Writing tips

How to Approach an Agent – The Query Letter #publishing #writinganovel #ThrowbackThursday

A post from a while ago that aspiring authors may find helpful.

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While it’s true that the world of publishing is changing, and that many authors are happy to self-publish, some writers still wish to find an agent, and so will need to introduce themselves with a query letter.

What’s important

It’s absolutely vital to remember that this letter is the first example of your writing that an agent will see, so make it count. These are the key things to remember:

  • Address your letter to a specific agent – avoid Dear Sir/Madam.  Using a name shows that you’ve selected that agent – not just stuck a pin in ‘The Writers’ and Artists’ Yearbook’
  • Make it clear you’ve done your homework – state why you’re approaching that particular agent (similar authors? Looking for your genre?)
  • Make your book sound interesting
  • State the genre and word length
  • Include any details of your writing history – competitions, publications, experience
  • Keep it formal, keep it short, be business-like
  • Do include EXACTLY what they’ve asked for

Structuring your letter

When I’m helping my clients to write a query letter, this is the basic structure I suggest:

  • Paragraph 1 – why you’re writing and what you’ve included
  • Paragraph 2 – a VERY brief, two or three sentence summary of the book
  • Paragraph 3 – brief details of any relevant writing experience/successes
  • Paragraph 4 – the fact the manuscript is complete and word count. Also, state if you are working on a series, a new novel etc. Agents like to know that you have longevity
  • Paragraph 5 – contact details including a telephone number and an email address

What not to do

  • Don’t make jokes or try anything wacky – they’ve probably heard and seen it all before
  • Don’t spell the agent’s name incorrectly
  • Don’t forget to include your submission (apparently that does happen!)
  • Don’t come across as arrogant – if the agent takes you on you will have a very close working relationship, so you don’t want to sound as if you’ll be a pain in the backside
  • Equally, don’t beg or sound needy – agents need writers!
  • Most important of all, be professional. Yes, we’re all artists, and creative types and so on, but publishing is, first and foremost, a business. This is a business letter – treat it as though you’re applying for a job (because you are)

Good luck!

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Writing and Editing Tips Revisited: Writing a Blurb #writingtips #wwwblogs

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Almost as feared as the dreaded synopsis, the book blurb has the power to turn wonderful writers to jelly. But the blurb is the hook, along with the cover, to reel those readers in. You need to make sure that you entice your reader, that you intrigue them without giving too much away. Longer than the elevator pitch, but shorter than a synopsis, the book blurb is key to whetting a reader’s appetite.

So how should you approach it? Here are some quick tips on getting that blurb up to scratch.

Keep it short. This is NOT a synopsis. You want a couple of two to three line paragraphs. Too much and you risk giving too much away and turning off your reader. Too little and you might miss the mark.

Mention your main character(s). It’s important for your reader to know who the book is about.

Be precise. There is no place or space for vagueness, long-windedness or clever clever vocabulary in your blurb. Short, sharp, to the point.

Make it interesting. Obviously. What’s intriguing about the story? Why would I want to read it?

Don’t give away the ending. It might sound silly to even point that out – but it does happen.

Don’t compare yourself to other writers or compare the book to other books. Tell your potential reader that you’re the next J.K Rowling or Stephen King and you’re more likely to annoy them than anything.

Watch out for clichés or overused words and phrases. Try and be refreshing and new. And interesting.

Good luck!

Writing & Editing Tips Revisited – Contractions in Dialogue #wwwblogs #writingtips #WritingANovel

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A very quick tip here for writers struggling with dialogue.

One of the issues that I find in a lot of the manuscripts I edit is that the dialogue can seem forced and contrived. Realistic, believable and authentic dialogue is a must for a good novel, and authors need to make sure they get it right. But many new writers think they have to write ‘properly’ and they think this means eschewing contractions.

Generally, if you want to make your dialogue flow and for readers to believe in it, then you need to use contractions (there are exceptions to this, in particular types of fiction). Think about it. How many people do you know (however posh they are and however ‘properly’ they speak) who say things like this:

‘Please do not walk on the grass.’

The answer is no one. No one ever (except perhaps the queen and probably not even her) speaks like that. It sounds horrible.

So remember:

‘Don’t’ not ‘do not’
‘They’ve’ not ‘they have’
‘Should’ve’ not ‘should have’ (and definitely NOT should of)
‘I’ll’ not ‘I will’
‘Can’t’ not ‘cannot’
You get the point.

There are three things you can do to improve your dialogue:

Listen – actually listen to people talking. This has the advantage of also often being very entertaining.
Read – when you’re reading, make a note of dialogue that really works, and why it works
Speak – read your dialogue out loud. Does it sound right?
Contrived, formal, awkward dialogue is, I’m afraid, the sign of a writer still learning their craft. Get it right, and your writing will be smooth and professional and your dialogue a pleasure to read.

Writing & Editing Tips Revisited: Using Adjectives and Adverbs #WritingTips #WritingANovel #wwwblogs

 

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The use of adverbs and adjectives is an issue for many writers. Many overuse them in the hope of making their writing seem more interesting, more descriptive. And while I’m not at all advocating that you cut all adverbs and adjectives out of your writing, what I have seen over and over again in the work that I edit, is that both are often added for no discernible reason. This is often, it seems to me, because a writer is trying really hard to set a scene, to draw a reader in. They can see the scene, the characters in their head and they want to convey everything that’s there. And they want to show that they can write, that they have a wide vocabulary. But unfortunately, these adverbs and adjectives often add nothing to the scenes in which they appear.

So how do you know what adjectives and adverbs to cut?

Let’s look at adverbs first.

Adverbs modify verbs. If you’re using an adverb to modify a verb, ask yourself why you need to. Is the verb not doing its job? If the verb alone can’t tell your reader how someone or something is doing something, then is it the right one to use?

For example:

John walked quickly down the street.

man walking quickly

You want your reader to know how John walked, so if he’s walking quickly, then say so – right? Well, no.

John hurried down the street.

One word instead of two – tells us exactly how John is moving.

How about:

She totally, completely accepted that her work needed editing.

Neither of those two adverbs is needed. Just say:

She accepted that her work needed editing.

(Actually get rid of ‘that’ too!)

There are also adverbs that are totally redundant – like ‘totally’ in this sentence!

The fire alarm rang loudly.

How else would it ring? It wouldn’t be much use as a fire alarm if it rang quietly.

 

fire alarm

A well-placed, strong and evocative adjective can add great detail to a word, phrase or scene. However, too often they come across as contrived and unnecessary.

The beautiful, bubbling river sparkled in the golden sunlight, its silvery ripples reflecting the brilliant, blazing rays that played on the shivering surface.

Too much, far too much. What’s wrong with:

The river sparkled in the sunlight, silvery rays playing on the shivering surface.

(Though, to be honest, that’s still too much).

And be very careful of ‘broad’ adjectives like ‘beautiful’ in the first sentence. ‘Beautiful’, ‘nice’, ‘wonderful’, etc.are broad terms – these words are subjective and mean different things to different people. They add nothing and are best avoided, except in dialogue.

Also be wary of the thesaurus. It is useful and can help you describe things in a fresh, new way. But be careful. Very careful.

joey

The use of adjectives and adverbs is a contentious issue – I’d love to know your thoughts.

Authors – why you shouldn’t ignore bad reviews #wwwblogs #bookreviews

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The one or two star review. It strikes fear into the heart of every author. There are reams of articles about how to handle bad reviews everywhere. And most of them give the same advice.

Ignore them, they say. Scroll right on past. Don’t take it to heart. All authors get bad reviews. Not everyone will like your book. Maybe the reviewer had an ulterior motive. Forget about it. Move on. Keep your head up.

Well, yes. To all of these. But also, no…

Writing is hard. I know that, I’m an author. You invest huge amounts of time and effort into your writing. It can be a pain. And it’s terrifying having your work out there, where it can be picked apart. Wouldn’t it be lovely if everyone could bear all that in mind when they write a review of your book?

But why should they? No one has forced you to put your book on Amazon. And your reader, who has spent their money and invested their time in reading your book, is entitled to their opinion. You chose to sell your book. They bought it in good faith.

Now, I’m not talking about the reviews that are silly and thoughtless and are to do with delivery times and downloading issues etc., etc. Or the sort of reviews that complain about the amount of sex or swearing in a book, something that’s down to personal taste. Or reviewers that mark you down because they don’t like the genre. Those can certainly be discounted. I’m talking about reviews that point out a fault with your book. And if lots of readers are telling you that your books are full of errors, or are too wordy, or are boring, or that they had to skip great big sections, then you need to take note. The problem is, lots of writers lump all these types of reviews together. Worse, they accuse these readers of being trolls.

On Twitter the other day, a writer was asked what he thought about the one star reviews his book had received. Oh, I ignore those, he said, they’re all trolls.

Hmm, I thought. Are they? I decided to do a bit of digging (I love a good distraction). The author’s book had a lot of one and two star reviews. Some of them were scathing. The majority pointed out that the writing was poor, full of grammatical errors and typos.

Surely all these people can’t be trolls, I thought. Why would they be? So I went to the ‘Look Inside’ feature. All these people were right. The opening pages of his books were all very poorly written and full of lazy errors.

Now, the problem with all these articles, caressing these poor authors’ egos, is that this author now feels that he doesn’t have to listen to these readers. That their opinions are worthless. So he goes blindly on, ignoring the issues with his writing, deluding himself and churning out more dreadful books.

And this is a problem with a lot of authors and it’s one that does other indie writers no favours. There is a tendency among authors to be very precious about their work. They think because they’ve worked hard and because they’ve sweated over a book then that means it should be above criticism. They seem to think that because they’ve poured their hearts and souls into something then no one must be mean. Well, I’m sorry, but that’s rubbish.

Why do we writers think we’re above criticism? That it’s OK for us to put something that’s poorly written or badly edited out there, expect people to pay for it, spend their precious time reading it, and then not expect to be taken to task if it’s not up to scratch? If you went to a restaurant and bought a meal and it was crap would you think, oh well, but the chef spent time on it, I should be nice? No, you wouldn’t. You’d complain. You’d be entitled to. And if you’ve put a book out there, then the reader that buys it is entitled to complain if it isn’t up to scratch too.

And while there are a few horrible people out there who are just nasty for the sake of it, I doubt very much that every single person who’s ever given a bad review falls into this category. Most are just fed up and disappointed because they bought a book, with their own money, and it wasn’t that good.

I also know of book reviewers who have dared to criticise books and who have been met with insults and worse. One has even given up reviewing books because the stress of it has made her ill. She’s been so badly treated by authors that her health has suffered. That’s just not on.

Indie authors say they want to be treated with respect. They say they want to be recognised. But then some expect special treatment. The world doesn’t work like that.

So look at those one star reviews. It’s painful, I know. But there might be something in there that really helps your writing.

Be brave. We only learn through our mistakes after all, and if you never face those mistakes and correct them, then you’ll never grow as an author.

And just to lighten the mood, here’s my favourite one star review, for the movie ‘The Wolf of Wall Street’:

wolf street

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EXPOSITION – THE GOOD, THE BAD AND THE BORING #wwwblogs #amwriting #writingtips

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A client asked me a question about exposition the other day, and I rummaged through my old blog posts and found this post about the subject. Many books I read have issues with exposition, so I thought it was worth re-posting this.

Despite the fact that I quite often highlight great tracts of text and write ‘EXPOSITION’ over them in bold, (actually I’m much more polite than that about it) exposition is, in fact, extremely important. Indeed, exposition is part of every narrative; without it your reader would have no idea what was going on, where anything was, or who the characters were. Used wisely, used well and given the appropriate mode in which to inform, then it does have a valid part to play in a narrative. You can probably have no better example than the bard himself. The opening scene of Shakespeare’s Othello tells us a lot about Iago and Roderigo, their relationship and their status. And all in a few lines of dialogue.

ACT I
SCENE I. Venice. A street.
Enter RODERIGO and IAGO

RODERIGO: 

Tush! never tell me; I take it much unkindly

That thou, Iago, who hast had my purse

As if the strings were thine, shouldst know of this.

IAGO:

‘Sblood, but you will not hear me:

If ever I did dream of such a matter, Abhor me.

Without wanting to make this a lesson in literature and language, the opening lines tell us that Roderigo is socially superior to Iago; he says, ‘Tush!’ in other words, ‘Shut up.’ He must be Iago’s superior to speak to him like this. So, with one word, the audience is put in the picture.

Shakespeare knew that ‘showing’ the audience information about his characters and the setting, through actions and speech was far more entertaining and engaging than simply ‘telling’ them that information. And ‘telling’ is the form of exposition that we have all been guilty of using (yes, all of us, without exception, and if you think you haven’t done it then you don’t know what it is). But we do need to let our reader in on things, so how do we go about it without ‘telling’?

Let’s take a simple example. Your protagonist, Bill, is tetchy because he didn’t get much sleep. First of all ask yourself the question ‘Does it matter? Does my reader need to know this?’ If the answer is yes, then you could say this:

Bill was tetchy this morning as he hadn’t had enough sleep.

Now, that’s really boring. And if you do this all the time then it’s really, really, really boring. So how can you give your reader this information without ‘telling’ them?

Use dialogue, and use action. These two things can help enormously and will bring interest, movement and life to your writing:

‘For god’s sake, woman, why is this coffee cold?’
The mug followed its contents into the sink, the clatter drowning out the cheery tones of the radio DJ.
Emily lowered the newspaper.
‘You could always make it yourself. That would be a refreshing change. Anyway, why are you so grumpy?’
Bill sat down opposite his wife and placed his head in his hands.
‘Did you not hear it?’
‘Hear what?’
‘That bloody noise from next door. All night that same scraping and bumping. Then they started screaming at each other. I didn’t get a wink of sleep.’

I know this isn’t exactly Pulitzer Prize winning stuff, but I hope it’s a bit more interesting than the first example. After all, here we have a scene, not just a sentence. And we have also learned quite a lot – Bill likes coffee, but he expects his wife to make it (is he a sexist pig perhaps? Is there conflict in the marriage? Resentment? An impending divorce?). We also know that there are some pretty strange people living next door, who are up to all sorts of things in the night. And, of course, we also know that Bill is grumpy because he didn’t get much sleep.

Exposition through dialogue can be very effective then, but do be careful. You need your dialogue to be realistic. Don’t use it as a way of dumping information. And make sure your characters never tell each other things they already know. For example,

Bill adjusted his tie in the mirror. Emily smiled and straightened it, patting him on the shoulder.
‘Don’t look so nervous. You’ll be fine.’
‘I know, but I have to make this work. I really need this job. If I don’t get it I don’t know what I’ll do. The mortgage is due next week and we’re already three months behind. They’ll be looking to repossess if we don’t pay up.’
Emily nodded.
‘I know. Then there’s the money we owe your mum. It was nice of her to pay Tarquin’s school fees for the last two months, after all, they were about to kick him out. But we can’t keep relying on her. Not now she’s got all those medical bills to pay. How awful that she should break her hip falling down the stairs on her birthday.’

Now I know this is an extreme example, but lots of writers do this. Bill doesn’t need to tell Emily how far behind their mortgage payments are – she knows. And Bill knows his mother paid Tarquin’s school fees, and everything else Emily tells him. If your reader needs to know this information, find different ways to show it – have a letter arrive from the bank just as Bill leaves for his interview, or have Emily visit her mother-in-law in hospital and be told that there is no more financial help.

And remember, as with most things in writing, and indeed in life unfortunately, less is more. Don’t bog down your narrative and bore your reader with unnecessary detail. Show them what they need to know and let them put the pieces together.

Do you have any examples of exposition – good or bad – that will help other writers? Do share them here.

Dialogue Tags – Again #wwwblogs #writingtips #amwriting

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This is a subject I’ve written about several times in the past, but it is an issue I keep coming back to, time and time again.

I’m a huge fan of self-publishing and of independent authors. I’ve read some absolutely amazing books by indie authors and have worked with some amazing authors that have self-published. There are so many great indie authors out there and many that are as good as, if not better than, traditionally published authors.

However, one thing that sets apart the majority of (but by no means all) traditionally published authors from some self-published authors and authors published by small presses is the proliferation of complicated dialogue tags in the work of the latter two. Now, I’m not saying it’s all indie authors that do this, but there is a lot of it about, and it’s usually a sign of an author who hasn’t had their work professionally edited or critiqued.

Dialogue tags are those words used instead of ‘said’ and ‘asked’; words like ‘exclaimed’ and ‘sighed’ and ‘insisted’ and, horror of horrors, ‘interjected’. Many authors that I advise not to use these complicated tags will argue that using them is the sign of a good writer, that they’re showing off their writing skills.

But they’re not.

Because the point of a dialogue tag is to signify who has spoken. That’s it. Nothing else. It shouldn’t indicate how something was said. It shouldn’t indicate the tone or the volume of the words. It should simply show only who is speaking.

Why? Well, lots of reasons. (If you are a client and you have read all this before then I do apologise.) Readers are so used to seeing ‘said’ and ‘asked’ that they skim over those words, noting quickly who is ‘saying’ or ‘asking’ and getting on with the important things. The flow of the writing isn’t interrupted, the reader reads on smoothly and happily. If a dialogue tag suddenly crops up, like ‘chuckled’ or ‘screamed’, the reader is forced to pause, to think about the tag. The flow is interrupted, and for no purpose. The reader is also suddenly reminded that they’re reading a book. They’re not actually in an eighteenth century English prison, or on a spaceship circling Mars, or on a beach in Sydney. They’re suddenly pulled out of that world and back into reality. “Look at me,” the dialogue tag says, “the author looked me up in a thesaurus because they wanted to sound interesting. Also, they didn’t have enough confidence in their own writing to know that the character’s words, actions, situation and emotions are sufficient to show that the character was shouting, or that you, the reader, were clever enough to work that out yourself.”

Think about it. If a character is speaking, and their words are cut across by another character, that shows that the second character has interrupted; you don’t need to tell your reader that they have done so. If your character is telling another character a story about their past, it is obvious that they are reminiscing, or remembering. You don’t need a dialogue tag to hammer the point home.

It’s also worth bearing in mind that most dialogue tags don’t really make sense. Take ‘chuckled’ for example. No one really chuckles a word. They might say a word and then chuckle, but you can’t do the two things at once.  Dialogue cannot be laughed, smiled, giggled, nodded or screamed. Dialogue tags only serve to draw people out of the story, to distract.

Remember, writing should appear effortless (although it is far from it) and a dialogue tag that stands out reveals the author, reveals that the world has been crafted. To paraphrase Stephen King – you have told your story well enough to believe that when you use ‘said’ or ‘asked’ your reader will know how it was said or asked.

So shut that thesaurus please, and have a little more faith in yourself, in your words and in your reader.

Writing ‘rules’ and why we have them #amwriting

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When editing manuscripts for clients, I honestly don’t sit there with a big list of rules next to me, making sure that the author has stuck religiously to a set of pre-ordained laws that are non-negotiable and that are designed to crush spontaneity or creativity.

Why am I making this assertion?

Well, because some writers seem to think that this is what I do. They rail against these so–called rules that are preventing their genius from shining through. Why do I have to stick to conventions, they ask? Why can’t I do what I want?

Well, because the ‘rules’ aren’t there to suffocate creativity. They aren’t there to restrict or restrain.They bring clarity to a writer’s work. They aren’t a list of things a group of people out there somewhere have come up with out of thin air.

They fall into two groups.

One group aren’t up for discussion. Sorry, but grammar rules and the rules of punctuation are non-negotiable. You want your reader to be able to understand your book, don’t you? You are writing for a reader, aren’t you? In that case, you need to adhere to grammatical rules. These are not stylistic choices. And yes, there are certainly amazing writers out there who have written wonderful books that don’t follow these grammatical rules, writers like Hubert Selby Jr. But that is a whole different set of circumstances.

The other ‘rules’ don’t have to be obeyed. But they are there to help make your writing shine. For example, one thing I’m always saying to writers is that they need to avoid using complicated dialogue tags. You can pepper your manuscript with ‘interjected’ and ‘explained’ and ‘sighed’ if you really want. You can use every single alternative to ‘said’ and ‘asked’ if you want. But you’ll look like an amateur who doesn’t know what they’re doing, or people will think you’ve swallowed a thesaurus. That or you’re Joey from Friends.

joey

I’m really not being mean here, honestly. When I studied text after text after text after text for my degree and my masters, we analysed what worked and what didn’t. These ‘rules’ work. They’ve worked for successful writers over the years and if that’s what you want to be then you need to use them. They are conventions because they work.

So back to my original point. Despite all this, I don’t have a great big list of rules (OK, I do have Elmore Leonard’s ten rules in my desk drawer as guidance if I need it, but that’s usually for my own writing). But if the writing is flowing, if it is working, if it is concise and the meaning is clear, the characters have depth, the dialogue is realistic, then these rules are being followed, whether consciously or otherwise. If something brings me up short, or something jars, or is boring, or long-winded or dull or the dialogue is unauthentic, or if something happens that reminds me I’m reading a book, then one of the ‘rules’ has usually been broken.

So here are Elmore Leonard’s ten rules of writing. He made them rules because they work.

Never open a book with weather.
Avoid prologues.
Never use a verb other than “said” to carry dialogue.
Never use an adverb to modify the verb “said”…he admonished gravely.
Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.
Never use the words “suddenly” or “all hell broke loose.”
Use regional dialect, patois, sparingly.
Avoid detailed descriptions of characters.
Don’t go into great detail describing places and things.
Try to leave out the part that readers tend to skip.

My most important rule is one that sums up the 10.

If it sounds like writing, I rewrite it.

 


 

The Joy of Taking it Slow! Or why I’ll never do NaNoWriMo #AmWriting #WWWBlogs

nano-buzz-and-woody

Every November, Twitter, Facebook and blogs are full of tales from the front line of NaNoWriMo – or National Novel Writing Month. The aim is to write 50,000 words during November and it does seem to galvanize writers everywhere into action.

But while I agree that it is good to sometimes have deadlines and targets, the thought of NaNoWriMo makes me shudder. Can it be good to put so much pressure on yourself?

Writers are terribly insecure beings on the whole. And we’re also our own worst critics. We set ourselves up, a lot of the time, for failure by putting unnecessary pressure on ourselves when we don’t really need to. And I can’t help feeling that for me, and possibly for a lot of other writers, NaNoWriMo could pile on that pressure and add to writers’ guilt.

You know what that is – berating yourself because you haven’t met an artificially imposed target; stressing out because you didn’t manage to write enough this week, or today, or in the last half hour; feeling terrible because you spent half an hour reading the comments on a Guardian article instead of writing (I just can’t help torturing myself at the moment). We all do it. We all think everyone else is writing for three hours before breakfast and then doing a full day’s work (I’m talking here about those of us who have other paid work in addition to our writing). We all secretly suspect that everyone else is up until the small hours, pounding away at the laptop while we, lazy losers that we are, are terrible enough to sleep.

We’ve all read those articles in the back pages of writing magazines – ‘My Writing Day’ or ‘My Bloody Perfect Life’. You know the ones. ‘I get up at seven and drink lemon juice and water. Then I write for three hours solid before taking the dogs for a long, refreshing walk in the acres of woodland just outside my cottage, before coming home to a healthy salad for lunch and an afternoon of editing.’

I don’t know about you, but my reality consists of squeezing in some writing amongst the paid work, and sorting out the kids and the dogs and the house and the cooking and the shopping and the hundred other things that have to take priority. Sometimes it’s genuinely impossible to write. That often makes me feel really bad. I don’t need NaNoWriMo to make me feel worse.

And you know, there’s nothing wrong with taking your time over your writing. Sometimes the reasons we don’t write are genuine reasons and not excuses. If you have family or a mortgage to pay or an elderly relative dependant on you, or the washing machine packs up, or the dog needs taking to the vet, then writing, rightly, takes a back seat. And you shouldn’t beat yourself up about that.

And there’s also more to writing than the actual writing. Sometimes you need time to think about your work. This can be just as important as getting the words down themselves. Sometimes you need some time away to sort out your ideas or to work through a tricky plot point. Deadlines that really don’t matter aren’t going to help with that.

I’ve worked as an editor with a lot of authors who get themselves in a pickle because they have become obsessed with a self-imposed deadline that they just have to meet. Their work suffers. I know the idea of NaNoWriMo is to get your writing going, and I know that for some writers it might well help. But, knowing as many writers as I do, and knowing how they punish themselves when they miss deadlines or aren’t as productive as they feel they should be, then I personally think that NaNoWriMo isn’t helpful.

Modern life is horribly stressful. It’s busy and demanding. Shouldn’t your writing be the opposite of that? When I have a whole afternoon free to write, with no pressure, no stress, no word count in mind, it feels wonderful. I don’t want to turn that into a chore, another task to tick off a list. And I don’t want to feel like a failure if I don’t write enough. So if it works for you, then go for it. But I won’t be joining in.

 

Improving the reputation of indies #wwwblogs #self-publishing #indieauthors

enoch press self-publishing about us page

I was rather overwhelmed by the reaction to last week’s post regarding self-publishing and the snobbery that some have towards it. You can read the post here. The many comments made showed that, despite many stories of self-publishing success, some writers are still treated as if what they do isn’t ‘proper’ writing. Self-publishing obviously hasn’t shrugged off its reputation for poor writing and editing. Which is a shame, because there are some fabulous self-published books out there.

However, while I support self-published authors and do encourage readers everywhere not to have pre-conceived ideas, I will concede that there are self-published books out there that aren’t up to standard – as well as poorly written and poorly edited traditional and independently published books. The difference seems to be that if you are published by a publisher, however great or however bad, there is still kudos attached to that, whereas indie writers still have to fight for respect.

So what can indie writers do to improve the reputation of independent publishing?

Master your craft

Yes, you need an imagination. Yes, you need to have stories to tell. But you need to learn how to convey those stories to your audience. How can you do this?

  • Read – and read lots and lots and lots. Reading other people’s writing is a key way to improve your own writing.
  • Get advice – you need to be brave and show your work to other people. And not just friends and family. You need people who will be honest with you. Look on sites such as Goodreads for beta readers or join a writing group.
  • Redraft, redraft, redraft – your first draft won’t be good enough, however good a writer you are. Don’t just write a book and then upload it onto Amazon. That’s the sort of writing that gives indies a bad name. Write that first draft, put it away for a little while and then go back with fresh eyes. Then do it again. And again. Writing is a slow process. It is a craft.

Get the professionals in

OK, I’m an editor. So of course I’m going to tell you to hire an editor. But this honestly isn’t a sales pitch. You need someone who knows what they’re doing to look at your work. A good editor shouldn’t be afraid to be honest with you. They won’t be wearing rose-tinted glasses. They should tell you how to improve your work. And it’s no good trusting this job to your wife who likes reading, or your neighbour who did an English degree twenty years ago.

Once the editing is done, get a proofreader. And again, not your wife or colleague or neighbour.

Consider paying for a decent cover design. It is possible to do this yourself, and some readers will overlook amateur-looking covers, but I think a good, professional cover is crucial. Shop around, get lots of quotes and make sure you’re happy with what you get.

Be professional

If you’re taking your writing seriously, then you need to behave seriously and professionally. Don’t put down other writers. Be supportive and helpful and you’ll get support and help back in spades. Don’t get involved in bitchy arguments online. Don’t become part of cliques. Behave as you would in any other career.

Self-publishing doesn’t deserve the reputation it has. If you’re a reader who doesn’t think that indie writers are ‘proper’ writers, then I urge you to take a look at some of the reviews posted through Rosie’s Book Review Team – look out on Twitter for #RBRT. Many of these books are self-published and they are definitely worth reading. And if you are a writer, then treat your own writing with respect. Put out your best work, and only your best work, and help to give indie authors the kudos they deserve.

self-publishing

The Writers’ Workshop