What’s your USP?

So ‘novice crime writer’ Robert Galbraith is revealed in yesterday’s Sunday Times to be the phenomenally successful author, JK Rowling.

One or two publishing houses are nursing their wounds having rejected the manuscript for the now critically acclaimed The Cuckoo’s Calling.  According to yesterday’s Telegraph, Kate Mills, publishing director of Orion bravely admitted she had thought the work ‘perfectly decent, but quiet’ and confessed she could not find a unique selling-point with which to market it.

It must be hard enough to launch a new author, with no public profile and no track record.  Without a compelling USP, it’s easy to understand why a publisher would not be inspired to invest their time, effort and resources, especially in a crowded genre such as crime.

I’m a writer with ambitions to be the next critically acclaimed debut novelist. Assuming I don’t have a gold-etched multi-million dollar alter ego tucked in my back pocket (I haven’t), my first novel needs to stand out in other ways.  More of the same, just like this writer or that book already on the shelves, won’t be enough to get a debut novelist off the ground.  Marketing and selling – whatever the product – is all about the USPs.  Uniques give the publisher something tangible to promote and give the reader a reason to take a risk on an unknown author.

I set out to write the sort of book I enjoy reading, but rarely find.  My (almost finished) work-in-progress is a slow-burning psychological drama with the sun shining on its face, but a dark heart and tension running through its veins.  I’d say it has one or two significant USPs for a publisher to go to work on.  It’s a book I’d take a risk on if I saw it on the 3-for-2 table at Waterstones, particularly if I was going off on holiday. (There – that’s all the clue you’re getting.)

I have 105,000 words to show for two years’ worth of evenings and weekends and I’m editing, editing, editing; tightening the writing, balancing the rhythm of the plot, ensuring my characters are consistent and credible and my landscape sensual and evocative.  If I stay on track, it’ll be out on the wind by October, in search of an agent to help it on its way to the publishing houses.

Then, when a publisher like Orion reads my first novel for the first time I’ll be hoping they feel a rush of blood to the head as they realise they have their hands on something different and exciting – and marketable; something they won’t want slipping through their fingers.

The beginning of the end – or just the end of the beginning

Last weekend was the last gasp of summer and I spent it in the garden.  Not weeding and watering, but with my fingers glued to the keyboard.  Yes, I have at last reached the end of my first draft.  My story is complete.

Well, sort of.

I’m at a surreal moment of elation and crisis.  I’m thrilled at having got this far, but keenly aware that my story is full of holes, inconsistencies and great chunks I want to change, improve and delete – and add too, I think.  There are character inconsistencies and plot weaknesses, to say nothing of the sections I first wrote a year ago that today make me curl into a ball and weep.   And that’s before I start on the inevitable adverb cull and punctuation review.

I’ve learned so much in the last 18 months, and come so far, but there’s so much still to do.

And you know, I’d love to write great huge blog posts, but what I really want is to get on with finishing my story. You understand, don’t you?