- Learn how apostrophes work; and semi-colons.
- Well, it’s really rather important that you just do this. Run search and delete on every instance of the following words: really, just, quite, rather, very, oh, so, well and suddenly. Check out my post ‘One Word At A Time’ for this and other editing tips.
- Practise Show vs Tell the Anton Chekhov way: Don’t tell me the moon is shining; show me the glint of light on broken glass.
- Take a chunk of back-story or exposition and rewrite it into a dialogue. Then repeat. Then repeat again. Dialogue is much more engaging than flat-text exposition and a page of conversation is easier to read than a thumping boulder of a paragraph.
- Focus on sensory detail. Not just sight, but sound, taste, touch and smell. It will enrich your reader’s experience. I blogged here about using all the senses.
- Every time you see two clever, descriptive adjectives side-by-side, delete at least one of them. Yes, every time. Writers can publish with excess of adjectives, but only once they’ve sold a gazillion books and are unassailable. (If you doubt me, check out J.K. Rowling/Robert Galbraith – but then go and delete half your adjectives, because you won’t so easily get away with it.)
- Review your work for any not-so-perfect tenses (past perfect, past continuous and past perfect continuous) and opt for something more immediate. I blogged about how this works here.
- Delete the first paragraph of every chapter. There’s no need for foreplay, dive straight to the action. Hmmm, personally, I appreciate literary foreplay, so I’m not sold on this tip – but better writers than me will endorse it.
- Delete the last paragraph of every chapter. Don’t hang about after the action. Get out, fast. This, I can vouch for.
- Clichés – avoid them like the plague… Yes, you guessed it, I blogged! This one might actually hit the mark (doh!)
… I mean, are you really… TRYING?…
You know what it’s like when you’ve got an early start the next morning? Say, you’re going on holiday and need to be at the airport before dawn. You don’t want to be late and you need to be wide awake, so what do you do? You go to bed early. You squeeze your eyes tight shut even though it’s still light outside and you try to sleep. But every muscle in your body is rebelling against your attempts to relax. Your taut shoulders ache, your pulse races; you can’t get tomorrow’s to-do list out of your mind; you notice every little ring, ping and ding going on around you, the sounds of other people, engaged and connected – having fun whilst you try to sleep. The harder you try to sleep, the worse it gets.
If only you could get out of your own way.
It’s the same when you’re writing, as I learned – the hard way – when I began trying to write fiction. I’ve written business communications for my clients for decades. I know about syntax and language and I have a fair to middling mental thesaurus; so I knew I could throw sentences together. But writing fiction is a world apart from business communications. So I went on a few courses and I read books on how to write. Then I began to try to write fiction.
That’s when I learned that the harder you try, the more dreadful your writing gets.
To write, you need to stop trying and get out of your own way. Writing is communicating – and we’ve all done this since the moment we were born. We’ve learned how to use language to excite, to persuade, to apologise, to love… Stories too are nothing new to us. Stories have been the life-blood of societies and civilizations since time began.
We just need to relax and let them out.
Don’t get me wrong. I’m all for learning the techniques of story-arc, plotting, character development, pace and tension, show-not-tell and so-on. There’s plenty to learn and those who take the time to learn it will find their writing gets more compelling.
What I’m talking about is when you’re trying to put the very best words you can down on the paper; you’re looking up words you don’t know so you can include them; you’re taking a concise moment and working it to the point of exhaustion; you don’t appreciate the simple power of your own ideas, so you overdress them. In your efforts to show what a clever, intelligent writer you are, you embellish your sentences beyond the point of decency. It’s like dressing Amal Clooney using Dame Edna Everage’s wardrobe. Somewhere things have gone horribly wrong.
If you fear your writing may be in Dame Edna territory, here are three stylistic bloopers to look out for. If you spot these in your own writing, it probably means you’re trying too hard. I’m embarrassed to say, these examples are all my own, from early drafts of Singled Out:
- …In that moment she reached into his world-weary heart and lit a flame.
- …Her compliance, at once submissive and potent, raised his hopes and heightened his desires.
Ugh… just, ugh.
- Why had she brought this up? Why could she never resist prodding away at things? … It seemed distinctly possible that something untoward might have happened; but if it had… There was nothing to be gained from letting this idea gain traction; it would only frighten … blah blah…
And this is an edited version of the angsty original. I cringe… I cringe. In most instances, one or two notes of self-reflection are quite sufficient. Then, just get out of the way.
- …She appreciated his overpowering physical form from a womanly perspective.
- …The more she struggled against the quicksand of niggling worries, the further it dragged her down.
- The sun began its languid descent towards the gently undulating hills…
Classic ‘clever-arse writer’ syndrome. When I rediscovered these clunkers I nearly had to go find a sick-bag. Learn to recognise when you’re puffing up your sentences like this. If they make it into print, you may never forgive yourself.
I was fortunate to be mentored for a few months by the author of several respected novels. She worked over my early draft, ripping into the purple prose, angsty reflection and overblown turns of phrase – amongst many other things. I pared my writing down and down again and I learned to head these pompous clangers off at the pass.
Good writing comes from the heart. You don’t have to try and make it better. Invariably those purple moments detract from the power of your story. They ruffle the reader and interrupt the flow. Except for one or two notably pretentious literary writers, being a novelist isn’t about showing the world how clever you are.
You have to learn to let-go, relax and get out of your own way – and let your story do the hard work.
*** This post first appeared as a guest post on the Blondewritemore blog. ***
We’re told these days how important it is to hook the reader right from that first line of a novel – indeed I blogged this very topic myself just a couple of days ago. But it wasn’t always like this.
In our quick-fire, instant message, SnapChat, 140-character world, readers are all supposed to be so impatient and intolerant. They can’t be bothered to read their way through a leisurely build-up; they’re not interested in scene-setting or description. We’re told if you want to amount to anything as an author, you have to begin your story in the middle of the action, or you’ll lose easily bored readers in droves. You can’t waste time waking your characters up in the morning; you shouldn’t squander words setting up the mood or describing your characters.
I’m quite prepared to believe that some readers (maybe even most readers, or some readers some of the time, or most readers most of the time…) want to be thrown into the action; rather like the beginning of a James Bond film where we join the fun, slap-bang in the middle of a massive car chase, all guns blazing; heart-stopping, chaotic tension.
But then… I’ve always seen reading as a leisurely pursuit. It’s something I enjoy most at certain very relaxing times – like whilst I’m lazing around on holiday, or curled up in an armchair on a Sunday afternoon. I think there’s room in life for the slow-burn novel – and I’m not just talking about your up-market literary fiction, all contemplation and no action. I’m talking actual general fiction, complete with plotting, inciting incidents and conflict – and all the other good stuff – but just at a more unruffled pace.
One of my all-time favourite novels breaks all the modern-day rules. That’s probably because it’s 140 years old. Far From the Madding Crowd by Thomas Hardy opens with a magnificent character description. I’ve not found one I prefer anywhere. There’s no action for several pages. We’re not thrown into a moment of crisis/tension. The story begins with a rambling but utterly exquisite character portrait of one Farmer Gabriel Oak.
Here’s the first sentence:
“When Farmer Oak smiled, the corners of his mouth spread till they were within an unimportant distance of his ears, his eyes were reduced to chinks, and diverging wrinkles appeared round them, extending upon his countenance like the rays in a rudimentary sketch of the rising sun.”
That’s hardly a hook, now, is it? But it is beautiful. And read on here and you might be as captivated as I was by the unfolding picture of this steadfast, ordinary man.
When Thomas Hardy eventually moves on to some kind of action, a languid 868 words in, it is with nothing more exciting than the image of a wagon trundling over the brow of a hill.
Reading has its place in every part of life. I’m thrilled by the fact that people can download novels at the click of a button and read them whilst they wait for a train (would that they will download mine on Sunday, for next week’s commute). I love being able to ‘read’ an audiobook whilst I’m doing other things. But I also cherish those moments where I’m doing nothing but reading. That’s when I can immerse myself in a book and give free rein to my own imagination, to pull me into the world carefully crafted by another author.
That’s when I not only tolerate, but warmly welcome those slow-burn, descriptive narratives, where I can be moved by the beauty of the prose, before I get caught up in the action.
What do you think? Do you need instant gratification? Or are you happy for the storyteller to pace your pleasure?
An opportunity to engage readers with your first few words…
I’m preparing to publish Singled Out next weekend. It’s going to be available on Amazon (all regions) in Kindle and paperback formats from Sunday 1st February (in fact the e-book is already available on pre-order).
I confess I’m beyond excited and more than a little unsettled by the prospect of real people reading it. I wonder whether anyone beyond my circle of family, friends and writerly cohorts will get into it; further than the first line, the first paragraph, the first page… I wonder who will get right to the end, and more importantly whether they will enjoy it, find it a page-turning, satisfying read. I’m feeling a little turbulent in my gut just thinking about this now.
The first sentence they say, is critical. Mine has changed several times. Back in 2011 it was: The phone rang – an unfamiliar, old-fashioned ring-ring… ring-ring, in the darkness. It broke two sudden-death rules apparently, if you wanted to hook an agent as I did once (a glut of adjectives and a waking-up moment, in case you’re wondering), and the words rang and ring should never have been in the same line. So it had to go.
The one I settled on in the end, having decided to begin at a different point in the story, is:
He stands over her, fastening his jeans.
I don’t think my first sentence is quite up there with: It was the best of times; it was the worst of times. But I hope it gets a few readers going anyway.
If you’re a writer, and I know a few of my followers are writers, I thought you might like to share a first sentence (just the one) with readers of this blog. So I’m hosting a mini promotion, in celebration, let’s say, of my own upcoming book launch.
If you’d like to participate with a book of your own (already published, through any means), just post a comment below including the first sentence and a link if you wish, to wherever your book may be found or purchased (ie, your website, Amazon, Goodreads etc). Tell us the title and genre too. I will happily include all comments unless they break the obvious rules of good taste etc.
I don’t know who will venture to respond nor what style or genre of books might reveal themselves, but it will be interesting to see what pops up. And you never know, someone might like your first sentence enough to check out what follows.
Now it’s over to you.
I set myself the task of preparing my manuscript for publishing on Amazon, Kindle and paperback, over the Christmas break. Frazzled as I was by a bout of festive flu, it was… a challenge.
I got a virus for Christmas – not a PC one, a proper lung, throat, nose, ears and head one. It laid me low for two solid weeks. I felt like I’d been mugged. I was drained, sulky, achy, and very fed up. I coughed so long and hard my whole body ached. I lay in bed drenched in sweat; I lay on my sofa wrapped in a blanket. I survived on Heinz Cream of Tomato Soup and chocolate (thank goodness for my festive choco-fast break) and I sipped on water. Oh, ok, and the odd tot of brandy too – purely medicinal, you understand. My eyes were sticky, my brain was mush and my limbs were leaden. Whilst nothing but my cough reflex functioned, I took to hour after hour of TV; costume drama repeats – Pride and Prejudice, Tess of the D’Urbervilles, Treasure Island – and films I’d seen a dozen times before. When I could resist no longer, I went on to back-to-back episodes of Storage Hunters. Yes, friends, it was that bad.
When my brain began to solidify again and I could take a breath without coughing, I returned to my PC, to tackle the job I’d always intended to undertake over Christmas (ideally with an alert mind and an energetic sense of purpose) – that was, to get Singled Out ready for publication.
It’s great, really great, that indie authors can do this for themselves, but setting a book up for sale on Amazon is a convoluted process, make no mistake. It requires a clear head (clearer than the head I was given for Christmas, if I’m honest). There is a wealth of information to assist you, both from Amazon and external sources. But when push comes to shove, you have to stop reading and actually do it.
First thing was to get my MSWord manuscript into the correct format for CreateSpace. And that’s no picnic, because in publishing-land everything is arse-about-face and you have to get all twisty in your head to remember… the page you see on the left of your screen is actually the right-hand page, and the page you see on the right is, yes, actually on the left. Left/right, right/left – don’t you forget now.
I’d figured – and I think I was right – that it would be easier to create the Kindle version from the CreateSpace one, not vice-versa. CreateSpace offers a set of MSWord templates all correctly formatted (in terms of margins, headers and footers, at least) for the various book sizes they have available. I’d found the one I needed and made a first-pass at setup before Christmas. I received my first proof copies on 29th December. I was largely delighted. Some of the pages had printed, or been cut, a bit wonky. But CreateSpace have since assured me this was a production error and that their normal standards are higher than this, and if I had any similar complaints about final-print copies, I was to return them for a refund. I also realised I could correct a formatting error that I hadn’t at first seen a way around. This was: how to eliminate headers and footers from blank pages which may come at the end of a section. In the way these things sometimes work in my brain, I woke up at 4am one morning knowing exactly what I needed to do to fix it. I just wish my brain had delivered this particular gem before I ordered my first proof copies, not after. And preferably not at 4am either.
So I made my corrections, submitted a revised pdf and ordered a second proof copy. Then I reformatted, minus headers and footers, for Kindle. Formatting for Kindle requires a totally contrary mindset from formatting for a pdf. Never mind the right-is-left, left-is-right issue, what you see is definitely not what you get. KDP helpfully provides a tool which enables you to see how your manuscript will appear on a range of devices, from which I realised that anomalies presented themselves everywhere. Headings don’t reproduce uniformly, some are larger, some are smaller, some centre, others don’t; some formats indent the first paragraph even if you haven’t; page endings have no relevance as different sized devices and the option to vary font size put paid to uniform layout. You just have to suck it up – which is tough, for a perfectionist with brain-fog.
The most frustrating thing I found was the way in which my manuscript appeared in iPad Kindle App format. Section and chapter headings showed up in standard type rather than heading format, but as I scrolled back and forth through the pages, the heading formats reappeared. I tried several different approaches to counteracting this problem before resorting to forum advice pages which told me I wasn’t the first to have this problem and that I shouldn’t worry because, no matter how it appeared on the manuscript tool, it would all be ok on the live version. Really? So why hasn’t anybody just fixed the manuscript tool – because it would have saved me three hours of fannying about.
So, I had my manuscripts. Thence to the rest of the process. The CreateSpace (paperback) and KDP (Kindle) versions require a virtually duplicate set of actions. There is some kind of form-filling for US tax purposes, even if you’re a UK taxpayer. Then the meta data and the blurb pages (two – one for Kindle, one for paperback, although apparently these somehow ‘find’ each other and unite at some point, so I’m advised). There are the Author Central pages (four – USA, UK, France, Germany – I did all of them) and multiple decisions on pricing (because VAT on e-books is, to say the least, a tricksy little issue since 1st January 2015, being different in every single country). With my flu-fogged brain, I’ve been back and forth, again and again, through these instructions – which are laid out differently for both CreateSpace and KDP (more helpfully for CreateSpace, I have to say). I accidentally put myself through an unintentional Kindle proof process, which cost me a day (annoying), but I think I’m there now.
So as of today, I await my final final proof paperback, which I expect to be pleasingly immaculate. The Kindle version of Singled Out is uploaded and live on Amazon – for pre-order only at this stage, I’m afraid as I’m synchronising Kindle and paperback launches to 1st February.
Now all I need to do is set a bit of marketing in motion. Easy, right? For a marketer like me? Oh, but no, no. This is a whole different game to the business-to-business marketing I’ve been doing all my working life. As usual in this self-publishing game, there is myriad advice out there – dare I say too much advice? I’m wading through it, picking-and-mixing what I feel I can manage, for starters.
I’ve realised some author publishers are outputting at a seriously intensive level, marketing like crazy and selling tens or hundreds of thousands of books a year. Others are lucky to carve a niche amongst friends and family and shift a few dozen copies. Not surprisingly, I see myself as somewhere in between the two. I have just one book at the moment. There won’t be another one along for upwards of a year. I am just not the kind of writer who will ever turn out a torrid tome every few weeks, I know it.
I wonder if any of you already self-published authors out there could give me a feel for the sort of volumes I might anticipate? You know, a stake in the ground somewhere between a dozen and a hundred thousand… I’d like to know whether, for example, I should be delighted or dismayed by sales in the few dozens, hundreds or even… thousands. OK, I’m pretty sure I should be delighted by sales in the thousands. But should I have a target? A sales volume below which I regard myself as under-achieving, and above which I can allow myself to feel a little bit joyous? Does it make a difference that I’m a UK author, not an American? I honestly don’t know these things.
And one more thing, in the spirit of sharing the self-publishing love… if you, as a self-published author, could only do one thing to market your book, what would that be? What one marketing activity above all others have you found the most powerful and productive? Will you share it?
As I strive for success as an author, my day job as a freelance marketer pays the bills, as it has done reliably for the last 13 years. Unsurprisingly, much of my work revolves around writing – material like websites, newsletters, brochures, articles, white papers and… blogs.
Several people have asked me how I go about blogging for clients, so I thought I’d share some practical tips. As I blog solely for Business to Business (B2B) clients, these tips refer to B2B blogging. Business to Consumer (B2C) blogging, such as, for example, for a retail outlet or a lifestyle service, has many similarities and the same processes will be helpful. But consumers may be seeking a more intimate/personal rather than corporate/professional experience from such a blog.
So, here we are, my practical tips for B2B blogging for clients:
- Understand your value: The biggest problem the small or medium-sized business has with a blog is… writing it. A blog is a hungry monster and that well-intentioned weekly post comes around very quickly. Not only that, but if your prospective client is not a confident writer, sitting down to pen a blog post feels a bit like a trip to the dentist – they’ll do anything to avoid it. Good news then. This is why outsourcing the blog is a very appealing prospect for many SME’s. You obviously have to be able to write – but your real value beyond this is that you keep the blogging engine turning over for your client, so they don’t have to.
- Get to know your client: Key to blogging successfully for a client is to acquire a good understanding of their business – what they do, who they sell to, why people buy from them, what kind of a company/brand they are, who their competition is – and their industry overall. Understand what’s important to your client, and to their clients or customers.
- Variety is the spice: You need to produce a variety of posts which are likely to interest the sort of people your client seeks to engage with. For B2B, this should include industry related stories (see below); news and information related to your client’s product or service offering, background on the company, teams, ethos, corporate social responsibility etc; updates on your client’s engagement and presence (attendance at events, industry awards, networking, partnerships and collaborations etc), thoughts and opinions on the state of the industry, regulations, trends, trading environment etc. You can inject humour and post occasionally on charity fun runs and ice bucket challenges, but keep the lighter stuff under control. You need variety, but don’t sacrifice relevance.
- Plan ahead: Weekly posts come round just as quickly for you as they do for your client. But it’s your job to keep them coming. I keep a spreadsheet for each client and I plan 4-6 weeks ahead with posts. Some write themselves quickly, but others require more research and take time to come together. I mark up when we need posts around seasonal topics or events like conferences and exhibitions. The spreadsheet helps me keep track of what topics I’ve covered, what posts are in progress, awaiting client approval, needing images etc. I include a brain-dump section, thoughts and ideas, web links and other stuff I don’t want to forget – material for future posts.
- Communicate: A regular touch-point with your client is a must. They’re not offloading their blog to you so they can forget about it. It’s a vital component of their marketing mix and their brand. I would suggest (ideally) weekly or (at least) fortnightly telephone or Skype sessions – 15-20 minutes maximum – to keep the whole show on the road. Worth mentioning here, you need to agree with your client what the process is for approval of your blog posts. Some clients will want to approve each post, where others will take a more relaxed approach. Personally, I prefer to gain client approval for all posts – at least until I’m confident that the messaging, tone etc is in line with their expectations. Even then, I will still request approval for certain types of post.
- Go digging: You need to be able to find the grain of a story in an item of industry or general news, then draft a post which conveys some aspect of your client’s ethos or expertise in the context of that news. So do your research. Subscribe to industry news feeds (Twitter is beyond brilliant for this), do your own Google/keyword searches and ‘train’ your client to tell you anything of particular note.
- First base only: You need to be subtle and have a light touch; your posts are not sales pitches, they are conversation starters. The purpose of the blog is to communicate your client’s personality and values, not push their products – that will turn readers off in droves. You want people to like your client and perceive a value in what they have to say – to the extent that they choose to read the posts, subscribe, or better still engage. That’s when they’ll start clicking through to your client’s website or picking up the phone.
- Stir it up: Go carefully with this until you know what your client is comfortable with, but your blog posts can and should be opinionated and even controversial. It’s emotion that engages people, far more than polish. However, this is not every client’s cup-of-tea, so proceed with caution.
- Cross-fertilise: A blog is all very well in isolation, but you can make posts work harder by cross-fertilising other social media channels, such as Twitter, LinkedIn, Google+, Facebook and others. Your corporate posts could also find a more permanent home on your client’s website, or be used in newsletters. Encourage your client to broadcast the blog posts via their own social media profiles too, as well as corporate. They should also include a link to the blog, or better still, the latest blog post, in their email footer. That way, they will increase the reach of the material and encourage engagement.
- Be flexible: As much as you plan ahead, your schedule will get bumped around. The beauty of a blog is that you can see something in the news in the morning, and have a blog post out covering your client’s angle on it by the afternoon. It’s not always like that, but sometimes the opportunity or the material is too good to pass over.
You’ll notice I’ve said nothing about SEO – search engine optimisation. SEO is a science, even a black art, or at least, that’s what the SEO companies would have you believe. If your client feels strongly about getting smart with keywords and searchability, there are firms who will analyse the internet for them and advise them on the most productive phrasing to include for optimum searchability.
But for many SME’s it’s not rocket science to work out what the most commonly associated words and phrases would be. Then you can include those most obvious key words and phrases within your blog posts wherever it’s appropriate – but not to excess. Why? Because the more you try to work the SEO angle, the more stilted and desperate your writing can look. Readers will come to your client’s blog because you write compelling copy on topics that are of interest to them, not because you repeatedly ram home a list of keywords. But that’s just my opinion and doubtless the fans of extreme SEO will disagree. There you are, I’m being opinionated and controversial.
I know some people are more intense about blogging, but I suggest to my B2B clients that we aim for one meaty/serious (500+ word) post a week plus no more than a couple of short or quirky posts each month. Analysis has occasionally shown that longer posts (2,000+ words) are better (better in what way, I’m not entirely sure). But I believe if you’ve got something to say and you’re done in 500 words, you should not puff up a post for the fun of it. It disrespects your readers’ time. It’s easy to overwork a readership and, particularly in the case of B2B, one has to remember that readers have many claims on their time.
With a clearly defined brief around a fixed number of posts and a regular communication touchpoint, it’s perfectly feasable to arrive at a fixed fee for delivering a level of blogging activity geared to raising your client’s profile amongst their targeted audience, and enhancing their brand.
Bloomsbury Publishing’s Writers & Artists brand does a nice line in help and advice for would-be writers, whether we want to try our luck in the traditional publishing environment (as in W&A’s seminar How to Hook an Agent which I attended a few months ago – and blogged about here) or take the independent route.
The first half of the event ranged through editing and cover design to publishing via Amazon and alternative ‘assisted’ routes to self-publishing and marketing. The afternoon centred around the real-life experiences of several self-published authors and their varied approaches to the business of getting their words out there and noticed.
I’m not going to brain-dump the whole event. I don’t suppose W&A would thank me for that since if they’ve got an eye on what the market is looking for, they will doubtless be running and re-running this excellent seminar in the future. Instead, I’m offering you what I felt were my Top Ten Takeaways in terms of information, insight and advice for the would-be independent author.
(1) Hope for the Future
The landscape has changed rapidly in the last couple of years with the stigma previously associated with self-publishing in its various forms now disappearing into the distance. Self-publishing is no longer traditional publishing’s embarrassing poor relation. It is, in the words of Dr Alison Baverstock, ‘part of publishing’.
(2) Proof of Concept
Self-publishing is now regarded as a feeder to traditional publishing. Instead of wading through what is often branded the slush pile, agents and publishers are increasingly seeking talent amongst the self-published charts. If a book sells and if the author seems to understand what’s required to market it – then they’re an attractive proposition for the traditional publishing space (IF, that is, they can be persuaded to cross the trad/indie divide…).
(3) The Professionals
Rapid change and the shifting fortunes of publishing houses has led to many skilled former employees now offering their services freelance to independent authors. The indie author now has access to skilled professionals – editors, illustrators, cover designers and more – to help them elevate the quality of their self-published books.
(4) The Critical Role of Editing
All three phases are vital: Developmental (for help with story, structure etc), copy editing (to iron out oddities and inconsistencies, correct grammar, stylistic issues etc) and proof reading (elimination of those itty-bitty sneaky little typos). The focus is on achieving a professional finish and making your book the best it can be before you share it with the world.
(5) Planning Ahead
Good editors are booked up well in advance. The time to start thinking about signing-up with an editor is before your manuscript is finished. Don’t expect an overnight turnaround either. Your editor will take around 6-8 weeks to review and return your manuscript.
(6) You’ve got it Covered
Don’t underestimate the importance of a professionally designed cover. It must reflect the genre of your book (so readers know what to expect) and be eye-catching at thumbnail size. Budget anything between £90 and £350 for a professionally designed cover.
(7) It’s all in the Brand
When you’re getting your cover designed, don’t forget to think about other marketing materials which may help to promote your book and strengthen your brand – designs for website, blog and facebook banners for example, bookmarks, flyers, business cards, promotional postcards.
(8) Kindle is HUGE
Don’t undervalue this soft media as not being a real book (I’ve heard this a lot). Amazon sells around twice as many Kindle e-books as print books in the USA and the UK isn’t far behind. Kindle owners are adventurous and speculative readers, buying around four times as many books as non-Kindle users. This is seriously good news for the indie author who can manage to conquer the mountain of discoverability…
(9) Discoverability – the Holy Grail of Self-Publishing
More people are buying books on-line than ever before. They’re searching using keywords to find genres and subject matter that intrigues them. But with the stock of self-published material growing daily, discoverability is critical to success. Your self-published book is but a blip, a note written in disappearing ink pinned to a tree in a vast forest, unless you can get it in front of readers. Being discoverable means getting your meta-data (all your book details) working for you on Amazon. Being discoverable means getting somewhere on the Amazon/Kindle rankings for your genre (a clue… it’s better for chart success to sell lots of books in bursts rather than steadily). Being discoverable means being active and engaged all over social media, blogging, building an e-mail list, cultivating interest and loyalty in readers, one reader at a time. Being discoverable means garnering a host of good reviews on Amazon and Goodreads, and a whole bunch of reader forums, genre and review sites. Being discoverable means getting creative with promotions and making use of every tool in the Amazon author toolkit.
(10) Don’t Write Shit!
(Those, by the way, were the exact words used by the presenter!) This last point was echoed by every speaker. Everything begins with you having created a great book. None of this will do anything for you if you haven’t done the first job, which is to write a ripping good read.
So that’s simple then.
Last September 2013 – over a year ago – I fancied I’d finished my book. I was happy with it, as happy as one could be with a first attempt anyway. Several passes through the text had resulted in me reducing an unwieldy 107,000 word draft down to 97,000 words, more acceptable to agents and publishers – apparently. I’d sweated blood over a synopsis and cover letter and begun to fire my story off to a succession of agents. Over the ensuing weeks there were flickers of interest here and there but nine months later, nobody had bitten my arm off for the rights to market my book.
Cut to July 2014 – and several months since I’d read more than the odd paragraph of Singled Out. Having considered the full manuscript, a couple of agents had offered me a few lines of critique. Ignore these courtesies at your peril, I thought. So I decided to take another look at my story to see if I could address the issues raised in their feedback. I passed the not-so-finished novel to two or three more beta readers too and significantly, I read it again myself from beginning to end.
Have you ever put a piece of work down and come back to it after several months? Then you’ll know what I found, and you’ll understand my crisis of confidence. So, so many surplus words, lines and whole paragraphs; description overload, formulaic chapter openers; language I thought was gritty but now just made me blush; motivations that didn’t quite add up; character clichés; pitiful pacing… I could go on.
Okay, it wasn’t a total disaster but what with the agents’ feedback and my beta readers’ comments too, it was easy to see a thorough review was required. Fortunately, with the benefit of distance came the ability to detach, to disown aspects of my narrative that I’d been so precious about, to murder those darlings and get ruthless. So I made a start.
The last three months have been, as they say, emotional.
At the outset and for several weeks I hated Singled Out. I was one small step from shoving it in a drawer and forgetting all about it. I resented the fact that as I took account of both agents’ and beta readers’ critique and began making changes, it seemed no longer to be the book I’d set out to write; it was trying to be something different. In the meantime it was a bugger’s muddle, all bent out of shape. It felt as if I were shoehorning things into the text to turn it into something it wasn’t. It felt as if I’d lost my way with it. Teeth gritted, I plodded on, resenting my mashed-up, mangled manuscript.
I was in the throes of a proper writerly temper tantrum.
I don’t know quite when it was, but a couple of weeks ago, I started to get it. Perhaps things had to get worse before they got better (you know that cliché about breaking a few eggs to make an omelette). I can’t tell you exactly what I did, because I honestly don’t know. But I started to feel better about my book. It had gone through another two end-to-end edits; I’d added four or five scenes, moved a few things around, played with a couple of the characters, injected odd moments of uncertainty and dismissed another 7,000+ words. And you know what? I actually feel quite a lot happier with it now.
The best thing is, I’m excited by Singled Out again, and excited by the decision I’ve made to self-publish early in 2015. For a start, I can’t face touting it round again when I know the chances of it gaining traction with an agent – let alone a publisher – are meagre to non-existent. Secondly, I’ve come to see self-publishing in a different light. I want to manage my own destiny, put my story out there and see what people think of it. And… I want to get on and write the next one.
So that’s the plan. I’m doing my homework on self-publishing and aim to get to grips with all the necessaries in the coming few weeks, then publish in the New Year.
Then… I’ll just hold my breath.
If you have ambitions to be a novelist, you need every shred of advice and information you can possibly lay your sticky mitts on, don’t you?
When you’re trying to figure out about structure and plotting, or how to write a killer opening paragraph or a compelling protagonist, there are myriad sources to go to for help – on the internet, in paperbacks, pdf’s and e-books and of course, all those training courses and seminars I wrote about here.
Ready to launch your manuscript on an unsuspecting literary world, you might want to know how to hook an agent. If you’re a detail person, like me, you’ll want to know what font-size and margins you should choose for your sample, exactly how many paragraphs your query letter should have, what pushes agents’ buttons and what pips them off. There are seminars, dozens of websites and a gazillion blog posts from writers who have hooked their agent and writers who haven’t, and jaded agents who have tired of their expectations not being met. You’ll need to know how to pen the perfect synopsis too; precisely how many words should it have, what you should leave in and what you must take out – and here again there are courses and seminars and a whole slew of paper and web-based pointers to plough through.
Then, when like me, you finally acknowledge that ‘it could be you’ is a lottery slogan, not a promise of literary recognition and riches, you’ll be ready to learn about self-publishing. And here, the volume of advice and information surges skyward like the Himalayas.
It’s fantastic to have so much help and information to draw from, isn’t it? It’s brilliant!
But then again…
Last weekend, embarking on the latest leg of my writer’s journey, I read no less than three e-books on self-publishing, multiple pages on Amazon’s website and in their downloads about e-publishing on Kindle, and an e-book on turning your writing into a business (I have mixed feelings about this incidentally – for another time).
At the end of my marathon, my bum had created a sink-hole in the sofa and my brain was… fried. I had to go and lie down in a dark room with some wind chimes. And a brandy.
I read once that a person alive in the Middle Ages would, in their entire lifetime, need to process about as much information as is found today in an average daily newspaper. I processed twenty times that amount in one weekend. And I’m dazed and confused.
I went into this writing lark because… I wanted to write. I’ve learned some important skills over recent years and now I want to use what I’ve learned to write some more. But in the meantime, unless I simply want to fill my bottom-drawer with unseen manuscripts, I know I need to get a handle on the business of writing.
Over coming weeks, I’ll go back through what I read with a notepad at my side. I’ll filter what I need, and extract useful take-aways from the glut of information and advice.
I don’t want to be negative, because it’s great that we can so readily access so many remarkable sources of help, enabling us to expand our skillset, get a head-start or avoid pitfalls. The writing community is a particularly encouraging and supportive one and that’s part of the joy of writing. And great deal of advice and learning is coherent, wise and worthwhile. And I want to take it, make use of it and be a better and more successful writer as a result. But sometimes it all just feels like…. too much brain-fodder.
I wonder, does the glut of helpful advice and information make you feel like a kid in a candy factory, or, like me, does it sometimes make you feel just a little bit overwhelmed?
I love that people comment on my blog posts. I particularly like it when they either disagree with me, or have insights which open up the debate. I’ve received an especially interesting response to my previous post on courses, seminars and other learning opportunities open to novice writers. It’s worth sharing beyond the smaller community that might read comments on posts, so I thought I’d publish it as a post in its own right. It’s from a blogger I greatly admire, Nina Mishkin, who blogs at The Getting Old Blog. Here’s what she said:
In my view, it’s valuable to attend a seminar or two that features agents and publishers describing the process — and hurdles — confronting the would-be published author. It’s also valuable to learn something about self-publishing before setting a foot on that path. But as someone who has taught writing courses — both at the community college and university level — and has written professionally in many commercial genres, I am extremely cynical about the value to the quality of one’s writing of spending time in how-to courses, seminars, workshops and retreats. They may be enjoyable while you’re attending them, but you rarely come away with something you couldn’t find in a how-to book from the library. They consume time and distract you from spending your time actually writing.
The way to write well is to read well… all your life. Read extensively and intensively, with an eye to structure, dialogue, pacing. Note what’s omitted as well as what’s included. If you really enjoy something you’ve read, read it again. More than once. Take it apart in your mind (or in a notebook) to see how it was done. Then try to do it yourself. At first you will be a copy cat. And then you will internalize what you’ve learned; it will become second nature — in the self-editing if not in the first draft. There are many parasitic industries out there, feeding off perceived markets for learning “how.” With writing, the primary “how” is “do.” Sit down every day and do it. And keep reading.
Other people’s blogs are also helpful, principally for the encouragement they offer that you’re not slogging away alone. Blogs by would-be writers who are clearly bad writers are also instructive, in another way. (“That’s awful. Have I been doing something like that? I’d better stop it, right now!”)
Sorry if I’ve stirred up a nest of worms here. I do understand that it may be extremely gratifying to spend, spend, spend on the “products” Julie has so well described. But the spenders should be entirely clear that they are only toeing the sand, not writing.
And, in case you’re interested, here’s my reply:
Nina, this is such an interesting – and well informed – perspective, thank you! I’ve enjoyed the writing courses I’ve participated in – three one-week courses in total. But the value for me has come in many different ways. I have learned, or reinforced, certain technical skills, but that’s perhaps the least of the experience. I’ve also been made to think differently about character and structure. Thence to the wider benefits: I’ve met authors and learned from their insights and experience; I’ve met other people with ambitions to write – and made very special friendships; I’ve built the confidence to try writing in the first place, and keep going when I thought I was losing my way, and I’ve tapped into an imagination I never realised I had. Those are the real benefits. Technique, as you rightly observe, can come from books – both ‘how to’ books, and the simple act of devouring and analysing as much good fiction as you can.
I wasn’t encouraging people to spend, spend, spend on writerly learning – only throwing light on the many available ‘products’. They do help you to think like a writer, but quality is variable and one must tread carefully to obtain good value. It’s easy to take refuge in the excuse that one still has more to learn, rather than to just get on and write, and learn by experience.
I hope you don’t mind, but I think so much of your comment, that I’d like to copy it into a full post – it deserves not to be missed.