubly exiled, born between genders at a time when such things were poorly understood. Music helped her create their personalities, guide her research and develop their histories. She drew on a rich heritage of opera, jazz and folk – and even composed her own folk song for the novel. She is Kathleen Jones and she’s on the Red Blog with her Undercover Soundtrack.
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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!
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Ghostwriting 101, why I write and a brief blog hiatus November 12, 2015
- ‘An earworm of the heart’ – The Undercover Soundtrack, Katharine Grant November 11, 2015
- American English, British English, Canadian English… which to use for your book? November 8, 2015
- ‘Tearing open the doors of the heart’ – The Undercover Soundtrack, Michael Golding November 4, 2015
- The gallop draft: 5 smart tips for writing a useful draft at speed November 1, 2015
- ‘A cracked but steely song of survival and beauty’ – The Undercover Soundtrack, Philip Miller October 28, 2015
- Lesson learned from a critique group: ‘why’ is the magic question for storytellers October 25, 2015
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