Write A Novel A Complete Teach Yourself Course
Write A Novel A Complete Teach Yourself Course
Write A Novel A Complete Teach Yourself Course
Will Buckingham
For my students
Acknowledgements
Most, if not all, of what I know about writing novels comes from other people. It
comes from friends and fellow novelists with whom I have discussed the intricacies of
the craft in which we are engaged. It comes from the students I have taught over the
years. And it comes from reading the novels over which other writers have laboured.
The list of those I have learned from could go on almost for ever, so here I will
restrict myself to a few people with whom I have had the good fortune to work
closely. I am grateful, firstly, to Jonathan Taylor, Simon Perril, Maria Taylor, Kate
Pullinger and Kathleen Bell, my fellow writers and colleagues while at De Montfort
University. I am also very grateful to my agent, Marilyn Malin, who has been tireless
both as a supporter and as an astute critic of my work.
When I first decided to become a writer, my parents were anxious that I was
embarking upon such a precarious course. They have eventually come to terms with
my wilful commitment to a life of financial insecurity, and I am grateful for their
support over the years. Elee Kirk has been a consistently steady, kind and reliable
companion every step of the way. There is not a page of this book that is not in some
way influenced by our endless rambling conversations about life and literature.
I would not have got mixed up in writing this book were it not for my friend, the
childrens writer and scholar Clmentine Beauvais. I would also like to thank
everyone at Hodder & Stoughton for their enthusiasm for the project. Finally, I cannot
say how much I have appreciated Yesim, a Turkish caf in Leicester a haven for
thought, friendship and excellent coffee.
Contents
About the author
How to use this book
work their way through the book systematically, while others will want to read
particular chapters at particular times. Writing is never a straightforward linear
process: often writers continually spiral between drafting, redrafting, editing and
research, so you may find that moving through the book less systematically is more
useful. This book is designed to be read in both ways. Each chapter is relatively selfcontained, but the course as a whole can be followed from the first chapter, before you
even put pen to paper, to the last, when your novel is eventually out there in the world.
Along the way, there are various practical exercises that may be useful to you. Do not
feel under any compulsion to complete every exercise. If anything strikes you as not
appropriate to your own situation, then skip it. There is no exam to sit when you come
to the end of the book. Ultimately, what matters is the novel itself.
A big job
One of the things I say again and again in this book is that writing a novel is a big job.
You cannot write a novel in a day. It is a task that requires a wide range of different
ways of working, and a variety of often complex skills. This book aims to break down
the process into smaller, more manageable chunks. However, this book is not just
focused on the question of getting the job done. It is not just about the writing, but it is
also about you, the writer. So a fair amount of the book explores not only how you can
make your book as good as it can possibly be, but how you can navigate all kinds of
practical issues, from finding time to write, to managing money, to dealing with
contracts and agents, to keeping more or less sane (if that is what you want) while you
get your novel written and launched into the world.
but also how to deal with questions about finance, money and how to continue your
writing into your second novel and beyond.
Each part of the book has an introductory chapter, followed by a series of chapters
exploring these issues in more depth. Each of these in-depth explorations concludes
with a practical workshop that offers a sustained way of looking at some of the
questions, issues and technical challenges that have been raised in that chapter. Some
of these workshops may be focused on the act of writing. Some may be about editing
and redrafting. Some may involve other practical tasks. But all of them aim to get you
somewhere when it comes to writing your novel.
The idea of a writers workshop often brings to mind the image of a group of writers
industriously working away together. This book can be used as a course book and, if
you have friends who write as well, you can team up and work through the book
together. But this book can equally well be used by individuals.
In addition to the workshop tasks, smaller tasks are scattered throughout the book.
These are divided into three loose categories:
Snapshot: other tasks that involve reading, thinking, research and investigation.
provide down-to-earth and practical advice at every stage, from generating ideas to
promoting your work post-publication
set out some of the common issues and pitfalls you may face
offer help and encouragement
provide suggestions for how to solve problems in your work
demystify the process of writing
demonstrate that given the right approach and commitment writing a novel is a
perfectly attainable goal.
Advice on advice
There is a lot of advice in this book, and I have done my best to make it as practical
and useful as possible. However, I dont expect you to agree with all the suggestions I
make here. No two novelists will agree on everything, and all will have different
ways of working, opinions and ideas; so working out your own approach is crucial to
becoming a novelist in your own right. But I do hope that you have fun disagreeing
with those things that don't strike you as right, and that in thinking through these issues
whether you agree or disagree you come to more deeply understand the process of
writing, and to develop your skills further.
Where to next?
Part one of this book, Getting started, looks at what novels are, and asks
whether you have what it takes to write one. The first part also explores the
relationship between reading and writing. The next chapter begins with the
question Why write a novel?
PART ONE
Getting started
1
Introduction: why write a novel?
One day, the idea occurs to you that you should or could write a novel. You may not
be clear where the idea has come from, but after the idea has gone round and round
your mind for a while, at last you decide that you have to do something about it.
Perhaps you already have a story that you simply have to tell; or perhaps you want to
write a novel, but are casting around for some subject-matter. Either way, eventually
you get hold of a book such as this one, in the hope that it might help you bring this
curious idea to fruition.
This book aims to help you on the long journey that is ahead. Think of it as something
like a travel guide, a companion that does not tell you exactly which paths to take, but
which offers pointers, advice and assistance along the way, whatever kind of novel it
is that you want to write.
Before setting out on a journey, it can pay to have some sense of the territory that you
are going to cross, and also of the destination in which you are heading. This first
chapter aims to do just this, by asking what a novel actually is, and why you might
want to write one at all.
What is a novel?
Bruce Chatwin
Everyone says: Are you writing a novel? No, Im writing a story and I do
rather insist that things must be called stories. That seems to me to be what they
are. I dont quite know the meaning of the word novel.
Human beings are storytelling animals. Almost as long as people have been able to
write, they have harnessed the power of writing to communicate stories to others.
Throughout prehistory, before the arrival of writing on the scene, our ancestors told
stories face to face; but the invention of writing allowed stories to be carried to distant
times and distant places. Written stories can travel a long way: almost four thousand
years after it was first written, we can still read The Epic of Gilgamesh, an ancient
Sumerian tale of the unlikely friendship between King Gilgamesh and the wild man
Enkidu.
Scholars often debate the questions of how we might define what novels are, and
where they come from. Some claim that the first real novel is Samuel Richardsons
Pamela: or, Virtue Rewarded, published in England back in 1740. Others trace the
history of novels back to Miguel de Cervantess great Spanish book, Don Quixote, the
first volume of which was published in 1605. Still others say that the first novel was
Murasaki Shikibus The Tale of Genji, which dates to eleventh-century Japan. Literary
scholars like debating definitions; but, as novelists, we dont have to worry too much
about these debates. The following simple definition will be good enough for our
purposes.
Key idea
A novel is an extended, fictional story that is written down so that it can be communicated to people the author
might never meet.
And so, if human beings are storytelling animals, and novels are simply ways of
harnessing this obsession with storytelling in written form, then given that you too
are a storytelling animal it is not at all surprising if you want to sit down one day
and weave tales of your own.
Key idea
Genre is a way of categorizing books in terms of their content, style, form and anticipated audience. Subgenre is
Genres are broad categories that readers understand. In this sense, the division of
books by genre can be seen as a marketing tool that aims to place the right stories in
the hands of the right readers. But, from another point of view, genres are broad
traditions of storytelling, each with their own conventions.
Focus point
The following are some common genres in contemporary fiction:
Historical fiction
Science fiction
Fantasy
Erotica
Horror
Thriller
Literary fiction
Crime fiction
Romantic fiction.
Sometimes people distinguish between literary fiction and genre fiction, but I find it
more useful to think of literary fiction as itself a particular set of genres. Genre is not
a term of abuse: it is just a recognition that within the ecosystem of literature there are
different kinds of stories that people tell, and that certain groups of stories have
stronger family resemblances than others.
Ursula K. Le Guin
Genres exist, forms and types and kinds of fiction exist and need to be
understood: but no genre is inherently, categorically superior or inferior.
If you find it hard to place your novel in any known genre, then dont worry too much
about this for the time being: you may not know what you have on your hands until you
are further into the project (or even until the novel is finished); but be aware that thirdparty publishers will be a little more wary of accepting a novel if they do not know
where it is going to sit on the shelves.
Key idea
A novel is what you can get away with calling a novel.
Getting away with it may be relatively easy if your book fits in a very established
genre. If your novel is strangely shaped, if it straddles genres or confounds
expectations, then you may have a bigger job on your hands when it comes to
persuading people that this is a novel. But it can be done, if the book is good enough,
Focus point
There is no direct correlation between the commercial potential of a novel and its quality.
When you are starting out on your project, alongside having a sense of the genre in
which you are working, it can be useful to have a realistic sense of the possible
commercial scope of your novel. Think of the world of fiction as being like an
ecosystem, and think of bestsellers (or bestselling novelists) as the big beasts who
stalk through the jungle: the charismatic megafauna of the literary world. No
ecosystem is made up only of charismatic megafauna. Nestling under leaves, in the
holes of trees, or hidden high in the canopy, are all kinds of strange and wonderful
creatures less flashy than the pumas and boa constrictors, less ostentatious, but equally
well suited to their particular ecological niches. When I read, I sometimes like to
admire the big beasts, the Margaret Atwoods and Ursula Le Guins. But sometimes I
like to crawl through the undergrowth and find equally fascinating, but more
overlooked, niches of the literary ecosystem. As a writer, you may find yourself
becoming a big beast, or you may find a smaller niche to occupy. Neither is nobler
than the other. The world of books needs this varied and rich ecosystem; and it needs
you to add to this richness.
Demystifying novels
The most important thing when starting out is to strip away some of mystique
an understanding of how various kinds of novels work from the point of view of
their craft
an appreciation of genre
skill and finesse in storytelling
an understanding of the publishing world and how it works
a good sense of the ever-changing ecosystem of literary world.
In the next chapter, we will look at all of this more closely to ask the question: Have I
got what it takes?
Where to next?
Having explored the question of what novels are, we can move on to ask about the
things that you need to write your novel. Chapter 2 is about novel writing as a
learned skill. It is also about knotty questions such as luck, talent and money.
2
Have I got what it takes?
This chapter explores the question: Have I got what it takes? At the beginning of any
journey, it is natural to be beset by doubts and apprehensions. If you are in the early
stages of writing your first novel, you may not have told anybody about your literary
ambitions. When I started writing my first novel, I didnt know any novelists, nor did I
have much idea of what writing a novel entailed. And because I didnt really have a
clear idea of what it takes to write a novel, I felt uneasy about broadcasting what I
was up to.
This chapter aims to put some of these doubts to rest, and to explore what is
necessary, and what is unnecessary, for you to be a novelist.
Key idea
The ability to write novels draws upon a range of learned (and learnable) skills.
For this exercise, write down the names of three novelists that you admire. Now do some research either in books or
online (try, for example, interviews on blogs and media sites) to see whether you can find out how they learned to
write novels. Having a sense of the different ways in which writers learned their craft can help give you a sense of
how you yourself might better learn the skills required.
Of course, people are different. There are many reasons why I write the kind of novels
that I write, why you write the kinds of novels that you write, and why these are not the
same kinds of novels. To say that the skills needed to write novels are learned is not
to say that there is only one way of learning them: books such as this are not essential
(even if I hope that this one is useful); but all writers learn their craft in one way or
another, however they learn.
READING
It is fairly obvious that reading is the one thing that you cannot skimp on if you care
about writing well. You may choose to read alongside others, through book groups or
literature study courses, or under your own steam, but reading is essential. The next
chapter on reading explores this in more depth.
Robert Gottlieb
The editors relationship to a book should be an invisible one Nobody should
know what I told Joe Heller and how grateful he is, if he is. Its unkind to the
reader and just out of place.
Even if writing can be a solitary activity, publishing isnt: it often involves a large
number of people who have input into the book, all of whom are sticking their oar in
and giving advice. If you are a writer, you can learn a lot from all this advice.
novel you are writing its best possible shot. But not all novels make it off the runway
and you dont really know whether something is going to work as a novel until you try
it.
STUDY
Finally, you can learn how to write novels through creative writing courses, or selfstudy books such as this one. These cannot give you a formula for writing a novel, but
they can help you avoid some of the pitfalls, give you a leg-up, encourage you to try
things you would not otherwise think of trying, and save you quite a lot of time. Ignore
the people who say you cant learn to write better. The evidence is against them. Just
like any other art or craft painting, design, architecture, dance, computer
programming or music there is much that can be learned through serious study.
Key idea
All novelists learn their craft. They do it through a combination of study, trial and error, reading and advice from
others, or by taking insights and skills developed elsewhere and applying these to the writing of novels.
But, you may say, what about natural talent? Arent there people who have some kind
of inborn talent? Well, perhaps. And doesnt luck also play a part? Again, perhaps.
Broadly speaking, I would agree that to write a good novel, alongside the willingness
to put in the hours, days, months and years that it takes to hone your craft, you also
need a range of talents and a smidgeon of good luck. But too much fretting over natural
endowment and luck is not really going to get you anywhere.
You will notice that some novelists are drop-dead-gorgeous and some less so.
You will notice that novelists come in all shapes and sizes.
You will notice that a novelist, when it comes down to it, can look like anyone at all.
Now go and have a long, hard look at yourself in the mirror until you can see that you, too, look like a novelist.
It can be easy to think that people like me dont become novelists, to imagine that
novelists are a particular breed. But a novelist can look like anyone at all. Even,
strange as it may seem, you
TALENT
Writing novels involves a wide range of skills; and given that novels are often very
different from one another, writing different kinds of novels requires different kinds of
skills. There is no single talent that can be summed up as a talent for novel-writing.
Novel-writing is not a hardwired biological ability.
It makes much more sense to forget about this mystical idea of a single novel-writing
talent and to think instead about talents in the plural, about your own dispositions
and singular interests, and how they can be channelled into writing the best book
possible.
Beryl Bainbridge
I am of the firm belief that everybody could write books and I never understand
why they dont. After all, everyone speaks.
The reason why not everybody writes books, of course, is that they dont want to.
Wanting to is half the battle. Its hard work writing a novel; but many of the skills and
talents that are put to work in carrying out this hard work are ordinary and everyday.
Focus point
Worrying about talent gets things back to front: we find out what our skills, abilities and talents are by committing
ourselves to doing things, by seeing what we do well, and by developing the various capacities that we have in the
directions that seem most fruitful.
It is not your job as a writer to worry about some abstract notion of talent. Your job is to write, and through the
effort that you put into your writing, to write better.
LUCK
Emily Dickinson
Luck is not chance
Its Toil
Fortunes expensive smile
Is earned.
Any honest novelist will tell you that luck plays a big part in writing, as in everything
else. But, as Emily Dickinson points out, luck is also something earned. In his
wonderful book, Chase, Chance and Creativity: The Lucky Art of Novelty, the
neurologist and author James H. Austin divides luck or chance into four categories.
The categories go like this:
1 blind luck things just happen
2 the luck that comes from being in motion (as Austin writes, the posture of
creativity is forward-leaning)
3 the luck that comes from having a prepared mind
4 the luck that comes from your own distinctive personal flavour, from the fact that
MONEY
published novelist. But if you dont have money and connections, then you will have to
think about how to keep food on the table, and how to cultivate connections yourself.
Life will be harder. If you lack these shortcuts to success, then you will need as
Edith Wharton so acutely points out to think more about money, not less.
The truth is that most novelists I know are not in the privileged position of having
access to great piles of wealth, or being fabulously well connected. So take heart: you
can do it without all of this stuff. But it would be dishonest not to mention the role that
money and privilege can play in helping some novelists on with their careers. For
those who dont enjoy the luxury of not having to think about money, later on in this
book well return to practical questions about finding time to write, budgeting and
managing finances.
Qualifications
Another thing that might bother you as a would-be novelist is the question: Am I
qualified enough?
The simple answer is yes, you are. There is no required qualification for writing a
novel. You do not need to have passed a single exam in your life. You do not need
certificates. You do not need accolades, badges pinned to your lapel, or letters after
your name. There is thank goodness no such thing as an accredited novelist. You
do not need a literature degree, or any other kind of degree. You do not need to have
completed a course in creative writing. All you need is to write a novel that is good
enough to publish.
Of course, qualifications may help. If, in gaining those qualifications, you have also
managed to hone your craft as a novelist, then they may be useful. A qualification as a
barrister might be quite useful if you want to write courtroom dramas; a qualification
as a welder might be useful if you want to write a novel about shipbuilding. If
accumulating qualifications has also helped you to accumulate experience, then this
experience may help you with writing your novel. But the qualifications themselves do
not matter. You may be proud of them, and perhaps justifiably so; but in deciding to
write a novel, you are entering a world where they are entirely beside the point.
Conversely, if you dont have any qualifications, remember that your lack of
qualifications doesnt matter. Do not hold back because you feel unqualified. It might
well be that, while other people were sitting in drab grey rooms, getting
qualifications, you were out there in the world, enriching your stores of experience,
gathering up stories and ideas and dreams.
Key idea
What matters most, when coming to writing novels, is not the accumulation of qualifications, but the accumulation of
experience.
that can be accomplished in a short while. You will need to have a degree of patience
if you are going to get to the end of your novel.
Key idea
Writing a novel will take a big investment of your time. You will need to think in terms of being in it for the long haul.
How long does it take to write a novel? The novelist John Boyne wrote the first draft
of his bestselling The Boy in the Striped Pyjamas in two and a half days. This is
probably about the minimum time it might take to get a draft of a (slim!) novel written.
And of course, you may have heard of, or participated in, National Novel Writing
Month, more popularly known as NaNoWriMo, for which participants write an entire
novel draft (or 50,000 words of a novel draft) within a single month.
Focus point
NaNoWriMo (National Novel Writing Month) was started in 1999 by writer Chris Baty. It takes place every
November, and it is free to take part (see www.nanowrimo.org).
Some complain that this is an unpromising way to go about writing a novel, but it has
had some notable successes. Erin Morgensterns bestselling The Night Circus started
life as a NaNoWriMo novel. One of the virtues of NaNoWriMo is that it helps writers
break with the fear of writing all those words. Before I started my first novel, writing
a book of 70,000 words or more seemed like a huge mountain to scale. NaNoWriMo
can help people get over this fear of the mountain slopes.
There are earlier examples of novels drafted in a very short time. Famously, Jack
Kerouac wrote his On the Road in three weeks in 1951, while fuelled up on coffee
and Benzedrine. I dont recommend this as a combination, although it seems to have
worked for Kerouac in the short term, if not in the long term.
In all these stories of novels drafted in breathtakingly short amounts of time, what is
often omitted is the fact that both before this intensive drafting and after this drafting
there has usually been a huge amount of work. Kerouac had the initial idea for On the
Road in late 1947, and in writing the book he drew upon extensive archives of notes,
drafts and chapter outlines he had written over the previous few years. Again, after his
three weeks of intensive writing, the manuscript went through several years of
intensive revision until it was eventually published in 1957. Did On the Road take
three weeks to write? Or did it take ten years? The answer is, both.
So even if you do write your novel in a single month (or, like John Boyne, in two and
a half days), I would recommend thinking in terms of at least a year to edit and
refashion it before sending it out.
On the other hand, you may write slowly. You may write five hundred words a day,
every day. Dont be cowed by people who churn out thousands and thousands of
words. You may feel like a tortoise in a world of hares. But your tortoise-like sense of
methodical direction may mean that you spend far less time haring off down blind
alleys and going in wrong directions. Whichever way you look at it, the creation of a
final novel is going to take a matter of months or years, not days or weeks. And the
more quickly you can get used to this idea, the more you can settle into the process.
When you have done this, spend 20 minutes writing an account of each incident, exploring how and why it is of
significance to you. You can do this however you like. You can write the incidents as stories, poems or essays.
Dont feel that you need to write each piece in the same way. See this as play, not work.
When you are done, if you are working with another writer, take turns reading out the passages one by one and
discussing the incidents. If you are working alone, after you have finished, take a short break and read through
them. Then reflect upon how these incidents have led you to the point you are now at.
2 The author bio
The first part of this workshop should have helped you think as a writer about your past, allowing you to see how
often everyday events have led to your decision here and now to write a novel. The next task is to write what is
usually known as an author bio, short for author biography. This is the short biography that appears on books
and in marketing materials. An author bio produced for publicity purposes will be in the third person, while, if you
are sending out query letters to publishers, you will usually write a bio in the first person. Well be looking at thirdperson author bios here.
First, take ten or twelve contemporary novels from the shelves, and read out loud the biographies of the authors.
You will find these at the very beginning, or at the very end, of the books (also, occasionally, on the back cover).
Get a feel for the different styles of author bios. Some will be more extensive while some will be relatively brief.
Dont be intimidated by biographies that list great successes and arrays of literary prizes: all these writers started
out somewhere. If you can, it might be good to try this exercise with first novels (which might necessitate a trip to
the library).
When you have got a feel for the genre of author bio, ask yourself the following questions.
What kind of author bio do you want? What do you want to convey?
Now write your own author bio in the light of your answers to these questions. If you are working with another
writer, compare your work with theirs.
Where to next?
This chapter has been about your own unique set of skills, quirks and interests,
the raw material out of which your novel will be fashioned. But as a novelist you
are not working in a vacuum. When it is published, your book will be part of a
broader world of books. The next chapter is about this world, and about the art of
reading as a writer.
3
Reading
There are many reasons why people read novels: they believe, rightly or wrongly, that
novels might offer them a deeper insight into life; they want to relax and take time out;
they want to be transported to another world; they love the feeling of being swept
away by a story; they are studying a course in literature and have been told that they
need to read novels for their examinations; they have the curious conviction that
reading novels is somehow morally improving; they find that only in novels can they
indulge in their most deliciously degenerate fantasies; they believe that reading novels
in public makes them sexually irresistible; or they may have one hundred and one other
reasons.
As a novelist, you may read for all of these reasons. But there will be one more reason
why you read as well, and that is that you read to better understand the craft of writing.
You will be reading, in other words, to see how other writers have done it.
This reading for the sake of the improvement of your own work is often referred to as
reading as a writer. This phrase comes from Dorothea Brandes famous book
Becoming a Writer, which was first published in 1934. In this section, we will be
following some of Brandes recommendations, and looking at what it means to read as
a writer.
what it is made of
how it is engineered
what the designer was trying to do.
So now take a good, long look at the chair as a craftsperson might look at it. Turn it over, look underneath it, look at
it from all angles. Try to understand how the chair holds together, or how it works, as a chair.
Now write for ten minutes about the chair, from the perspective of the chair-maker or designer, as if they are
reflecting upon their work. Use the first person.
Is there a difference between a craftspersons approach to the chair and a users approach to the chair? Does
thinking about the craft of the chair differ from thinking about it as something to be used and enjoyed?
This exercise aims to show that there is a big difference between thinking about use
and thinking about craft. As a novelist, you need to think about both the use of novels
(the readers experience of reading) and the craft (how you manage to construct or
make possible this experience).
Focus point
These are some of the craft questions you might ask when reading as a writer:
What are the parts of the novel that are less well built, that dont stand up so well, or that do not convince?
What work has the novelist had to do to be able to write this novel? This may involve research, planning,
reading or thinking.
view of craft, what a novelist is up to, in reading a book and seeing quite how
elegantly a novelist has pulled off certain tricks, and in thinking how you might learn
from these.
As a writer, you may want not just to read novels, but to reread them. Sometimes I see
the first reading as something like flying over the territory of a book and getting an
aerial photograph, a sense of where the major landmarks are. On the second, third and
fourth readings, you can go through on the ground, hacking your way through the jungle
of the book with a machete, taking now this route and now that, exploring the book
much more closely.
Key idea
Rereading novels that you admire can be a useful way of understanding more deeply how they are crafted.
The workshop at the end of this chapter explores rereading in more depth.
If you only read the books that everyone else is reading, you can only think what
everyone else is thinking.
This is not to say that there is no benefit to reading the classics. As a novelist you
should have an interest in diving into the great classic works within the genre, because
it makes sense to learn from those who are considered to have developed the art or the
craft of novel-writing to a high degree. But being a novelist is not the same thing as
being a professor of English Literature. So, in answer to the question What should
you read?, the best answer perhaps is this: read anything, but make sure that you
read. However, for practical reasons, it might be useful to break this down into a few
different categories.
Focus point
When you come to reading the classics, try to shake off the sense of moral obligation, the feeling that you ought to
read them. Read them instead for pleasure, for craft, or as a way of exploring new worlds.
Key idea
Reading outside the genre in which you write will extend your range as a writer, will open you up to other
possibilities and will teach you things that you could not have learned otherwise.
READING POETRY
As a novelist, you may spend much of your time reading other novels, but dont neglect
other forms. Poetry can be particularly interesting to a writer of fiction, because it can
force you to slow down, to play closer attention to the possibilities of language. Poetry
is language with added space: look at a page of poetry compared to a page of a novel,
and you will see that in most cases there is simply much more white space on the
page, much more breathing-room. Reading poetry allows you to stop, to take a bit of
time to breathe, to see how language goes about its strange work, how it affects us as
living, breathing human beings. Reading poetry can strengthen your feel for language,
can give you a sense for rhythm, cadence, precision of word choice and sensitivity to
how words look on the page.
READING NON-FICTION
As a writer of fictional prose, dont ignore non-fiction. You may read non-fiction for
research purposes: if you are writing a book about horse breeders in Kazakhstan, for
example, you may want to read anthropology, history and travel books. Similarly, if
you are writing about your home town, you may want to read local history or memoirs.
But dont neglect the pleasures of non-fiction simply in terms of the quality of the
writing. Reading non-fiction can extend your knowledge of the world, can expose you
to some superb writers, and can open you up to the serendipitous pleasure of
stumbling across something new.
Key idea
As a writer, it is useful to develop a broad knowledge of books; but this does not mean that you have to read
everything.
This broad knowledge of books can alert you to books that may be related to the book
you are writing, to books that may be worth reading, or to books that seem to be doing
well in the market at the moment. Cultivate a broad knowledge of books; but dont feel
under an obligation to read everything.
What are the recent trends for the genre in which you are writing?
Which books are people talking about? Which books are generating buzz? Why are people excited about
these books?
Literary contagion
Some months into writing my first novel, Cargo Fever, I stumbled across a bargain
six-volume boxed-set translation of Marcel Prousts In Search of Lost Time. It was so
cheap that I could not resist buying it. Over the next year and a half, on and off, I read
through the six volumes (it took a while, because I found that I could only manage
Proust in small doses). But the more Proust I read, the more I noticed something odd
happening to my writing. When I went back to edit my novel, I noticed that halfway
through my first draft my sentences were getting longer and longer and longer. And I
realized that I was suffering from Proust Poisoning. Having become accustomed to
Prousts long, rolling sentences, I found myself unconsciously stretching out my own
sentences.
Some writers have overwhelmingly strong literary personalities: it is hard to read
them without them leaving a stamp on your work. Writers often worry about this
influence. How can you keep your prose distinctive if you are going to be always
falling under the spell of the great literary heavyweights? Isnt it better not to read at
all?
The answer to this is no! Literary contagion is a fact, and there is no escaping it. But,
firstly, it is not a wholly bad thing: who would not want to be influenced by the
worlds greatest writers? And, secondly, it cannot be cured by reading less. It can be
cured only by reading more. If you have Proust Poisoning, read some Emily Dickinson
poems instead, or read some Raymond Chandler. Both are known antidotes. If your
influences are mixed, eventually the urge to write just like somebody else will settle
down. Your influences will become more organic, less pronounced; they will become
woven into the fabric of your own unique, developing style.
Focus point
Dont be afraid of the influence of other writers. Influence is something to be embraced, not something to be
resisted.
What were the particular craft challenges that the author faced?
Was the author successful in responding to these challenges? If so, why? If not, why not?
Were there any points where you thought that the book didnt work? If so, try to identify what went wrong
(at least, as far as you are concerned).
For each problem you identified, think about what changes you would make to resolve these problems. Would
these changes have improved the book? If so, how?
Finally, ask how the book you remembered differed from the book you reread. What does this say about the
most and least memorable aspects of the book?
Where to next?
In this part of the book we have covered most of the groundwork that you need to
set out on writing your novel. The next part of this book explores the writing
process, from the very earliest sketches and notes, all the way to the end of the
first draft. Because your book has to be about something, we are going to start the
next section by looking at ideas.
PART TWO
Writing
4
Introduction: ideas
In this part of this book, we will be looking at how to take your novel from its very
earliest beginnings to the completed first draft. This chapter looks at ideas. Then, in
the chapters that follow, we will move on to explore how to build convincing fictional
worlds, the role research plays in writing fiction, and the finer mechanics of plot,
character and storytelling.
Every novel has to start somewhere, with an image, an impulse or an idea. The first
chapter in this part of the book is about how you can develop these initial impulses,
images and ideas into something that will sustain you for a complete novel. This
chapter will help you winnow your ideas, think through what will work well and what
will work less well, and give you ways of nudging these ideas towards something
more sustained and worked out.
There is, I think, no such thing as a bad idea for a novel. There are, however, more or
less promising ideas, and there are ideas that are well developed and poorly
developed. This chapter should help not just with generating ideas, but also with
exploring how ideas can be developed and nurtured. Sometimes exceptional novels
come out of what may seem to be unpromising ideas; similarly, and for all kinds of
reasons, astonishing and fascinating ideas can fail to turn into novels that work.
A seething cauldron
The world is a seething cauldron of possibilities. If you feel that you are short of
ideas, then all you need to do is to go out and explore the world and see what sparks
you off. Ideas often fall into your lap when you are least expecting it: you might not
seek them out, but you end up finding them, or they end up finding you. Newspapers,
books (both fiction and non-fiction), encounters with strangers, stories told by friends,
memories, dreams, journeys and travels all of these things can be the starting point
for a novel.
Kate Pullinger
The truth is that ideas are all around us, in the people you meet, in the things
you read and see and hear and experience, in your own childhood and family, in
the wilder reaches of your imagination.
These initial impulses or ideas are only starting points. They get you up and running.
But the ideas that make up any single novel are often complex and multi-layered. The
idea or impulse that gets you started as a writer may not be the same as the central
idea of the finished novel. The important thing about this initial impulse is that it
should engage you; it should provoke you into further thought, reflection and
investigation. The best ideas are the ones that interest you as a novelist, the ones that
preoccupy you, the ones that keep you awake at night.
What are the things that preoccupy you, the images, stories, memories and thoughts that rattle around your
mind, that come back to you again and again?
What are the stories that you find yourself telling people over and over? What are the incidents in your life and
your past to which you find yourself returning?
What stories have other people told you that have struck or moved you?
What are the things that matter to you most?
Think about these questions, and write a list. Then put it to one side and come back to it a day later. Are there any
seeds here that could lead to interesting possibilities for a novel?
But what if you are not being kept awake at night by anything at all? What if you want
to write a novel, but nothing at all grabs you? The following writing exercise might
help.
keeping a notebook or diary for jotting down ideas, thoughts and snippets
accumulating clippings from newspapers, web pages, journals and magazines
collecting old photographs and postcards
making sketches, drawings and maps.
Try setting aside a couple of hours and going on the hunt for stories. Read newspapers, surf the Internet, go to the
park to watch people and take notes in your notebook on anything that takes your interest, anything that seems
intriguing or that stimulates your imagination.
Remember to find ways of working that suit you. For years I felt guilty that I wasnt
carrying a notebook around with me at all times, because I had been told repeatedly
that this is what proper novelists do. But Im just not a notebook kind of person. Im
terrible with notebooks. I scribble for a few pages, then temporarily lose the notebook
and buy another one, and eventually I end up with an accumulation of half-filled
notebooks that are so jumbled that I never bother to look through them.
Key idea
You dont necessarily need to wait for an idea before you can start writing. Instead, it may be that, once you start
writing, ideas begin to emerge.
Incubation
Once you have an idea that you think you might like to pursue, it can take a while
before it takes shape into something like a novel. Ideas are like eggs: they take time to
hatch out. Some hatch quickly; others have a longer gestation period you have to sit
on them for a long time, brooding, clucking and worrying, making sure that they are
kept warm, until one day you hear a tap-tap-tap on the inside of the shell, and
something begins to emerge. This can take time and patience.
Ideas in dialogue
Ideas do not exist in isolation. The richest, most interesting novels are not just based
around a single idea, but instead draw upon multiple ideas. If you are finding it
difficult to come up with a starting point for your novel, it may be because you are
trying to base it around a single idea, when you would be better off with multiple
ideas that can interact in interesting ways.
Having multiple ideas, and drawing connections between disparate things, can spark
off new creative possibilities.
Focus point
There are two kinds of answer to the question What is my novel about? firstly, the storys subject-matter, and
secondly the guiding ideas you are exploring through writing about this subject-matter.
There are some people who suggest that, as well as guiding ideas and subject-matter,
your book should have a clear thesis: in other words, that you as an author should be
trying to say something specific about your subject-matter and about these guiding
ideas. However, while some finished novels have a very strong thesis (it is absolutely
clear what point they are making), this is by no means always the case, and nor should
it be. There is a risk that, if you are too focused on thinking about what your thesis is,
your novel will become didactic. Conversely, if you dont have any sense of what you
want to say about your subject-matter and your guiding ideas, your novel may lack
focus.
A good way of getting an overall sense of what your novel is about is by drafting a
blurb for your work-in-progress.
Key idea
Because novels are a way of communicating ideas, images and stories, it is useful to have a sense of who you want
to communicate with.
As your ideas are taking shape, think about the other books out there that explore
similar territory. See what you can find out about the readership of these novels. Look
at blogs and websites that discuss these novels. Read reviews. Get a sense of the
particular niche of the publishing ecosystem your novel might occupy. This can help
you get an idea of who your readers might be. No novel is entirely original or wholly
novel; no novel is exactly the same as any other. Between these two poles, there are
degrees of sameness and difference.
If you discover that somebody else has written what seems like exactly the same book
as the book you are planning to write, dont panic. It is early days for your own book,
and no two books are exactly the same. If you take it seriously enough, your book will
almost inevitably end up with its own distinctive voice and feel. But, if at the early
stage your book feels too close to another book on the market, think about how to give
it a different angle or slant, or introduce some new elements that will take it in new
directions.
TRYING TO DO EVERYTHING
There are sleek, streamlined novels based around very few strong ideas, there are
gloriously baggy novels crammed full of ideas, and there are novels that represent
every stage in between. But if a novel has too many ideas at work in it, these ideas
may pull in different directions and eventually pull the novel apart entirely.
No one novel can talk about everything. If you ask yourself what your novel is about,
and you find yourself answering that it is about the Russian Revolution, the mass
extinction of the dinosaurs, the Big Bang, the nature of human frailty, and the crisis in
global capitalism then your novel is probably about too much. You may be biting off
more than you can chew.
Focus point
Novels that draw upon too many ideas tend to fall apart at the seams; novels that draw upon too few ideas tend to
lack depth and richness.
If you suffer from a surfeit of ideas (rather than too few), it can be better to think of
these ideas as the raw materials for a lifetimes work, rather than cramming them all
into a single novel.
Sometimes, if you are the kind of writer who has lots of ideas, you might even get to a
final draft and realize that your novel is in fact two novels that have somehow collided
and got tangled up with each other. When this happens, you have to get to work on the
long, hard labour of prising them apart.
INABILITY TO CHOOSE
Another problem with multiple ideas is that of choosing which one to go with. This is
a common cause of writers block: you have one perfectly good idea that is going to
lead you in one direction, and another perfectly good idea that is going to lead you in
wholly another direction, and you do not know which one to choose. Like Buridans
Ass the famous fictional donkey who stands equidistant between a bale of hay and a
pail of water, and cannot choose between them you either starve to death or die of
thirst. If you find yourself in this position, it can be useful to recognize that there is no
single right idea out there. If two ideas seem equally good, it may be because they are
equally good. Toss a coin, or go with the one that seems more intriguing or
compelling. Dont worry too much about getting the right idea; just decide on what
the next project will be, and follow that as far as it will take you.
Depth: are your ideas simple and straightforward, or are they full of complexities? What deeper questions do
they provoke?
Audience: what kind of audience might be interested in these ideas? Is there a market for these ideas? Do
your guiding ideas and your subject-matter relate to broader concerns that readers might have?
Scale: is this enough material for a whole novel? Or would it be better off as a novella, a short story or a series
of novels?
Familiarity: How familiar or unfamiliar will your audience be with the ideas in your book?
If you can clarify some of this, then you can get a sense not only of the shape of your book, but also of how it might
eventually fit with the publishing world.
may feel closer to a novella). And if your great family saga is 160,000 words, you
will be lucky to find a publisher willing to take a chance: if this is your first novel,
you might want to think about establishing a track record with something shorter. When
Vikram Seth published his A Suitable Boy, weighing in at around 600,000 words (give
or take a few), it was on the back of a substantial track record as a writer. It is to
Seths credit that many readers, when they finish his book, find themselves still
wanting more; but it is to his even greater credit that he doesnt give them more, and
leaves them still wanting. If you are writing anything on that scale, then at the very
least think about publishing your book in a series of self-contained volumes. In
general, however, the rule of thumb is this: your novel should be as long as it needs to
be and no longer.
Focus point
Most novels find themselves falling between 60,000 and 120,000 words.
Key idea
Originality doesnt lie in having outlandish ideas. Instead, it lies in the unique way in which you bring together and
explore your ideas.
Originality and outlandishness are not the same thing. Originality is something that
comes from following your obsessions, from honing your language and your own
particular perspectives, from a commitment to the craft that you are pursuing, from
close attention to the development of the ideas upon which you have settled. It is not
something that can be bolted on by simply making your story more and more
outlandish and strange. This is not to say that you should not write outlandish novels;
it is only that not all original novels are outlandish, and not all outlandish novels are
original. If you find yourself deliberately introducing outlandish elements into your
novel simply because you are worried that the story itself is not interesting enough,
then instead of thinking about bolting on new elements, try exploring the elements that
are already there in more depth, drawing out their contradictions and tensions.
Fattening up ideas
Once you have a set of ideas up and running once the eggs have hatched, once the
rabbits are breeding your ideas may still need a long period of development and
fattening-up before things come into shape. Do not feel that you have to launch straight
into the writing. You need to be careful to get the balance right between neglecting
your growing ideas and attempting to force their development.
Focus point
In the early stages, dont try to force your ideas to develop too fast. But dont neglect them either!
Keep turning your ideas over in your mind, reflecting on them, reading about them,
thinking about them and discussing them; and eventually they will take on greater
shape, form and depth.
Where to next?
We have looked in this chapter at how to generate and evaluate ideas. Now these
ideas need to be fattened up and developed into something more sustained: you
need to move from these initial ideas to the development of a full, fictional world.
World-building is the subject of the next chapter.
5
Architecture and world-building
Every story has to happen somewhere. Whether this somewhere is your home town,
the other side of the world or the surface of a small planet light years away from earth,
if there is to be a story at all, there has to be a world in which this story happens.
Sometimes people talk about this world as setting, but this isnt quite right.
Setting suggests that the story exists already, and that it is just plonked down with the
setting acting as scenery. But the best and most convincing stories, the most powerful
novels, are often those that grow organically out of a specific world. They are stories
that could not take place or not in the same way anywhere else.
Think about the people you know, and think about your own life and your own history.
Think about how influenced you are by the world around you: by your upbringing, by
your friendships, by the landscape in which you live, by the culture in which you are
immersed, by the weather and climate. All of these things not only shape who you are
but they also shape the kinds of things you do. Of course, we can always go against
these forces, and we often do. But the choices we make, and the kinds of people that
we are, are profoundly fashioned by the world around us. What this means is that the
possibilities of both character and plot depend on the kind of world we live in.
John Fowles
There are many reasons why novelists write but they all have one thing in
common: a need to create an alternative world.
Key idea
Writing a novel involves building an entire fictional world.
Focus point
physical environment
language
thought, values and beliefs
culture, politics and society
history.
PHYSICAL ENVIRONMENT
What is the physical environment like? What might it feel like to actually be there
physically? We are physical beings who are strongly affected by the physical world
around us.
You may have heard of the pathetic fallacy coming from the Greek word pathos
meaning suffering, emotion or strong passion. As it appears in fiction, the pathetic
fallacy refers to stories in which strong emotions are mirrored in the external world.
Key idea
The pathetic fallacy is a term for the way that fictional characters emotions and experiences are reflected in and
attributed to the external world.
So, if your hero is feeling turbulent, you have a thunderstorm to show this; if your hero
is feeling miserable, outside the window there is drizzle. The pathetic fallacy is often
considered to be a mistake because the world isnt like this: however good I feel, my
feeling good doesnt have any effect on the weather. However, before throwing the
pathetic fallacy out altogether, it is worth remembering that it does work the other
way: we do respond to the weather; and changes in the atmosphere do affect how we
are feeling. Cats and small children go nuts when it is windy outside (ask any primaryschool teacher or pet owner!). The sunshine makes us feel better about life.
Focus point
While the pathetic fallacy should be treated with care, it can be useful to have a sense of the ways in which the
climate, weather and other physical aspects of the world interact with your characters.
We are intimately linked to the physical world. Our stories grow out of the
environment in which we find ourselves. This will be the same for your characters as
well. Try the following exercise.
What kinds of things are there in this world? What are they made of?
How do people interact with these things?
What do these things feel like in the hand? What are the tactile qualities of the world you are writing about?
What is the lie of the land? What is the landscape like?
What does this world sound like? What does it smell like?
What is the quality of light? What is the weather like? What kind of atmosphere does your world have?
If you are not sure about the answers to these questions, you may need to pin things down a bit more. Ask what
things you need to know that you dont already know. Some of this you might be able to fill in now. Some of it may
need to wait until you have explored the next chapter on research.
LANGUAGE
Another aspect of any world is language. People speak differently in the boardroom
and in the bedroom. In some cultures, chattiness is valued more highly than in others.
The relationship between language and world is complex.
If you are writing in English, but your characters are speaking a different language, how do you indicate this?
How much do people in your world speak? Even if there is not much actual speech, does communication take
place in other ways?
Do they use jargon and clichs? As a writer you may want to avoid clich; but if your characters use clichd
language, you may want to exploit this.
Again, if you are not sure how to answer these questions, more thought may be needed.
What values do people in your world have? What do they think is good or bad, acceptable or unacceptable?
What things are considered important and what things are considered unimportant?
What belief systems are there in your world? Does your world have one single belief system, or are there
multiple belief systems in conflict with one another?
What is reality like for the inhabitants of your world? Do they believe in ghosts? Spirits? UFOs? Gods?
Money?
How do people think about themselves and about the world of which they are a part? How does the world
appear not to you, the author, but to them?
Do the values that people have lead them to act in particular ways?
HISTORY
Lastly, the world that you are writing about is not just a single slice in time, but will
also have a history. Again, this can be large scale (the history of the rise of a
civilization), or small scale (the history of major events in the street where your story
is set). So the world extends both in space and in time. We will be looking at history
again when we look at storytelling and plot in later chapters. Here, what we are
mainly interested in is the broader history into which the story that you are telling fits.
The following questions may help you think about this a bit more deeply.
Snapshot: history
Ask yourself the following questions about the role that belief plays in your fictional world:
What are the most important historical events that relate to your story? If your story takes place at a particular
moment in history, what was going on in the world at the time? What background events will influence the
story? If it is speculative fiction, what history does this imagined world have?
In the ten years leading up to the beginning of your story, what has happened?
Is there one single history that lies behind your story, or are there many histories?
What kind of histories are most important to your story? World events? Local events? Political events?
Personal histories?
Focus point
All five aspects of your fictional world physical environment; language; thought, values and beliefs; culture, politics
and society; history are bound up with one another. When you tweak one of them, you may find that you need to
tweak the others, too.
CONSISTENCY
Consistency means that your fictional world needs to be stable, so that it doesnt
change (without very good reason) from chapter to chapter. If on page 17 you have a
character called Susie who lives on the twenty-first floor, then it is a problem if on
page 56 she opens the front door and steps straight on to the street. Consistency
includes the following:
Making sure that the physical details of your world remain unchanging, unless there
is good reason for them to change.
Making sure that your characters always act as characters in this world. Your
characters are always constrained by the kind of world of which they are a part (it
is a constraint of Susie living on the twenty-first floor that she cannot step straight
out on to the street, unless it is through the window, in which case it is going to
leave a mess on the pavement).
Being aware of the overall context of your story, in all five dimensions, and
maintaining this throughout the story, scene by scene, unless there is good reason not
to.
COHERENCE
Coherence means that the various bits of the world that you create must hang together
as a whole, and this whole must be plausible. Plausible is not the same as possible.
But if your story is going to be about impossible things time travel, for example, or
teleportation, or telepathy you need to work out the logic of your world very
carefully to make these impossible things seem plausible. This means being clear
about the logic of your world. Coherence involves some of the following things:
Thinking not just about what happens, but also about why and how things happen
under what conditions, and for what reasons.
CONCRETENESS
Concreteness means that your world must be fully imaginable to the reader. The last
bit here the bit about the reader is important. As the writer of your novel, you may
know masses of background information that doesnt actually appear in the novel. You
may have in your head long family histories, a detailed knowledge of the place where
the story happens, fluency in the 17 languages spoken by your various characters and
an encyclopaedic knowledge of their record collections; but your reader may not need
to know this. So concreteness involves some of the following questions.
Assuming that the reader doesnt know what you know about the story, have you
given the reader the information that they need to make sense of what is happening?
Is the world drawn precisely enough that the reader can picture it clearly?
Does your world feel like a particular world? Are the details well chosen enough
that this feels not just like a seedy bar, for example, but like this particular seedy
bar?
its details. The more care you take with this careful construction, the more convincing
the world of your story will be.
Key idea
The consistency, coherence and concreteness of your fictional world depend upon making clear decisions, and then
sticking to them and following through the implications of these decisions.
You can try pushing Umberto Ecos thought experiment further. Why are there no fish?
Perhaps there are fish, but the fisherman is incompetent. Thats one kind of story. Or
there are no fish, because theres a chemical plant which has recently opened
upstream. Thats another kind of story. Or there are fish, but a helpful duck that is
fluent in the language of fish warns them away from the fisherman. Thats a third kind
of story.
For Eco, if you build a world carefully enough, stories will emerge practically of their
own accord. So, if your characters are milling around without any idea of what they
are doing, perhaps it is because they are on a blank canvas, instead of living in a fully
realized world. Once you make some clear decisions, you reduce the innumerable
possibilities of the blank canvas down to a more manageable number of possibilities
within a more fully imagined world. Then the writing process becomes far, far easier.
For this exercise, you will be exploring how character grows out of a sense of world. Start by choosing a world for a
new story (preferably nothing to do with your novel) to take place in. If you are having trouble, you can choose one
of the following: city, moon base, the back seat of a car, attic, cave, mountainside.
Using some of the questions above in the section on the five dimensions of your world, make a few notes to give a
richer picture of this world.
Come up with a character. Just one. Again, dont be too specific. Dont give a whole biography, or even a name.
Just think: What kind of person might I find in this place? Write down the character.
Now write down where they are specifically in this world. (Inside or outside the moon base? Halfway up the
mountain, or at the bottom? Lying down on the back seat of the car, or sitting up?)
Write down every question that occurs to you, and write down an answer for each. You may find yourself making
notes about aspects of this world: politics, culture, language, the physical world, thought, values and beliefs, and
history But make sure that your answers are all consistent with previous answers, coherent and concrete. Avoid
vagueness.
When you have filled a page with notes, write either a very short story or the opening passage of a story (say 500
words) about this world.
convincing book.
At the end of the novel, Eco wanted a terrible fire in the monastery library. But when
he came to write this section, he realized that something was not right. Looking back at
his maps, the construction of the library made him wonder about the feasibility of a
fire. He couldnt be sure that inside those solid monastery walls there would be
enough oxygen to get a good, roaring fire going. So, not wanting this blazing finale to
burn out after a minute or two, he made some modifications to his architecture: to
make sure there was enough oxygen to keep the fire nice and hot, he added slits in the
library walls!
This workshop is designed either to 1) help you build a convincing world for the novel you are planning, or 2) help
you make the world of the novel you are working on more robust. You can complete as much or as little of the
task as you like. Feel free to return to it as your novel progresses, to keep tweaking your world.
1 Getting the physical environment right
First, draw a map of the world in which your story is set. Think about the meticulous care that Umberto Eco
used in mapping the world of his novel. Make sure that your map is clear and precise. If your novel is set in a
kitchen, draw a map of the kitchen. If it is set in a town, sketch out the town, making sure that you note where all
the important buildings that feature in the novel are. If your novel is set in a place for which you already have a
map, make a copy of the map, and mark all the places that are important for your book. If your novel takes place
in several locations, draw a map of each. You might find yourself using a pre-printed map of the (real) town in
which the novel is set, marking locations on it, but inventing a map or plan of the (imaginary) house where much of
the action takes place.
You can make the map as detailed as you need. Some novels will need a greater degree of detail. But make sure
that everything that needs to be on the map is there.
2 Thinking about consistency, coherence and concreteness in five dimensions
For the final part of this workshop, if you have not yet completed the five dimensions of your fictional world
snapshots earlier in this chapter, complete them now.
Now go through these notes and use the chart below to ask about each of these five dimensions, and how
consistent, coherent and concrete your world is. Give yourself a tick () if you are confident that this dimension
scores highly for, give yourself a cross () if you feel that it needs more work.
When you have done this, you should have a strong sense of the problems and blind spots when it comes to
building your world.
Where to next?
While thinking about world-building, you may have realized that there are gaps in
your knowledge, that there are things you need to find out to really build a
convincing world. This, then, leads us on to the subject of the next chapter: how
to go about researching your novel.
6
Research
Writers are often told to write about what you know. While this can indeed be good
advice, the trouble with what we know is that, however deep and rich and extensive
our knowledge is, the things that we dont know are vastly deeper, richer and more
extensive; and there is a risk, in sticking determinedly to what you know that you
might miss out on this depth and richness. So this chapter is about research. It is about
those things that you dont know but that you need to know to write the story that you
want to write.
Why do research?
Robert McKee, Story
Research is meat to feed the beasts of imagination and invention, never an end in
itself.
As a novelist, you are not researching to become an expert on your subject, or so that
you can write learned, scholarly papers. You are researching, as Robert McKee points
out, so that you can feed the beasts of imagination and invention. Stories feed off good
research. Earlier we talked about fattening up ideas. Research is one of the ways that
you can do this most effectively. Research is not window-dressing, stage design or
just a matter of getting the period details right (although it may involve some of these
things). Instead, it is about giving shape to your fictional world. Research is another
aspect of world-building. It gives you a scaffolding for your storytelling, it opens up
new possibilities for plot and action, it allows you to choose just the right telling
detail to bring your world to life, it provides you with rich resources to draw in while
writing your book, and it means that when your novel is published if your research is
good you will not get into trouble with readers, reviewers and experts.
Key idea
Whatever your genre from family history to fantasy to literary fiction at some stage in the writing process, you
will need to get to grips with research.
Try the following exercise as a way of getting you thinking about research.
Focus point
Instead of writing about what you know, make sure that you know what you are writing about.
All novels are born out of an individuals knowledge, expertise, obsessions and
accumulated experiences. As a novelist, all of this forms a rich repository of ideas.
But this is a starting point. Once your story takes on its own shape, it will almost
inevitably be necessary to go beyond the things that you know, and to venture into new
territories.
You will need to do this not only to fill in specific gaps in your knowledge and to
make sure that you are getting the story right, but also to open yourself and your story
to new and as yet undiscovered possibilities.
2 In the second column, list down the specific gaps in your knowledge that need to be filled in by further research.
3 Finally, in the third column, list some areas of research that you think might be useful to help fatten up your
ideas, even if you are not sure in which direction this research will take you.
For the third column, it can help to work alongside a friend they dont need to be a fellow writer to make
suggestions about things that you could go off and explore to enrich your book.
Key idea
When writing about that which is unfamiliar, the main risk is that you can end up relying on surface exoticism.
Key idea
When writing about that which is familiar, the main risk is that you overlook what makes it strange, singular or
unique.
There is another challenge when writing about worlds with which you are familiar,
and that is that you can easily fall into the trap of assuming that your readers know
what you know: you need to not take anything for granted. If you are writing about your
home town, think about how strange and exotic it would seem to somebody who was
from elsewhere. As you write, ask the kinds of questions that an outsider might want to
ask. After all, your readers will almost certainly (unless they are close friends or
family) be outsiders to some degree.
However familiar or unfamiliar the world about which you are writing, the crucial
point is that writing is an act of investigation. It is about exploring the world.
Research is how you as a writer become skilled at moving between the familiar and
the unfamiliar, the known and the unknown.
Focus point
Research is an ongoing process. You may find yourself involved in research before you have even written a single
word, or while you are writing, or in the very final stages while dealing with copy-editors comments.
consulting libraries/archives/books/journals
searching on the Internet
contacting experts
visiting places
learning new skills.
This should give you a rough research plan on the basis of which you can start thinking
about getting stuck into the research. Well explore some of the ways you can do this
in more depth.
Libraries are wonderful and miraculous things. If libraries didnt exist, and somebody
said to you, Ive just come up with a brilliant idea for a massive book-house where
you can go free of charge, and sit all day and read stuff, and take books home for short
periods without paying a penny, and talk to knowledgeable, well-informed experts
who will help you find just what you are looking for, people would say that such an
idea would never catch on, and that, if it did, it would bring the entire capitalist world
crashing down apocalyptically. But such utopian places do indeed exist, and for
writers they are both havens and wonderful resources. Whether it is the Library of
Congress, the British Library or your local lending library, libraries remain fabulous
repositories of information, and as a novelist you should use them.
characters still exist, many librarians (or information professionals, as they might
prefer to think of themselves these days) are not at all like this, will do anything they
can to help you, and are just longing for somebody to come along and ask them
interesting questions.
Focus point
Librarians are professionals in the business of helping people research the information they need, so speak to them
about what you are looking for, and they will be able to assist you.
If you come across an unhelpful librarian (it sometimes happens), then just smile,
make your excuses, and go and talk to somebody else.
Archives
Many libraries will have extensive local history archives that you can explore. There
may also be archives held by government organizations, record offices or other
bodies, and many of these permit access by members of the public. Archivists are
often highly qualified experts who can also be extremely helpful when it comes to
tracking down information.
Journal articles
Many academic journals and periodicals are useful for specialist information. The
problem is that these can be crazily expensive (often a single article in PDF format
costs more than the price of a hardback book). Increasingly, there is a significant
movement towards what is known as open access (OA), which makes academic
journal publishing publicly available, so the amount that you can find online is
increasing. One of the best places to track down articles on the subject you are
interested in is Google Scholar (scholar.google.com).
Key idea
When carrying out research, it is important to be able to evaluate how reliable your sources are.
information.
EXPERTS
Another thing that you may need to do for research is to talk to people who are
experts. These may be people who have lived in the place you are writing about or
have experienced the events you are using in your writing. They may be people who
study the topics that you are exploring in your writing, either professionally as a part
of their job or else as a hobby. If you are writing a novel based on your own family
history, then the experts in question may be your own family members. If you are
writing about things further afield, they may be strangers.
Often, other people will be very willing to help you with your research. In particular,
many experts particularly academics will be happy to talk to you. When getting
in touch with anyone for your research, remember the following rules of thumb:
Do some preliminary research! Make sure that you know who you are contacting
and why they might be helpful. If they have written relevant books, read the books
before you contact them, so that you can be sure that you are not just asking them for
something they have already said.
Be sure about what you want. If you know what you want from the person in
question to meet up, perhaps, or a specific piece of information, or to conduct an
interview this makes thing easier on them than a general Im researching my
novel on x; can you help? request.
Be friendly but also professional. You are researching a novel, not trying to find a
new lifelong friend, a date or a potential marriage partner.
If you end up getting published and theyve been a lot of help, send a copy of the
book with a thank-you note. It may be good to credit them in the
acknowledgements section of your book, but it is good manners to check first
whether they would like to be credited.
Are there any organizations that might help you in carrying out your research?
See whether you can find some contact details so that you can follow up these leads later. You dont need to make
contact yet, unless you have a clear idea of what you want to ask; but it is useful to have this information on file.
Focus point
A research trip whether it is a day trip or a longer expedition can help you in several ways. It can also be a lot of
fun, and can help inject a new lease of life into your project.
floor and shuffle them around. On the other hand, electronic materials can be easily
searched by keyword, and dont take up the same amount of storage space.
However you organize your research, remember to keep track of your sources. This
means that for every piece of information, you should know where it came from and
how reliable or unreliable this source is. For books and magazine or journal articles,
note down the full title, the author and the page number. For interviews, note who the
interviewee was, and when and where the interview took place. For websites, make
sure that you note down the full web address or URL. For written resources, there is
plenty of good bibliographic software that you can use to keep things in order. There
are some suggestions for useful research tools and resources at the end of this book.
Focus point
Remember that not everything you research can, will, or should go into your final novel.
Planning what you are going to do on your research day. Set aside two to
three hours at least a week before your research day.
Actually doing the research. Allow yourself the luxury of a whole day to do
this, if you can.
Week 3 (2 to 3 hours)
Going back over your research to see what use you can make of it. Set
aside two to three hours, at least a week after your research trip.
Start by writing down as many questions as you can think of about the world of your novel. It may help to get a
friend to talk this through with, as often questions will arise in other peoples minds (and these other people will
one day be your readers) that havent occurred to you yourself. Just jot down questions at random, without
giving them too much thought.
When you have done this, take a short break. When you come back to the questions, choose the ones that seem
most important, pressing or interesting. When you have done this, put them in table form. Under Kinds of
research needed you might put some of the following:
Internet research
Visit a library
Conduct an interview
Learn a skill
Under Notes, make any notes that you need about practicalities (for example, contact details, addresses). You
may need to do a bit of research to find out the best way of researching these questions.
Now that you have done this, make a quick plan of what you think you can reasonably achieve in a research day,
and write a plan for the day.
Make a clear, but realistic, timetable for your day, so that you dont end up frittering it away!
Keep clear records of all the information you are gathering and where it comes from.
Dont try to research your whole novel in a single day: remember that research will be taking place at all
stages of the writing.
If you find one avenue of inquiry is not working, feel free to change direction.
At the end of the day, leave your research on one side (unless you are too gripped by it to do otherwise),
and come back to it a week later.
Will this research lead to me having to change anything in my novel? Does the plot need to change? The
characters? The world in which it is set?
What sections of the novel should I write or rewrite in the light of this research?
Where to next?
As you go on with your novel, you may find that you accumulate increasing
quantities of research. But, however much research you have done, the reader is
not going to be interested in this world unless something interesting happens
there. So in the next chapter, we are going to look at the question of what
happens in your novel. In other words, we are going to talk about plot.
7
Plot
In this chapter we will start to think about what actually happens in your novel. In
other words, we are going beyond questions of world-building and research to look at
plot. For the purposes of the present book, Im making a distinction between plot and
storytelling. Plot is the question of how you build a story worth telling.
Storytelling is how you go about telling that story. Sometimes a novel will not quite
work because, although this is a story worth telling, there are problems with the way
in which you are telling it. This is a problem with storytelling. Sometimes you
encounter the reverse problem: the way that you are telling the story is good, but the
story itself doesnt have quite enough substance or structure. This is a problem with
plot.
Key idea
Plots are not just about events, but about events that are tied together by causality.
Finally, you want to know why any of this matters. This is, of course, also tied to the
question of causality and consequence, because causes and consequences are tangled
up with our caring.
WHAT HAPPENS?
At the most fundamental level, the question that you need to ask of your novel is this:
What happens in your story? Stories are made up of events or happenings. These
events do not have to be particularly elaborate. You may be writing a story that
involves sword fights, sea battles and terrible monsters; but equally you may be
writing a story about the shifting of the landscape of a set of personal relationships.
Neither is more or less worthwhile as a choice of subject-matter, and neither has more
or less plot. A quiet event can be just as powerful, sometimes even more powerful,
than a noisy one. In fact, if your story is relatively high-octane, then, when you are
plotting it out, you should think about introducing some quieter scenes. One highintensity scene after another tends to have a numbing effect. If you can make sure that
you alternate between scenes of greater and lesser intensity, the impact will be
greater.
When I say that a story needs something to happen, what I really mean is that a story
needs to have a transformation or change. This transformation may be a change in the
world of the story. It may be a change in the characters or in their fortunes. It may also
be a change in the perceptions of your reader. It may be all three. But by the end of the
novel, things have to look different from how they looked at the beginning.
Key idea
Stories require some kind of transformation or change: either in the world in which the story is set, in the
characters, or in the reader.
I mean what the things were in the past that led up to a particular event (events, of
course, can have multiple causes). Consequences are the results of the events that
happen, reaching into the future.
Key idea
Every event has both causes and consequences. The art of plotting involves being able to follow through this logic
of causes and consequences.
Thinking through the causes and consequences in your story world is challenging, but
it can open up all kinds of riches. You can go through your story point by point and
ask: Why does this happen? Do the events feel arbitrary, or do they happen for a
reason? If they feel arbitrary, is there a good reason for this arbitrariness?
In thinking about what happens and why, you will realize that plot is closely tied in
with the world that you have built. Plots and stories are not entirely transferable from
one context to another. They change and warp as you transplant them. They mould to
the worlds in which they find themselves.
care enough about these particular chains of events to keep on reading (rather than
getting out of their chair and going off to initiate their own chains of events somewhere
out there in the world).
What do readers care about? Some people say that readers care about sympathetic or
likeable characters. Im not sure that this is true. Some of the most magnificent
characters in literature are neither sympathetic nor likeable. What really makes us
care, I think, is this: we care when we know that something is at stake.
Will Self
A party full of likeable people doesnt bear contemplating.
Imagine that you see two people having a scuffle in the street. You dont know either
of them, so you dont know whether they are likeable or not. You glance at them, and
walk on past. Then somebody says, Theyre fighting over a gun. Suddenly the stakes
have shot up. You still dont know whether either character is sympathetic or likeable,
but you know that there is now an element of heightened stakes. This is not just a
scuffle. It could be a matter of life or death. Suddenly, you are interested.
Here we need to be cautious. For the stakes to be high in a story, there doesnt have to
be high drama. The stakes can be trivial but still matter to the characters. Think of a
child for whom it really matters that they have an ice cream it matters so much that
they will yell and wail until they get one. What makes the stakes high is that something
really matters not to the reader but to the character. What the reader recognizes and
what draws the readers attention is the intensity of that characters desire.
Desire, I think, is central to plot, because it is at the heart of what makes us care about
a story. This insight goes all the way back to the great philosopher of ancient Greece,
Aristotle. In his Poetics a book that is still read today by fiction writers and
screenwriters Aristotle writes that plot is the most important element of any story
(he is talking about tragedy, but we can generalize more broadly). Plot is the armature,
the backbone, on which a story hangs. What makes a plot, Aristotle says, is that it is an
imitation (or representation) of an action that is complete in itself, as a whole of
some magnitude.
What Aristotle means by action is best understood by thinking in terms of desire that
is played out in the world. So the action of a story could be the princes desire to
become king. Or it could be the bored wifes desire to leave her husband. A prince,
or even the life of a prince, is not a story. How the prince strives to become king is
a story.
Key idea
The thing that drives your story forwards and that gets your characters moving is desire or wanting.
Why does desire matter? It matters because it opens up possibilities. It impels us (or
our characters) through the world, makes us (or them) act, and drives change and
transformation. Try the following exercise.
(these kinds of writers tend to incline towards writing tighter plots). Other writers
prefer to let the plot emerge from the desires of the characters and from the world that
they have built. Their plot is bottom-up (stories plotted like this tend to be rather
looser, baggier affairs). Bottom-up plots can often feel more organic and natural, and
often rather messier as well. Top-down plots, conversely, often have quite a strong
sense of necessity. They are often far neater than bottom-up plots.
Neat plots can be satisfying: you can admire the story for its craft and construction, for
the sense of necessity that drives it, for the way that it does not stray off down sidealleys, for the incredible focus of the storyteller. But too much neatness also puts you
at risk of the story feeling forced and unnatural. Messy plots, on the other hand,
different virtues. Because life doesnt have tidy beginnings and ends, messy plots may
have the virtue of being more like life itself. On the downside, messier plots can feel a
bit too loose-knit and baggy.
In reality, most writers will work in both fashions at some point during the writing of
their novel. And it can be good to have a mix of careful top-down planning, and also
some bottom-up lets-see-what-happens, a mix of both the messy and the neat.
Milan Kundera
The novelist teaches the reader to comprehend the world as a question.
Thinking in terms of questions can be a good way of thinking about the structure of
your plot. The earlier part of your story may be concerned with raising questions; the
Key idea
You are not obliged to answer every question that you raise. But you do need to respond to or address these
questions.
Snapshot: questions
Go back to a novel that you have read some time in the past few years, and reread no more than the first chapter (or
the first 15 pages, if the book has short chapters). Now go through page by page and note down for each page the
questions that the novelist is raising for the reader. When you have done so, ask yourself the following things:
Which questions are dealt with quickly, within the first chapter?
Which questions are left open?
Which questions feel like major or important questions?
Which questions feel like minor or unimportant questions?
Does the novelist answer the questions raised? If not, how else does the novelist address them?
If the novelist answers these questions, is it in a fashion that you expect? How does the novelist play with your
expectations?
In Nigel Watt and Stephen Mays book in this series, the authors say that there are two
kinds of questions that drive stories: suspense questions, which look forward to the
future (consequences) for their answers, and mystery questions, which look back into
the past (causes) for their answers. In other words, suspense questions are about what
is going to happen, and mystery questions are questions about what has happened. A
novel may include both, of course. You may neither know whether the bomb is going
to go off (you want to find out what will happen this is suspense) nor who planted
the bomb (you want to find out what has happened this is mystery). The way that you
manage to raise and answer questions in your story is central to the way the story
unfolds.
Middles
Ends
Raising or posing
questions
Resolving or answering
questions
Many writers I know, when they are writing novels, have strong ideas for the
beginnings of their books an image, a character, a situation. They also often have
strong ideas about the ends of their books. They know where they want to end up. But
how they are going to get from A to B is a different matter. There is some wisdom in
this. If you have only a beginning, then you can wander off writing chapter after
chapter, and never know whether you have got where you want to go. If you have only
an end, then you can spend your time writing draft after draft of Chapter 1 and never
getting any further. But if you have both beginning and end, then you have a clear
itinerary that you have to take as a writer. You can settle into the ride, and have fun
exploring the various ways of getting from A to B.
Focus point
One good starting point for building a plot is by clearly establishing both a beginning and an end. Often the middle
can look after itself.
BEGINNINGS
There are people who claim that the first sentence of a book the beginning of the
beginning is very, very important indeed, that somehow you need to make the first
sentence so spectacularly wonderful that the reader is left gasping for breath. The first
sentence, some people claim, needs to grab the reader, needs to make them sit bolt
upright in their chair, needs to astonish them so that they keep on reading.
Openings like this, whether sentences or paragraphs, are sometimes referred to as
narrative hooks. But while a good opening sentence can be wonderful and satisfying,
I think that this tendency to over-emphasize the job of the first sentence, or even the
first paragraph, is a mistake. Have a look at the following first sentences, culled more
or less at random from the selection of books on my bookshelves.
The summer she was fifteen, Melanie discovered she was made of flesh and
blood. (Angela Carter, The Magic Toyshop)
At almost one oclock I entered the lobby of the building where I worked and
turned toward the escalators, carrying a black Penguin paperback and a small white
CVS bag, its receipt stapled over the top. (Nicholson Baker, The Mezzanine)
What do you pack for the rest of your life? (Lionel Shriver, So Much for That)
It was an early, very warm morning in July, and it had rained during the night.
(Tove Jansson, The Summer Book)
As Gregor Samsa awoke one morning from uneasy dreams he found himself
transformed in his bed into a gigantic insect. (Franz Kafka, Metamorphosis)
What you will notice is that some of these are startling or surprising and hook you in
immediately. The Kafka opening sentence is breathtakingly strange. The Lionel
Shriver sentence raises intriguing questions about what is to follow. The Angela
Carter sentence is both rich and earthy. But not all these opening sentences hook us
in quite so determinedly. Tove Janssons opening sentence is matter-of-fact, almost
plain. Meanwhile, Nicholson Bakers opening sentence is deliberately, determinedly
banal. Not all of these opening sentences could be called narrative hooks. But all of
them do the same job. That job is not to grab the reader by the lapels and yell into their
face that they are in the presence of literary gold, nor is it to announce the book with a
brash and abrasive fanfare. Instead, the job of the first sentence is simply this: to get
the reader to read the second sentence. And the job of the second sentence is to get the
reader to read the third sentence. And so it goes on until you get to the very last
sentence of all. Some stories start with a bang, some with astonishing understatement.
To get a feel for how different novelists deal with the problem of beginnings, try the
following exercise.
Write: beginnings
Go to the library or a bookshop (online or bricks and mortar) and pick five or six novels off the shelves at random.
Go for novels that you have not read before. Do not read the blurb on the cover. Copy out the first sentences.
Do not read any further! Now answer these questions:
Finally, go back to the original book and read the first chapter in the original. How does your first chapter differ
in mood, genre or feel?
Whether you use a narrative hook or not, whether you start with a bang or with a
murmur, by the time the reader has read a few pages, you should have raised a few
questions in their mind, questions that will interest them enough to keep on reading.
And of course, it is worth remembering that this will depend in part on your readers
and the genre you are writing in: not all kinds of questions are interesting to all kinds
of readers.
If you have succeeded in raising some powerful and intriguing questions at the
beginning of your book, and if you have judged your audience well, then very soon
your readers will find themselves in the thick of things, in the middle.
MIDDLES
Focus point
Conflict is the thing that stops a character getting what they want.
Conflict is not necessarily about confrontation. Instead, it is the thing that gives a
story its twists and turns. Think of the following story: Yesterday, I wanted a
sandwich, so I bought one and ate one. Whats wrong with this story is that theres no
middle. Theres no gap between wanting the sandwich and getting it. Similarly,
Yesterday, I wanted a sandwich, but I didnt have one is not much of a story either.
You need some complicating factors between the wanting and its resolution.
Yesterday, I wanted a sandwich, but when I went to the shop I found my wallet had
been stolen sets up a conflict. I want a sandwich, but something (my stolen wallet)
is getting in the way of me getting what I want. From here, the story can go in all kinds
of directions.
One way of seeing how you can cut dead passages in your work is by asking whether
there is any desire or conflict, or whether your character is just mooning around. Look
particularly hard at any sections of your book where characters are drinking coffee or
tea, watching TV or going for a walk. We all know that people do these things; but
what is it about this cup of coffee or tea, this evening watching TV, this walk, that
makes it worth telling us about it?
Remember that desire can be for something quite simple but that, if there is no desire,
and hence no conflict, your audience may have difficulty maintaining their interest.
Conflict can be of several kinds. Here is an overview.
Kind of conflict
Example
External/physical
Interpersonal
Internal or psychological
Some kinds of conflict can be present alongside each other: if I am climbing Everest,
for example, this may be both an internal conflict (my desire struggles against my fear
of heights) and external conflict (I am physically struggling with Everest itself). It may
also be interpersonal (I am on an Everest tour with somebody with whom I dont get
on). This layering of different kinds of conflict often makes a story much more richly
interesting. Think, for example, of a detective novel about a police detective who is
trying to solve the mystery of a strange, ritual murder of a society heiress. Theres one
set of conflicts there already the detective wants to solve the crime, but there are
various things that get in his way. Now think about how it could be made more
complex. Perhaps the detective is also struggling with a drinking habit (the old
wrestling with his demons story). Perhaps he is wanting to retire and take up
stamp collecting, but has been persuaded to stay for this one last case (the old too
good to retire story). Perhaps he has a distaste for high society and so, alongside
his desire to solve the crime, he is wrestling with his hatred of society heiresses and
all their ilk. Whatever way you play it, it is clear that already the story has taken on a
greater degree of complexity.
When actually writing, dont worry too much about this classification of different
kinds of conflict. But if your writing goes a bit dead, ask yourself the following
questions:
Focus point
One way of thinking of the basic unit of plot is as follows:
Desire Conflict Transformation
There are various kinds of transformation. Either your character gets what they want,
or they dont get what they want, or they get only one of the different things they want,
or else they get something entirely different and unexpected (whether welcome or
unwelcome). In tragedy, of course, they get precisely what they were trying to avoid:
Oedipus really doesnt want to kill his father and sleep with his mother; but that is that
he ends up doing.
ENDINGS
If the opening of your book sets up the problems and questions, and if the middle of
your book complicates them, deepens them and multiplies them, by the end of your
book you may want to have found a resolution for some of the major conflicts in your
story.
Anton Chekhov once reportedly said although it is hard to actually find a credible
source for this that if you introduce a gun in the first act (setting up a problem at the
beginning), then by the end of the second act it should have gone off. This principle
has since become known as Chekhovs Gun. Some novelists follow Chekhovs Gun
precisely, extending it to include not only the gun but every single object that they
mention. I recently read a crime novel where everything had a part to play. When the
heroine saw a rickety fire-escape and thought I wouldnt like to escape down there in
a fire, it was clear that by the end she would have to run for her life down those
precarious steps. When she saw a cleaver in the kitchen, and admired the cooks
ability with a whetstone, it was clear that by the end somebody would be getting the
chop. The book was from one point of view an impressive piece of craftsmanship. But
it was also a bit frustrating, because I read it with the growing sense that life isnt like
this, that everything was just a bit too tidy, and the foreshadowing was too neat. On
the other hand, there are books that are so loosely constructed (as life itself is loosely
constructed) that, although they have a rich sense of life, by the end they feel somewhat
unsatisfying because there is no real shape to the way the author has raised and
answered questions.
My own feeling is this: with most novels, at least the major questions raised at the
beginning should be addressed and the major conflicts should reach some kind of
resolution.
Focus point
In most novels, the major questions raised in the first half will be addressed by the end and the major conflicts will
reach a resolution.
Before moving on from endings, it is worth also saying something about two specific
plotting problems. The first is the device known as deus ex machina and the second is
what I call the problem-solving bloodbath.
Deus ex machina
This literally means, in Latin, the god from the machine. The machine was a device
used in ancient Greek drama by means of which an actor, playing the part of a god,
could be winched down on to the stage to resolve all the problems in the plot.
Euripides was a particular fan of this approach. What this means in the contemporary
setting is an ending in which something entirely outside the story turns up in the last
In the first column, write down the questions that you are raising for the reader.
In the second column, write down the chapter in which the questions are raised.
In the third column, write down how the questions are addressed/resolved.
In the fourth column, write down the chapter in which they are addressed/resolved.
In the final column, write down how important these questions are to the story (with 5 being very important
and 1 being not very important).
This should give you a map of the overlapping questions in your book. If your book is not divided into chapters, you
can work through your book by page number, or else by section or by scene. Feel free to adapt the exercise to suit
your circumstances.
Remember that addressing a question does not mean answering it. It could mean returning to the question with a
deeper sense of its significance and mystery.
2 Troubleshooting plot for consistency, coherence and concreteness
We saw in the chapter on world-building that a well-built world needs consistency, coherence and concreteness.
These three aspects can also be applied to plot. Go through your plot outline (if you have completed the first task,
then the table you have produced will function as a fairly detailed outline), and ask yourself the following questions:
Is your plot consistent? Is this the kind of thing that could happen in this world? Are there any happenings
or events that dont fit with the world you are building? Are the desires consistent with what we know about
the characters?
Is your plot coherent? Do things happen for plausible reasons? Can the reader make sense of why people
are reacting in the way that they are? Is there anything that feels arbitrary?
Is your plot concrete? Are you clear what the events in your plot are? Do you know what it is that your
characters are doing? Do you know they are doing it? Are you clear why? Have you got concrete reasons
for the conflicts that are taking place?
We have looked at consistency, coherence and concreteness in the context of your novels world; but this
exercise focuses not just on how the world is constructed but on how events unfold in this world. If you have
completed the first step in this workshop, you might be able to simply go through your table row by row, making
sure that you are confident that all the plot questions are responded to in a fashion that maintains the consistency,
coherence and concreteness of your fictional world.
Where to next?
All these questions about motivation and desire naturally lead us on to the
question of character. Character is, according to Aristotle, the next most
important thing after plot. So in the following chapter we will move on to talk
about how you might go about writing about other people.
8
The basics of character
Human beings are natural gossips. We are extremely interested in other people. We
are interested in what makes them tick. We exchange information about others as a
kind of social grooming. Gossip may be ignoble, but it makes us feel good. This
natural propensity towards nosiness and gossip may be a large part of why we spend
so much time immersing ourselves in stories about people who dont exist and never
have existed: we are naturally attuned to take an interest in others.
Fiction is first and foremost about other people and about how they make sense of the
world. This is why the way you write about the other people in your novel matters.
For Aristotle, character is second in line to plot in terms of what is most important in
the telling of a story. For some novelists, this is reversed, and character is the centre
of the story, while plot takes a back seat. In the rich ecosystem of fiction, there is room
for both character-centred stories and plot-centred stories; but wherever you fall on
this continuum, you will need to think about how to write convincingly and
compellingly about the people who populate the world of your novel.
Key idea
A protagonist is a major character whose struggles and desires are central to your novel. An antagonist is a
character who stands in the way of your protagonists desires.
It is always a good idea to ask yourself: Who is my story about? It may be that your
story is about several people. This is fine. You may protest that your story is not, at
root, about any one person. You may say that it is about a big idea like the birth of a
nation, or the struggle between freedom and order, or the moral consequences of
unfettered capitalism. And this is fine, too; but generally speaking, these themes will
be explored by telling the stories of people who are giving birth to nations, or
navigating between freedom and order, or wrestling with these moral consequences.
Try to identify who the main protagonist is, if you have one (you may not in which case, dont worry. Not
all novels need one).
If you do not have a single main protagonist, try to identify who are the major protagonists and who are the
minor protagonists in your novel.
If you try this exercise and you find that you are not sure what your characters want, or you are not sure who the
story is about, you may want to think through your story again to bring these things into focus.
Focus point
Even if your novel tackles big philosophical, political or social themes or ideas, what matters most is how these ideas
are played out in the lives of individuals.
SINGLE PROTAGONISTS
Many stories take this form. The main protagonist need not be a hero. Some
protagonists are much more deeply strange, unsettling and flawed. Your protagonist
may be involved in external struggles, or their conflicts may be almost entirely
internal. But if you can say firmly that your story is about one individual, then you have
a story with a single protagonist.
The advantage of having a single protagonist is that the unfolding of your story will
have a clear thread. If we engage sufficiently with the protagonist, we will want to
follow this thread to the end. The disadvantage is that in fiction as in life it is
possible to tire of one person.
Focus point
The challenge of a story with a single protagonist is maintaining the readers sense of engagement, intrigue and
interest in this character.
We have already raised the question of whether the reader should sympathize with, or
even like, your main protagonist. Again, whether your protagonist is likeable or
unlikeable is not the main issue. What is important is whether what happens to your
protagonist matters to the reader.
MULTIPLE PROTAGONISTS
You can have more than one protagonist but, if you do, you will need to manage the
switch in focus from one to the other.
Focus point
The challenge in a story with multiple protagonists is that of making your story coherent, and drawing together these
multiple threads into something that feels like a unity.
Multiple protagonists might be bound together very tightly. It might be that their
various desires are tangled up with one another and that they are immersed in the same
plot. They may be mutual antagonists and have mutually conflicting desires, or else
they may all be struggling for the same goal. But the relationship between different
protagonists and hence different plots may be more subtle. It is possible to write a
novel with stories that do not so much intersect as echo one another, in the way that
separate strings on a musical instrument set one another vibrating.
There is nothing to stop your novel being braided together out of three completely
distinct, but parallel, stories that take place in separate worlds. It is still a novel if it
holds together enough, and is written convincingly enough, for your readers to believe
that it is a novel.
Sometimes you may find that a character wanders into your novel for one reason or
another, but at the redrafting stage you realize that they dont really belong there. If this
is the case, you should cut them out. If they are an interesting enough character, they
will wander back eventually in a short story, or perhaps even in a novel of their
own.
How tightly interlinked are your protagonists stories? Are they loosely knit, or are they woven together more
tightly?
How can you maintain your readers interest in all these protagonists simultaneously?
Are some protagonists more important than others? How do you want to reflect this in the way you tell your
story?
Key idea
Your characters are free to act, desire and make decisions, but only in the context of the world that you have built
for them.
For you as a novelist, this means that when you are thinking about character, you need
to do this in the context of the world that you are building. The desire to become a
monk or nun might be a relatively common desire in the world of medieval Europe that
Umberto Eco writes about in The Name of the Rose; but in the contemporary Western
world it is rather more unexpected. The world of which we are a part both offers us
choices and also constrains our choices.
One of things that can make a character unconvincing in a novel is when it feels as if
the character doesnt belong to the world of the novel, and has instead just been
plonked down in the middle of a world that is little more than a stage set for the
characters desires. If you want your characters desires to convincing, they need to be
grow organically out of your fictional world. Try the following exercise to help draw
out some of these connections between your characters desires and the world in
which they find themselves.
Key idea
All fictional characters are based upon both experience and invention.
assume that all characters are somehow the author in thinly veiled disguise. If you
write a book with first-person narration, people will assume that the narrator is you,
particularly if you write a book about a protagonist who is roughly your age and
gender, and whose life is a little like your own. Even if your character is totally unlike
you, you may have readers assuming that this character is the real you, your shadowside. There is no way around this. If you write a novel in which there is a first-person
serial-killer narrator, people will regard you with suspicion. You can either resist
this, or embrace it. A friend of mine, the crime writer Jane Adams, introduces herself
by saying, Hello, Im Jane, and I kill people for a living.
However, if you find that your first novel mirrors your life a bit too closely, you might
want to play with increasing the distance between yourself and your character. As the
writer of your story, you need to feel free to invent, and to follow the story where it
needs to go. Being too slavishly autobiographical can give you less room to move.
Focus point
If the story that you are telling is quite closely autobiographical, one way of getting a bit more distance can be by
writing in the third person rather than in the first person.
Key idea
Regardless of how closely your characters are based upon real people, they need to be fully imagined within the
context of your fictional world, independent of their existence in real life.
FICTIONAL EXCESS
There is another question about invention and drawing from life, and that is the
question of how realistic your characters should be. It is often said that characters in
novels need to be more starkly drawn than in real life, and that novels are a kind of
heightened reality so that we can see things more clearly.
But sometimes the problem with fiction is simply that it is insufficiently alive to the
strangeness and complexity of everyday life. Life itself is often pretty starkly drawn.
People are strange and absurd and multifaceted and endlessly fascinating and most
of them, at least deeply weird. There can be something glorious about fictional
excess, something compelling and entertaining about taking the strange, absurd or
unsettling aspects of everyday existence, and cranking them up to the highest degree.
On the other hand, sometimes it can be a better strategy not to heighten reality so much
as draw out aspects of reality that are already there.
Key idea
You dont want all your characters to be flat but, just as we experience some people in the world as deep and
complex, and some simply in terms of surface impressions, so also in your novel you can have a mix of flat and
round characters.
Unless you are making a satirical point, your major characters probably (note that I
say probably) need a degree of roundness and complexity. If your major characters
are simply a hero and a villain, and if the hero is relentlessly heroic and the villain
relentlessly villainous, then your book may fail to intrigue the reader. There is no
doubt that there are acts of heroism and of villainy within the world; and some of the
greatest fiction is about these acts. But when you start to look more deeply, it seems
that there is nobody who one can reliably depend upon to always act out of villainy,
or who one can reliably depend upon to always act out of heroism. Indeed, a villain
who is also capable of exhibiting acts of great kindness is a more unsettling villain
than a villain who is simply evil in all respects.
desires from observation. Characters can communicate their desires. Characters may
also be aware of their desires through introspection, whether or not they communicate
these desires. Finally, they may have desires of which they themselves are unaware, or
which they have not acknowledged, but which nevertheless impel them to act in
certain ways. There is a lot of scope here for complexity and for conflict. Desire does
not have to be explicitly communicated. Not only this, but our desires are also not
always apparent, either to ourselves or to others, nor are they always internally
consistent.
Key idea
Desire is a question of what I want to do. Motivation is a question of why I want to do it.
Sometimes you can use motivation as a strong plot device. We can know who the
killer is from page 1, but we dont know why they killed. The exploration of the
question why could take up the entire novel.
But even if a whole novel was about finding a characters motivation, by the end
things could still be inconclusive. All of our actions are conditioned by countless
things that have gone before. We are often unclear about the reasons why we act in the
way that we do. We make up our reasons and our motivations, very often, after the
event. So dont assume that your characters are accurate judges of the reasons behind
their actions. They may be decidedly bad judges of their own natures.
A note on names
Annie Dillard
Naming your characters Aristotle and Plato is not going to make their
relationship interesting unless you make it so on the page.
Another thing to think about is how you should name your characters. Different names
have different resonances, and so you need to have a keen ear to make sure that the
names you use have the right connotations. If you are stuck with names, then search the
Internet for random name generators. Some writing tools like Scrivener
(www.literatureandlatte.com) have built in random name generators. Whatever name
you give your characters, make sure that you do your research so that the name is
plausible and suits the character.
If you decide to change the name of your character at the last minute, a quick searchand-replace might do it. But beware: there is a possibly apocryphal story about a
writer who changed her characters name from David to Jeff using search-andreplace. She then sent the manuscript off to her editor. She got a reply several days
later, asking her to clarify the reference to Michelangelos Jeff.
1 Timelines
One way that you can do this is by making a timeline for your story, with a focus upon your characters. There are
quite a few specialist tools that can be used to do this, some of which are mentioned in the Resources section at
the end of this book; but often just a hand-drawn calendar, table, diagram or spreadsheet can do the trick. If you
are doing it this way, you can put important dates down the side, and names of characters (if you know them
already) along the top. My second novel, The Descent of the Lyre, was set in nineteenth-century Bulgaria and
France. Part of the timeline looked like this (the original was rather more elaborate, but this is provided just as an
example). Two of the characters named here Karl Tpfer and Fernando Sor are historical characters, so I
built the story around what I knew of their history.
If you do an electronic version of your timeline, it is very easy to add extra dates, or extra characters, just by
adding rows or columns.
This should give you a framework to allow you to think about your characters and how they are situated in time
and space. It should also allow you to maintain consistency by cross-referencing entries. So if character A meets
character B at a certain point, then we know that character B must meet character A at the same point.
2 Character biographies
Now that you have a sketch of some important moments in your characters lives, imagine that you are writing a
biographical dictionary entry for each your major characters. Select up to five characters and for each of them
write a 300- to 500-word biography, focusing on the major aspects of their lives. Even if this does not enter into
the novel, make sure that you give both birth dates and dates of death, so you have a sense of your characters
lives as a whole.
Where to next?
Now that we have looked at the basics of character, we are ready to go a little
deeper. The next chapter explores the question of how we can know characters
through observation, communication, direct experience and introspection and
what this means for the craft of creating credible actors in the world of your
story.
9
Knowing your characters
This chapter is about going deeper into the question of how to create fictional
characters. We will be looking, in particular, at the question of what it means to know
your characters. Sometimes writing textbooks say that you should know your
characters inside out, that you should know absolutely everything about them: you
should know what they have for breakfast, what they dream about, what their deepest
desires are, and so on. But there is something decidedly unconvincing about the idea
that you could know anybody inside out like this. If you find yourself having a
complete knowledge of the people who populate your fictional world, then it is likely
that your characters will feel closer to caricatures than to real living people. And if
knowledge of other people is at best only ever partial, this applies also within the
world of your novel, which means that no character in your book should expect to
completely know and understand any other character.
Key idea
You do not need to completely know your characters. You only need to know enough to be able to tell their stories.
To say that we cannot know our characters fully isnt to say that we cannot know them
at all. Nor is it to say that we shouldnt attempt to get to know them better: in literature
as in life, it pays to know who you are doing business with. But this knowledge will
never be entirely complete.
There are four ways in which we can know fictional characters and communicate this
knowledge to readers. These are: observation, communication, direct experience and
introspection.
Focus point
There are four main ways that we can get to know people:
This chapter will explore each of these in turn. As a writer, you have a certain
freedom that you dont have in the everyday world. You can view characters both
from the inside (by taking a first-person perspective on their experiences or by
eavesdropping on their introspection) and from the outside (by seeing how others
observe them or through observing their dialogue and communication with others).
This allows for a considerable richness, flexibility and freedom of movement when
exploring the various dimensions of your characters.
When observing your characters, there are a number of things to pay attention to.
Focus point
When observing characters from the outside, some of the aspects to which you may need to pay attention are:
If you observe well enough, you often dont need to be explicit about how people are
feeling. If you see somebody having an argument in the street, you dont need a big
sign above them saying, This person is angry. You know directly that they are angry.
You know because of how they act, how they speak, how they move, how they relate
to the rest of the world. It is the same in writing. Good observation can free you from
the necessity of explaining the emotions of your characters.
One final thing to think about when it comes to external observation is that, if your
character has important traits that matter for the story they have red hair, they are
missing a limb, they are seven feet tall or they walk with a limp then you need to
establish this early on. It is always disturbing for a reader to read on page 113 that the
heroine tossed her russet-red hair, if by that time the reader has assumed that she is
blonde or brunette.
Key idea
Speech is a kind of action.
If you find dialogue difficult, remember that speaking is simply another of the things
that your characters might do in the fictional world. Dialogue isnt really a specific,
separate skill, totally separate from skills in storytelling, characterization or
describing action. Instead, it is another aspect of these skills. Speech does not float
free from the world. Instead, it is embedded in the world, a part of the whole
maelstrom of action and desire that you are dealing with as a writer.
A and B are driving down the motorway at night. They have just had a terrible argument. This is the first thing
that anybody has said since the argument.
For the time being, keep as much as possible to external observation rather than exploring your characters inner
worlds. Dont add any extra dialogue; stick to these two lines.
Once you see that dialogue is a kind of action, you can see that it is not separate from
the other aspects of your character from their various desires, from their place in the
fictional world, from their physical being. And when you see that writing dialogue is
not a wholly separate skill but that it is embedded in the broader world of your novel,
then writing dialogue becomes less of a daunting prospect.
How does what is being said relate to your characters body language, or the language of posture and
gesture?
How much does your character speak? Are they very garrulous, or do they prefer silence?
Helen Cross
I listen quite a lot. And I go on buses and trains. Thats the best thing you can do
to be a writer go everywhere on public transport. People think that writing is
Snapshot: eavesdropping
Go somewhere public with a notebook and, without making yourself obtrusive, simply listen to the conversations that
you hear around you. Pay attention to how people are communicating, not just by means of words but also by
gestures and expressions, by things that they dont say and so on. When something takes your attention, find a quiet
place to sit and write the scene as faithfully as you can.
Key idea
Dialogue should not be overused as a means of exposition.
One way of telling whether you are at risk of using dialogue simply as a means of
exposition is by asking what the character is attempting to do to the other characters in
that section of dialogue. If the answer is nothing, then it is probably the case that the
character is simply trying to do something in this case, pass on information to the
looking out. In everyday life, you have inner access only to yourself, and you have
access to other people by seeing how they act and what they say. As a novelist, you
potentially (depending on the point of view you are using) have both inner and outer
access to your characters. Not only this, but you can play with the tensions between
these two different perspectives. The view from within and the view from outside
never seem to fully match up.
Robert Burns
O wad some Power the giftie gie us
To see oursels as ithers see us!
Robbie Burnss famous poem points to these strange mismatches between the view
from within and the view from outside. As a novelist, this provides rich material.
This knowledge we have of ourselves from the inside has two aspects. The first
aspect is direct experience: the feeling of the wind on our cheek, the taste of coffee or
strawberries, the shiver at the touch of a lover, the sensation of snow underfoot. The
second is introspection, the thoughts that we have, the strange complexities of our
inner mental world, our minds own commentary upon our experience.
When you start asking about the nature of direct experience, you find that you become
rapidly tied up in philosophical knots. Direct experience is maddening to the
philosophers because it seems so very self-evident (we know what coffee tastes like),
but it is very hard to grasp more precisely. Here we can leave the philosophers out of
it. What matters to you as a writer is that your first port of call when thinking about the
direct experience of your characters is by correlation with your own direct
experience. If your character is suffering from insomnia, then think about what it is like
if you have ever been sleepless. We understand our characters experience by
extrapolating from our own.
Everybody is different, but we have similar bodies, brains and nervous systems, and
so drawing on your own direct experience to explore the experience of your
characters can be really useful. Pay attention to your characters physical experience.
What does it feel like to live inside their skin? How does your character move? If your
character is cold, how is this experienced in the body? How does it affect your
characters thoughts? Thinking is not just abstract, but is expressed through the body. If
I am stuck as to what to write next, my eyes gaze off into the middle-distance. If my
Key idea
An unreliable narrator is a narrator who cannot be trusted. Whether deliberately or unwittingly, the unreliable
narrator gives an account that cannot be relied upon.
over the years. This is perhaps the reason why many novelists report that their
characters take on a life of their own.
It might be useful to end this chapter by looking at this strange claim. It can all sound
rather mysterious. The novelist John Cheever once complained that, the idea of
authors running around helplessly behind their cretinous inventions is contemptible.
But there is something in this idea that characters have their own life and logic that we
should take seriously. Cheever is right in that you should have some control over your
characters and what they get up to. On the other hand, if you move around your
characters too strictly, they may become as uninteresting as chess pieces. The reason
for this is simple: if everything is too planned out, you are not allowing any of that
tacit knowledge to play a part in how your characters develop and how they act. By all
means carefully think through who your characters are. By all means plan them
meticulously. But also give them some space to move.
Focus point
To be able to allow this tacit knowledge and the richness of this tacit knowledge to filter into your writing of
character, you will need to make sure that you dont keep too tight a rein on your characters.
Challenging
Probing
Manipulating
Flirting
Persuading
Teasing
Scolding.
Note in the margin what the character is doing to the other character or characters. In other words, what is the
action that lies behind the words? Use either single words or very brief sentences. If it is not clear what the action
behind the words is, then simply put a mark in the margin to note this (an X, for example).
When you have gone through the whole text, you should have a skeleton or outline of the changing actions that are
going on beneath the surface of your dialogue.
Now look back over your annotations. If there are whole sections where the characters do not seem to be doing
anything to each other, you have two options:
Where to next?
Now that we have covered the basics of building a convincing world, developing
convincing plot ideas and peopling your world with characters, in the final
chapter in this part of the book, we are going to look at the question of how you
go about telling the story of your novel.
10
Storytelling
There is a tension at the heart of storytelling. When we tell stories, we are making
things up; and yet we are asking our audience to trust us as if these things were true,
or as if they could be true. In this chapter, we will be looking at the complex business
of how we go about navigating the choppy seas where truths and falsehoods meet and
intermingle.
Jeanette Wintersons plea to the reader, taken from her novel The Passion, is a nicely
ambiguous place to begin. The moment Winterson says Trust me, we are on our
guard. We know that we are going to be led into a world where truths, half-truths and
lies all jostle with one another. But, at the same time, we find ourselves putting
ourselves willingly in the storytellers hands. We want to be deceived; but we dont
want our trust to be betrayed.
Key idea
The word fiction derives from ancient roots meaning to knead (dough) or to fashion (clay).
Key idea
A story is different from any particular telling of that story: the same story can be told in very many different ways.
As an example, we could take Little Red Riding Hood, a story that has been told and
retold a million times. There are multiple versions of the story, some more
bloodthirsty than others, but, even if we stick with one single version, there are all
kinds of ways that this story could be told. It could be told by Little Red herself (So,
there I am walking through the forest one day, taking some cakes to my grandmother,
when I hear a growling behind a tree), or by her grandmother (Once I had climbed
out of the wolfs still quivering belly, and wiped the gastric juices from my
spectacles), or by a jackdaw watching from a branch (Caw! Caw! Its that girl
again, I said to myself. She is so reckless, wandering through the forest like
that); or it could be told by a godlike omniscient narrator, in the traditional style
(Once upon a time there was a little girl who wore a red riding hood).
Key idea
The same story can be told in a multitude of different ways.
There are two things to notice here. The first is that the telling of stories can differ in
terms of the who of the telling; the second is that they can differ in terms of the
when of the telling. We can look at these in turn.
Narration:
Playing with point of view and different approaches to narration can be a good way of
uncovering hidden possibilities in your story.
THIRD-PERSON NARRATION
The third person is perhaps the most common way that stories are told. In the third
person, the story is about he or she, rather than about I or you. Some of the
oldest literature of all, for example, The Epic of Gilgamesh, is told in the third
person.
Third-person narration often gives your work a kind of distance. It makes both the
narrator and the reader spectators of the action, rather than participants. If you are
telling a story in the third person (this is a decision about narration), then you must
still decide the perspective you are taking on the story (this is a decision about point
of view), and this will affect the degree of distance. Here well look at three kinds of
third-person narrator:
1 omniscient narrators
2 single-perspective stories
3 multiple-perspective stories.
1 Omniscient narrators
Omniscient (literally all-knowing) narrators are perhaps the most powerful, but they
are also the most distanced. Like deities, they have access to absolutely everything in
the fictional world: every last thought of every single character, every angle and every
perspective upon every single action. As a writer, this kind of heady power can be
intoxicating; but this is an approach that needs to be handled with some care. In
particular, the sense of distance that comes with an omniscient narrator may make the
reader feel less fully and intensely engaged in the action of your story. There is a
trade-off between the power that the omniscient narrator gives you as a writer the
ability to move where you wish within the story and the muting of the impact of the
Focus point
Omniscient narrators attempt to pull themselves away from the fray from the mess and muddle of the tales they
are spinning; but they never fully succeed.
In the end, omniscience is not so much a position from which to tell a story as a way
of allowing yourself permission to move between third-person perspectives in the
story. We cant have a true view from everywhere, but we can shuttle between
different views from different perspectives.
2 Single-perspective tales
If viewpoint is rather like camera angle, you can think of a single-perspective tale as a
tale in which the camera angle remains relatively fixed.
If you decide to tell your story from a single perspective, it needs to be the right
perspective. The position from which you tell the story will need to be a strong one.
The character upon whom you focus will have to be particularly strongly drawn and
convincing if this is going to sustain you throughout the entirety of the novel. Not only
this, but a single-perspective approach will work only for certain stories. If your story
has a single thread focused upon one individual, this might work very well indeed. But
if your story gives equal weight to a number of individuals, and the story as a whole is
not so much a single thread as a braid made up of multiple threads, then a single
perspective will probably not work for you.
Focus point
Single-perspective approaches to storytelling often work best when the story is relatively simple, or when you have a
very strong central character.
3 Multiple-perspective tales
Another way of telling the story is from multiple perspectives, with shifts in camera
angles, but with each perspective being limited and partial. These perspectives, taken
together, add up to a full picture of what is going on in the story. Most third-person
stories are to some extent tales told from multiple perspectives. Even singleperspective tales tend towards the multiplication of perspectives if you look closely:
all stories are, to some extent, braids.
Rather than worrying about which category your story falls into, perhaps the better
question is that of how, point by point as your story is unfolding, you manage the
various perspectives available to you.
Philip Roth
The shifting within a single narrative from the one voice to the other is how a
readers moral perspective is determined.
There are a number of strategies open to you in playing with multiple perspectives.
You can switch perspectives rapidly to give your story a sense of dislocation and
pace. You can suddenly inject a passage from a wholly other perspective. If you tell
your story from too many perspectives, a kind of blurriness descends over the world
that you are writing about, and you risk losing the readers concentration. But if you
limit your perspectives too much, you may narrow down the possibilities of your
story.
FIRST-PERSON NARRATION
First-person storytelling is immediately more intimate than third person. Take, as an
example, this famous opening passage from Herman Melvilles Moby Dick.
Call me Ishmael. Some years ago never mind how long precisely
having little or no money in my purse, and nothing particular to interest
me on shore, I thought I would sail about a little and see the watery
part of the world. It is a way I have of driving off the spleen, and
regulating the circulation
Lets try putting this into the third person:
They call him Ishmael. Some years ago never mind how long precisely
having little or no money in his purse, and nothing particular to
interest him on shore, he thought he would sail about a little and see
the watery part of the world. It was a way he had of driving off the
spleen and regulating the circulation
A few things have happened here. The second version is much more distanced. The
narrator is split apart from the subject of the story. There are more subtle shifts, too. In
rewriting this passage, I could not stop myself from making a few other changes. The
addition of They at the beginning seemed necessary to establish the third-person
narrator, and the change of tense that worked fine in the first person (I would sail it
is a way I have) felt wrong in the third person, so I changed the beginning of the
final sentence to the past tense.
Focus point
First-person narration can give your storytelling a greater feeling of intimacy, but it can also limit your freedom of
movement in your fictional world.
Working through sentence by sentence and paragraph by paragraph, work out the perspective from which the
story is being told.
When the perspective changes, mark this also on the text and note down how and why it has changed.
If the perspective remains exactly the same throughout, ask yourself what new possibilities might be opened up
by introducing changes in perspective.
The when of the telling can also be broken down into two parts (as always, there
may be different ways of breaking these things down so this isnt a fixed rule, only a
suggestion as to how it might be helpful to think about your story). Firstly, there is the
question of what might be called the time of the story; secondly, there is the question
of what might be called the time of the telling.
This may seem a little complicated, but it is really quite straightforward. All stories
are made up of events that take place in a particular order. But, as a story, these
events are often shuffled about. Think of Little Red Riding Hood again. We could start
the story at the beginning, with Little Red being sent on an errand; and we could end
with the bloody but, in most versions, happy (unless you are the wolf) finale.
However, we could start in the middle, with Little Red traipsing through the woods
(Its a lovely day, Little Red Riding Hood thought, as she wandered off the forest
path), or at the end (It would take a lot of cleaning up, but at least the wolf was
dead), or at the very moment that the wolf swallows the poor little girl (As she
slid down the wolfs gullet, Little Red Riding Hood regretted that she had forgotten to
bring her hunting knife with her). The workshop at the end of this chapter will
allow you to play with some of the ideas here.
Key idea
You do not need to tell stories according to the chronological ordering of events. You are free to start in the middle
of events, at the end, or anywhere you like
The time of the telling is a little different. This is about the relationship between the
time of the story and when the story is being told. Folk tales that begin, Once upon a
time put the time of the story a long time before the time of the telling. Sometimes
you will want to give the feeling of the story unfolding in real time, and so the time of
the telling will unfold alongside the time of the story. Imagine a story made up of
letters and emails, in which the story unfolds as the apparently real-time
correspondence unfolds. Or, more commonly, a story might be told from the
perspective of the more recent past: Several years ago, when I was employed in the
diamond mines
The when of the telling
The time of the story:
FEELING TENSE
One other aspect of time in your storytelling is the question of tense. Tense is a matter
of the relationship between the telling and the events within the tale. The traditional
way of telling a story is in the past tense and, if you choose to tell your story like this,
almost certainly nobody will complain: it is so very common, so much a part of how
stories have been told for centuries on end, that your readers will hardly notice that
this is a choice you have made. However, the past tense is not the only option. Since
the middle of the twentieth century, there has been an increasing fashion for telling
stories in the present tense. It is often said that present tense provides a greater sense
of immediacy: instead of being told what happened in the past, we see it unfold
before our eyes here and now. And it is true that using the present tense can do this.
But there is also a danger that it can have a numbing effect on the reader, making the
story feel like simply one damn thing after another.
Philip Hensher
Writing is vivid if it is vivid. A shift of tense wont do that for you.
There is also nothing, in principle, to stop you changing tense throughout your story,
and using both present-tense and past-tense narration alongside each other.
First, select a page. If you havent started writing yet, you can use a page of somebody elses novel.
Now read the passage out loud to get a feel for it.
Note whether the story is written in the present or the past tense, or whether it moves between the two. After
this, rewrite the passage so that if it was in the present tense it is now in the past tense, and vice versa.
Focus point
Showing may communicate in a fashion that is more visceral and immediate; telling may communicate in a
fashion that is more economical. You will need a balance of both in your writing.
In general, the extent to which you show and the extent to which you tell will be a
matter of your own judgement. But however you decide to exercise this judgement,
remember that one of the pleasures of being a reader is the pleasure of drawing
inferences. Through what you show, what you tell, what you do not show, and what
you do not tell, you need to leave readers the space to draw their own inferences, to
come to their own conclusions, and to engage more deeply with the world of your
story.
This is a storyboard for your story. Your job now is to sketch out, using words or pictures, the events of the story
in the order in which they happen. If you are using Little Red Riding Hood, frame one might be her mother
warning her not to step off the path, frame two might be her straying off the path to pick flowers (and the wolf
behind a tree) and frame three might be the wolf hurrying to Grandmas. Use no more than eight frames.
When you are done, give each of the characters in the story a number at random, from one to six.
Cut up the storyboard into individual frames and shuffle them around. Lay them out in a line in front of you, in
random order.
Now roll the dice to choose a character. If you get a number that doesnt correspond to a character (say you
get a five, and youve only got four characters), roll again.
Now you have a new order of events (the when of the telling) and a randomly selected character to focus
on (the who of the telling).
Finally, retell the story from this characters point of view, following the order of your new, reorganized
storyboard.
2 A different telling?
Now you can apply some of this to your own novel or if you havent got that far, to something that you have
already written. Draw up another chart, numbering each frame. Then storyboard either your novel as a whole or
a section of your novel, keeping it to eight frames as a maximum. What you are storyboarding are the events as
they unfold in your fictional world, so you should ignore the order in which you have chosen to tell them in the
novel.
Tear up the pieces into separate squares, and shuffle them in front of you face up. See if you can find at least
three different ways of reordering the frames that make sense. It will be useful to record these three different
ways of telling your story by simply writing down a list of numbers (e.g. 3, 2, 4, 5, 6, 7, 1, 8).
At this point it might be a good idea to work with another writer or friend. Explore the advantages and
disadvantages of these different ways of telling the same story. Which one works best, and why? Is the order that
works best the one you are already using, or do you need to change the way you are telling your story?
Where to next?
We have explored how to move from initial ideas, through world-building and
research, to the intricacies of plot, character and storytelling. This should give
you the tools you need to put together a first draft of your book. But you may have
a lot of redrafting to do before your novel is finished. The next section of this
book explores the most effective way to turn your raw material into a book worth
publishing and reading.
PART THREE
Redrafting
11
Introduction: why redraft?
Part three of this book is about redrafting. Although redrafting may seem to some like a
rather unglamorous business, it is in fact often intensely demanding, fascinating and
creative.
For the purposes of this book, Im going to distinguish redrafting from editing.
When I talk about editing, Ill be talking about preparing the final version of your
manuscript for publication, and all the processes that your book goes through to get it
into a publishable state. When I talk about redrafting, Ill be talking about the
process of taking the very first version of your manuscript and turning it into a final
version ready for the attention of external editors. Of course, this distinction is a little
artificial. What seems like a final draft often is not. I have often written a final draft
of a book only to put it to one side, have second thoughts, and find myself redrafting
my final draft to produce a final final draft. Nevertheless, it is useful to think of these
two stages as separate.
Focus point
It can be useful to think of redrafting as the often solitary process of reworking your manuscript until it is as
complete as it can possibly be, and editing as the more collective process of taking this manuscript and fashioning it
into something that is ready to be published.
There are four chapters in this part of the book. This reflects the fact that many
novelists, myself included, spend a significant amount of time turning their first drafts
into finished novels. Once again, there are always exceptions. Some writers do not
redraft very much at all. Others redraft a fair amount. Often (but not always), there is
an inverse ratio between the amount of redrafting and the speed that writers write.
Writers who write 500 words in a morning may find that much of the close attention
that, for other writers, takes place in redrafting is already there in the first draft stage.
Meanwhile, writers who write thousands of words a day may find that they redraft
rather more. Either way, it is good to remember again that what matters most is what
the book eventually looks like rather than how you get there.
This chapter will look at the question of why redraft at all, and at some of the general
principles involved. The next chapter will look at redrafting for structure, pace and
rhythm. Then, in Chapter 13, we will look at what I am calling redrafting for logic,
thinking hard about how your story and world hang together. Chapter 14 will then turn
to questions of language, and how to effectively hone and sharpen your prose style.
Sometimes writers feel as if they shouldnt have to redraft, that they should be able to
get everything right first time. But this almost never happens. Expect to redraft
numerous times, refashioning and polishing your work until it is ready for the next
stage.
Focus point
Redrafting can be a very long process. Expect to go through multiple drafts before you have your novel right.
Key idea
There are three reasons why you need to redraft:
1 Writing novels is unpredictable at the outset you dont know where you are going to end up.
2 Novels are organic wholes. As you add words, this will affect the words you have already written.
3 Writing and redrafting are different processes that require different kinds of attention.
So, when writing a first draft, dont think about writing a perfect first draft. Think
about writing a finished first draft. This means thinking of writing a draft that starts on
page one and ends where the story ends. Think about writing a first draft that you can
look at and say, That is a whole novel. At this stage, it may not be a good novel. The
job of first drafts is not to be good, it is to be complete. Almost always, a first draft
will be a mixture of the good and the bad and the indifferent. It will have passages that
work really well and passages that have no place in any self-respecting novel. The
redrafting process is, in part, about distinguishing one from the other.
Focus point
Your first draft can be as messy or untidy as you like. But it is often wise to work on developing a complete draft
before you start intensively redrafting.
Once you have your first draft written, put it to one side and do not think about it for a
while. Writing a first draft is often a heated and impassioned process; but when you
come to redraft, you may need to be a lot cooler, more level-headed and more
objective. If youve been involved in an intense relationship with your book, you may
need a bit of time apart so that when you meet up again, things dont get too messy.
How long should you put the book aside for? No more than a month or two is usually
what I would suggest. It will help you cool off a bit, think about other things, get more
perspective. But you dont want to leave it so long that you feel out of touch with your
book.
Focus point
It can help to leave a gap between drafting your novel and coming back to the manuscript to redraft it. Dont leave it
more than a couple of months, however, or you may lose momentum.
When you come back to your book, the first thing to do is to get a copy printed out. It is
good to get your drafts printed out on paper, to feel their heft in your hand, to be able
to leaf back and forth, to physically feel the difference between 10 pages and 30
pages. Now read the book straight through, making notes in the margin as you go.
Dont get bogged down. Again, your first reading should be more like an aerial
photograph: a snapshot of the whole territory. If you make sure that the first readthrough is fairly swift and breezy, you will have a sense of the whole. Later on, you
can parachute into your manuscript and hack your way through the jungles on foot.
When you get to the end of this read-through, two things may happen. The first is that
you may succumb to despair and think that your book is so terrible that it should never
see the light of day. The second is that you may succumb to excitability and think that
your work is such a work of genius that the only thing standing between you and the
Nobel Prize is time. On either count, you may be right. But it is more likely that your
book is simply a mixture of good and bad. Your job now is to eradicate the bad and to
make the good better.
Focus point
If you have identified many problems in your manuscript, this is not a sign that you are a bad writer. Instead, it is a
sign that you are on the right track. Bad writers do not identify problems. They do not even notice problems.
Redrafting for
One reason that it can help to think in terms of multiple drafts is that redrafting is a
general catch-all term for numerous different processes. When you are redrafting, you
may be thinking about any of the following things:
Are there any parts of my novel that are boring? Are there any sections that are
irrelevant?
Where does the story slow down? Where do I move too quickly over important
aspects of the story?
Is the story told in the right order? Do the chapters need to be rearranged? Is the
structure right?
Does the story start in the right place? Does it end in the right place?
Are my characters convincing?
Does my dialogue work?
Because these are all very different questions, it makes sense not to try to do
everything at once. If you think about doing multiple redrafts, then you can think about
focusing each redraft upon a particular set of questions or concerns. In this book, I
have divided redrafting into three separate, but linked, areas: structure, logic and
language. So you might think about having at least three phases of redrafting your text,
one phase for each of these.
A circular process
Because your novel is an organic whole, the redrafting process is often circular. Even
a tiny change in one place can cause you to make big changes elsewhere. If a butterfly
flaps its wings on page 1, it can cause a tsunami on page 31. Think of redrafting as a
process of circling around your ideal novel, the novel that your novel could, should
and hopefully will be, but that it isnt quite yet. Each time you go through your
manuscript, you may come a bit closer to this ideal novel.
Key idea
Make sure that you keep backup copies (either on paper or electronically) of old drafts. Then, if you make changes
that you later think the better of, it is easy to revert to an earlier version.
Redrafting is not just about making small changes. It can be about huge, bold moves,
great flights of the imagination and intensely creative solutions to problems in your
work.
Focus point
While redrafting, dont be afraid to either gain or lose large numbers of words. If you redraft with sufficient care,
imagination and attention, your novel will find its natural length.
Depending on the software you use, there may be built-in ways of keeping track of
drafts. For example, Scrivener which I use for all my writing projects not only
allows you to keep snapshots, or multiple drafts of the same document, but also to
compare drafts and to roll back to earlier drafts and so on.
If you prefer to work on paper for your drafting, rather than on a computer, then keep
hard copies of your drafts for reference. Even if you work exclusively on your
computer, it can be useful to print out hard copies of major revisions for reference.
Where to next?
Now that we have looked at redrafting in general, we can move on to consider the
specifics of redrafting in more detail. Well start by looking at how you can
redraft to improve the pace, structure and rhythm of your novel, so that you can
sustain your reader throughout the journey from the first to the last page.
12
Redrafting for pace, structure and rhythm
Each book has its own unique rhythm. This depends not only on the story and how it is
told, but also on how the text itself is structured, how it is broken up and how it looks
on the page. When we pick up a book, we do so with a sense of the books magnitude.
We dont read a slim novella in the same way with the same expectations, with the
same internal rhythm as we read a thousand-page tome.
This chapter is about how you can redraft for pace, structure and rhythm. It is about
how you can tell your story in such a way that it engages your readers more deeply,
drawing them in and sustaining their interest. In this chapter we will begin by looking
at reading as a physical activity that takes time and that has a particular rhythm. We
will then move on to consider the first thing that will strike your reader when they
open your book, before they have even read a single word: how dense or airy the text
looks on the page, how weighty the book feels in their hands. Then we will look in
greater detail at the particular structural issues that will face you at various points in
your text. The chapter ends by moving from the broadest structural questions how
you divide your text up into sections and chapters to the most fine-grained questions
about how you keep pace, movement, structure and rhythm by working at the level of
sentences.
Key idea
Reading is a physical activity.
Because reading is a physical activity that takes time, there is a certain rhythm to
reading a book. Unless your book is very short or your reader is very committed, this
rhythm will be broken up over a number of sittings, so that your reader will find time
to read the book between the other activities that make up their lives. Your job as a
writer is to make your book unfold in a fashion that keeps your reader engaged, and
that brings them back to the book between sittings, as they journey from the first to the
last page.
Every book has its own rhythm, or its own set of rhythms. Some may be compulsive
page-turners, some may invite a slower and more contemplative reading, some may
move between moments of great pace and focus and longer, more meandering
passages. But the way that you manage this is central to the feel and flavour of your
novel.
Virginia Woolf
Here I am sitting after half the morning, crammed with ideas, and visions, and
so on, and cant dislodge them, for lack of the right rhythm. Now this is very
profound, what rhythm is, and goes far deeper than words.
It can be useful to think of novels as being like pieces of music in which there are
multiple rhythms at play: from slow pulsing bass-notes to rapid pizzicato passages in
the treble. The art of rhythm in orchestrating your novel is to make sure that there is a
sense of unity throughout, so that this feels like a single, coherent novel, but also to
make sure that there is sufficient variety to keep the reader engaged.
publisher (or, if you are self-publishing, the choices that you make yourself), such as
the kind of font you used, the size of margins and so on. The way a book looks on the
page will signal to the reader the kind of attention that you are expecting from them.
Ask yourself whether this is the kind of feel that fits your story. Do you want to
introduce more breathing space? Or do you want to close up the space, to make the
experience of reading the book more intensely focused?
With the rise of ereaders, this physical dimension is perhaps less of an issue, as the
reader has some control over the layout of the page and the amount of breathing space
that they prefer when it comes to how the text is laid out.
WHERE TO BEGIN
We have already seen that there is no need to have a blistering beginning that will
make your readers gasp in wonder: some novels can do this, but others are much
quieter in the way they begin. Either is fine. Nevertheless, it can be very useful to think
about your beginning, when you are redrafting, from the perspective of a reader who is
as yet unfamiliar with your fictional world.
Many films begin with what is sometimes called an establishing shot. This is a shot
or a scene that sets the tone of the world of the film as a whole, that gives us the sense
that we are watching this kind of film rather than another kind of film. Such an
establishing shot allows the audience to settle into the film, to tune up their
expectations.
Are you giving the reader the information they need to engage with the book?
Are you setting the mood of the book?
Is there too much information too soon, information that you do not need to tell the audience just yet?
Do these opening pages set up the right kinds of expectations, or are they misleading?
Have you introduced the main character or characters? If not, do you need to?
Are you setting up questions that will draw the reader onwards through your book?
You may want a beginning that plays with your readers expectations. Iain M. Bankss
book The Player of Games opens in the middle of what seems like a serious conflict;
only after we have read on for a few pages do we realize that this is a simulation in
which his characters are merely players. When you realize this as a reader, there is a
kind of lurch, a shifting of expectations. But Banks knows what he is doing: he uses
this device to set up questions about the relationship between games and reality that
become central to the entire book.
Focus point
Remember that the beginning of your novel will be the place where you will be setting up the major questions that
you want to explore.
False starts
It is a relatively common experience among novelists that their opening pages are less
to do with the reader and more to do with themselves. As a writer, you may spend
several pages working your way into a story: the first few pages may simply be what
you need as a writer to get up to speed. I have heard some writers saying that, if you
are writing a poem you should throw away the first stanza, if you are writing a short
story you should throw away the first paragraph, and if you are writing a novel you
should throw away the first chapter. This is not a hard-and-fast rule, but it can be
instructive to ask yourself what happens if you do cut the first chapter, or the first few
pages. Does your novel become more tight and focused, or does it lose something?
MIDDLES
Once you are up and running, then there are questions about how to maintain the pace
through the middle of your story. You are asking your reader to commit a lot of time to
your story, and so you need to make sure that this commitment is rewarded in some
way or other. The middle of your novel is the meat of the story; it is where all the
interesting stuff happens all of the richness and complexity, all of the insight and
excitement. If you have a strong beginning planned and a strong ending, the middle
should not just be the quickest way of getting from A to B. Bear in mind the old clich
that the best journeys are not those that get you to your destination quickly, but that get
you there by itineraries that are interesting, surprising, thought-provoking or moving.
When reading through your novel in the redrafting phase, develop the ability to be
ruthlessly honest about when your attention flags or wavers. There will be moments
when your eyes lift from the page, when you gaze out of the window, when you are
reading the words but are no longer engaged in the story, or when you find you have
skipped a page or two or even more. Often when we are reading, we do not notice
these moments. Our brains fill in the gaps. But when redrafting your novel, these
lapses in attention may point to areas where your story is lacking in richness and
depth.
Focus point
When editing your work, notice any points where you lose focus and attention. These points may be the very same
points that lose your readers attention
There are reasons why you may find the middle of your novel to be slack and lifeless.
Many of these are to do with plotting. Some examples you may have to deal with are
as follows:
You are not managing to deepen and complicate the questions that you have already
raised at the beginning.
Resolving many of these problems may involve cutting back, but the solutions to some
of them may also involve adding more material.
Focus point
Remember that the middle of the novel is the place where you will deepen, enrich and multiply the questions that
your novel is raising.
There are also a number of smaller issues that may lead to a slowing of pace in the
middle. Here are some things to look out for.
Irrelevancies
When you start out writing a novel, you may find that at every point you are presented
with a huge number of possibilities. You set various threads in motion, you open up
various questions, and so on. But a novel is not infinite in scope, and so you cannot
follow them all up. If you think of your novel as a branching river, some of these
branches will dry up, while others will continue to flow all the way to the end. When
you go back over the manuscript, you may find that there are branches of the river that
have gone nowhere, questions that you have raised and lost interest in, sideshows that
had seemed interesting at the time but that now seem beside the point. Are there
characters who have no place in it, but who would be better off in a different novel?
Are there subplots that you could cut out without adversely affecting the novel in any
way whatsoever?
Be rigorous about what is not needed.
Back story
We do not need to know everything about somebodys past to be able to deal with
them. There are people whom I know well, and with whom I interact day after day, but
about whose past I actually know very little. Back story is not necessary to be able to
relate to and engage with the people we encounter. This goes for fictional characters
as well. By all means introduce back story if it is relevant to the story that is
happening now; but if it is not relevant, keep quiet about it.
Sometimes, however, there is the reverse problem: the character is presented a little
too baldly, without sufficient back story. When this happens, it can be useful to think
about how this character can be brought into sharper focus as a living, breathing
character.
There is also often a tendency to introduce a characters back story all at once. So the
moment you meet a character, there are two or three pages explaining who this
character is, where they come from, and so on. This kind of extended introduction is
fine, but it can break the forward motion of the plot. Sometimes you can give back
story in fragments, so that as the story rolls forward in time, so does the readers sense
of the history that underpins it.
ENDINGS
In terms of structure, endings matter a great deal. You will know the experience of
reading a novel or watching a film that seemed compelling and interesting until the
disappointing ending. There are several reasons why the end of a novel may be
disappointing. Here are a few of them, and some suggestions for how you might
remedy them.
Focus point
Remember that the end of the novel should usually address and resolve in some fashion (but not necessarily answer)
the questions that you have raised at the beginning.
Premature climax
There is nothing more disappointing than a premature climax (except, perhaps, no
climax at all). What I mean by this is a high point that comes too soon, without
sufficient time to build up the tension. This may be a problem with the end of the
novel, but it may equally be a problem with the middle in that you may have not paid
enough attention to developing the tension and the conflict throughout the novel so that
the climax, when it comes, feels decidedly unimpressive.
False summits
If you are the kind of writer who likes to go walking up in the hills, you will know
about false summits. You climb and climb, and you think you are getting to the top of
the hill; and then when you almost get there, you see that what you thought was the
summit was only a little hump along the way. So you climb further, the summit in sight,
and when you are just about to get there once again you see the real summit looming
behind. Suddenly you are taken by a great weariness: Will this hill ever end? you
think. This experience can happen in books as well. If you have signalled to the reader
that this is the end of your story, then you need to make good on this.
Final exposition
Another problematic ending is when you find that you have resolved all the main
questions that were raised in the earlier part of your novel, but then mysteriously you
find that you have another 20 pages of discussion about the economy of Napoleonicera
France, or else a long description of what your main protagonist has for breakfast on
the morning after the crime is solved. You are no longer exploring the questions that
matter in the novel, you are just playing for time filling in detail, or saying all the
things that you have forgotten to say as you are going along. This is the opposite
problem to the problem of false starts. Sometimes these final expositions can be the
result of a loss of nerve: you dont believe that you have really communicated what
you want to communicate, so you pop up at the end to drive the point home. If you find
yourself doing this, then go back to the middle of your book and see how you can
enrich it so that you dont need to drive the point home.
Key idea
To maintain pace, give more room in your text to events that have a greater degree of intensity, and ease off on
events that have a lesser degree (even if they take up more time).
means that you cannot move quite so speedily; telling allows you to move things
forward quickly and efficiently. When you are thinking about your novel in terms of
pace, you can work with varying pace through asking which aspects of the story you
want to show and which aspects of the story are better told.
Now take a single chapter and alter the pace by changing at least two instances of
telling into showing, and vice versa. How does this affect the feel of your work?
Chapters
Not all books are divided into chapters. There are novels that are simply huge blocks
of text, and novelists who believe that chapter breaks somehow interfere with the
readers immersive experience of the world about which they are writing. Other
novels have a large number of short chapters. There is no rule about how many
chapters your novel should have. The average probably floats somewhere between 15
and 20 chapters for a 90,000-novel, with each chapter being between 3,0004,500
words long. But this is an average: it is not a rule.
also an advantage, because it is easier, in general, for a reader to re-engage with your
book when they return to it if they are picking up a new chapter rather than just
continuing to plough through unbroken text.
Key idea
If you divide your book into chapters, each chapter must have its own shape and structure. Chapter divisions should
not be arbitrary.
Number of chapters
256
24
11
420
16
26
256
24
11
230
62
360
49
me for this.
In part, the decision will depend upon the complexity of your story. For some stories,
you may find that if you make chapters too short, you simply dont have enough room
to move. On the other hand, you may find that if your chapters are too long, you start to
lose focus.
Within certain genres thrillers, for example there are quite common tricks that
novelists play with chapter breaks. If there are a number of threads to a narrative, you
can keep your reader engaged by raising questions at the end of a chapter (for
example, by placing a character in jeopardy, by introducing a new element to the plot,
or by an unexpected turn of events), and then by changing the subject and picking up
another thread. The reader will keep reading because she will want to know the
answer to the question. And, of course, in the chapter in between, you can raise
another question, so that by the time the reader finds the answer to the first question,
she is desperate to learn the answer to the second. This braiding of questions in your
story can be a very effective strategy.
CHAPTER TITLES
Another question that sometimes vexes novelists is whether their chapters should have
titles. Chapter titles are strange things because they stand outside the narrative itself.
They act as an extra layer that helps direct the reader, or raises questions in their
mind, as they read the chapter. If you are thinking about using chapter titles, it can be
useful to ask yourself what, if anything, the titles add to the story. If they are simply a
word or a phrase that reflects the action of the story, they may not be necessary. But if
the chapter titles do something in addition to the rest of the text, this may be more
interesting.
Paragraphs
Jack Kerouac
Every paragraph is a poem.
Looking more closely at the structure of your novel, we come to the question of
paragraphs. Paragraphs serve to break up large chunks of text, to introduce more space
into your readers experience of reading. The spaces between paragraphs are
something like pauses and rests in a piece of music; and the way you play with these
pauses and rests will have a strong effect on the pace and rhythm of the reading. Ideas
and images that share the same paragraph will feel closer to each other than ideas and
images that are divided into separate paragraphs. When writing essays, you may have
been taught all kinds of things about paragraphs: about how each paragraph should
convey a single, self-contained idea, or about how each paragraph should have a
beginning, a middle and an end. But this is not strictly true when writing fiction. Think
about paragraphs in terms of rhythm, in terms of the texture of your novel. Paragraphs
are a way of tightening and slackening the attention of the reader, of alternating focus
and relaxation.
Sentences
E. Annie Proulx
You should write because you love the shape of stories and sentences and the
creation of different worlds on a page.
The final structural unit to look at is the sentence. For present purposes, Im going to
say that a sentence is any chunk of text that is self-contained, that begins with a capital
letter and ends with a full stop, question mark or other appropriate punctuation mark.
This is a sentence. And this? Sure. Why not? This is not a grammatical definition, but a
practical definition. According to the rules of grammar, a sentence might need a main
verb. But you dont need to worry about any of that. Think instead of a full stop as a
pause, a break in the sense of what you are saying.
The feel of your novel will depend in part on how you manage sentences. Do you have
long, luxuriant sentences with multiple clauses? Or do you go for short and snappy
sentences? You may find that you have not even thought very hard about these
questions while drafting your novel: you have just written what you have written. But
when you redrafting, pay attention to what your own tendencies are, and whether these
are working in your favour or not.
Think up two scenes for one of your characters. Use fresh scenes, not scenes that you have in your novel-inprogress. You will need one scene that is low intensity (your character sinking into a bath at the end of a long day, or
falling asleep on a train, for example), and one that is high intensity (your character hanging from a cliff by the
fingernails, or desperately ransacking the waste-basket for a lost phone number).
Write each scene in the way that feels most natural. Take ten minutes per scene. Dont go back, edit or cross out.
When you have done this, read over both scenes and look at the sentence length. Are the sentences in the lowintensity passage longer and more luxuriant? Are sentences in the high-intensity piece shorter and choppier?
Now try this:
Rewrite the story to make the sentences in the high-intensity piece shorter. Then rewrite the low-intensity
piece to make the sentences longer.
What does this do to the mood of each piece? How does sentence length affect intensity?
If you want to, you can finish by rewriting a second time to make the sentences in the low-intensity piece
shorter and the sentences in the high-intensity piece longer.
Does this feel strange? Do you experience any tension between the sentences you are writing and the subjectmatter? The following workshop takes the idea of editing for pace further, and can be an interesting one to work on,
and discuss, with another writer.
If you like, you can do a graph of changing intensity, scene by scene, like the one below:
This gives you a map of your story in terms of degrees of intensity. Now think about the following issues:
When do you want to build intensity slowly? When do you want moments of shock or surprise (moments of
high intensity bursting into moments of low intensity)?
Are you effectively moving between passages of lower intensity and passages of higher intensity?
If there are long passages of low intensity, how do you maintain your readers interest?
You can also try this exercise with books where you think the pacing works well, to see what you can learn.
different? Read each version out loud. How does the change in paragraphing affect the rhythm of your reading?
Does the extract work better with more paragraphs or with fewer? How does the way that you break up the text
into paragraphs affect the changes in intensity in your story?
3 Sentences
Taking the understanding of the relationship between emotion, physicality, the breath and sentence length that you
have developed in the previous snapshot exercise, take the same section of your novel that you have looked in in
part 1 of this workshop, and explore the way that you write sentences. Read the passage out loud, so you can feel
the coming and going of your breath. Now select a few consecutive scenes of varying intensity, and look at the
sentence length. Do the higher-intensity scenes have shorter sentences? Do the lower-intensity scenes have more
languid sentences?
Now see whether you can hone and tweak the intensity of these passages by playing with changing sentence
length.
Where to next?
In this chapter we have covered quite a lot of ground about pace, structure and
the rhythm of your work. Now we are going to turn to look at another aspect of
redrafting: the logic of how your world hangs together, and how you can make
sure that, beneath those wonderful sentences and paragraphs, there is a
rigorously well-engineered framework.
13
Redrafting for logic
We saw in Chapter 5 that the architecture of your fictional world matters. Readers
will feel confident and in good hands if your fictional world feels solid and well
drawn, if your characters respond to things in a fashion that is consistent (even if it is
sometimes surprising) and if there are no areas of fuzziness. If, on the other hand, your
novel is filled with problems and inconsistencies, if it appears a bit fuzzy, or if there
are obvious errors in continuity, or anachronisms, or other logical problems, then your
reader will feel less at ease.
Readers often pick up on inconsistencies and logical problems intuitively, even if they
do not do so consciously. If you have too many problems in your book, your readers
will read it with a nagging sense that something isnt quite right, even if they cannot
quite put their fingers on what it is that isnt right. So in this chapter we will be
looking at how to tighten up your plot and how to troubleshoot some common
problems.
Key idea
Logic is not something you impose upon plot and character. Instead, it should emerge organically from the world,
events and characters of your novel.
Think of a novel as being like a coach and horses. You can see plot as the horses that
are galloping up front, keeping up the momentum. The plot is the driving force.
Character is the coachman who drives the plot onwards. But then there is the
machinery of the coach itself the wheels that turn smoothly on their axles, the
engineering that ensures that the whole thing doesnt fly apart, the suspension that
ensures a comfortable and not-too-bumpy ride that enables any of them to move at
all. If your story lacks logos, it will grind to a halt or it will fall apart. And if you are
riding in the coach (lets stretch the metaphor to breaking point and suggest that the
people riding in the coach, the passengers, are your readers), not only are you
interested in the destination, but you also want to get there in one piece. As a writer, if
your book is badly engineered, the horses of plot may end up galloping to the end, and
you may not realize that the carriage has collapsed on the road and that the readers
have all clambered out, dusted themselves down, and hailed another, better-made
vehicle that might take them somewhere more interesting, and in more comfort and
style.
Focus point
Logic matters to your readers, not because all readers are pedants who love logical consistency, but because if you
make too many logical slips, your readers will be repeatedly jolted and shaken like passengers in a badly made
carriage.
There is, of course, a great deal of artfulness and poetry involved in writing a novel.
But a novel is also a piece of engineering, a rigorously constructed bit of kit that
allows you to take your readers where you want to take them.
Focus point
At the redrafting stage, you may need to go back and do quite a lot of research. This may be straightforward factchecking, or it may be more in-depth research that will mean making considerable changes to your story.
When you are redrafting, it can be a good idea to go through your novel, chapter by
chapter, and ask yourself whether the information you are drawing upon is accurate, or
whether you need to do further research. Details matter. Place names change, lakes
that exist today may not have existed in the past, whole landscapes shift and mutate
over time. Technologies and ways of speaking and thinking also change in different
times and places. A final read-through to make sure that your facts are fairly secure
and backed up by solid research will be of great benefit.
Of course, you will inevitably make mistakes. You will get things wrong; there will
be gaps and glitches. All fictional worlds are built on artifice, and there is always a
point at which the cracks begin to show if you look hard enough. Your job is to make
sure that these cracks are not too glaring or fatal, and to fill them in as far as possible
so that there is no risk of the novel collapsing into them.
Focus point
Things can go terribly wrong in your story if you lose track of who knows what.
When redrafting, make sure that you are clear chapter by chapter about what each of
your characters knows, and make sure that they are acting only in accord with this
knowledge. Keeping secrets is hard: you can easily let things slip. If you have a novel
with multiple characters, all of whom have different knowledge, and if your plot
depends on what your characters know, then you are effectively going to have to keep
track of which secrets you have let which characters in on.
What a coincidence!
Coincidence literally means the coming together of two events or actions. But when
people talk about coincidence, they usually mean the significant coming together of
events that are in some way improbable, or between which there is no obvious causal
connection. What interest us as human beings are not coincidences themselves, but
coincidences that seem unlikely, improbable or meaningful.
Paul Auster
When I talk about coincidence, Im not referring to a desire to manipulate No,
what Im talking about is the presence of the unpredictable, the utterly
bewildering nature of human experience.
When we use the word coincidence in everyday life, what we can sometimes mean
is that there really is no connection between these two events; but what we often more
frequently mean is that although there is no obvious connection between two events,
there is perhaps a hidden and mysterious connection. Some writers Paul Auster is a
good example thrive on tales of coincidence. But you need to be careful.
Coincidences in real life can be strange and intriguing; but in fiction you need to make
sure that you are not just employing coincidence as a lazy way of solving plot
problems (this is a form of deus ex machina see Chapter 7). In general, you should
not overuse coincidences, or else you should use them as starting points in chains of
causality. A novel might begin with a coincidental encounter for example, two
people who knew and hated each other years ago find themselves pressed up together
in a crowded commuter train and then follow through the logic of what happens from
that. But if you used a further coincidence to resolve this tricky situation, then your
readers might be less impressed.
On the other hand, if you are writing a book that revels in the absurdity of multiple
coincidences, by all means go ahead and pile up coincidence upon coincidence as
long as you are clear about what you are doing.
Focus point
For everything that happens in your story, you should go through and ask: Could this plausibly happen in my
world? Are the reasons that this is happening plausible?
When redrafting for consistency and coherence, you need to be clear whether your
fictional world contains any elements that the real world does not (or at least, that the
real world does not uncontroversially contain). If you are writing a historical novel,
and you introduce a fictional character into history, then you are tweaking the fabric of
reality. If you are writing a contemporary novel, the same thing also applies. It is what
I like to think of as the Soap-Opera Paradox: a soap opera attempts to mirror reality,
but the one thing it cannot do (unless it is a very postmodern kind of soap opera) is
have the characters in the show sitting down in the evening and watching themselves.
Key idea
However closely fictional narratives mirror reality, there are always points where they will diverge and show
themselves to be fictions.
If your fictional world has elements that do not exist in the real world advanced
technologies, magic and other kinds of causality the following exercise might be
useful.
If your world differs from the everyday world in any respects, note down how it differs. This may involve
advanced technologies, magic or other strange kinds of causality.
Now make some notes about under what conditions these different forms of causality apply. What you need
to do is set out the constraints upon this kind of causality. For example, if you have a character who can see
into the future, then you need to know how this happens, when it happens, how far into the future your
character can see, and so on.
Try to turn this into a set of cast-iron rules that apply throughout your fictional world. Write down the rules in
a list, as concisely as you can. These rules will act as a supplement to all the usual laws of causality in your
fictional world.
Focus point
Send your work out to trusted readers. If they come back to you and say they dont understand an aspect of your
story, then it is not their problem, but yours.
If events unfold for too long without any apparent logic, the reader may well get
bored. When this happens, the problem is often either that the writer is in fact confused
and not sure what they are doing (a problem with the logic of the story being
insufficiently thought through) or that the writer has just not given enough information
to make sense of the story (a problem with how the story is told).
However, to say that the logic of your world should be fully concrete is not to say that
you should not make use of ambiguity, mystery and intrigue. Some of the richest
resources can be found in exploiting ambiguity and mystery. Fiction shouldnt
necessarily be entirely clear and transparent. As we saw in the chapter on plot, a
novelists job is to raise questions, but there is no obligation to fully answer these
questions.
Ambiguity and mystery, however, are not the same as logical fuzziness or unclarity.
Ambiguity doesnt work if it is bolted on, or if it is the result of insufficient thought.
Key idea
Ambiguity is a source of richness in your storytelling, but you shouldnt use it is ambiguous as an excuse for
inconsistencies, indecision, or lack of thought and care in writing.
will have to make the machinery invisible, in the way that a skilled magician can make
people levitate or produce live rabbits from hats, without any of the machinery being
on show. However, this is not an absolute rule. Some books make their machinery
much more explicitly visible a good example is Tristram Shandy by Laurence
Sterne, another is the Lemony Snicket series by Daniel Handler and part of the
pleasure of books such as these is the way that they play with the machinery of
storytelling and of the book. The logic of most stories if implicit. If you want to make
it explicit, then you are free to do so you will have some noble predecessors; but if
you do it at all, make sure you are doing it consciously.
The story does not adhere to the rules that you have set out in the earlier exercise.
Your characters act in a way that is not appropriate to the fictional world you have built.
Your characters act in a way that is inconsistent with their own behaviour elsewhere.
Events occur that seem unlikely, improbable or impossible in your fictional world.
It is unclear exactly what happens in your fictional world, or why and how things happen.
Write out a list of problems that you need to solve by redrafting. These may be minor problems (for example,
tweaking the finer details of a scene) or more major problems that you have not noticed before that require
substantial revision. Go through the list and mark these problems according to their seriousness, based on the
following chart:
Score Seriousness
5
Very serious problem: requires major revisions of manuscript, and perhaps significant rethinking of
the plot, characters and storytelling.
Serious problem: will require some significant changes and may have wider effects throughout the
manuscript.
Problem: this requires serious attention, but it is likely that you can solve it without making
sweeping changes.
Glitch: small, local problem that can be solved without affecting the rest of the story.
When you have a list, work through it, solving all the problems systematically. Start with the very serious problems
that you have marked with a 5, and work through these first. Some of the major revisions that you make may
mean that the smaller problems disappear. Work through the entire list, finally ironing out all the glitches (the
problems marked with a 1).
2 Troubleshooting concreteness
This next part of the workshop is one that can best be done by somebody else. If you can, find a friend who has a
sympathetic ear, and who is likely to be able to give you good advice (you can work through this yourself, but it is
much easier to get an external eye on your work). Bribe them if you have to or, if your friend is a fellow writer,
offer to work through their manuscript in the same fashion.
Ask your friend to write a list of anything that is either unclear, or that they dont understand, or that they find
confusing. These questions might help them:
Are there any crucial pieces of information about this fictional world that the reader needs to know, but that
are not in the text?
What is the reader not told that would be useful for them to know?
Does this fictional world feel like a particular world does it have its own unique feel? Or does it feel a bit
too generalized? How could it be made more particular and specific?
You are looking for a simple list of things that dont make sense, or of things that dont add up. When you
have the list, the temptation will be to go to your reader and explain to them why they have misunderstood. But
this is a mistake. You need instead to go back to the text of your novel and see what you need to do to solve the
problems there.
Where to next?
If you have thoroughly redrafted for consistency, coherence and concreteness,
made sure that your plotting does not rely on implausible coincidences and are
fairly confident that the machinery of your novel is working, the next question to
look at is how you can work on refining the language of your novel. This is the
subject of the next chapter.
14
Redrafting for language
Now that you have nailed down the big issues in terms of the logic of your novel and
the fictional world in which it is set, and now that you have dealt with the big
structural issues, it is time to focus in on the language that you use to tell your story. In
this chapter, we will be looking at how you can take a promising manuscript and
really bring the prose to life.
Focus point
The usual order in which we forget about books we have read is something like:
This is important, I think, because, if you want your book to linger long in the mind,
then it is perhaps mood that is the most fundamental as well as being the most
intangible thing.
Key idea
All books have a particular mood; every book, if it is successful, conveys a particular and idiosyncratic sense of
life.
Mood is a strange thing. It creeps up on us (the philosopher Martin Heidegger says that
it assails us). It is hard to grasp or define. You can think of it as the particular
flavour or even the odour of a book: some books are pungent (like Sskinds
Perfume); some have more subtle and delicate flavours. Mood arises out of many
different aspects of writing, but two of the most powerful are the environment of the
story (the world that the writer has built) and the linguistic environment of the
storytelling (the language that is used to convey the story). We have already looked in
detail at the first of these. Here were going to focus on the second.
Our own relationship with language is unique and idiosyncratic. This relationship is
formed by the books that we have read, by the people we have known, by the
surroundings in which we have grown up, and by the languages with which we are
familiar. As a writer, you may spend your first few years trying to get to grips with
your distinctive voice.
Miles Davis
Sometimes you have to play a long time to play like yourself.
By voice, I dont mean anything too mysterious. Your voice is simply your unique
relationship with language. Your voice is a matter of both how you use language and
what you use language to talk and write about.
Focus point
We all have a unique relationship with language, a relationship that arises out of our history, the worlds we have
inhabited, the books we have read, the people we have known, and the things that we have done.
If you worry too much about your style or your voice, you may find yourself straining a
bit too hard. Often, the best writing is writing that keeps a connection with the rhythms
of the spoken language. In the same way that, if you think too much about what you are
saying and how you are saying it, you find that your throat dries up and that you are
incapable of speaking at all (the classic first date ailment!), if you find yourself
thinking too much about your voice on the page, you will find yourself hitting a brick
wall.
There are, of course, differences between spoken and written language. When we
communicate face to face or by means of the spoken word, our voice our particular
style of communication also involves things such as facial expressions, gestures and
other non-verbal aspects of communication. The gestural nature of our communication
is lost on the page: if I say something deadpan, but have a half-smile on my face, you
may realize that I am employing heavy irony. But if I do the same in print, I need to
find other ways to communicate this irony.
To have the impact of spoken language, written language may need to have a bit more
vigour; it may need to somehow exemplify these gestures, these nods and winks, these
dramatic pauses. As you develop as a writer, your skills in this respect will increase.
but that is not to say that clarity is the only thing that matters. Language is not just a
window on to a world, or a way of conveying information to the reader. It also has
rhythmic, sensory and visual aspects.
Key idea
There is no such thing as absolutely clear language. Language has ambiguity and complexity built in.
When writing, you may want to play off the ability of language to tell a story against
other aspects of language such as rhythm, sound and complexity. Some kinds of
language describe or represent nothing but are nevertheless powerful: think of spells
and curses!
ADJECTIVES
We can start with adjectives. Adjectives modify nouns. Look at the following
sentence.
He climbed the steep, crumbling, moss-covered staircase.
Now, what is wrong with this sentence? You might say that there are too many
adjectives. But dont cut them just yet. After all, they are telling you something about
the staircase. They are filling in details about the world. If you cut them, you would
get,
He climbed the staircase.
While this might be better in some contexts, the disadvantage is that it gives us a much
more general and non-specific image of the staircase. What if you do want to point out
the moss, and the decay, and the age of the staircase?
Lets go back to the initial sentence and look at it differently. If there is a problem with
this sentence, it is that we dont know that we are talking about a staircase until the
very end. So we know that he climbed, and that what he climbed was something steep,
and that it was crumbling, and covered in moss but there is a noticeable pause
between the knowledge that the protagonist is climbing and knowing what he is
climbing.
One trouble with adjectives is that, in English, the thing that they modify usually comes
after. So the reader has to wait to know what the thing is the noun or the object
about which you are talking. When you multiply adjectives, this becomes a problem.
Now look at the following.
He climbed the staircase. It was steep, crumbling, covered in moss.
Now, it is possible to argue over whether the second sentence here is any good, or
whether you need to know all this information. But leaving this question to one side, it
is clear that this has solved the delaying problem. The reader first knows that there is
a staircase, and then this knowledge is modified by knowing what kind of a staircase
it is.
Key idea
Piling up adjectives before a noun creates a delay for the reader in knowing what it is you are talking about.
There may be circumstances in which you do decide to play a little delaying game,
stretching things out for the reader a bit: but do be aware that this is what you are
doing.
ADVERBS
For many writing tutors, if adjectives are permanently under suspicion, then adverbs
are often assumed guilty before they have even been arrested and tried. But many of
the things we have looked at with adjectives apply to adverbs.
Adverbs modify verbs, just as adjectives modify nouns. While adjectives talk about
particular qualities of subjects and objects (hence ad-jective), adverbs talk about the
particular qualities of actions (hence ad-verb). Like adjectives, there is nothing at
all wrong with adverbs in themselves. As with your adjectives, the question to ask is
whether your adverbs are really doing the work that you want them to do. Are they
helping to add intensity or nuance or richness to your story? Or are they slowing the
pace, providing redundant information, or otherwise getting in the way?
Look at the following two sentences:
She suddenly burst through the door.
She burst through the door.
The second sentence, to my mind, is much more sudden, because we get to the verb
the action of the sentence much more quickly. The sentence that announces its
suddenness is less and not more suddenness. On the other hand, look at the following
two sentences.
She slowly opened the bottle.
She opened the bottle.
In the first sentence, the reader is in the dark for a little longer as to what the
protagonist is doing. But here you may want this effect: the slowing may suit your
purposes. So there really are no rules about whether you should or shouldnt use
adverbs, or how many you should use. However, as with adjectives, there are a few
questions that you can ask.
Focus point
Simplicity is often a virtue. Avoid, as far as possible, unnecessary over-complication. Your prose should be no more
complicated than it needs to be.
THESAURUS ADDICTION
If you find yourself resorting perpetually to a thesaurus, your novel is almost certainly
overwritten. A thesaurus can be a useful kind of book, but you should not be using it to
systematically replace straightforward words with flowery alternatives. If you find
yourself using your thesaurus more than every ten pages or so, think about locking it
away in a cupboard, far out of reach. Remember, too, that the alternatives that your
thesaurus may provide have different shades of meaning: they are not equivalents.
sign that you need to simplify your sentences (see the section above on simplicity) and
bring them more in line with our everyday sense of language.
PUNCTUATION
Reading out loud is a useful way to pick up on problems with punctuation. There are,
of course, rules of punctuation; and it makes sense to equip yourself with a good style
guide so that you can fully understand these rules (see the recommendations in the
Further Reading section). Nevertheless, punctuation is not simply a matter of
following rules. It is also about the logical structure of your sentences, and about the
music of your prose. A comma tells the reader that they can pause, take a short breath.
A full stop is like the close of a musical phrase.
errors with logic or sense. When reading out loud, you can be surprised by what you
have actually written. As you read, bear in mind the question: Is this what I really
meant to say? If not, then revise or edit.
There are also issues here about word choice. I once read a book where, on the first
page, somebody looked through the window to see two people rowing. It was while
the Olympics were on, and so I imagined the two characters on rowing machines, in
their sitting room, working up a sweat. Only when I had finished the first chapter did I
realize that they were not rowing, as in engaging in water-based sports, but rowing
as in having an argument. This kind of ambiguity does you no favours as a writer: it
gives the reader a jolt when they realize that what they thought was going on was not
going on. So be aware not just of logical glitches, but of moments where your words
could be misconstrued or where they could be interpreted in different ways.
Latin/French roots
stench
odour
buy
purchase
weep
cry
wise
prudent
weird
strange
begin
commence
pick
select
Play with making sentences using the words in the left-hand column (She was so wise
it made me weep / The man had a weird stench / Go on, buy anything you like, take
your pick) and then translate them into words in the right-hand column (She was
so prudent it made me cry / The man had a strange odour / Go on, purchase
anything you like, make your selection). You will find that the first set of sentences
has a much earthier feel than the second, and that the second sounds rather more
my greatest love
a memorable holiday
my dream job
If these topics seem too appallingly clichd, feel free to come up with another.
2 Recording from the page
Now record yourself reading the two pages of your novel. Read straight through, without any additional
commentary or introduction. You want to be reading only the words on the page. If you stumble, dont worry. Just
keep on going. The recording can be rough at the edges.
When you have done this, take a short break so you can shake off the mood of the novel.
3 Recording from the voice
Now record yourself talking for around 510 minutes about one of the topics listed above. If it helps and you are
working with somebody else, they can interview you about the topic, but make sure that your interviewer doesnt
interject too much: the aim is for you to speak as much as possible for these 5 minutes or so.
Now take another break.
4 Exploring the spoken voice
Sit down with both recordings and listen to them all the way through. Ask yourself the following questions. You
may need to stop the recordings from time to time, to go back and listen, or to make notes.
How does your spoken voice differ from your written voice? How are they similar?
Are the kinds of words that you use different? Are the written words, for example, more highbrow than the
spoken words?
Are there any problems with the written voice? Could they be addressed by taking on qualities from your
spoken voice?
hour.
Now place your written and spoken prose side by side. Ask yourself the following questions:
Are there any differences between the two pieces in terms of their formality or their vocabulary?
At the end of this exercise you should have a sense of how your spoken and written voices differ. If the
differences are very wide, then ask yourself what aspects of the written voice require attention, and whether there
are any aspects of the spoken voice that might be introduced into your writing to help solve these problems.
Where to next?
This concludes the third part of this book on redrafting. Eventually, if you redraft
with sufficient care and attention, you will end up with a completed manuscript.
But that point may still be quite a way off, so the next section of this book is about
how you can keep sane while fashioning and refashioning your manuscript.
PART FOUR
Keeping sane
15
Introduction: how, when and where to
work
This next part of the book is all about how to keep sane. Writing a novel is a
demanding job. It is not, perhaps, the most demanding job in the world, but it is
nevertheless difficult. So in this section of the book we will be looking at how to deal
with difficulties, distractions, writers block and other gremlins.
Difficulty is not something that you should avoid, or before which you should take
fright. Arguably, to do anything well will involve a degree of difficulty. But it also
makes sense not to multiply difficulties beyond what is absolutely necessary, and to
find ways of responding intelligently to any difficulties that arise along the way.
This introductory chapter looks at how you can set up a solid basis for your working
life, and how you can find the time and space to carry out the substantial work that you
will need to do to complete your novel.
Advice on advice
Richard Burton, The Anatomy of Melancholy
Who cannot give good counsel? Tis cheap, it costs them nothing.
One thing that you will find if you are early on in your life as a novelist is that
novelists love giving advice. There will be quite a lot of advice in this part of the
book. But, as I suggested at the very beginning, it makes sense to evaluate this advice
carefully to see whether it will work for you. I have heard hundreds of novelists
talking about their work over the years, and almost all of them have been liberal with
handing out advice. Some novelists tell you that you must get up at five every morning.
Then, they will say, you should go for a swim, preferably in the nude, after which you
should walk the dog (if you dont have a dog, you should perhaps buy one now). On
your return home, you should sit down and write by hand (using special ink imported
from an artisanal ink supplier based in Tbilisi) for four hours, without interruption,
before breakfasting on kippers and jackfruit.
However, when writers say You should do this, what they are in fact saying is,
This is what works for me. And because novels are all very different from one
another and novelists are all very different from one other, what works for them may
not work for you. This, of course, also applies to all the advice in this book. If it
works that is, if it helps you craft the best novel of which you are capable then
make use of it. If it doesnt, then ignore it.
This chapter is about finding out what kind of approach to your work will suit you.
There are several things to take into account here: the different aspects of the job, your
own character, quirks and peculiarities, the tools available, and practical issues such
as cost and time.
No perfect conditions
Most writers I know have some sneaking fantasy of the ideal conditions for writing.
This is fine: there is nothing wrong with daydreaming. It is one of the things that
writers do. But it is worth remembering that these are, in the end, only fantasies. There
are, of course, better and worse places to write, and it makes sense to find the best
possible conditions. However, if you sit around waiting for the perfect conditions,
youll never get started. However well you set up your writing space and your
schedule, however good you are at driving away friends, family and pets so that you
can work in peace, there will always be problems and difficulties. Even if you end up
in that mountainside hut, with only the mountain goats, and the twittering sparrows in
the eaves for company, you may find that instead of writing you become dispirited and
lonely, or you go quietly mad, or you become fixated on how distracting the sparrows
are. I have known writers who have retired to the wilds to write, and failed to write a
single world. I have known people who have managed to turn out astonishing novels
while juggling three jobs, two small children and endless obligations. Your conditions
for writing do not need to be perfect. They need to be good enough. This is not to say
that you shouldnt retreat to the wilds some writers work well in such conditions (I
do). But dont feel that you have to.
Focus point
There are no perfect conditions for writing.
Why is this important? Because it is easy to put off writing endlessly until you get into
just the right conditions to get started. Id write a novel, you say to yourself, but I
cant start writing my novel until If you get into this habit, given that the world
never fully conforms to our wishes, you may never start writing at all.
Key idea
All writers depend upon technologies from pencils and paper to complex computers to do their work. What
technologies you favour will depend on how you yourself work best.
Cons
Some writers claim that writing drafts by hand gives them a physical connection with
their work that they cannot get any other way. All writing is a process that involves
some kind of physical activity; but the feeling of working with pen and paper can set
up a steady rhythm of work that some writers find particularly valuable.
Cons
typewriter).
are using word processors or other similar tools. Microsoft Word is ubiquitous, and
many publishers will request manuscripts in .doc or .docx format. But Microsofts
offerings are not the only tools available. There are other word processors out there,
including the free Open Office (www.openoffice.org) and Libre Office
(www.libreoffice.org) suites. These days, I write using Scrivener
(www.literatureandlatte.com), a wonderful writing tool that allows a degree of
flexibility that I find suits my writing style. I can move chapters and sections around
with ease, combine bits of text or split them, and generally do whatever I like to
fashion and refashion my text. Tools and technologies change fast, and if you are
reading a copy of this book that is a few years old, things may have moved on. But
remember that it is possible to get so intoxicated by trying out new tools that you never
actually get down to writing. Try to find a tool that works and, for this one novel at
least, stick with it. A few are listed in the Resources section at the end of this book.
One disadvantage of electronic tools over, say, typewriters or writing by hand, is that
some writers find that, because it is so easy to edit as they go along, they tend to be
less committed, and to think less hard, about early drafts. If you know that you can
change what you are writing without any trouble, it is sometimes all too tempting to
just leave a note in the text saying [fill something in here] and move on. But this is a
habit that can mean that you often fail to make clear decisions about the direction of
your work, and this is something that can store up problems for later.
Word processors and similar tools
Pros
Widely available.
You dont have to type up a final manuscript
to send to a publisher.
Cons
Of course, with the growth of mobile technology, writers increasingly work on tablets,
smartphones and so on. While some novelists are purists and insist that you must write
in one way or another, the truth is that the tools any one novelist uses will always be
particular to them and idiosyncratic. The trick is to find a toolkit that works for you.
find it easy enough to type a text message on your smartphone; but a whole novel might
cause problems. And there is some evidence that typing a large amount on touchscreens is not very good for you. Be careful: things like RSI, or repetitive strain
injury, can blight a writers life.
Find a way of writing that is physically comfortable for you. Think about good
lighting, having a comfortable posture where strain is at a minimum and most
importantly of all taking regular breaks. You can experiment with posture:
Hemingway claimed that he wrote standing up, nude, his toes nestling in the pelt of a
lesser kudu that he had shot himself. There is also a long tradition of writers dictating
their books. You can now do this automatically with voice-recognition software.
Focus point
Writing is demanding physical activity. To avoid repetitive strain energy, make sure that you look after your posture,
minimize strain and take regular breaks.
In the light of this, think about how you can improve your level of comfort when it comes to writing. In particular,
you should think about:
posture
taking regular breaks (many people find that brief breaks of a couple of minutes every quarter of an hour, and
longer breaks of 10 minutes every hour help them maintain concentration and minimize strain).
Think about how you can rearrange your writing space to make writing easier.
A NOTE ON BACKING UP
Whatever you use to write, you will need to make copies of your work so that in case
of fire, flood, electrical failure, gnawing animals or the coming of the apocalypse, you
do not lose your hard-won work. This applies just as much to writers who write by
hand as it does to writers who use computers.
Think about how you can have a clear and efficient backup routine. When I started
writing, I made notes by hand in one of those old-style notebooks with carbon paper
that you could put between the leaves, so that every page had two copies. When I
finished a few pages, I tore out the copies, bundled them up, and posted one to a
different address, so that effectively I had one copy still on me, and one copy posted
elsewhere.
If you write by hand, make sure that you regularly photocopy your handwritten pages,
and store a copy in a safe place. The same goes for if you write using a typewriter.
Focus point
Whatever you use to write with, it pays to make multiple copies of your work.
If you are using electronic tools, then there are two different ways of backing up. You
can back up onsite, meaning you keep copies in the same place that you write. You
might, for example, back up to an external hard drive. Or you can back up offsite,
meaning that copies of your files are stored on a server somewhere else. This means
that, if your house is burgled or if it burns down, then you still have a copy of your
novel available.
It makes sense to back up both onsite and offsite. If you are writing by computer, then
tools that can back up automatically are useful, so that you do not have to remember to
back up. Many tools will back up in the background in other words, without
interrupting your working at regular intervals, meaning that if your computer crashes,
you can salvage a recent copy. The Resources section, again, has some suggestions for
tools that you can use. Years ago I lost a months intensive work because I was relying
on manually backing up. At the end of each day of writing, I would think about backing
up and then think, No, Im tired. Ill do it tomorrow The days turned to weeks, and
the weeks passed, and the words accumulated, until one morning I switched on my
computer and got an error message.
Key idea
If you write by computer, then you need a backup system. The best backup system will:
write can be difficult. If you decide to write only when you feel like it, or only when
you happen to have the time, then you will very likely not write very much at all.
Among all the many commitments that we all have jobs, family obligations,
obligations to friends, dogs that need walking, and the various bits of paperwork that
seem a necessary part of contemporary life it is very easy to find that the time you
have to write dwindles to almost nothing.
There are two questions here. The first is the question of what kind of routine suits
you as a writer. The second is how you might practically go about establishing this
routine.
Key idea
The rhythm of your work may vary over the lifespan of your novel, depending on whether you are researching,
drafting, revising or preparing your manuscript for submission to publishers.
Finding out what suits you best as a novelist may take several novels. Often, I research
around the other things I do in my life (I also teach creative writing, so I have a day
job to fit in). I might take two years doing initial research on a novel, reading in the
evenings, looking up scholarly publications, sending emails to people, making notes. I
might also travel for more intensive research. Then, in phase two, when I come to
draft the novel, I like to write in bursts of intense activity. I go away on my own for a
fortnight or longer, forget about everything else, and write. When I do this, I am
appallingly antisocial. I work for up to 15 hours a day. I wander around muttering to
myself. I look strange and wild-eyed. I dont bother shaving. I stare into space. I wear
odd hats. Its not something anybody else should have to witness. After this, I can
work on revisions, often by setting a routine to revise a chapter, or a certain number of
words, a day. Revising is a more systematic, workaday kind of process. It does not
require any fancy headwear. Finally, when completing the manuscript and preparing
for publication, I set aside a day or two to really give the book my full concentration.
Focus point
Novelists evolve their own patterns of work through long experience. Whatever pattern you eventually evolve, it can
be useful to start out by setting up a more formal routine.
ESTABLISHING A ROUTINE
The first thing, if you are serious about establishing a routine, might be to find out
when you work best, and settle on a time. When you decide to write is entirely up to
you. You may be the kind of person who is at their best at five in the morning every
day, when the house is quiet and even the birds in the trees outside have not yet woken
up. You may, on the other hand, prefer to sit down and write after you have got the
business of the day out of the way. You may like to write steadily, a few hundred
words a day; or you may like to write in larger chunks. It might be that two mornings a
week suits you better than every day.
There are two ways of setting routines for writing. One is, if you are writing a first
draft, to set yourself a word count to complete every day or week. Different writers
work at different speeds; but between one and two thousand words a day is usually
manageable. Another approach is to set aside a certain amount of time and to make
sure that you dedicate this to writing, however many words you write. After all,
writing doesnt just mean putting words on the page. It might also involve
daydreaming, staring into space, scribbling notes, doodling
Focus point
If you want to set a routine for writing, think about whether you want to commit yourself to a certain amount of time,
or else to a particular word count. Either way, dont be too ambitious. It is important to have a routine that you can
sustain.
Once you have decided on when, it makes sense to let other people know. You need to
take your routine seriously; but you also need to make sure that other people take your
routine seriously. Just because you are staring into space, it doesnt mean that you are
available for a quick chat. Treat your writing with all the seriousness you would treat
any other job. And just as you wouldnt agree to go and meet up with a friend when
you should be at work (you wouldnt, would you?), you also shouldnt agree to
interrupt your writing routine for the same thing. It can be immensely liberating to set
aside at least a few hours every week dedicated only to writing.
If you do settle on a time to write and you manage to communicate this to everybody
else, you will find that all kinds of things start to intrude upon it. It can be useful to let
other people know that they shouldnt disturb you when you are writing. Explain to
them that writing is work like any other job. If you are going to get the novel written,
you will need the co-operation of other people around you. Well look at the question
of distraction and how you can deal with it in the following chapter.
Set a word limit or set a minimum time that you want to spend writing.
Decide whether you are going to have a daily or a weekly routine.
If a daily routine, decide when you are going to work: morning, daytime, evening, or the dead of night.
Think about what else to build into your routine (for example, some writers like to build walking into their
routines) to help support your writing.
When you have thought through these questions, then if youve got a daily routine, commit yourself to it for a single
week. If you have a weekly routine (for example, you will write every Friday from 9 a.m. to 12 p.m., and from 2
p.m. to 5 p.m.), then commit yourself to it for a single month.
At the end of this period, evaluate how you have done. Was your routine easy to sustain? What difficulties did you
have? How do you need to adjust your routine to make it work better for you?
There are no rules about where is the best place to write. The following exercise may
help you think about some of the factors involved.
cultivate a life that supports your writing. For most of us, that life will necessarily
involve a lot more than sitting on our own and putting words on the page. Put the pen
down. Go outside. Meet up with friends. Make sure that you nourish your life in other
ways. Then, when you sit down to write, you will have something to write about.
Where to next?
Even if you have successfully set up the practical conditions for writing, you may
find that once you start you hit all kinds of difficulties. You may find yourself
distracted, or bored, or lonely, or frustrated, or simply unable to write, and
suffering from that mysterious ailment sometimes known as writers block. The
next chapter looks at how you can deal with these problems.
16
Distractions, writers block and other
gremlins
Writing novels is never a straightforward process. There will be times when it feels
as if the work is going very well, and there will be times when you succumb to
frustration, irritation, exasperation and even (perhaps) despair. This is all completely
normal, but it is good to be prepared and to know how to deal with these problems
and glitches.
Well start this chapter by looking at that terrible and mysterious curse known as
writers block, before going on to look at more specific problems and difficulties in
the writing process, and also at some advice about how you might best deal with these
problems as they arise.
Focus point
Writing a novel is a large undertaking. You should not expect the whole process to go smoothly from start to finish.
Writers block
Imagine that you have been under the weather for a few weeks. You are not sure what
is wrong, but you know that something is not right. You are off your food. You find it
difficult to sleep at night, and when you do manage to get a bit of sleep, you have
restless and unsettled dreams. You feel as if your whole body is aching. And, above
all, you find yourself caught in some strange general malaise where you just dont feel
right. So you decide that you must be sick and, like any sensible person, you make an
appointment with the doctor.
You arrive at the doctors surgery and wait to be called. Eventually you see the
doctor, who examines you carefully. Then she leans back in her chair, takes her
spectacles off, and looks very serious indeed. She puts on that special face doctors
have when they pass on bad news. Well, she says. Im afraid I know what is
wrong.
Yes? you say.
You are ill, she says.
Ill? What kind of ill?
Oh, you know, she says. Just ill. Anyway, time up!
You cant tell me anything else? you ask.
She shrugs. Im sorry, I have other patients waiting
You stand up and prepare to leave. She gives you a sympathetic smile. Get well
soon! she says.
In such a situation, the doctor has told you almost nothing about your condition, and
absolutely nothing about the causes of that condition or how it might be cured, if it can
be cured. Diagnoses of writers block are like this: they correctly identify that there is
a problem, but they dont throw any light on what the problem is, nor on what might be
done about it. It is not that saying somebody has writers block is incorrect. It is just
not very helpful. Just as illness covers all kinds of problems with very different
Key idea
Writers block is not a single, mysterious condition that affects writers. It is a general term for a wide range of
smaller and more specific problems that may crop up in the writing process.
Impatience
Self-doubt
Perfectionism
Impatience
Some time ago I heard a talk by the wonderful writer Alan Garner. In the questions
after the talk, when he was asked about writers block, he said that, although he didnt
really believe in writers block, he did believe in writers impatience.
Impatience can happen on different levels. You can be impatient to get started, you can
be impatient to get finished, you can be impatient to get to the next chapter, you can
(and almost certainly will!) be impatient to hear back from publishers. Impatience may
be a commendable desire to get on with things that itchy sense of work needing to be
done but it may be something rather more complex and counterproductive. Often, you
can tell which kind of impatience it is by seeing what happens when you sit down to
actually write. If, once you are writing, the impatience goes away, then it is not really
a problem: the impatience was not with the writing but with the thing that was stopping
you writing. But if the impatience remains, then you have a problem on your hands.
Orhan Pamuk
A novelist is essentially a person who covers distance through his patience,
slowly, like an ant. A novelist impresses us not by his demonic and romantic
vision, but by his patience.
Focus point
Impatience is not always bad: if you are impatient about not writing, this can spur you to get back to work. But
impatience within the writing process itself is usually counterproductive.
There are a number of reasons why you might be feeling impatient with your writing,
and, depending on what is making you impatient, you may need to deal with the
problem in different ways. Impatience is about wanting specific outcomes (completing
the chapter, getting a contract, winning the Nobel Prize in Literature) and wanting them
now. Here are some of the reasons you might find yourself suffering from impatience.
Hilary Mantel
If you get stuck, get away from your desk.
Remember: you will not solve all the problems with your book overnight. You will
solve them piecemeal, one by one, over long periods of time, both through applying
effort and through being able to put everything to one side and let the ideas stew away
in your mind of their own accord.
Key idea
You cannot work on all aspects of your novel at once. If you are drafting, stick with drafting. If you are redrafting,
stick with redrafting. If you are researching, stick with researching.
Self-doubt
I had a friend who told me the following story, a story he swears is true. A long time
ago now he was in a bookstore in New York, browsing in the poetry section, when the
poet Allen Ginsberg came along. Ginsberg, it seems, had been lurking among the
bookshelves waiting for somebody to pick up a copy of one of his books, which is
precisely what my friend did. So this friend of mine looked up from his Allen
Ginsberg book to see the great beatnik poet standing before him, peering through his
thick-rimmed glasses. The conversation went something like this:
Im Allen Ginsberg!
Yes, I know.
You are reading my book.
Yes.
Do you like it?
(Smiling politely and reassuringly) Yes I do. Very much.
But do you think it is good?
Good?
Good poetry? Do you think I am a good poet?
Yes, of course. You are a very good poet.
Really? You are not just saying that?
Whether true or not, I like this story because it is a reminder that writers are probably
all, to one extent or another, assailed by self-doubt. In fact, I would say that writers
should be capable of self-doubt. Writers, of all people, should know that the human
mind is a wily, unruly, disordered kind of thing, and that no mind should be fully
trusted, not even their own. And a degree of self-doubt is perhaps an important part of
your toolkit as a writer. From one point of view, self-doubt can be seen as a form of
curiosity. It is thinking What if the thing that I have written doesnt work as well as it
should? or What if this chapter could be better?
As with impatience, so with self-doubt: it pays to be aware of whether this is just a
part of your mind trying to get to grips with the thing that you are working on, or
whether it is something that is actually getting in the way of your work. Ill call the
first constructive self-doubt and the second destructive self-doubt.
Write a list, if it helps, on a piece of paper divided into two. On one side, just jot
down what you think is successful and persuasive and pleasing about what you have
written; and on the other side, write down what you think doesnt work so well.
Focus point
Your work in progress is probably neither as bad as you think it is in moments of despair, nor as much a work of
genius as you think it is in moments of overblown self-confidence. The reality is almost certainly somewhere in the
middle.
The most important thing to remember in terms of the writing process is that you dont
have to get it right first time. You are not a brain surgeon. A slip of the pen, a badly
phrased sentence or a few dud pages can be easily dealt with in the way that a slip of
the scalpel, a badly performed operation or a few dud days in the operating theatre
cannot. Keep that despair and doubt in check, dont destroy your work (even the most
dubious pieces of work can contain a phrase or a throwaway line that can develop into
something later), and dont expect to get everything right first time.
Perfectionism
Closely related to self-doubt, I think, is perfectionism. Perfectionism is the notion that,
in whatever endeavour we are engaged, not only is there such a thing as perfection, but
we should attain it.
I am aware that opinions differ in this respect, but the hyperbole of reviewers and
blurb writers aside I am not sure that there is such a thing as a perfect novel. This is
not because I think that somehow there is the possibility that one day somebody might
write a perfect novel but that this perfection has not yet been attained; it is rather that I
dont see what it would mean to call a novel perfect. To judge a novel as perfect, we
would have to ask for whom this novel was perfect, and according to which criteria.
Given that the criteria for what actually makes a novel a novel are rather baggy and
vague, it is hard to see how we could judge a novel to be perfect.
Key idea
There is no such thing as a perfect novel, because there is no universally agreed set of criteria on the basis of
which we might judge a novel to be perfect.
Having said this, of course I find that some novels are mind-blowingly good. But
being mind-blowingly good is not the same as being perfect; and for every single
novel that I find mind-blowingly good, I could probably name six or seven friends
who were indifferent or positively antagonistic towards this very same novel.
There are some novelists who are such perfectionists that they never send out their
work. This kind of perfectionism is closely allied with self-doubt, in that it holds up
the novel to an impossible standard, and then sees it largely in terms of its
shortcomings. This is a shame, as it can deprive the world of many, many mindblowingly good novels. Reread Part Three of this book on redrafting if you want to
see what you can improve about your book. Turn to Part Five to look at how you can
turn your manuscript into something publishable. But forget about perfection.
Indecision
Some kinds of indecision are rooted in lack of preparation. You have two ideas and
dont know which to follow because you havent resolved more fundamental questions
about your novel. But there is another kind of indecision in which you have a number
of equally good options. You dont know whether you want your character to move to
New York or Paris, perhaps; or else you are not sure whether you want the end of your
book to end with devastating tragedy, or with a glimmer of the light of hope, or with a
joke. So how do you deal with this kind of indecision?
Focus point
Instead of thinking about right and wrong decisions in your writing, think about following your decisions
whatever they are through to their logical conclusions.
Distraction
The penultimate gremlin in this chapter is that persistent demon: distraction. I have
never met a writer who has been free of distraction. Perhaps writers need to be
distracted, because they need to be interested in the world. But there are many times,
particularly in an age of always-on connectivity, when distraction becomes a problem.
Broadly speaking, distraction can be said to come in more or less two kinds. The first
are those distractions that are visited upon us from outside. Back in 1797, when
Coleridge was interrupted from his opium-fuelled vision of the court of Kubla Khan
by a person on business from Porlock, he found that he simply couldnt get back into
the poem, and one of his great masterworks remained tantalizingly unfinished.
While there is no such thing as a distraction-free environment, distraction is not just
about your environment but also about your habits of mind. You can put yourself in a
distraction-rich environment, or in a relatively distraction-poor environment. But if
your mind is determined to be distracted, it can be distracted by anything!
Find a time to write when distractions are fewer. Often, writers prefer to write in the early mornings, when
phone calls are few, the children (if they have children) are still dozings, and there are not too many demands.
Turn off anything that bleeps, flashes, rings or summons. Switch off that mobile. Unplug the telephone from the
wall (if you still have such an archaic device).
Go the whole hog. Jonathan Franzen, while writing his novel The Corrections, wrote on a typewriter while
wearing earplugs, earmuffs and a blindfold.
Exhaustion/tiredness
Writing can be hard work. So another problem can simply be that you are too tired to
continue. Sometimes you just need a break, whether this is a short break to recover
your strength and go on writing, or a longer period of stepping away from your desk
and attending to the other aspects of living in the world.
Honor de Balzac
Many people claim coffee inspires them, but, as everybody knows, coffee only
makes boring people even more boring.
Manifestation
Keep these records for every writing session this week. It can be useful to pair up with another writer, so that
you can compare notes as you go along. At the end of the week, you should be able to see a pattern emerging.
Now, either on your own or with a friend, go back over your notes and try to establish what your current three
major causes for writers block are. Write down the problems and some thoughts about how you could address
these problems in the coming week. The table below gives an example:
Problem (diagnosis)
Strategy (treatment)
What you are doing here is, week by week, diagnosing the problems with your writing, and then deciding on a
treatment.
Week 2 (and subsequent weeks)
In the second week, while continuing to note down problems as they arise in your notebook, start putting into
effect the various strategies you have come up with for dealing with the problems that were troubling you the
week before. At the end of the second week, review your chart from the week before, with its diagnoses and
suggested treatment. Mark those treatments that have worked for you and those that havent. Perhaps, for
example, writing blindfold is simply not for you. Of course, if in the middle of the week it becomes absolutely
clear that the measures you have put in place to prevent writers block are themselves becoming a problem, you
dont need to wait until the end of the week to abandon them.
In the light of this, you should have a better idea of the problems that you face individually as a writer and some
of the strategies that work, or that do not work, in addressing these problems.
Now you can, once again, go over your notebook from week two, select three more problems (they may be
different problems this week, particularly if some of the strategies you came up with the week before worked!)
and come up with another three concrete strategies for dealing with them.
If you can keep this exercise going for up to a month, perhaps more, then you may be able to get a clearer idea
of the things that stop you writing, and the things that help you with writing.
Where to next?
Novelists are, at heart, social animals: after all, they are in the business of
communication. If this chapter is about the more solitary aspects of dealing with
the problems and difficulties of writing, the next chapter is about how you can go
elsewhere for all kinds of help and support.
17
Finding support
In this chapter we are going to look at the ways in which you can find support while
writing your novel. This chapter is mainly about support you might need during the
writing process. The later chapters on publishing later have plenty of extra advice
about support that may be of use to you once your book is finished and ready for
publication.
Focus point
Although writing a novel may feel a solitary business, you are not alone: there are all kinds of places where you can
go to find support.
A note on solitude
Sara Maitland, How to Be Alone
You have an inchoate, inarticulate, groping feeling that there is something else,
something more, something that may be scary but may also be beautiful. You
know that other people, across the centuries and from a wide range of cultures
and countries, have found this something and they have usually found it alone, in
solitude.
Writing can be a solitary job. And this, perhaps, is part of the appeal of writing. We
live in a world in which perpetual and frenetic engagement with others is often taken
to be the norm. We are encouraged to connect, to network, to interact. Many of us are
interconnected in a way that is unprecedented in human history. We are wired up 24
hours a day to virtual social networks. We have connections that span the globe:
instant messaging, email, telephone, social media, blogs The flood has become a
deluge. In this whirlwind of interaction, solitude can sometimes seem a bit well, a
bit odd. The neighbour who lives alone, the person who goes to the cinema in the
afternoon without anybody else, the solitary diner these people are all potentially
objects of suspicion. What are they up to? Why dont they have any friends? What
crime have they committed? Hermits these days are few and far between. Who, after
all, would want to be a hermit, unless it was in a cave with 24-hour Internet access?
Most writers, however, are hermits of a sort and have some kind of desire for
solitude. If, as a writer, you crave solitude to write, then you should take this
seriously.
Key idea
Solitude is not just freedom from distraction: many writers find that it is also a precondition for being able to write at
all.
Although much of writing is indeed a solitary business, there will be times when you
find that you need the support of others. This chapter is about finding that support.
It may be that certain kinds of support blur between various categories. For example, I
have friends who are fellow writers who offer both practical and moral support, who
are willing not only to hear me out when I talk about how hard I am finding the novel
that I am currently working on, but who will also help me find ways of practically
developing my work further. And there are some things that I do as a writer for
example, I like blogging about what I am up to that put me in touch with people who
sometimes offer me both practical and moral support. So dont worry too much about
the classifications here. What is important is just to get a general idea of the broad
basis of support that you have.
Focus point
If you set aside time for writing, see this as non-negotiable and treat it with the same importance that you would
treat a job or any other work that you took seriously.
Generally speaking, my non-writer friends have always been very supportive. They
have kept me sane, mopped my fevered artists brow when I have become
overwrought, taken me out for a coffee or a glass of beer, asked how I am doing,
commiserated with me as I have complained about publishers or the difficulty of
finding time to write, told me that I should by no means give up writing whatever else
I do, and generally given me enormous amounts of support, encouragement and help.
may be groups to which members bring along their work to be discussed, or they may
be groups for actually writing. Some groups are very well established, for example the
Tindal Street Fiction Group in Birmingham (UK), which at the time of writing has a
long and distinguished history of 30 years and has given rise to a large number of
highly successful writers.
What kind of writers group you want to be involved in depends very much on the kind
of writer you are and what kind of support you are looking for. Some writers may be
looking for an environment in which they can intensively develop and redevelop their
work. Some may hunger for bracing criticism and rigorous feedback. Other writers
may have other places where they can find this, and may seek other things out of a
writers group: a sense of comradeship, perhaps; or a range of connections with other
writers who live locally or who share the same interests. It may take a while asking
around about local writers groups before you find a place where you feel happy.
Agree to meet regularly, but not too often. Once a month is usually sufficient.
Think about how to establish a stable membership, which helps build trust. Writers groups often depend upon
having a high level of trust between members.
Groups differ in size. My suggestion is a group of six to 16 members. Below six, and it is a little hard to get
enough momentum going. Over 16, and it becomes hard to keep track of everyone.
Choose a venue for meetings that is quiet, easy to get to and most of all free. Your library may be able to
help, and many cafs and bars are happy to host groups like this. Or you can meet in peoples homes.
One format that often works is that two or three members are nominated each session to bring their work for
discussion. If they bring up to 2,000 words each, this should be plenty to talk about. The job of the other
members is to give feedback.
This is only a suggestion for how you could proceed with running a writers group.
There are many other models that you can use.
There are, however, some potential disadvantages of writers groups. One potential
problem is that, if the only amount anybody is ever reading is 2,000 words, then this is
not a forum in which you may be able to get feedback on the overall structure of your
novel. Feedback in writers groups can tend to home in on small details and leave the
big picture untouched. Then there is the question of whether you feel inclined to share
your work in this way: some writers like their writing to be intensely private and
solitary until they eventually get round to sending it to their agent or their publisher.
Finally, there are some writers who simply dont much like other people (and other
people dont like them). If this is you, then you are better off not in a writers group.
Focus point
It is useful to ask two questions when you are thinking about letting somebody see your work:
Novels take time to grow into sturdy trees, and they all start life as tender little shoots.
If you plant them out too early, you can sometimes risk them being taken by the frost.
For myself, first drafts remain entirely private. I do not show anybody any of a first
draft. They are entirely my own affair. If anybody asks to look, I will refuse. I want the
space to work things out for myself. I want to push the project as far as I can on its
own. Generally speaking, Ill do another couple of drafts as well before I show
anybody. I like my novels to become a bit more robust, to put down roots. I worry that,
if I show my work to others too early, it will wither and die, or too much advice will
push it in the wrong direction. Only after a few drafts will I pass my novel to a couple
of trusted friends for their thoughts and their comments.
Focus point
Dont feel under pressure to share your work too early. But dont sidestep the chance to get good, timely and
intelligent feedback on your work if it is offered.
This raises the question of what the right person might be. In my own experience, the
right person is a good reader. They may or may not be a writer themselves. That
really doesnt matter. But they will be able to read thoughtfully, critically and
sympathetically. A good reader is not necessarily a reader who likes your work. A
good reader is a reader who is sympathetic to what you are trying to do, and whose
feedback can help you do it more successfully.
The term sometimes used for this external eye upon your novel is beta reader. This
term derives from software development in which beta testers will trial software
that is not yet released, but that may contain all kinds of bugs and glitches. The
purpose of using beta readers is so that these bugs can be ironed out.
Key idea
The term beta reader is a term for readers who read your work to iron out problems before it goes on general
release. It is a term that is generally applied to self-publishing rather than to third-party publishing.
Thoughts on feedback
You cannot tell how effective your writing is until you have some sense of how
readers will respond to your work. Trying your work out on a sympathetic but critical
audience can help you see what needs changing, what works well, which jokes work,
and so on.
Feedback should be on the work itself. It is not a pretext for talking about the writer, about the ills of society, or
about anything else.
Good feedback is not about subjective likes and dislikes. Whether you like or dont like a piece of work is less
useful to the writer than observations about what works and what doesnt.
Feedback is always from a particular angle. It is never wholly subjective nor wholly objective. There is room
for genuine differences of opinion.
Be specific and investigative. Dont say, The beginning doesnt work. Say, If you start with the third
paragraph, then put the material from the opening paragraphs later, this would work better
Be constructive: the job of feedback is to make the writing as good as it can possibly be.
The best feedback comes out of a basic sympathy with what the author is trying to do.
Remember, there may be several solutions to the same problem.
Focus point
If life in academia appeals to you, and you are thinking you might like to teach in universities later on, then a PhD
qualification may be useful (although it need not be in creative writing); but simply in terms of getting the novel
written, it may be more than you need.
Local adult education classes can often be useful as well, although the level of these
courses will vary a good deal. As a novelist, you are in for the long haul, so
sometimes the format of these courses may not suit you. But have a look around get
in touch with those who tutor on these courses to ask about what they do and to see if
Go to your local library and find out about local writing groups and organizations.
Contact your local university to see whether they offer creative writing courses: you may not want to do a
course, but they may have mailing lists for events and activities.
Contact friends who write to see whether they want to be in a writing group
Explore possibilities for residencies and retreats (use The Writers Compass as a starting point if you are in
the UK).
Research writers organizations and professional bodies that you might be able to join.
Make notes on anything that you think is worth following up. Make use of the appendices for this book as a
starting point for your explorations.
3 Making a plan of action
When you have done this, you can start to make a plan of action. It can take time to put these kinds of networks in
place, so it might help to think in terms of weeks or months rather than days. Try to reduce your notes from part 2
of this exercise into a to-do list of at least three concrete actions that you can undertake to start to develop your
support networks. After a month (put a date in your diary), you might want to evaluate your progress and see how
you are doing with building up these broader networks and mechanisms of support.
Where to next?
In this part of the book weve covered a lot of information about the practicalities
of getting your novel drafted, and how to keep sane while doing so. If all this has
gone well, then you will eventually have a novel on your hands. The next part of
this book is all about publishing, and what you need to know to make the
transition from unpublished to published novelist.
PART FIVE
Publishing
18
Introduction: the why and how of
publishing
Let us say that your novel is finished, and it is as good as it can possibly be. The prose
is sparkling, the story compelling, the feedback from your various readers is excellent.
You feel that now, after months and perhaps years of painstaking work, you are ready
to release it into the world. So now you can turn your attention to the question of
publication.
Key idea
Publication is the process of preparing and issuing your work so that it can be read by the public.
Publication is the holy grail of aspiring novelists. It may seem like a distant goal but,
in reality, publication is not particularly exceptional. Thousands of books are
published each day. And, if your novel is good enough, there is no reason why your
book should not be one of them (of course, very many bad books are published each
day as well, but youll want to make sure that yours is one of the good ones).
Publishing is something that you can do yourself (self-publishing) or something that
you can contract out to others to do on your behalf (third-party publishing). There are
advantages and disadvantages to each of these approaches, but both are equally forms
of publishing.
Key idea
There are two broad options open to you when you are thinking about publishing your work. Either you can become
publisher of your own work (self-publishing) or somebody else can publish your work (third-party publishing).
Of course, publication is not obligatory. You are free to write as many novels as you
like and never publish any of them, or leave them to posterity in a shoebox under the
stairs. There may be reasons why you dont want to publish your novel. You may feel
it is not ready. You may think that it is not good enough and that you want to write
another. You may simply not be very interested: the challenge was in the writing of the
thing, and publication is not your concern. If you dont want to publish your novel,
thats fine. But if youve gone to all the effort of writing it, do at least consider
publishing it: you might be depriving readers of something wonderful and new and
surprising.
In this section of the book we will be looking at how you can take the final draft of
your book and nurse it through the process of publication, so that eventually you can
see your book, whether it is printed on paper or is a digital edition, in the hands of
those mythical and mysterious beasts, the public.
This section consists of five chapters. The present chapter explores some general
questions about what publication involves. In the next chapter well look at how to
prepare your manuscript for publication, then in Chapter 20 well look at questions of
copyright, ethics and law questions that you need to know about if you are putting
your words in the public domain. Chapter 21 is about how you might go it alone and
join the self-publishing revolution. Finally, Chapter 22 looks at the third-party
publishing world.
Is my work ready?
One crucial question to ask, however you are planning on going about publishing your
work, is whether your book is ready for publication. The question of readiness is
often even more of an issue if you are self-publishing because, when you publish your
own work, there is nothing standing between you and the public.
The following checklist gives a few things that you would do well to bear in mind if
you are considering whether your work is ready for publication.
Question
Is your work finished?
Are there any parts that you think dont work?
Are there any sections with which you are uneasy?
Has the book been redrafted at least three times?
Have you read through the entire manuscript as a novel?
Have you proofread the manuscript?
Have you got feedback on your work from at least two other critical readers?
Have you addressed, to your satisfaction, the feedback of your readers?
YES
NO
In the world of fiction, generally speaking you should never think about sending out an
unfinished manuscript to a third-party publishing house. As with all rules, there are
exceptions: if you are a celebrity, and if your name alone will help you sell books, you
may be able to get a contract on the basis of a couple of sample chapters. But, for most
of us, publishers want books to be finished before they will consider them. Some
writers ask why they should have to finish their books if they dont have evidence of
commitment from a publisher. Publishers can justifiably respond by asking why they
should consider publishing a book if they dont have evidence of commitment from a
writer. If you believe in your book, you will finish it. (If you are self-publishing, this
is obviously also true. Nobody wants to read half a novel.)
notes in the margin, and seeing how it stands up to this kind of reading.
Focus point
Your work does not have to be perfect. It just has to be as ready as it is ever going to be.
blog. These are both forms of publication. And these are perfectly noble and
honourable ways of going about making your work available to the general public. Or
you might want to serialize your novel in blog form, or publish it as a free homemade
magazine, issuing the novel chapter by chapter and making it available in your local
coffee shop. On the other hand, you may want to go with a third-party publishing
house, whether it is one of the large mainstream publishers or a small independent. Or,
failing that, you may want to go it alone and self-publish your work, either as an ebook
or as a paper-based book, or both.
If there are two major options third-party publishing and self-publishing then there
are advantages and disadvantages to each. The way you decide to go may depend on
the kind of book you are writing, the audience you have in mind, the profile that you
already have as a writer, and the question of what you want to get out of publishing
your book.
Focus point
There is no single right way to publish a book: the way you publish will depend upon the book itself, your intended
audience, yourself, and what you want out of publishing.
Lets break down some of the questions that you might want to ask about how to go
about publishing.
build, features, colour of eyes, gait, temperament, etc. etc. overlap and criss-cross
in the same way.
If the books are self-published, how are they published? As ebooks, or as ebooks and on paper? What
platforms are they available on, and how were they made available? You may need to do some research online
to find out the answers to these questions.
Finally, what does this say about your own book and how you might think of publishing it?
Focus point
If you already have a readership or some kind of profile as a writer (for example, you write a popular blog), then
take this this ready-made audience into account when you are exploring how to publish your work.
writer? Do you have a reputation for something outside writing fiction that may give
you an audience for your fiction?
One way that you should not publish is by going with a vanity press. Vanity publishing
is so called because it serves nothing but the vanity of the authors involved. And, to be
frank, for those who have been caught within these scams, it can be pretty bruising for
your vanity as well.
So what is vanity publishing? It works like this. I set up a publishing house and
advertise for submissions. You send me your manuscript. I send you back a letter
saying how wonderful your book is (even if it is terrible) and offer you what I call a
co-publishing deal, or something like that.
Focus point
Vanity presses never advertise themselves as vanity presses.
What this deal usually involves is you paying a sum lets say 4,000 for
publishing the book, while I promise to promote your book and get it into bookshops
and so on.
What actually happens is that you pay me 4,000. In return, I produce a book at your
expense. As I have already made a profit, I do not need to work to actually sell the
book (which I know may not be sellable), so I simply move on to find another author.
That is my business model.
Vanity publishers insist that they are providing a service, turning manuscripts that
would otherwise not be published into finished books of which their owners can be
proud. But there are four problems here:
1 Quality control: vanity publishers are universally upbeat about your manuscript when you send it to them,
however poor it may be.
2 Honesty: vanity publishers masquerade as mainstream publishers and, in doing so, they misrepresent themselves.
3 Cost: these days there are so many ways that you can go about publishing your book yourself via selfpublishing and print-on-demand that there should be no need at all to resort to vanity publishing.
4 Reputation: if you publish with a vanity press, this harms your reputation as a writer.
With the rise of the Internet and of ebooks, as well as the slow decay in the traditional
book-publishing market, there has recently been an explosion of different publishing
models, and a proliferation of companies trying out new approaches to putting out
novels. This all makes things rather murkier than they were in the past when it was
relatively easy to distinguish vanity publishers from mainstream publishers. But the
general principle is this: any publisher should be making an investment in the work
that they publish. If you self-publish, you are the publisher, and it is your investment.
If you publish with a third party, then the third-party publisher should make this
investment. But you should not be investing on behalf of a third party so that they can
publish your book at a profit.
Focus point
You should never pay a publisher to publish your novel.
If you are not sure about a publishers reputation, then make sure that you do your
research before you send your work out to them. Once the publisher has started to
express an interest, you also need to make sure that you read the contract they send
very carefully: in this way you will know exactly what you are agreeing to. There is
more about contracts in the chapter on third-party publishing.
behind your work. They do not want you to tell them that your work is a work of
genius. But they do want a sense that you as a writer know what you are doing, that
you are presenting your work in a professional fashion, and that you take your own
work seriously. Similarly, if you are publishing your own work, then this also requires
a measured belief in the worth of what you are doing. If you are uncertain or
unconfident in your work, your readers will pick up on your uncertainty, and they will
read your book less charitably.
How can you have sufficient confidence in your work? The first way is by being sure
that your novel is as good as it can possibly be when you present it to your public or
your publisher. The second is by recognizing that in putting your novel into the world,
you are doing something impressive, but at the same time something utterly mundane,
something that hundreds of thousands of people have done before you. If they could do
it, why not you? But the final thing to remember is that often confidence comes through
actually doing something: do not wait until you have the confidence to take the plunge.
If the novel is ready, put it out there, and see what happens.
Where to next?
Now that we have covered some aspects of the publication process, it is time to
look more closely at what you need to do to prepare your work for publication,
whether you are self-publishing or whether you want to go with a third-party
publisher. Whichever route you decide to take, you will need to make sure that
your manuscript is in a form ready to take it to the next stage.
19
Preparing your work for publication
You may think that when you have redrafted your novel for the nth time, it is as close
to perfection as it is ever going to get. You have sweated over every last comma, you
have polished and repolished until you can polish the manuscript no more. But there is
still much more to do before your book sees the light of day. A book is a complex
artefact. In the process leading up to the publication of your novel, you will need to be
familiar with the way that books are structured and with the processes that turn a
manuscript into a finished book. This is all the more the case if you are self-publishing
your work, in which situation you will have to take responsibility for all stages of the
process.
However you decide to go about publishing your work, the process leading up to
publication is much the same:
You will need to think about how your book is going to be distributed,
marketed and sold.
This chapter will look at this process of publication, whether you are self-publishing
or publishing with a third party.
Developmental editing
If you are publishing with a third-party publisher, once your book is accepted, you
will be appointed an editor. Your editors job is to begin to fashion your raw material
into a novel that is ready to hit the bookshelves. This is sometimes called
developmental editing (it is also called substantive editing, or simply editing).
This is the point at which an editor may work with you to refashion, sometimes
significantly, aspects of your project. Developmental editors may make all kinds of
suggestions about your work, such as recommending that you:
Focus point
Editors may sometimes make suggestions for substantial changes. When working with third-party editors, many of
whom are seasoned professionals, you should take their advice seriously, while also remembering that there is
usually room for discussion and negotiation.
If you are self-publishing, you wont have the benefit of a professional developmental
editor. If this is the case, you need to make sure that you have an equivalent level of
feedback on your book from disinterested and skilled third parties. You may have
intelligent and thoughtful beta readers who can help you refashion your manuscript,
you may have friends with whom you can exchange drafts, or you may have polished
your novel until it is gleaming at a writers group.
Key idea
However you get the editorial attention you need, you should always be sure that, when the book is about to go into
the world, you can fully stand behind it.
Copy-editing
The next step in the process will be copy-editing. The borderline between
developmental editing and copy-editing is sometimes not entirely clear. But if
developmental editing involves asking the big questions about your work, copy-editing
is about the fine-tuning of your manuscript.
As with developmental editing, many of the things that we have already looked at in
the section on redrafting your manuscript will happen again at the copy-editing stage.
The difference is that it is a disinterested outsider who is doing the work. And this
difference makes all the difference. You as a writer have all kinds of knowledge about
your fictional world that readers will not have, so it is impossible for you to see the
book objectively, independent of this knowledge. Your editor may, by this stage, be
over-involved as well. The copy-editors job is to see what the book looks like as a
whole, from the perspective of somebody who is uninvolved and who has none of
their own interests at stake in the book.
As Carol Fisher Saller says in her book The Subversive Copy Editor, a good copyeditors role is to work with the writer in the interests of the reader.
Typesetting
Once your book has passed out of the hands of the copy-editor, it will then be typeset.
If you are self-publishing, this may be the most technically difficult and most
challenging part of the entire process. Typesetting turns your manuscript (it is a bit
anachronistic to call it a manuscript, which literally means written by hand, but
most people still use the term) into a proof copy. The manuscript is a working copy
for you as a writer, and for your editors, to fashion into shape. Only once you are
ready to go public should you think about turning this working copy into a typeset
proof that is almost ready to enter the world at large.
There are some good self-publishing guides out there that give in-depth advice on
typesetting: Ive mentioned a few in the Resources section at the end of this book. But
some of the things that you will need to think about when typesetting your novel are:
do research. The decision about format will affect the way people make use of your
book. In the UK there are standard book sizes that look like this:
A format
178 mm 111 mm
B format
198 mm 126 mm
C format
216 mm 138 mm
Although these are standard sizes, different publishers may vary in the formats that
they prefer. If you self-publish with a print-on-demand publisher, you may find that
you are using slightly different page sizes from these. Do not worry too much about
any of this, but it is worth being aware of the differences and what the format of a
book suggests to its readers about the kind of book it is.
MARGIN SIZE
Do you want luxurious, large margins, or do you want to fit more words to a page?
Think about what effect margin size will have on the number of pages. Look at
comparable books to see how they manage margin size. Remember that when it comes
to book design, simplicity and consistency are the most important things. This applies
to margins, to typography, and to how you handle all other aspects of the typesetting
process.
TYPOGRAPHY
You will need to think about what typefaces you will use. Do not go for anything
fancy. Go for a simple, elegant, serif font. A serif font is a font that has those little
kicks and hooks at the ends of letters, as in the diagram below.
SERIF FONTS
SANS-SERIF FONTS
Almost all published fiction is typeset exclusively in serif fonts. There are some
exceptions but, if you are making an exception, you need to have a very good reason
for doing so. I like this sans-serif font better is not a good reason.
Good book design is all about simplicity, clarity, consistency and attention to detail.
You will need to think about legibility, about the feel that a particular typeface gives
your book, about the length of printed lines (an average of around 12 words per line is
considered about optimum), and about how the typeset text looks on the page.
Typography is an incredibly skilled art. If you want to go it alone, then you will need
to do your research and develop a deeper understanding of typefaces and book design.
Key idea
Typography, from the Greek for form and writing, is about how text is designed and laid out on the page.
Try the following exercise to get you thinking about aspects of typography.
Disclaimers
Sometimes copyright pages will include disclaimers as well, to say that your book is a
work of fiction, and should be taken as such. A disclaimer often reads something like
this: All characters appearing in this work are fictitious. Any resemblance to real
persons, living or dead, is purely coincidental. Remember, however, that just putting
a disclaimer in will not necessarily protect you from libel.
Some writers like to play with disclaimers. I dont recommend that you do this, but the
following quotations give two examples.
Proofreading
After your book has been typeset, then you will have a copy of what is known as a
proof. Most third-party publishers these days send out proofs as PDF files, although in
the past they would be bundled up and sent in the post. A proof copy should look
exactly as your final book will look. It will be laid out exactly as the published book
will look on the page and all of the typography, design and layout decisions will have
now been made. The reason why PDF files have become the standard for this is that
page layout and design can be fixed. If you open a PDF on any device, if the producer
of the PDF has done everything properly, it should look exactly the same.
Proofs are exciting because, when you have a proof copy, you know that your book is
almost there. But dont get too excited just yet: there is a lot of work still to be done.
The text will be there in its final form, laid out just as it will be laid out in the
published version of the book; but you are not yet ready to go to press. You now need
a further stage of editorial attention. You need to proofread.
There is often a lot of confusion about the difference between proofreading and copyediting, but the distinction is actually quite simple.
Key idea
Copy-editing is about making sure that the content of your book is absolutely right before the book is typeset.
Proofreading is about correcting final errors after typesetting.
Because typesetting is a complex, skilled and expensive process, by the time you get
to the proof stage, it is simply too late to make major edits to your book. If you are
being published by a third-party publisher, who has had to pay a professional
typesetter to lay out your book, then if you make too many significant changes at this
stage, your contract may require you to pay the costs of sending the book back to the
typesetter. So, by the time you have the proofs in your hand, you should expect your
book to more or less stand or fall as it is. This means that proofs are not just exciting:
they are also rather terrifying.
PROFESSIONAL PROOFREADERS
If you are published by a third-party publisher, they will pass your book on to a
professional proofreader who will go through it to pick up any errors. But they will
also send you a copy of the proofs to go through yourself. If you are self-publishing, I
would advise you to employ a proofreader for your work, because writers are too
involved, and are therefore not the best proofreaders of their own work. This doesnt
mean that you shouldnt also proofread your own work, only that you shouldnt be the
only person proofreading it.
Focus point
All books, whether self-published or published by third-party publishers, require professional proofreading. In the
UK, the Society for Editors and Proofreaders, SfEP (www.sfep.org.uk), will be able to provide you with a list of
experienced proofreaders.
One reason why proofreading is difficult is that novels are designed to provoke our
interest, to draw us into the story that is being told: but the moment you allow yourself
to be drawn in, then you are no longer proofreading, you are just reading. Only if you
step back from the story and refuse to get involved can you focus your attention on
picking up errors.
A professional proofreader probably will not check facts or worry about the timescale
of your story (as a good copy-editor might). Proofreaders are not concerned about the
story at all, about whether your book is good or bad, about whether the characters are
convincing or not. Instead, what they care about is detail. They care about the text
being accurate, clear, consistent and error-free. These are the following kinds of
problems that you will need to be on the lookout for at the proof stage:
spelling and punctuation (in particular, look out for apostrophe errors)
other typos
grammatical errors such as problems with changing verb tenses
small stylistic problems
misused or commonly confused words (for example affect and effect)
typographic and layout errors
inconsistent spacing between words.
A novel is a complex thing. Let us say that you have written a substantial novel that is
100,000 words long, or around 400 pages (Ive chosen this sum for the sake of the
easy maths). This gives you plenty of scope for errors to creep in. Even the most
fastidious writer will make mistakes, and further errors may have crept into your book
during the editorial process. Nobody is perfect. So let us say that we generously
allow ourselves a margin of imperfection of 0.1 per cent. That sounds reasonable. In
most areas of life, this would seem pretty good. However, when it comes to your
novel, this would equate to 100 errors. In other words, your reader would come
across an error every four pages. This might be enough for them to put the book down
and give up.
This is why all novels need to be proofread. Even if you have a 0.1 per cent margin
of error, if these errors have stuck around for so long that if they have slipped your
notice when you sent the manuscript off to your publisher, or slipped your copyeditors notice, then they must be tenacious. You are going to have to work hard to
root them out.
Focus point
Small errors of spacing, typography, punctuation and spelling may seem trivial individually, but they mount up very
quickly across a large book. Your margin of error, if you want your book to be taken seriously, is very small.
PROOFREADING TIPS
I am assuming that your book is going to be professionally proofread by somebody
else (even if you happen to be a professional proofreader, you should not rely only on
yourself when it comes to your own book). But your publisher will certainly expect
you to read the proofs as well, if you have a third-party publisher. And if you are
publishing your own work, you should expect it of yourself. This is not a substitute
for professional proofreading, but a supplement to professional proofreading. Heres
some advice on how to go about working through your proofs.
Print out the proof copy: it is easier to read proofs on the printed page than on the
screen.
Take regular breaks. Five minutes every 20 minutes will help enormously. For
proofreading, you need sustained and unbroken attention. If you do not schedule
breaks, then your mind will decide when to insert its own breaks, but it wont tell
you that this is what is doing. This will mean youll miss things.
If you find yourself getting drawn into the story too much, read backwards: if you
read from the bottom of the page to the top, you can pick up typos and spelling
errors that you might otherwise miss. Reading backwards stops you from getting
involved in the story, allowing you to focus on technical errors and glitches.
You may need several passes through your manuscript to pick up the errors.
PROOFREADING VOODOO
Professional proofreaders use a number of standard marks to make absolutely clear
the changes that are needed. In the UK, the standard marks are referred to as BSI
(British Standard Institution) 5261C. These can be found fairly easily with a quick
web search. To the uninitiated, they can seem like strange and mystical voodoo; and,
as a writer, you do not necessarily have to learn these marks. Nevertheless, it can be
useful to know how to understand them if you come across them. Printing out a copy
for reference may be useful.
Cover design
The advice that you should never judge a book by its cover is, generally speaking, bad
advice. Covers can tell you a lot about books, even if they cannot tell you everything.
Although covers are not infallible guides to the contents of a book, they are
specifically designed to give an indication of what your book is like, and to appeal to
a particular audience. So while you should not definitively judge a book by its cover,
a cover is a good way of getting at least some sense of what a book is about. Ideally,
all aspects of a books design should reflect the content.
Key idea
Remember that, from a publishers point of view, the cover design does not just have to relate to the contents of
your book. It also has to place the book within a particular part of the market.
Self-published novelists will need to think quite hard about designing a cover for their
book. To pay a designer costs money; but if you do not have fairly substantial design
skills yourself, you are not going to do your book justice. Think about commissioning a
cover design if you are at all unsure about whether you are up to the task. If you want
to do it yourself, then keep things simple: part of the art of good design lies in
simplicity.
Now take a short break. After the break, return to the books, and to your comments,
and explore the books more fully: read the back covers, read the contents, and so on.
How accurate are your judgements about the books based only on the covers?
ENDORSEMENTS
Endorsements are favourable comments written about your book by well-known
people: often writers who are higher up the food chain than you are yourself. If you are
self-publishing and you know any established writers, you can always ask them to
read your book and, if they like it, to give you an endorsement. Endorsements are done
purely out of goodwill, as a leg-up to other writers. Do remember that no writer is
obliged to give you an endorsement, and that asking them to do so involves asking
them to invest a considerable amount of time in reading your book. Theres always a
danger that they might not even like your book. The expectation is that an endorser will
say something favourable about the book that they are endorsing; so if you have asked
somebody to endorse your book and they turn you down or if they get back to you
and say that on this occasion they would prefer not to then it probably means that the
book is not their kind of thing. Thank them and move on.
Third-party publishers will often seek endorsements themselves, using their networks
of connections. But they may also ask you for ideas about who might be good to
endorse your work. If you have got to the stage of a signing a contract with a thirdparty publisher, you might want to start thinking about who could endorse your work.
Be ambitious, but not too ambitious. Dont just go through the list of recent Nobel
Prize in Literature winners and copy out all the names. Think about people who may
have an interest in the subject-matter of your book, people whose books you admire
and with whom you, as a writer, feel a kinship, or people you know.
Some people think that endorsements are a bit of a scam. They are certainly less
objective than reviews. But if an endorser is well chosen, their endorsement can say
quite a lot about a book and can help the reader get a sense of whether this is the book
for them.
REVIEWS
If this is the first edition of the book, and if you are published through a third-party
publisher, then your publisher may send out uncorrected proof copies of the book to
reviewers, so that the book can be published with choice quotes from these prereviews. If your book goes into subsequent editions, then it will carry reviews of the
first edition. If you self-publish, particularly if you use print-on-demand, you can add
review copy to books fairly easily.
Reviews are different from endorsements in that they are solicited without the
expectation that they will necessarily be favourable. In other words, as a reviewer, I
should be free to say (within the limits of the law and human decency) whatever I like.
Good reviews can help sway the reader who is wondering whether or not to buy your
book. Even a mixed review can have quotes that you can extract and use in publicity
and marketing material, as well as on the cover. However, you should be careful to
quote faithfully. Sometimes you see reviews with sections cut out, marked by ellipses:
It is fine to condense review quotes or to quote selectively, but do not do
violence to the sense of the review, because this is dishonest and this dishonesty will,
in the long run, do you no favours.
Heres an example. Lets say that on the cover of my book I have the following quote:
Buckinghams novel is the work of a wayward genius. If the original quote is
Buckinghams novel is not only a compelling and fascinating tale, but also the work
of a wayward genius, then it is fine to abridge the quote (although you might choose
not to). But if the original reads, Buckinghams novel is a total mess, although one
cannot help suspecting that the author is so in the grip of delusion that he himself
believes it to be the work of a wayward genius, then the abridgement is simply an
attempt to deceive and should be avoided.
BLURBS
Sometimes people refer to endorsements as blurbs. Others use the term
endorsement for the things that other people say about your book, and blurb for the
chunk of text that the publisher puts on the cover of a book to give the reader a sense of
what kind of book it is. This is the sense in which Im going to be using the word
blurb here.
Even if you are published by a third-party publisher, you may be asked to provide a
blurb for your own book, or to work with the publisher to produce one. The point of a
blurb is to give a reader a sense of what kind of book this is, to provoke their curiosity
and to draw them in so that they are tempted to buy themselves a copy. A good blurb
manages to give a feel of your novel without giving away too much of the plot or
appearing too smug and self-satisfied. Writing blurbs is quite an art.
Focus point
A blurb should:
It is easy in blurbs to go over the top and just gush about how wonderful your book is.
But a blurb should not be evaluative. Readers are wise enough to know that almost all
writers think that their own books are wonderful just as almost all parents think that
their newly born children are wonderful. However, just saying, This thing I have
created is wonderful is not going to convince anybody.
When you have done that, research the different viewpoints that there are upon these issues.
In the light of your research, think about what impact they may have upon you as a writer (make notes if it
helps).
The market for books is always changing, and is highly subject to the uncertain whims and winds of fashion. But
this uncertain world is the world that you will be entering once you have launched your book. Again, an hour or so
browsing through articles might be time well spent. Try to explore the following questions:
1 What notable successes in third-party publishing have there been in the past year? Drawing upon what people
in the writing industry are saying, why do you think these books have been successful?
2 What notable successes in self-publishing have there been in the past year? Again, why do you think they
have been successful?
3 Thinking about your book in relation to the market
In the light of these explorations, how do you think your book stands in relation to the market? The following
questions might be worth exploring:
Does your project suit a self-publishing model or a third-party publishing model better?
How might you be able to best present your book to make sure it succeeds in the market?
Has your reading of current trends and fashions given you any ideas about how and where you could publish
the book?
What else might you need to do to make sure that your book can survive and thrive in the current market?
Has your reading given you any ideas about connections to follow up, people to contact, or concrete action
that you can take to explore possibilities for publication?
Where to next?
Before moving on to explore self-publishing and third-party publishing, you will
need to think about questions of ethics, law and copyright. If you are putting
words out into the public domain, you are subject to all kinds of legal demands
and constraints and it pays to know what these are. This is the subject of the
next chapter.
20
Copyright, ethics and the law
When you publish something, you put your words into the public sphere; and because
the public sphere is not a complete free-for-all but is instead a place bound by laws
and restrictions, you need to know where you stand. Writers often like to depict
themselves as advocates of unfettered freedom, but when you start to look at question
of ethics, responsibility and legality, this view of the unfettered artist becomes rather
more difficult to sustain and the situation becomes a bit more complex.
This chapter is about all of these complexities. It is about the question of who owns
what (that is to say, copyright). It is about the question of what you can and cant do
(that is to say, law), and it is about what you ought and ought not to do (that is to say,
ethics). It is important to point out here that this chapter cannot offer legal advice. If
you want this, youll need to talk to a lawyer. Laws differ in different parts of the
world, and are always subject to change and interpretation. This chapter is no more
than a snapshot of some of the things that are worth keeping in mind. In short: if you
follow the advice here to the letter and still end up in court, I cant accept
responsibility. And if you follow this advice to the letter and end up in prison, dont
expect me to come and deliver you a cake to make you feel better. Ill sympathize, of
course, but I have books to write and cant really spare the time.
You automatically own the copyright of your work without having to claim it. It is
an automatic right enshrined in law, although you can give the copyright away and
transfer it to somebody else.
You should assume that any works within the 70 years period are the copyright of
their original creators or their estates.
It is your responsibility to establish the copyright situation of any resources that you
use in your own work.
Focus point
Copyright is an automatic right. You own the copyright of something by virtue of creating it yourself.
Copyright subdivides into two different kinds of rights: what can be called
commercial rights, or the rights to exploit a work for financial gain; and what are
called moral rights. You may have seen at the beginning of books the phrase, The
Author asserts his/her moral right to be identified as the Author of the work in relation
to all such rights as are granted by the Author to the Publisher under the terms and
conditions of this Agreement. Moral rights cover:
If, in other words, an unscrupulous publisher decides that they want to remove your
name from the cover of your novel, and if you have retained moral rights, you can ask
them to desist, thanks to your right to claim authorship.
Focus point
No reputable fiction publisher will ask you to assign your copyright to them. Instead they will ask you to grant limited
rights to publish the work in a particular format, language and context.
going to be published with a publishing house that has a large foreign rights
department, they will probably ask to handle translation rights. If so, it might make
sense to agree to this, because they will have contacts that you dont. But if your
publisher is small and is not going to actively try to exploit these rights, then you might
be better holding on to them yourself.
Focus point
When granting rights to publishers, as a rule of thumb make sure that you are only granting rights that the publisher is
actively going to try to exploit.
4 Mark any clauses with which you are unhappy or with which you disagree. You may need to do some
research to see whether the terms are reasonable and get into dialogue with the publishers about these
clauses.
5 Make a list of queries, questions for further research, and action points to take back to your potential
publisher.
quotations
song lyrics
poems
extracts from other books
musical scores
pieces of dialogue from film or TV shows
images.
Make a list of these. These are problems that you will need to address later. Well come back to them in the final
workshop exercise.
You might think that you can get away with quoting just a few lines of a song; but it
pays to err on the side of caution. If you do quote song lyrics or poems, then things can
get expensive, as the novelist Blake Morrison found when his editor told him that he
had to clear the rights for a few lines in one of his novels. For two lines of Bob
Marleys I Shot the Sheriff, he paid 1,000. For one line of When Im Sixty-four
(technically When Im Sixty-four is also one line from When Im Sixty-four, but as
it is the title as well, Im allowed to quote it here!), he paid 735. In fact, for a handful
of lyrics, he ended up with a bill of close to 4,500. Fortunately, his publisher paid
half, but still, this is more than anybody would want to pay.
It is not always this expensive. Sometimes I have written to publishers or authors to
ask permission to quote from work, and I have received charming replies saying,
Yes, certainly, wed love you to use the work, and well let you do it for free.
Sometimes I have ended up paying tiny fees (2.50 was a recent fee for an image I am
using in a forthcoming book) just to cover administrative costs.
After his bruising experience, Morrison decided that in future books he would simply
make up songs and bands, and get round the problem that way.
Blake Morrison
Dont ever quote lines from pop songs.
Remember that you can negotiate these costs. If you ask for permission to quote
something, and you get a response asking for a fee, it is worth writing back to say,
very politely, that you can either offer a lower fee, or that as a writer with a rather
modest income, youd very much appreciate it if they reconsidered and were willing
to let you use the copyright material for no fee at all. If the rights holders say no, then
you have the choice of either paying up or simply cutting out the quote. However, if
you ask for permission and it is refused, or you cannot negotiate a fee, never simply go
ahead and use the material anyway.
Do also remember that as rights are divisible it may be that the rights holder will
give you the right to reproduce the work only in a particular language or territory. This
can get complicated if there are later overseas editions or translations of your work.
Again, dont let all this put you off, but it is good to be aware of this. And if you can
be aware of it at the beginning of the writing process, then this is all the better.
For example, a work of literature might be out of copyright, but a particular edited
edition of the work may be in copyright. Finally, something may be out of copyright in
one region but in copyright in another region.
Key idea
Material in the public domain is material the copyright of which has expired, making it free to use and reuse.
ROYALTY-FREE MATERIALS
You may be able to find what are called royalty free materials to use in your work.
This doesnt mean that they are free. It means that you pay a one-off fee rather than
being licensed on a royalty basis. Royalty payments depend on the number of copies
made of a particular work. But if the image was royalty-free, then once you had paid
for permission to use it in a particular work, you could make as many copies of that
one work as you liked. If you wanted to use the image in another work, then you
would pay again. Often, royalty-free materials are available for a relatively low cost,
so it is worth exploring this avenue, particularly if you are looking at self-publishing
and thinking about cover design. There is a list of places where you can find royaltyfree materials in the resources section at the end of this book.
Key idea
Copyleft is the term given to copyright agreements that aim to enshrine in law principles such as: freedom to use,
freedom to share and freedom to make derivative works.
Copyleft agreements generally have a clause in which all derivative works should be
issued under the same licence. This means that if you freely use copylefted materials,
then other people can use your own copylefted materials in a similar fashion. One of
the most well-known approaches to this is the creative commons campaign
(www.creativecommons.org although not all CC licences are technically speaking
copyleft). Creative commons licences are designed to have both human-readable and
legalese forms, so that they are not only understandable by those of us who are not
lawyers, but also properly and fully worked out to have full legal standing.
Copyleft may have implications for you, both as a creator of new work and as
somebody who seeks to use the work of others in various ways. It is a challenging
idea for novelists, because it goes against the grain of the notion of the individual
creative novelist. Although the notion of copyleft may not affect you as a writer, be
aware that this is a growing area of copyright law.
better, and seeing whether you can negotiate a mutually beneficial arrangement.
In cases 2 and 3, you might want to intervene. If you are published by a mainstream
publisher, a simple email to the publisher should suffice, and they can chase it up. If
you are self-published, on the other hand, chasing up piracy can be difficult and timeconsuming. Your first port of call would be to contact the website owner with a
formal request for them to desist. But it can be a struggle as an individual to get your
work removed, and you need to balance a concern with protecting your work with a
concern with protecting your time. If you are a member of a writers union such as the
Writers Guild (www.writersguild.org.uk) or the Society of Authors
(www.societyofauthors.org), they may be able to advise you on pursuing legal action.
Trademarks
Another intellectual property issue you need to consider is that of use of trademarks. If
you are writing a novel set in the contemporary world, you will almost inevitably
come across this problem. What if your character goes into a bar and orders a soft
drink? Can you use a brand-name product? Or do you have to invent a drink called
something like Kooky Kola? Thankfully, you dont need to resort to the latter course of
action. As long as you are not calling into question the good name of the product in
question, you are entitled to refer to it. But if your story involves your characters teeth
falling out because of over-indulging in [insert name of famous brand-name drink
here], then the companys legal department may have something to say.
Focus point
You should not use trademarks in way that is directly disparaging, that is potentially libellous, or that could lead to
confusion as to who owns the trademark.
This means that you should not use trademarks in the title of your book, as this could
not only mean that anything in your book could be associated with the trademark, but
also that it could be considered an attempt to pass your work off as somehow
associated with that trademark.
Libel
Another legal issue that you may face is that of libel law. Libel law protects not only
individuals but also companies and organizations against defamation in other
words, against claims or imputations against them that are: a) untrue (or not
demonstrably true), derogatory or offensive; and b) harmful to their reputation or
standing.
Key idea
In the UK, claiming that your work is fiction is no defence against libel.
Even basing your characters closely on living individuals can be considered libellous
if it can be argued that readers could reasonably make the connection with the
individual in question. Acceptable defences against libel are as follows:
Ethics
Questions of what you can and cant write about are legal questions. But beyond that
there are questions of what you ought and ought not to write in other words, ethical
questions. This is a complex area. I know some writers who claim that writers have
only one ethical commitment, and that is to tell the truth. This is unconvincing, in part
because there are many different truths that you could write about, and so this still
leaves open the question of why you are telling this particular truth.
You will be held to account ethically for what you have written. And often you will be
held to account for things that surprise you: the things that people are troubled by in
your work may not be the things that you think they will be troubled by. When you
write a novel, it is as a part of a social world, and the novel that you write will have
an impact upon that world. It will affect your personal relationships, it will affect the
way you are seen by others, it will perhaps even affect the way the other people
respond to one another. Here are some questions that may crop up:
Questions about the possible implications of putting your stories in the public
domain
Questions about whether the information you have in your novel may be harmful
Establish who the rights holder (if anybody) is for the material you are wanting to use.
If the work is neither in the public domain nor out of copyright, find out who to contact about the rights to use
the material.
Later, when you know how your novel is to be published, you can write to these people and organizations to
negotiate permission to use the material. You may want to wait until you have a contract or have decided how to
self-publish, as the agreements may depend on how and where your work is to be published.
The following table might be a useful template for you to make sure that you have picked up on every issue, and
that you have recorded the action taken to resolve any problems, and the outcome of this action.
2 Legal issues
Now go through your manuscript. Write down a list of any areas where you need to give attention to legal issues
in your writing. In particular, pay attention to:
When you have done this, do your research into where you stand on these legal issues. After this, make any
changes to your manuscript that you need to protect yourself from legal challenge.
3 Ethical issues
Finally, have a think through the ethical questions that could be raised for you personally by publishing your novel.
Write down a list of any questions that you think are important to address, and that you think other people may
ask. For example, you might ask:
Is there anything that makes me uneasy about this book being in the public sphere?
You may find that you dont have answers to these questions. That is fine: this is not about tidying everything up
so that your novel is safe and uncontentious. It is about really thinking through the complex ethical issues that are
there in any good novel, so that you are sure that you can stand behind your work, and so that you may be ready
for any questions that are put to you, or issues that arise, after your novels publication.
Where to next?
In this chapter we have seen that putting a novel out into the world is not a trivial
thing. There are all kinds of legal and ethical implications to putting words in the
public domain, and you owe it to yourself to think through these implications.
However, now that all these issues have been cleared away, it is possible to think
about moving towards publication, whether through publishing yourself or
through third-party publishing. This is the subject of the next two chapters.
21
Self-publishing
Self-publishing has seen an extraordinary boom over the last few years. There are two
reasons for this. The first is the rapid rise of the ebook. The second is the growth in
print-on-demand publishing. These two developments, taken together, have put quality
self-publishing and distribution within the reach of ordinary mortals. If you are
independent-spirited and entrepreneurial, and relish the thought of going it alone, selfpublishing can be a good option. This chapter explores the nuts and bolts of how you
go about it.
Key idea
While third-party publishers still dominate the market for paper books, self-published books have already cornered a
huge share of the ebook market.
Alongside the rise of the ebook, one factor has fuelled the boom in self-publishing,
and that is the rise in print-on-demand services. These services allow books to be
printed according to the demand of readers rather than as a huge batch of books
printed in advance in the hope that these books will sell. Most third-party publishers
still think largely in terms of print runs. When they sign a contract on a book, they will
attempt to estimate sales figures for the book and they will settle on a first-edition
print run. They will decide to publish, say, 10,000 copies of the book, and they will
offer an advance. Then they will have to shift 10,000 copies. This business model
makes sense for a large company. But if you are an individual, then to print even 1,000
copies of your book up front and try to sell them will be something of a challenge (and
a risk). If, however, you can have a way of only printing books as and when they are
needed, then the risk is lower. This is what Internet print-on-demand technologies
have given writers: the ability to design and upload their books, making it available
both in ebook and printed versions with no up-front printing costs. Print-on-demand
has become a powerful force in publishing, allowing self-published writers to
compete with third-party published writers, whether on paper or in electronic format.
What it takes
Steven Berkoff
I think self-publishing brings back a sense of self-worth.
If you simply write your books and they are published by third-party publishers, then
there are many things that you dont have to get too involved in. If your publisher is big
enough, there will be marketing people or even whole departments to deal with
marketing your novel. There will be editors who will work with you on editing your
book. There will be salespeople to deal with getting your book into bookstores. There
will be rights departments to negotiate with Hollywood when they come calling. There
will, in short, be armies of publishing professionals who are there to support your
books journey out into the world. Even if you are with a small literary publisher
(some small publishers are run by enthusiasts from their kitchens), you will have
somebody else putting a lot of work into getting your book into shape and out into the
world. But if you are self-publishing, you will have to do most, or all, of this yourself.
Self-publishing, in other words, requires a huge amount of commitment. You need to
be meticulous and uncompromising. You need to have an entrepreneurial spirit,
because you will need to promote your book yourself. You need to be willing to take
time away from the writing process to think about typesetting or online marketing
campaigns. And you also need to have at least some money to invest in your project up
front. We will look at costs below, but as a rough guide, if you are self-publishing a
novel to professional standard, then the cost should not be any less than you might be
willing to spend on going on holiday for a week. All publishers invest financially in
books that they believe in: and if you are publishing your own work, you should do the
same.
If all this sounds rather daunting, then I should add that self-publishing well can also
be hugely rewarding.
Focus point
The more good self-published books there are in the world, the less readers will ask whether this or that book is selfpublished. Instead, they will ask: Is this book any good?
If you are going to self-publish your own work, be aware that there is still a lingering
stigma associated with self-publishing. This should not make you doubt your decision
to self-publish, but it might help you be prepared for some of the responses you may
get to your book. If readers are sniffy and snobbish about self-publishing, when it
comes down to it their snobbishness is their affair. Ultimately, if your book is good,
there is nothing ignoble about taking the self-publishing route and there may in fact
be many benefits.
See whether you can find out the names of the authors behind some of the major success stories in selfpublishing in the last year or two.
Select two or three authors from this list, and search online for interviews with these authors, or articles about
their success.
What advice can you get from studying the success of these authors? What does their experience tell you
about how you might approach the world of self-publishing?
publishing
Hugh Howey
Traditional publishing is much too restrictive. I dont want to pump out the same
book over and over. I want to challenge myself and produce the work that I feel is
missing from the marketplace.
Self-publishing and third-party publishing are simply alternative routes to getting your
words out there into the public domain. And, as different routes, they each have their
own advantages and disadvantages. The following table gives some of the advantages
of self-publishing.
Some advantages of self-publishing
Control
Higher percentages
You will typically earn a far higher percentage of the cover price
in royalties.
Faster payments
If you are in a hurry to publish your book, and have the time to put
into it, the process can be much quicker when self-publishing.
Retention of rights
You retain all rights to your work, rather than licensing them to
somebody else.
There are, however, downsides to self-publishing. The following table gives some
disadvantages.
Some disadvantages of self-publishing
Reputation and image
Bookstore sales
Investment
Reviews, etc.
Marketing
Editorial care
A good third-party publisher will make your book better: you will
need to find ways of doing this yourself.
PAPER BOOKS
I know self-published writers who have effectively set up their own publishing
houses. They have negotiated with printers, decided on a print run, and then once the
boxes full of books are delivered they have attempted to get their books into
bookstores or found other ways of selling them off to the public. However, for present
purposes, I am going to assume that, if you are self-publishing paper editions of your
books, you are going to be thinking about print-on-demand. The advantages of printon-demand are:
No storage costs
Your storage costs will also be non-existent. If you produce a print run of 1,000
books, you not only have to deal with distributing these books but you also have to
find a place to put them while you are trying to sell them off. A thousand books can
take up more space than youd think.
There are, however, disadvantages to print-on-demand. The first is that at present, you
are unlikely to get your books into high-street bookstores (although things are changing
fast: before long, it may be possible to go into a bookstore, search for a print-ondemand book, and get it produced for you on the spot).
The other disadvantage is that for many print-on-demand services, production
standards are not quite up to scratch: print-on-demand books however meticulous
the author is in producing them are often not at quite the same level as third-party
published books in terms of production values. Again, this is changing, but if you are
going to go with print-on-demand, you need to do your research.
The current major players in both print and digital self-publishing are listed below.
Major print-on-demand services
Amazon CreateSpace
www.createspace.com
Lulu
www.lulu.com
IngramSpark
www.ingramspark.com
kdp.amazon.com
Lulu
www.lulu.com
Smashwords
www.smashwords.com
IngramSpark
www.ingramspark.com
All of these services offer the ability to upload your final files, to upload cover
designs, to set prices, and to distribute your books in various territories and formats.
This is a rapidly changing market, and so if this book is even a couple of years old,
there may be new players in the market and new options for you. Do your research
first of all, make sure that you are happy with the deal that is being offered, and make
your choices wisely.
EDITORIAL WORK
First of all, you will need to make sure that your work is professionally edited. As a
self-published author, you may think that you can do this yourself; but if you do, you
would be wrong. It is absolutely essential that you get your book professionally edited
if you want to stand out from the crowd.
We saw in the last chapter that there was a difference between substantive or
developmental editing, on the one hand, and copy-editing on the other. Briefly,
developmental editing is about developing your novel so that it works as a story.
Copy-editing is about ironing out any remaining problems before the manuscript is
typeset.
As a self-published writer, you may not have a developmental editor, so you will need
good beta readers: people who can closely read your drafts and give you high-quality
feedback. The quality of the feedback you get will depend very much on the skills and
experience of your beta readers, so do select carefully for the job. You may also want
to employ a professional manuscript appraisal service at this stage.
While whether you decide that your work needs developmental editing or not is
largely up to you, and depends in part on how much feedback you have already
received over the course of writing and redrafting your novel, copy-editing is
absolutely essential.
Focus point
Consider employing a professional copy-editor to read your work. In the UK, you can find a list through the Society
for Editors and Proofreaders, SfEP: http://www.sfep.org.uk
Key idea
While you can use a word processor to typeset your book, the results will be better if you use desktop publishing
software.
If you decide to use a word processor, you can get by (and many self-published
authors get by very well) if you are sufficiently meticulous and careful. There are
many guides online to typesetting in Word. And if you are using a print-on-demand
service, then the website of the service you use will almost certainly give you very
detailed information about layout, format and how to submit files for publication.
Focus point
To prepare the entire manuscript for publication, you will usually need to produce two PDF (Portable Document
Format) files: one for the typeset content of the book and one for the cover.
Key idea
The page is not a natural division in an ebook.
Not only this, but readers will be viewing your ebook on all kinds of different
devices. In this sense, ebook formatting has the same problems as website formatting:
just as visitors to a website may be viewing it on a computer with a large screen or a
tiny mobile phone screen or anything in between as well as on a range of web
browsers, so it is with your ebook. You do not know whether the reader is going to be
looking at it on a smartphone, on a large plasma screen, or projected on to the wall of
their house.
When typesetting ebooks, you effectively have two options. You can either use a word
processor (or your favourite writing tool) or you can do it all by hand. The first route
may be more familiar, but it may create formatting problems for your readers. Word
processors and similar kinds of software work on a principle known as WYSIWYG
(pronounced wizzy-wig), or what you see is what you get. In other words, what
you see on the screen is very roughly what the eventual output is going to look like.
But WYSIWYG doesnt work so well if the design can be viewed on all kinds of
devices at all kinds of size. Here well look very briefly at each approach.
Focus point
Although you can format an ebook using a word processor, you are much better off doing it by hand.
<strong>bold</strong>.
The beauty of this is that these instructions can be translated into nicely formatted text
on whatever device your reader is using, and however they have their reader set up.
There are some very good guides out there to how to use HTML to format your files
ready for publication in ebook format. The process usually involves the following
stages:
1 Strip out all the word-processor formatting from your text by pasting it into a plain
text or programmers editor (for example Notepad++ or jEdit).
2 Put back all the formatting you need using HTML codes.
3 Save in HTML format.
4 Convert the saved files to ebook format such as .mobi or .epub.
While this may seem like a complex process, it is fairly mechanical and fairly
straightforward to learn. It may take a couple of days of patient work, but you will be
glad that you did it. Covering these stages in depth is a little beyond the scope of this
book; however, the Resources and Further Reading sections suggest some useful
guides for ebook formatting that you can get hold of free online.
PROOFREADING
Once you have final proofs, you will need to proofread them for errors. If you are
publishing for ebook and in paper format, you will ideally need to proofread both
versions. Not all commercial publishers do this, and it leads to some unfortunate
errors in ebook editions. If you are self-publishing in both formats, you can probably
get away with getting professional proofreading help on the paper version of the
manuscript, and then working very carefully through the ebook version (or, ideally, the
marked-up HTML files) to replicate the corrections there.
their other work so that you know that you are happy that they are going to do a goodquality job. Remember that a good cover particularly for ebooks should look good
both at full size and when shrunk down to a thumbnail.
Focus point
Remember that your cover should include not just your name and the title of the book. It might also carry some
glowing endorsements from other writers, as well as a well-written (and proofread) blurb on the back.
It may be that at the end of this exploration, you decide that the service in question is not for you and that you want
to try publishing elsewhere. Remember that you can take the process step by step: you dont need to understand
everything at the outset and you dont need to do everything at once.
If this all seems eye-wateringly expensive, then there may be ways you can save. If
you have a tame proofreader or copy-editor (and if they are professionals with track
records), you may be able to barter with them: they can proofread your book while
you are building them a treehouse or fixing their car.
several formats and in several places. You will at the very least want to use a .mobi
format that is readable by Kindles and an .epub format that is readable by other ebook
readers.
Almost all the large online ebook publishers will have comprehensive help files to
assist you with getting your work published on their platforms. You should read these
help files closely so that you know exactly what their requirements are. If you are
publishing in ebook format, you will also need to think about DRM, or Digital Rights
Management.
Key idea
Digital Rights Management (DRM) is a collective name for technologies that are used to protect copyright by means
of restricting copying, redistribution or access to digital resources such as ebooks and music.
This may seem to be a good thing for you as a writer. But the jury is very much out on
this, in part because DRM doesnt necessarily work very well, and in part because it
is unpopular with readers. If you are having to decide one way or the other,
familiarize yourself with the debates online, and then make your choice.
Prices
Another thing to think about when self-publishing is how to price your book. This is a
complex area, in particular if you are looking at ebooks, and it pays to do your
research. People will have different expectations when it comes to self-published and
third-party-published books, so do your research to see how similar books are priced.
Remember that you have more freedom when self-publishing to change the price of
your book, in particular when it comes to ebook editions. At the time of launching your
book in ebook format, you may want to offer a reduced price (or even give it away for
free) to garner some initial reviews, before you revert to the usual selling price.
ISBNs
All published books should have an ISBN to identify them. An ISBN, or International
Standard Book Number, is a 13-digit code (until 2007 it was ten digits) that uniquely
identifies your book. If you publish both an ebook and a paper edition, they must have
separate ISBNs. ISBNs are attached to the specific edition of a book. If you publish in
both paperback and hardback, you will also have two ISBNs, not one. The ISBN
system in the UK is administered by Nielsen UK ISBN agency. You can find out more
here: www.isbn.nielsenbook.co.uk. ISBNs are usually sold in batches of ten, and at
the time of writing a batch costs 132.00. Some self-publishing services will assign
you an ISBN as a part of the package you sign up for, or else you can buy your own.
publishing because it may be a route into third-party publishing, you are selfpublishing for the wrong reasons. Self-publish because you believe in your work.
Self-publish because you believe that self-publishing is worth doing. Self-publish
because you relish the freedom that comes along with publishing in this fashion. But if
you see self-publishing merely as a step on to the higher stage of third-party
publishing, you are missing out on all that is good and wonderful about selfpublishing.
Ease of use: how straightforward is it to use the publishing platform? Mark this 15, where 1 is easy and
5 is complex.
Cost: how much will it cost you? You may also want to note what is factored into this cost.
Quality of end result (you may need to do some hunting around to find out about this): how good are the
final books, whether in print or ebook format? Mark this 15, where 1 is poor and 5 is very good.
Reputation: how good a reputation does the company have? Again, mark this 15, where 1 is poor and
5 is very good.
one publisher that you are happy with for both ebooks and print-on-demand.
At this stage, if you havent already, you should buy books in both ebook and hard-copy format (if you are
intending to publish both ways). This is so that you can be sure that the quality is up to scratch. If you buy the
books and the quality is not good enough, you may need to find another provider.
3 Moving ahead
Finally, you are ready to start moving into the practicalities of self-publishing. Make a few notes on the following
questions, so that you have a sense of the road ahead.
What do you need to learn? What do you need to learn (for example, perhaps you need to learn some basic
HTML) to publish with this provider?
What is your timescale? Can you set a reasonable timescale for publishing taking this route? If this is the first
time you have self-published, it may take a little longer as you get used to how things work.
What other services do you need? You may need to employ copy-editors, proofreaders and cover designers.
It can be best to find your own rather than using built-in tools or add-on services from your service
provider.
What will it cost? Now that you have decided on a service to investigate, how does this affect the costings
that you worked out earlier? Try going through the costings again to see what the cost might be of selfpublishing by this route.
By now, you should have an outline of what you need to do to get your work out into the public domain. It will take
a lot of time and careful work before you can launch your book, but if you have finished your novel and worked
through the exercises in this chapter, you are well on the way to being a self-published author. Good luck!
Where to next?
If in this chapter we have explored the possibilities of self-publishing, the next
chapter is about third-party publishing, and how you go about finding somebody
else to publish your novel.
22
Third-party publishing
Some people refer to what I am calling third-party publishing as traditional
publishing; but Im not sure that this is quite right. There are long traditions both of
self-publishing and of writers getting their work published by third parties: neither is
more or less traditional than the other. And although for a while third-party publishing
has been very much the most dominant model of publishing, this is currently changing.
So third-party publishing is a more neutral, and more accurate, term for the process
of finding somebody else to put your work out into the world.
In this chapter we will look at the ins and outs of third-party publishing. We will look
at what publishers do, how to get in touch with them, what they like and dont like, and
how to manage the business of contracts. We will also look at the role of agents.
Key idea
The role of an agent is to be an intermediary between the writer and a third party.
If there is no third party, then there is no need to have an agent. If your self-published
novel generates interest in film rights, on the other hand, you might need an agent. So
even if you are self-publishing, this section might be useful to you. An agent can
certainly help you secure a publishing deal, but having an agent is not itself a
guarantee that you will find a publisher. Conversely, not having an agent in no way
bars you from your book being published by a third-party publisher, although it may be
harder to get your book placed with one of the large, mainstream publishing houses.
The broad difference between agents and publishers is that agents are concerned with
taking on writers, while publishers may be interested in taking on books, or series of
books. An agent may help you nurture your career across several books and several
genres of publishing in a way that publishers will not.
WHAT IS AN AGENT?
An agent is somebody employed by a writer to represent their work to publishers. So
an agents job is to act as an intermediary between the writer and the commercial
world of writing.
Focus point
Authors employ agents rather than the other way round.
A contract with an agent will usually mean that you commit yourself to working
exclusively with this agent, and to channelling all your work via your agent. Your
agent will attempt to sell the rights to this work to publishers and in return you will
pay the agent a percentage of your earnings. This is usually around 1020 per cent (15
per cent is usual).
Because your agent is generally representing your work as a whole, what an agent
usually wants to have on their books are writers with some chance of longevity: 1015
per cent of one book contract may not be very much, but over time, and with several
books under your belt, the returns will be better. So if you are only ever going to write
one book, it may not be worth an agents while to champion you unless that book is a
hit. But if an agent knows that you are the kind of writer who is going to keep on
writing and keep on producing books, then you are far less of a gamble.
Some agents will be very engaged with the writers on their lists. Others will be a bit
more cool and distanced. Some work for large literary agencies that employ a large
number of agents and have hundreds of authors on their books. Others are staunchly
independent. Here are some advantages and disadvantages of having an agent.
agent will give you more options for placing your book.
Loss of control
If you are the kind of writer who likes to keep track of absolutely everything, if you
like to have complete control over who is seeing your work and when, and if you find
intermediaries frustrating because you never quite know what is going on, then
perhaps an agent is not for you.
Focus point
Avoid agents who charge reading fees.
The agents in the Association of Authors Agents all follow a code of practice, which
is available on the AAA website. If you are signing a contract with an agent, then it
might be useful to read through the code of practice to give you a sense of how many
agents function.
While some agents can be found through their websites or through lists of literary
agents, many people I know have ended up with their agents through personal
connections. I initially made a connection with my own agent through one of her other
authors, whom I was interviewing about his book for a magazine article. So it pays to
make connections with other writers and to ask around.
Focus point
You should try to place your book where you think that it and you would be most at home.
Researching publishers
If you are pitching your work yourself, you will need to research which publishers to
send it to. Some publishers are sent tens or hundreds of manuscripts every single day.
And one of the reason why so many manuscripts are sent out is that their authors are
simply not discerning enough to think about where to send their work. This is a
terrible waste of time for everyone: it increases pressure on publishers, it wastes
trees, it clogs up email inboxes, and it does nobody any good. So, before you send
your work out, do your research. You will need to look at several things.
For example, if a publisher asks for three sample chapters and your chapters are only
two pages long, you might say in your covering letter that you are sending the first 40
pages because this should be a representative sample. Similarly, if your book only has
three chapters, each 40,000 words long, then send a representative sample not the
whole book and explain why in your covering letter.
Focus point
Always follow publishers submissions guidelines.
Publishers will talk about unsolicited submissions. Unsolicited means that the
author has not been asked to submit work. So, if a publisher says, No unsolicited
submissions, does that mean you cannot submit to them? Well, no, not exactly. It
means that, if you send them your manuscript unannounced, they will simply sigh and
hurl it into the recycling bin, without taking a second look. But if you have good
reason to think that this publisher might be a good home for your book, then you can
always find out the name of the editor in question and write them a courteous letter,
explaining briefly why you think they might like to see your book. They may not get
back to you; but, on the other hand, if their curiosity is provoked, they might ask you to
send more. Then, when you do send them your work, it is no longer unsolicited.
Make sure that you have laid out paragraphs and speech according to standard
format (new paragraphs need to be indented).
Do not justify your paragraphs (in other words, the paragraphs should be ragged on
the right-hand side).
Make sure that section and chapter divisions are clearly marked.
Use a standard format for chapter headings or section headings (for example, a
larger font size).
Make sure that your margins are sufficiently wide at least 25 mm (1 inch) on each
side.
3 Make sure that your headings are logical, clear and all follow the same format.
4 Check your page numbers.
5 Make sure that you have the right page layout.
6 Deal with formatting of headers or footers.
7 Tidy up the cover page.
Use A4 size in the UK and letter size (8.5 11 inches) in the US.
Print out on white paper. Do not use extra-thick paper or paper that is coloured,
embossed or otherwise unnecessarily fancy. Standard copying paper will do.
be factual rather than evaluative: dont gush about your own work
be written in immaculate prose, without any errors
be clearly and professionally formatted and laid out.
This should all fit on to a single page. Make sure that your covering letter has no
typos, that it is polite and professional (but not overly stuffy), that it is to the point, and
that importantly everything you say in it is true. If you can get the specific name of
the editor to whom you are sending it, that is useful. If not, Dear editor will suffice.
Write a covering letter for your novel. As this is a test run, you can either choose a publishing house at random,
or invent one.
Make sure that you follow the guidelines above. Be as clear, professional and concise as you can.
Now give your covering letter to your friend (or exchange letters) and ask them to go through it, using the
bullet-points above, looking for any problems or errors.
SYNOPSES
You may be asked to send a synopsis with your manuscript. This is a difficult area
because there is no single form that a synopsis can take. Synopsis literally means a
brief survey or overview: it comes from the root syn, meaning together, and opsis,
meaning seeing.
Key idea
A synopsis is an account of your story that can, more or less, be understood at a single glance.
Keep your synopsis simple. A good synopsis sets out the story as a whole, focusing on
the main thread or threads of the plot and the main characters. It is not a sales pitch or
a blurb. Instead, it should show the armature of your story, the skeleton that lies
beneath the skin. The job of a synopsis is to give the reader a sense of the structure of
your novel as a whole, and an idea of the mechanics at work in the way you tell your
tale. A good synopsis can be both to the point and intriguing.
If you are asked for a synopsis or if you decide to include one then avoid
embellishment or undue complexity. Again, I would advise making it no longer than a
page. If you have to extend to two pages (presented in the same format as your
manuscript), then so be it. But if you are extending your synopsis into three or more
pages, your reader would probably be better off reading the manuscript itself.
Write: synoptical
For this exercise, you are going to take 15 minutes to write a synopsis of a novel that you have recently read. So you
are writing a synopsis of somebody elses novel. Think about how you can convey the shape of the story, and how
you can intrigue the reader without embellishment or complexity. Keep the length to a single page.
When you have finished, ask yourself how successful you have been in giving an impression of the book.
Do not use staples, paper clips, binders, folders or any other bindings. If you want
to keep the pages together, use a simple, plain rubber band, but nothing more.
Key idea
Publishers are not obliged to say why they are rejecting your novel. If they do give you feedback, then take it with
good grace.
Sometimes because they care about what they do publishers will take the time and
trouble to give you feedback. This is advice that comes from professionals in the field,
and so it is of potential value to you. If several publishers give you the same advice,
you might want to think about correcting some of the problems that they have
identified. But you have missed your chance to make good on these problems if you
send your manuscript to
20 publishers all at once.
Focus point
In general, publishers will move more quickly on books that they love than on books to which they are indifferent.
All this waiting can be frustrating. But always be friendly and polite. Publishers are
not strange, capricious gods who roll dice to decide your destiny. They are people
who are struggling to put good books out into the world, often overworked and
underpaid. Not only this, but the publishing world is quite a small one. People move
around a lot. Getting a reputation as an awkward case does you no favours.
Focus point
Publishers might turn down your book for other reasons, too. They may simply have a
very full list of forthcoming titles and not be able to take on any more. They may think
that the market for your book is too small. The editors may be overruled by the people
in sales and marketing.
Ask yourself whether this advice might lead to strengthening your work. Sometimes you may think a publishers
advice is wide of the mark. But that is perhaps because they are not the right publisher for you. Sometimes the
advice may point to a way that you can improve either your novel or your strategy with sending out submissions. So
now try this:
After returning to the letter, try to come up with some concrete tasks that might help you improve your next
submission.
other avenues of inquiry, and commit yourself to this one publisher while questions of
publishing timescales and contracts and things are all sorted out. Remember that a lot
can still go wrong. Publishing houses can fold, the editor who was championing your
work can suddenly leave, and so on. So it pays to be circumspect and perhaps not
too celebratory until you have a signed contract, a legal document that commits both
you and the publisher to the publication of your book.
Key idea
Only once you have a signed contract can you be fairly confident that your book will eventually see the light of day.
Do not, however, be too hasty to sign a contract. You need to make sure that the
contract is reasonable and that you are not committing to anything you do not
understand or will later regret. Reading contracts is something of an art: they are
forbidding documents, written in dense legalese. Decoding contracts is one reason
many writers make use of agents. Whether you have an agent or not, you should always
read through the contract yourself, as they are ultimately your rights that you are
assigning. If you are a member, the Society of Authors (www.societyofauthors.org)
has a free contract-reading service.
Some publishers may say to you that they are issuing a standard contract and that this
is non-negotiable. This is nonsense, and you should feel free to gently point this out to
your publisher. A contract should be negotiable on both sides, and by both parties: it
is not a way of holding one party to ransom. If there are clauses that are problematic,
then they should be up for discussion.
Focus point
All contracts are, in principle, negotiable.
useful? What if you have rewritten and rewritten until you cannot bear to rewrite any
more, and you have run out of options for where you might find a good home for your
book? What if you wake up one morning, look at your manuscript, and realize that you
are sick of the sight of it?
If all this happens, then you have hit a brick wall. It may be that your novel is simply
not good enough. It may be that it is good, but there is no market for the kind of novel
that you are writing. It may be that the novel is somehow untimely, that you are trying
to publish it at the wrong time. Or it may be that it is timely and good and there is a
market, but publishers cannot see any of this. Publishers are not always right. Their
notions of the market may be mistaken. It may be that you can find a niche for your
book that third-party publishers are unable to access. If this is the case, then go ahead
and self-publish. After a bruising series of rejections, it will be bracing to be striking
out on your own.
However, if you reach this point, you also need to be brutally honest with yourself,
and you need to ask yourself: Is this novel good enough? If you are at all uneasy with
your book, your options are either to go back to editing your book, or else moving on
to a new project.
Focus point
Every book worth writing is an experiment; and not all experiments work out.
You can learn a lot from failed experiments. Tucked away in a cardboard box
somewhere, I have a nice stack of manuscripts for projects that, whatever their virtues,
didnt quite come off. It is painful to put a project to one side; but you should have the
discretion as a writer to recognize that sometimes it might be necessary to do so. All
of that thinking and planning, all of that practice, will not be lost. If you have taken the
writing of your novel seriously, you will be a better writer than before, and you will
be starting the next novel from a better position. In fact, it could be argued that if, in
your novelists laboratory, you dont have any failed experiments, you are simply not
taking enough risks.
Anita Shreve
Dont give up. There are so many obstacles to becoming a writer so its easy to
do. But rejections are tickets to the game.
Are they currently open to unsolicited submissions? If so, what is their submissions policy? If not, do they
indicate when they will be open to submissions?
If any publisher on the list says that they will not accept submissions or queries unless they come via an agent,
then it is probably worth crossing them off your list. Unless you have an inside connection, this is just going to
waste time.
When you have a modified list, you can rank them. Try giving them scores from 1 to 5, with 5 being the highest,
taking into account criteria such as the following:
To answer some of these questions, you may need to do a bit more research. By the time you have done all this,
you might end up with four or five publishers scoring 20 or over, four or five publishers scoring 1520, and so on.
Divide the total by five and round up to give each publisher an overall rating from one to five stars.
3 Planning your strategy
Now take a calendar of the coming year use a diary, or draw out a plan and decide when you are going to
send your book out and to whom. You might want to try a couple of five star publishers first, as well as a one
star and a three star. Try to pencil in all the publishers some time in the next year, so that you have a strategy
for getting your work out there. Remember that this strategy may well change as you get feedback from
publishers and so on; but it is good to start with some sort of plan.
4 Putting your plan into action
When you have a rough plan, look up the submissions guidelines for the first small batch of submissions you are
going to send out, and make sure that you prepare individual submissions for each of the publishers, according to
their guidelines. Bundle them up (dont put the wrong letters in the wrong envelopes Ive done this once, and it is
very embarrassing) and put them in the post.
Keep a note of:
who you have sent it to: both the publisher and, if possible, the name of the individual editor
the timescale within which you are expecting a response (if the publisher doesnt give a timescale, three
months is not unreasonable).
Put dates in your diary to follow up submissions with queries. Now you just have to wait until you get replies. If
you get rejections, think them through and adjust your plan accordingly. If you need to rewrite, pause sending out
your work while you rewrite. Then, with the revised manuscript, pick up again, working through your list. If you
get no response at all, then send query letters or emails after an appropriate period has elapsed, and try sending
your work to another couple of publishers.
Having a clear plan can be useful, because even if you get rejections, there is always a next step to take. You
just work through your list methodically and carefully, taking on board advice and feedback that comes in. And
meanwhile in the periods while you are waiting for a response from all these publishers you might as well get
started on your second novel.
Where to next?
This brings us to the end of the section on publishing. If you have got this far, and
if your book is good enough, there is a decent chance that your life as a published
writer will have begun. The final section of this book is about how to promote
your book, and how to survive and thrive as a writer.
PART SIX
Now you are published
23
Introduction: surviving and thriving as a
writer
You might think that writers are ethereal beings who are concerned above all with
their art, that they are superior kinds of individuals who scorn the material things that
preoccupy most ordinary humans. If you think this, I can only assume that you have
probably not yet spent a great deal of time around other writers because, if theres
one thing that concerns writers almost as much as the writing itself, it is the question of
money.
Tracy Chevalier
Oh, for Gods sake, if I were driven by money, I would never have become a
writer!
The reason that writers are interested in money is not because they are unusually
grasping or materialistic. It is because writing can be, for many writers at least, a
financially precarious activity. In other words, writers are interested in money
because, for many writers, it is a fairly limited resource; and, while you might get rich
from writing novels, if you are interested in making massive amounts of cash, then
there are many more reliable ways of going about this. In fact, if you are interested in
making a living from writing, then writing novels may be less reliable as a means to a
decent income than, for example, writing feature articles or scriptwriting for TV.
But here, as elsewhere, it is impossible to generalize: different writers have different
financial arrangements. So this chapter aims to give a realistic view of what you might
stand to make financially out of your writing, and aims to chart some of the financial
waters you may need to navigate as a writer.
The quote above from Joyce Carol Oates comes from an interview with the New
Yorker in 2013; but this indifference is, to some extent, a luxury. Most writers will
need to be much more on the ball and will need to keep track.
Key idea
A royalty payment is a payment made to you by the publisher for every book that is sold. This will usually be on the
basis of either the cover price or net receipts.
If your book is 10, and if your publisher offers you a 10-per-cent royalty on the cover
price, then you will receive 1 per copy sold. Where does the other nine pounds go?
You might think it goes to your publisher, so that he or she can buy a gold-plated bowl
for the family dog. But you would be wrong. A big chunk goes to the bookseller. Of
what remains, some goes to cover warehousing and distribution. Then the publisher
has to pay for cover design, for marketing and publicity, for printing costs, for staff
salaries, for overheads and so on. Publishers are much like writers: a few may be
raking it in; most are not particularly well off.
So, lets say that you earn 1 per book. If you get an advance on royalties for 3,000,
this means that the publisher will pay you 3,000 up front, on a non-returnable basis.
Often this is paid in chunks: a third on signature of the contract, a third on delivery of
the final manuscript, and a third on publication is not uncommon (in this case, 1,000 a
time). If your book sells well, then you start getting royalty cheques once you have
made back your advance. So once you have sold more than 3,000 books, you will start
making 1 per book sold, which will usually be paid every year or (sometimes) every
six months.
Not all books make back (or earn out) their advances. According to the New York
Times, back in 2009, seven out of ten books were not earning back their advances; and
despite the big headlines that you see from time to time, advances are typically rather
modest. A five-figure sum might sound impressive for a three-book deal; but if this
translates into 21,000, or 7,000 per book, then, while it is going to be a welcome
boost to the bank balance, it is probably not a short cut to a life of luxury.
Key idea
An advance on royalties is an up-front payment of your anticipated future royalties, paid as a lump sum.
Royalties based on cover price are straightforward. But royalties based upon net
receipts are a little more complex. Net receipts (sometimes called price received)
are what your publisher collects after discounts made to the retailer or to the
wholesaler. Say that your publisher sells to the retailer at a discount of 45 per cent.
For each copy of your 10 book, the publisher will receive 55 per cent of the cover
price, or 5.50. That means that your 10 per cent on net receipts is 0.55.
Focus point
Make sure you know whether your contract specifies royalties as a percentage of cover price (sometimes called
list price) or as a percentage of net receipts.
Things can get rapidly even more complex, however. Sometimes publishers will offset
other costs against net receipts, so you need to make clear in the contract what net
receipts means, and that there are no other costs factored in. You should also avoid
any contract that offers you a percentage of profits: imaginative accounting could mean
that on paper your best-selling book, once all kinds of costs are offset, makes no profit
at all, so you receive nothing.
Sometimes there will be a sliding scale of royalties, with higher rates once you have
sold, for example, 2,000 copies, and then again 5,000 copies. These are fine, but dont
be seduced by the higher rates if the baseline rate is still not good enough.
There is a lot more to be said about royalties. Some of the professional bodies listed
in the Resources will be able to help you navigate these complexities; but remember
also that, in different parts of the world, approaches to publishing contracts may differ.
A question of rights
Your contract will be divided up according to different rights. You are effectively
licensing your publisher to publish in particular formats, in particular languages and
in particular territories. If you have an agent, you may want to retain as many rights as
possible, so that your agent can actively try to sell these. If you do not have an agent
and your publisher pushes to handle additional rights for example, rights to foreignlanguage editions or to film adaptation you should make sure that they are actively
going to exploit these.
These additional rights matter. Although you may not make it rich out of royalties, you
may be able to supplement your income through sale of these other rights. Here are a
few areas to think about.
Focus point
If you are self-publishing, you will own all the rights to your work, in which case you shouldnt overlook the
possibilities of selling subsidiary rights. There are some high-profile cases of self-published authors going on to sell
rights to adaptations, translations and so on.
Focus point
Remember that the publishing world is both global and multilingual. Books that work well in certain places and in
certain languages may not succeed elsewhere.
In your contract, your publisher may agree to handle translation rights. If they have a
good overseas rights department, this may be sensible. However, theres no point in
your publisher sitting on rights that they are not actively going to pursue trying to make
use of. If your publisher does not handle these rights, then your agent may have
connections, if you have an agent. Handling overseas rights yourself is possible,
although it is tricky and complex.
What about the film tie-in? Surely you can retire on that? Well, not necessarily. What
will usually happen, if there is genuine interest in producing your novel for TV or film,
is that a production company will take out an option.
Key idea
An option is a payment made by a producer, allowing them to exclusively explore the possibility of securing the
rights to an adaptation within a particular period of time.
This is more straightforward than it sounds. If I am a producer, and I like your novel, I
may not want anybody else to get to it first. So I pay you an option of 3,000, with a
period of 18 months. In this time, I have the sole right to explore the possibilities (and
financing) for an adaptation. Before the end of the option period, if I decide to
proceed, then I can exercise this option by actually buying the rights. If the time
period expires and I am still interested, I may decide to renew the option. The option
payments may be offset against any earnings you make if the adaptation is eventually
made.
An option, then, is something short of a full-blown sale of rights. But it is a start. If you
do manage to sell the film rights to your book, make sure you are very clear about the
contractual agreements involved. I have a writer friend whose book was made into a
blockbuster movie with a cast of top Hollywood stars, and who claims that, through
the studios creative accounting, the actual profits he made directly from the film were
vanishingly small (although he concedes that he did well on the increased book sales
that resulted).
OTHER RIGHTS
There can be all kinds of other subsidiary rights tied in to your novel: for radio and
audio adaptations, for ebooks, for Braille editions, for action figures, and so on. An
agent can be very useful in advising on these aspects of a contract.
authors with a small fee when their work is borrowed from libraries. While the sums
are often small, they can be a welcome addition to a writers income. Some books do
very well in libraries, even if they do less well in bookshops. In the UK, there is also
the Authors Licensing and Collecting Society, or ALCS (alcs.co.uk), which deals
with income from various secondary uses of an authors work, whether through digital
reproduction, photocopying, educational recording or repeat use via the Internet.
But it is also worth bearing in mind that money is a more transitory and unstable thing
than any book. When I look at my bookshelves, I never wonder what the authors
earned. I care about what they said. Some years I make more from writing than others;
but the more I write, the more I find that writing opens up opportunities for new
connections, new conversations and new pathways through the world. In other words,
Im sure there would be better ways of making a living; but, for me at least, I cannot
think of any better way of making a life.
FREELANCING
As a writer, you have many possibilities for freelance work open to you: you might
like to look at Claire Gillmans Make Money from Freelance Writing in this series.
But to get you thinking, some of the things you could do include:
contributes a decent chunk to their income. If you are the kind of person who likes
talking in public, then, once your book is out, it may be worth exploring opportunities
by contacting festival organizers, local venues, etc. and letting them know what you
have to offer. Over the past decade or more, literary festivals have flourished, from
the very large to the very small. You can find a list for the UK at
www.literaryfestivals.co.uk. Some festivals may be hard to break into without the
clout of an established mainstream publisher behind you; smaller festivals might be
easier.
Doing events is work as a writer, and writers should as far as possible be reimbursed
for the work that they do. On the other hand, there may be events that you think are
worth doing on a voluntary basis, as a way of promoting your work, helping out
friends and so forth. For myself, sometimes I will do some events for free. I do free
events for various reasons:
Focus point
If you are doing a free event, it is reasonable to ask for travel expenses. If you are doing a paid event, expenses
should be on top of your fee.
The best advice here is this: make sure you know what you are agreeing to, and make
sure that you are happy with this agreement. If you do charge fees and want advice on
what is appropriate, the Society of Authors in the UK has guidelines on rates (see the
link here: www.societyofauthors.org/rates-and-guidelines).
Journalism
Many writers I know write journalism pieces for publications both online and offline.
This can be a good way of getting more exposure as a writer (although dont assume
that everybody who loved your article will go out and buy your book), can help hone
your skills, and can be extremely satisfying. It can also, depending on where you pitch
your work, pay remarkably well. If you have some track record writing fiction, then
you can make the leap to freelancing relatively easily: all it takes is an exploratory
email or two, pitching your ideas. If you have a professional online presence, this will
help as well.
Residencies
There are all kinds of writing residencies out there. Some residencies are designed to
allow you time and space to write, and have competitive application procedures.
Some involve more active engagement with the public, for example, residency work in
schools and hospitals, in museums and factories and businesses. Sometimes, you may
find that unexpected places are interested in having writers working for them, so dont
be afraid of approaching people who you think might be interested.
Are there any local book festivals in which you might be able to take part?
Are there any local information networks for writers that might be useful to be a part of, so that you can
develop your networks?
What organizations locally help with writer development? Can you contact them to tell them about your work?
Are there any national or international events or organizations that might be interested in your work?
Use the appendices of this book to help you. Once you have a list, if there are any opportunities that you think you
could follow up, dont be afraid to write introduction letters and emails, make phone calls and set up meetings.
Getting a job
One easy way of solving the problem of income is to find yourself a job that doesnt
interfere with your writing, and that allows you time to write. I know of a novelist
who is a research chemist by day and a thriller writer (under a pseudonym) by night. I
see him as a kind of Dr Jekyll and Mr Hyde character, who every evening glugs down
a potion and transforms himself into a writer. I have been told that none of his fellow
chemists knows about his strange, nocturnal pursuits. So it is perfectly possible to be a
writer on the one hand and to hold down a job on the other. Not only this, but
sometimes having a job can help: writing is a solitary pursuit, and some writers would
go crazy without the interaction that they have with other people at work.
You may want to focus on promotion and sales; you may want to get going on the second novel and need to support
yourself to do that; or you may want to see what other opportunities your recently published book can open up for
you.
Now, for each of these three goals, write down some concrete actions that you want to take.
GRANTS
There are some grants available for writers. Many of these are offered on a
competitive basis. It may be easier to attract funding for projects that involve the
public, or for time to write books that are published by third-party publishers. If you
are self-publishing, you may have to work hard to make a strong case. There are some
links to potential funding bodies in the Resources section. Writing grant applications
is an art in its own right, and it can take time away from writing. But it can be worth
doing: research for my second novel was funded thanks to a research and time to
write grant from Arts Council England.
Focus point
For tax purposes, you should keep clear records of all of your income and expenditure.
a more in-depth view, try reading Teach Yourself: Run Your Own Business.
Where to next?
If you are going to make any money at all from your work, you are going to have
to let people know about it. Even if you are with a major publishing house with its
own publicity department, you may find that you need to do a lot of publicity
yourself. This is the subject of the penultimate chapter.
24
Promoting your work
Now that your book is out, you need to let people know about it. There was a time in
the distant past when the writers job was simply to write, and the publisher would
deal with everything after that. You could be as reclusive as you liked, safe in the
knowledge that your publishers had a phalanx of publicity agents working on your
behalf, pushing the book out to reviewers, setting up launch events, letting people
know. These days, even large mainstream publishers rely on authors to do a lot of
promotion. If you are with a smaller publisher, they simply may not have the budget or
the time to push your work as enthusiastically as you would like. After all, a small
publisher may be publishing 12 books within a single year, each of which needs
attention. And, of course, if you are self-publishing, nobody is going to take charge of
your publicity unless you do it yourself.
All authors should give some thought to publicity, to how once they have actually
written and published the book they are going to go about letting people know about
it. When thinking about publicity, it can be useful to think about the kind of book it is
that you are promoting. Some books are topical or written to tie in with contemporary
issues. These books can sell very well for a short while, but when the contemporary
landscape changes, their sales can drop rapidly. Other books are more slow-burning.
The particular shape of your publicity campaign (did I mention that it was a
campaign?) will depend on:
Pre-publication buzz
Ideally, you will start letting people know about the book before it is published, to
build a bit of buzz. You might blog about the process leading up to publication, write
some guest articles on other peoples blogs or in magazines, newspapers and journals,
or else use social media platforms to generate some initial interest. However:
anticipation can only last for so long. If you spend weeks trying to drum up enthusiasm
for your forthcoming book, you may find that, by the time the book comes out, the
enthusiasm has already waned.
Focus point
If you are trying to generate pre-publication buzz around your book, dont stretch this out for too long, or your
If you are published by a third-party publisher, then your publisher may send out prepublication review copies (often uncorrected proof copies) to get some early reviews.
If you are publishing yourself, you may want to think about trying to get some proof
copies sent out although finding reviewers may be harder.
The trouble with pre-publication buzz is that it doesnt give your audience (or your
potential audience, at least) anything to do other than wait and, if you have a date for a
launch event, make space in their diaries.
Launches
Key idea
There are several reasons for a book launch: celebration, promotion, sales and networking.
Now that your book is coming out, this deserves a celebration. There was a time when
publishers would pay for lavish book launches. Some publishers still do. If your
publisher wants to throw some money at launching your book, then you are in luck. If
your publisher is less keen, then you could do it yourself. But perhaps the first
question is this: Why should you have a launch? Here are the most likely answers:
Celebration: a book launch can be fun and satisfying, and can act as a rite of
passage to mark your transition from unpublished to published novelist. Invite
friends, family and those who have helped you along the way. Throw a good party!
Promotion: invite journalists, other writers and people who work in the writing
business. Be realistic. You may want The Times, The New York Times, the BBC,
Al-Jazeera and CNN to be there, as well as several Nobel Prize in Literature
winners; but, unless you are very well connected, youll be lucky if any of them turn
up. It might be that you can do better with local press and media, as well as writers
from the local community.
Sales: if people like what they hear, they may well buy a copy of your book. Dont
expect to sell a copy to everyone who turns up, but make sure that you have copies
on hand to sign and sell. Remember: your audience is there to be entertained and
they dont want to feel brow-beaten or guilt-tripped into buying your book. They
want instead to be enthused, excited and intrigued and, if they are, their purses
and wallets will spring open. If you are organizing and paying for your own book
launch, you may be able to offset the costs of the launch against the sales you make,
so that you break even or make a small profit.
potential readers.
Whether virtual or physical, one thing that often makes a good book launch is variety.
Few writers can sustain the audiences interest by just reading for an hour, without
anything else happening. If you are one of these few (I once saw Alan Moore reading
in precisely this fashion, and he was fascinating and compelling), then good for you!
But if you are worried about maintaining your audiences attention, then think about the
shape of your event as a whole.
VIRTUAL LAUNCHES
Virtual launches are hard to get right; but, if they succeed, they can be excellent. If you
dont yet have a good online presence, and dont have broad connections with an
online community, then it is going to be harder to run a web-based launch: these things
work best when you can draw upon connections that you already have.
Like all book launches, virtual launches need a degree of imagination. Its a lonely
feeling sitting with your glass of champagne in front of your computer screen, looking
at your website visitor statistics as they rise from three to four and then fall back to
two. You need to persuade your audience why they should get involved, and make
them feel welcome rather than just marketed to. You need to give them something to
get engaged with. Virtual launches might include:
live chat
streaming video of readings
interviews, inviting questions from potential readers
social media (find a hashtag and ask people to tweet about one of the themes of your
novel)
related activities. This kind of asynchronous launch can work better online, when
you dont expect everybody to be sitting at their machines at the same time. Another
thing you can do is produce a trailer video for sharing online, although make sure that
you are careful to factor the costs into your overall publicity plan.
PHYSICAL LAUNCHES
If you launch your book at a physical event, have a look round for appropriate venues.
Some venues will want you to pay, others will offer you space for free (particularly if
they have a bar open and you can guarantee that your literary guests will make good
use of it). Aim to at least break even. You are probably not going to make a fortune out
of a book launch, so dont break the bank.
When thinking about venues, you may also have to think about questions of hospitality.
Do you want to provide free drinks for your guests? Free food? Something to take
away with them at the end? All of these things should be factored into the costs.
Nobody should be expected to pay to come to a book launch. You may have a paying
bar, you may not provide food and drinks, but you shouldnt expect people who have
come to celebrate the birth of your book to pay for the privilege: that would be like
going to dinner with friends and being billed afterwards. Nor should you charge for
entry and offset this charge against the cover price of the book. Your audience will
feel as if they are being coerced into buying the book and will be justifiably annoyed.
A physical launch might involve:
readings
interviews
audience questions and answers
music
other entertainment.
Remember that, when giving readings, while people are there to hear your work, they
are not there to hear all your work. Keep readings relatively short. I have rarely come
out of a book launch hearing people complaining that the writer did not read enough;
but all too often I have come out of book launches hearing people complaining that the
writer wouldnt shut up.
Focus point
Usually, no more than two (or three at most) ten-minute readings will be sufficient to give the reader a sense of your
book and encourage them to queue up to buy it.
Interviews can be a good way of breaking up your event. Get an expert in to interview
you about your book. Bribe them with a bottle of wine if necessary. The dynamic
between the interviewer and the author can make for an interesting and thoughtprovoking spectacle for the audience. It is worth talking through the questions and
answers before the event, so that you know where you stand.
If you do an interview, you can also open up the floor to questions and answers. This
can inject some variety into proceedings, and can help turn a monologue (the author
reading) into a series of dialogues.
Think also about other entertainment. Music can make the event more varied. If you
have friends who are skilled musicians, this can really set the mood of an evening. As
with readings, make sure that the music doesnt go on for too long: you want to give
your guests a flavour, not stretch their patience. There may be other things you could
integrate into the launch as well. If your novel is about a magician in the nineteenth
century, you could have a magic show.
Websites
Launches take place in the first few heady hours, days or weeks of a books
publication. But if you want a more sustained way of promoting yourself and your
work over time, then you may want to think, if you havent already, about setting up an
authors website.
A showcase for your work: all kinds of people may visit your website, including
readers and potential readers, potential publishers, employers, people you meet and
your family members to check on what you are up to. Having a website over which
you have editorial control allows you to present yourself and your work in
precisely the way you want.
Extras for readers: if you have readers who are interested in your work, a
website can be a way of providing them with extras: information about your
novels, interviews, video content, special promotions and so on. You can also
provide teaser sample chapters and other information that can engage readers and
whet their appetites.
A blog: you can use your website as a blog to record ongoing thoughts about your
work-in-progress, about the publishing world or about the things you are involved
in, building up a community of readers who are interested in your work.
A hub for your online (and offline) presence: I have a lot of feelers out online. I
use social media, I write guest blogs, publish stories in online magazines, write
interviews, publish articles and so on. This is a pretty disparate range of stuff, so I
use my website as a central hub for all this activity: it brings together my Twitter
feed, links to new publications, information about what Im up to and events Im
involved in.
A way of selling books: you can link from your website to online sales outlets so
that you can sell copies of your books.
A line of communication: if you have a website, it gives you a point of contact for
readers, publishers, other writers and members of the public. If you are a hands-on
writer and like responding to reader queries or engaging with readers, then this can
be an important part of the job your website does.
Key idea
If you are a writer, your website needs to reflect this: it must be well written and reflect your professionalism and
skill as a writer.
In addition, your website needs to reflect the audience that you anticipate for your
work. If you write hard science fiction but your website is in soft pastel tones, then
you are giving out decidedly mixed messages. If you work in a number of different
genres, think about how to work with these different audiences: a more neutral website
can work well, with separate pages for work in different genres.
TECHNICAL DEMANDS
Your website will also need to look technically competent. You should avoid free
services. These are simply not up to the task. Ideally, you would set up a website in
something like the following fashion:
1 Set up a domain name. This is the name that visitors will type into the browser to find your website (for
example, my domain name is www.willbuckingham.com). Go for something simple, straightforward and
professional-sounding.
2 Buy some web space. This is space on a server (essentially a computer connected to the Internet) that will host
your website. You can, of course, run your own server; but for most of us, this is overkill.
Together, these shouldnt cost much more than 40 a year or so. Once you are up and
running with a domain linked to some web space, you will need to install some
software to run your website. Many writers I know use WordPress
(www.wordpress.org), which is relatively easy to set up, and once set up can
allow you to run your website fairly easily. A slightly easier approach is to use the
hosted service from WordPress (www.wordpress.com), with a custom domain.
If you are not very tech-savvy, you may want to get somebody to help you set up all of
this in the first instance. However, you should own the domain name and all of your
content. And you should have all the appropriate login details yourself. I have known
too many writers whose web designers have suddenly disappeared to Mongolia, had a
nervous breakdown, fallen in love, or all three at once, leaving the writer with a
website that they cannot update. A little time working out how to run your own
website can save you time, money and frustration later on.
Key idea
If you decide to run your own website, make sure that you own the domain and all the content, and that you have
access to all the necessary passwords and login details.
Social media
Social media is here to stay so, if you are going to bother with the online world at all,
you should think about your social media presence. There is no law that says that as a
writer you have to use social media, and however vigorously you tweet or promote
yourself on Twitter, Facebook, Google+, or whatever the current flavour of the month
is, this may not ultimately translate into identifiable increases in sales.
research: social media can be a great way of connecting with people, asking
questions and finding out information
in jail), and you are also subject to more or less the same social understandings as
take place in everyday life. As a rule of thumb:
Be courteous.
Be friendly.
Think about engaging rather than simply broadcasting self-promotion wears thin
very quickly.
Make sure that you write well you are a writer, after all.
Be creative and imaginative.
If you take all this advice and dive in with a desire to genuinely connect to debate,
engage, interact and mutually explore then your social media experience will be
much more satisfactory.
Before thinking about what you want your web presence to be, it might be worth having a clear sense of what it is
like at the moment. Try the following exercise:
1 Search for your name online and see what results come up. If your name is obscure (for example Lupe
Varos), you may be quite easy to track down. In this case, the challenge is making sure that everything that
references you, as far as is in your power, reflects the kind of image that you want to project. If your name
is less obscure (for example Jane Smith), the issue is different. Here the question is how you can get
noticed among all those other Jane Smiths in the world. You might want to use your middle name (Jane
Hypatia Smith) or an initial (Jane H. Smith) or some other way of distinguishing yourself. You may also
want to publish under this more distinctive name.
2 Make as thorough an audit as you can of your web presence, using the following five categories:
Things you need to delete / get deleted (photos from your school days of
you wearing braces and thick glasses; images from that fancy dress party
that might ruin your air of gravitas)
ii Things you need to set up (new websites, social media accounts, etc.)
iii Things you need to update (websites, profiles, etc.)
iv Settings you need to change (for example privacy settings for personal
social networking accounts)
v Things that are working well at the moment.
3 Finally, write an action plan with a list of things that you could do to strengthen your web presence.
Media appearances
Another way you can get yourself and your work known is through media appearances.
These may be either traditional media such as radio and television, or newer forms of
media such as YouTube or podcasts. Local radio stations are often eager to talk to
authors (although it is never clear whether this actually sells books unless your book
is of strong local interest). TV is more difficult, but if your novel fits with the theme or
format of a TV show, it can be worth contacting the producers.
Some writers hate media appearances, tremble before a microphone, and break into an
unseemly sweat when somebody points a TV camera at them. If this is you, then think
about other ways of promoting your work. The rule here, as elsewhere, is to only
engage in promotional activities that you feel comfortable with or that you enjoy.
People will notice if you are not enjoying yourself! But if you are the kind of writer
who enjoys being in the public eye, then there are lots of possibilities here.
One thing to remember is that you may be able to promote your book indirectly, by
being part of a show that relates only loosely to your book. And if you are not there to
talk about your book, you shouldnt go on about it or try to shoehorn it into the
conversation, as you will not be invited back. But if you talk engagingly and
interestingly, then listeners may well look you up and, if they are so inclined, buy a
copy of your novel.
Giveaways
Around the time of publication, you may want to organize a book giveaway or
competition, offering one or two free copies of your novel. At the time of writing,
Goodreads (www.goodreads.com) is one of the easiest ways of organizing giveaways
with a minimum of fuss. Do not give away too many books between two and five is
probably best; but a book giveaway can help put your book on your potential readers
radar.
Reviews
Who you decide to approach for reviews will depend, in large part, upon the way that
you are publishing your book. If you are with a third-party publisher, then your
publisher should handle the major reviews. They will send your book out to the big
newspapers and to trade publications such as Publishers Weekly and The Bookseller.
As a self-published author, your chances of talking one of the broadsheet newspapers
into reviewing your book are minimal to non-existent. But do not let this put you off:
there are plenty of other potential places for reviews online. Send out a few copies of
your book to people who you think will be interested, or offer to do an author
interview for blog sites relating to your book.
When the reviews start rolling in, you will find that some people like your book (all
being well), while some are not so enthusiastic. Getting your first really bad review
can be difficult. You may be tempted to respond, but there is nothing less dignified
than a reviewer and a novelist engaged in a public spat. Bad reviews come with the
territory. Read the review once, then file it away and dont look at it again. Or look at
it when your anger and hurt have cooled a little, to see whether there is anything you
can learn from the review about how to hone your craft. If all else fails, remember
Kurt Vonnegut:
Focus point
Set up a folder for press clippings, reviews and feedback on your novel. Where your work is well received, keep
hold of the contact details of the organizations, publications or individuals in question: these contacts may be useful
for further promotion later on.
Literary prizes
Winning the Man Booker Prize wont do your sales figures any harm, of course. If you
are published with a third-party publisher, then they may nominate your published
novel for literary prizes. Prizes range from very small to very large but, whatever the
prize, a shortlisting can give your book a boost. There is also an increasing number of
literary prizes for self-published novels.
Here it is useful to distinguish between prizes and competitions for books prior to
publication (I mentioned these in the chapter on third-party publishing), and those that
are for published books. Prizes for published books usually ask for books published
within a particular period: you cant usually submit a book published two years ago to
a literary prize. This means that if you are self-publishing, or if you are with a very
small publisher and you are doing some of the legwork yourself in alerting them to
what prizes there might be out there, you need to explore what prizes there are and
how to submit well before publication, so that you can make a plan of action.
When you have explored this, you can start to write a more comprehensive plan of
action for submitting (or pushing your publisher to submit) to these prizes.
If you are submitting to prizes, the prize committees may require multiple copies of
your books, particularly if there are several judges. This means that, if you are
responsible for providing the copies (for example, if you are self-published), then you
need to make sure that you plan out the costs properly. Sending six copies of an ebook
out costs nothing. If your book exists in hardback and ebook, and the prize committee
demands copies on paper, then the cost of six hardbacks is going to be considerably
more.
Focus point
There is an argument that nobody can really predict which books will become successful: not you; not your
editor; and certainly not the marketing and sales departments. At best, we all make educated guesses.
Sometimes you can mysteriously sell a huge number of books for reasons that are
completely and utterly baffling. Perhaps there is an underground secret society which
has adopted your novel as a sacred text; perhaps it has been set as required reading on
a college course somewhere; or perhaps somebody who you have never met has just
been going round and raving to all of their friends about your brilliance until they have
all succumbed and bought themselves copies. At other times, you can get a great
review somewhere prominent, and sell not a single extra copy.
Of course, sales can be tracked after the event: your publisher will do this to
calculate your royalties, and self-publishing platforms have mechanisms to track
exactly how many copies have been sold. But, in advance, it is hard to say how many
copies of any book will sell, even if you are a very well-established and well-known
writer.
This means that it is difficult to quantify precisely what the benefits of your various
promotional activities are. Does tweeting really sell books? If so, how many tweets?
Does your Facebook writers page persuade people to go and read your novel? If so,
how many people? And how many of those people who read your website or your
blog then go on to purchase the book? There is not necessarily a one-to-one
correspondence between a tweet, website, Facebook page or author appearance and
the decision to buy a book.
being passed around quietly from reader to reader: you simply dont know. Keep
quietly looking out for opportunities, ways to let people know about the book, and so
on. Sometimes books do quietly for a while, and then they explode. Other books sell
thousands in the first couple of weeks, and then sales fall away rapidly. The life of
every book has a rhythm of its own; and the ways of readers are ultimately mysterious.
What is your audience for the book launch? How are you going to engage them? Who will you invite to take
part? Draw up a guest list.
What is the timescale for the launch? Will it be asynchronous (over a period of time) or will it be scheduled
for a particular time online?
What kind of activities will you have at the launch? Can you make these interactive?
What platforms are you going to use for your launch? Will it be focused around your website or will you use
social media?
Physical launches
Where will you launch the book? Write a list of three or four potential venues, and go and talk to them to see
what they can offer. Get a clear idea of any costs or obligations on either side. Make sure that the venue is
appropriate to the book and to the guests you are hoping to invite.
Who will you invite? Think about i) friends and family; ii) media; iii) local writers and people from the literary
world; iv) the general public.
What will you do? Try to draw up a varied and interesting programme for the evening. Remember that your
guests will want to be engaged or entertained.
How will you publicize the launch? Draw up a timescale, thinking about how you can publicize the launch in
good time, send out invites and so on.
Whether you are launching online or physically, you should also think about your budget. If you are organizing your
own launch, it may take some investment. Think about offsetting this against a reasonable expectation for profits
on book sales so that you can break even.
2 Letting people know about your book
There are all kinds of ways you can let people know about your book. The launch is a good time to generate some
initial media interest: try sending a press release to local media. Sometimes targeting your audiences more
precisely can help. If your book has a particular focus, then think about where you might generate particular
interest among readers. Try the following exercise:
For each of the keywords, explore whether any of the following might be interested in your book:
individuals
specialist publications
When you are contacting people, let them know what you are offering, or what you would like from them. So, if
you are interested in doing an interview, tell them. If you are willing to send a review copy, tell them this as well.
The more precise and clear you can be, the better the response will be.
3 Offering your services
As a writer, you may be surprised how in demand you can be. In this chapter we have looked at festivals, talks
and media appearances. Think about places where you might be able to give talks, presentations or signings in the
months after your book is published. A few possibilities include:
bookstores
conferences (for example, writing and publishing conferences, or conferences related to the subject-matter of
your book)
Make a list of people to contact, and a timetable for getting in touch with them.
4 Keeping track of feedback
Finally, remember that enthusiasm gives rise to further enthusiasm; buzz generates buzz. Keep a folder either
hard-copy or electronic with all your good feedback.
When you get good feedback on your book, or if it attracts favourable reviews, think about blogging or posting
links on social media. Update your website to include extracts from the reviews in question.
You can also follow up on feedback. If you get a great review from somebody who runs a small literary festival,
drop them a line and ask whether they would like to book you for an event.
5 Keeping track of expenses
Finally, remember to keep track of expenses. Not only can these be claimed as legitimate business expenses, but
also it is wise to know what your outgoings are. This will help you see which promotional strategies work better
and which do not work so well.
Where to next?
Now that your book is out in the world, your long journey to becoming a
published novelist is complete. Congratulations! I hope that the book does well,
and may it sell in the hundreds of thousands! The question now is this: What
happens next? This is the subject of the next, and final, chapter.
25
Conclusion: what next?
Now that your book is out in the world, now that you have consumed as much
champagne as you are able, now that you have gnashed your teeth over the bad
reviews and revelled in the good ones, what should you do next? It has probably been
a long journey from that initial thought that you might like to write a novel to the final
published book being out there in the world. But now, alongside continuing to promote
your novel, you need to turn your attention to other things.
and imaginings. And the world is probably a better place, thanks to your novel.
So what should you do now? You can continue to write, of course. If your first novel
did well, then you will have the anxiety of writing something half as good as your first.
If your first novel did not do so well, you can try to write a better one.
Joseph Heller
When I read something saying Ive not done anything as good as Catch-22, Im
tempted to reply, Who has?
But you dont have to write another book. Some novelists write a single novel, get it
out of their system, and then go off and do other things. Arundhati Roy, after winning
the Man Booker Prize in 1998 for her book The God of Small Things, turned to
activism, politics and writing essays. Still other novelists return again and again to the
business of weaving stories, despite the effort it takes, and all of their twitchy
anxieties about how they are going to pay the bills and make ends meet.
Writing novels is a good thing, but it is only one of a multitude of good things. Now
that your novel is out, my advice would be this: go and do good things, whatever they
are. And, if you want to keep on writing, I hope that the advice in this book continues
to be of use to you. Good luck!
Resources
RESEARCH
The following places may be useful for researching your novel:
The British Library: The British Library has online resources, and if you are
within reasonable distance of London, you can apply for a readers card and
make use of their extensive collections. www.bl.uk
Wikipedia: Not wholly to be trusted, but still often the first port of call for getting
an overview of a subject. Use it as the first word, not the last word, in your
research. www.wikipedia.org
Snopes: Urban myths run rampant on the Internet. Snopes (www.snopes.com) is a
great myth-buster.
The Internet Archive: A massive online library of audio, video and text resources.
Something of a ragbag, but full of fascinating bits and pieces. www.archive.org
Google Maps: Google Maps, and the downloadable Google Earth, are not a
replacement for actually doing research in situ; but they remain a fantastic
resource. maps.google.com
Google Books: Full-text search of many books; preview and full-text view of
some books. Again, very useful. books.google.com
Google Scholar: Mainly archives of academic research, which is likely to be more
reliable than Wikipedia et al. Note that some resources may not be easily
accessible. scholar.google.com
JSTOR: Archives of academic journals, books and historical sources. Currently
you can read up to three articles online at any one time. If you need more indepth research, it offers paid options. www.jstor.org
Academia.edu: A social network for academics may sound like a strange idea.
But this is a good place to go to find experts in the area you are researching,
and even to download research papers (although you will need to register for
free to do this). www.academia.edu
Library of Congress Research and Reference Services: A bewildering array of
tools and resources to help with your research. www.loc.gov/rr/
FUNDING AND OPPORTUNITIES
The following websites and organizations are a good place to find opportunities
and openings for your work.
The Writers Compass: The National Association of Writers in Education runs
this truly excellent resource site (www.nawe.co.uk) with links to jobs, grants,
residencies, support and funding opportunities.
A national writing resources website for Ireland: www.writing.ie Resources for
writers in London: www.spreadtheword.org.uk
Arts Councils: Arts Council England (artscouncil.org.uk), the Arts Council of
Wales (www.artswales.org.uk), the Arts Council of Northern Ireland
(artscouncil-ni.org) and the Scottish Arts Council (scottisharts.org.uk) all offer
competitive grant funding for arts projects, including literature.
FundsforWriters: US-based website with updates on funding and other
opportunities. www.fundsforwriters.com
Mslexia for women who write: High-quality and very well-established magazine
and organization supporting women writers. They regularly publish
opportunities, openings and information about funding. www.mslexia.co.uk
The Writers Digest: Large US-based website and organization promoting
writing and supporting writers. www.writersdigest.com
Duotrope: Mainly, but not exclusively, US site with information about different
markets for your writing, with a built-in submissions tracker. Now running on
a subscription basis. www.duotrope.com
Poets & Writers: Well-established, highly comprehensive, mainly US website for
writers, full of opportunities and information, along with a useful directory of
publishers. www.pw.org
PROFESSIONAL ORGANIZATIONS
You may wish to join a professional organization. Often these will charge
membership fees; but in return you may get access to professional help, training
and resources.
The Society of Authors: If you already have at least one book published by a
third-party publisher, or else a book contract, the Society of Authors is worth
joining. www.societyofauthors.org.
The Writers Guild: An alternative to the Society of Authors, offering similar
services but with more focus on writing for stage, screen and radio.
www.writersguild.org.uk
ALLi: If you are self-publishing, then try ALLi, or the Alliance of Independent
Authors. www.allianceindependentauthors.org
NAWE: If you are interested in teaching writing, think about joining NAWE, the
National Association of Writers in Education. www.nawe.org.uk
Irish Writers Union: Professional support for writers in the Republic of Ireland.
www.ireland-writers.com
The British Science Fiction Association: Offering support and advice for new and
established writers. www.bsfa.co.uk
The Crime Writers Association: A professional association for those who kill for
a living. www.thecwa.co.uk
The Historical Novel Society: For readers and writers of historical fiction.
www.historicalnovelsociety.org
Lapidus: Professional body for writers interested in writing, well-being and health
care. www.lapidus.org.uk
Society of Childrens Book Writers and Illustrators: For those writing for
children. www.scbwi.org
Romantic Novelists Association: For those writing romance and related genres.
www.rna-uk.org
Horror Writers Association: A worldwide organization supporting horror
writers. www.horror.org
Pen International: An international organization supporting writers and freedom
of speech. www.pen-international.org
MONEY, TAX AND LAW
Here are a few resources that are useful when getting to grips with the legal and
financial sides of writing.
The Authors Licensing and Collecting Society (ALCS): If you register with
ALCS for a one-off fee (which is taken out of your first earnings, so there are
no up-front costs), it will collect money owed to you by those who scan,
photocopy or digitally copy your work. www.alcs.co.uk
Public Lending Right (PLR): The PLR scheme is administered by the British
Library. PLR is a legal right to payment for borrowing from public libraries.
with guidance from experienced writers or else on your own. The following list is
only a sample. Some of the websites in the funding and opportunities section
above list many more.
University courses: University courses in creative writing seem to be booming.
Some MA courses specialize in novel-writing, others are more general. You
can find out more by doing a search on www.postgraduatesearch.com
The Arvon Foundation: An organization running writers retreats. Their courses
are not cheap but they are consistently highly-rated, and they do offer
bursaries. www.arvon.org
The Irish Writers Centre: Offering courses and guidance to writers in the
Republic of Ireland. www.writerscentre.ie
T Newydd Writers Centre: Running a variety of excellent courses in West
Wales. www.llenyddiaethcymru.org/ty-newydd
The Faber Academy: Billed as an alternative to a creative writing MA, with a
price tag to match, the Faber Academy runs intensive courses in creative
writing. www.faberacademy.co.uk
Curtis Brown Creative: A new writing school from the Curtis Brown literary
agency, running short, intensive courses. www.curtisbrowncreative.co.uk
The Guardian Masterclasses: The Guardian newspaper also runs masterclasses
in fiction. Find out more on their website www.theguardian.com/guardianmasterclasses/creative-writing-courses
WRITING AGENCIES
There are many agencies and organizations set up to help writers develop their
work. Many of these are regional, and work exclusively with writers in their
region.
Literature Wales/Llenyddiaeth Cymru: An organization for literature
development in Wales. They are connected to T Newydd Writers Centre.
www.literaturewales.org
Spread the Word: The literature development agency for London.
www.spreadtheword.org.uk
Writers Centre Norwich: A centre for writers in Norwich and in the east of
England. www.writerscentrenorwich.org.uk
Free Word Centre: A centre for writing, literacy and free expression in London.
www.freewordcentre.com
New Writing North: Help and support for creative writers in the North.
www.newwritingnorth.com
New Writing South: Like New Writing North, but in the South.
www.newwritingsouth.com
Writing Yorkshire: Exactly what it says it is. They call a spade a spade up there.
www.writingyorkshire.org
Writing West Midlands: Supporting writers throughout the West Midlands.
www.writingwestmidlands.org
Writing East Midlands: Organization promoting writing and supporting writers in
the East Midlands. www.writingeastmidlands.co.uk
Federation of Writers (Scotland): A literature development agency for Scotland.
www.writersfederation.org.uk
Literature Works: Based in Exeter, this agency covers the South West of
England. www.literatureworks.org.uk
Literature North West: Covering North West England, based in Manchester.
www.literaturenorthwest.co.uk
Commonword: Another writing development organization based in Manchester.
www.cultureword.org.uk
SOFTWARE AND RESOURCES FOR WRITERS
There is a lot of software out there that you can use to help you with your
writing, organization and research. Here are a few suggestions for tools that you
might investigate.
Writing software
This is software for actually putting words down on the page. Your options here,
more or less, are either to use standard word-processing software (or a text
editor) or to make use of specialist tools.
Word processors: Many people are happy with Microsoft Word or with the free
alternatives, LibreOffice (www.libreoffice.org) and OpenOffice
(www.openoffice.org).
Scrivener and other specialist tools: Other writers swear by Scrivener
(www.literatureandlatte.com), which has many features that make it
particularly good for writers. Mac users might like to try Ulysses III
(www.ulyssesapp.com). For Windows, you might want to try the free tool,
yWriter (www.spacejock.com).
Distraction-busters
If you have difficulty with distraction, the following tools might be useful.
SelfControl: For Mac only. Free app to block distracting websites.
www.selfcontrolapp.com
Freedom and Anti-Social: Paid (but relatively cheap) apps to banish the Internet,
or temporarily block access to social networking sites. These apps work in
Windows and Mac, and Anti-Social works on Linux too. www.anti-social.cc
Research software
Keeping track of research can be a complex business. You can have a card-index
system; but if you want a more sophisticated electronic database, these options
might work for you.
Evernote: This software works on almost all platforms and is good for gathering
and processing large amounts of disparate information. You will need to pay a
small subscription, however, for their premium ad-free service.
www.evernote.com
DevonThink: If you are serious about research, and use a Mac, this might be the
tool you need. It comes in different versions according to the level of
sophistication you need. www.devontechnologies.com
Zotero: A handy and free tool for keeping track of your various sources during
your research. Works with Macs, Windows and on Linux. www.zotero.org
Mendeley: If you gather a lot of research in PDF format, try Mendeley, a free
tool for organizing your research materials. www.mendeley.com
Bookends: Another reference manager. It does cost, and is only available on a
Mac, but I use it all the time, and it is a worthwhile investment if you work in
PDFs and need to keep track of more scholarly references.
www.sonnysoftware.com
Aeon Timeline: For Mac and Windows, a sophisticated timeline tool. May be
more complex than you need, but undeniably powerful. www.scribblecode.com
Backup services
Backing up is essential. The following services may be useful as they will all back
up your files and folders automatically. All of them are fairly similar, so have a
look around and see what suits you.
Crashplan: www.code42.com/crashplan
Backblaze: www.backblaze.com
Spideroak: www.spideroak.com
Carbonite: www.carbonite.com
Amazon Glacier: aws.amazon.com/glacier Perhaps the cheapest option, but also
more difficult to set up. You may need a separate tool to use this, such as
FastGlacier for windows (www.fastglacier.com free), and Arq for Mac
(www.haystacksoftware.com/arq one off payment)
Dropbox: If you want a free option, for limited storage, try Dropbox
(www.dropbox.com)
USEFUL SOFTWARE AND RESOURCES FOR EBOOK AUTHORS
If you are producing ebooks, then you can export ebook files direct from .doc
files and hope for the best; but if you care about proper formatting, you should go
back to basics and get your hands dirty. Some of the following tools and resources
might help.
Calibre: Not beautiful to look at, but Calibre is a powerful cross-platform toolkit
for working with ebooks and for converting between ebook formats. Good for
Windows, Mac and Linux. www.calibre-ebook.com
Sigil: A free, open-source and multi-platform editor for .epub files.
code.google.com/p/sigil. Like Calibre, will run on almost anything Windows,
Mac, Linux, the lot.
jEdit: A nice, free, cross-platform programmers text editor, which may be useful
for ebook formatting. www.jedit.org
notepad++: For many Windows users, this is their favoured free text editor.
www.notepad-plus-plus.org
Guido Henkels Guide to Formatting: Already several years old, but extremely
thorough. This is absolutely worth reading.
www.guidohenkel.com/2010/12/take-pride-in-your-ebook-formatting/
AUTHORS WEBSITES
There are various tools you can use to run your website. Here are a few options.
Remember that free services will almost always be inadequate.
WordPress (hosted): Perhaps one of the easiest ways to a professional website.
You will need to pay for your own domain name, but this is easy to set up.
www.wordpress.com
WordPress (self-hosted): You have a bit more flexibility (and it may be a bit
cheaper) if you host your own WordPress site, rather than using their hosting.
You can download the software for free from www.wordpress.org
Ghost: A relatively new, simple and elegant blogging platform. Download and
self-host for free, or use their hosting services. www.ghost.org
Joomla: If you are running a site with more community interaction, Joomla may
do the trick. www.joomla.org
ROYALTY-FREE, PUBLIC DOMAIN AND OTHER IMAGES
If you are self-publishing and need images, then the following places may be
useful. Make sure you check the licences for every image you use. Can also be
useful for materials for producing promotional materials, etc.
iStockPhoto: Stock images and photographs. www.istockphoto.com
MorgueFile: Dont be scared of the forbidding name: this is a good site for freeto-use images. Check their licence terms before use. www.morguefile.com
Deviant Art: A community of artists and designers. Often a good place to source
images: you can contact their creators to negotiate permissions for use.
www.deviantart.com
Wikimedia Commons: In theory, all public domain images, although check the
precise licence terms, and use with caution. http://commons.wikimedia.org
OTHER SERVICES
The Literary Consultancy: One of the best-known and best-established literary
consultancies, offering mentoring, manuscript appraisal services and support.
www.literaryconsultancy.co.uk
The Society for Editors and Proofreaders: SfEP is the place to go to find
professional copy-editing and proofreading help. www.sfep.org.uk
The Oxford Literacy Consultancy: Manuscript appraisal services as well as
editing, proofreading and more. www.oxfordwriters.com
Further reading
This is a non-exhaustive list of books that may be useful to you. Some are referenced
in the text of this book; others are books that I have found useful, or that I often
recommend to students.
Aristotle, Poetics (Penguin Classics, 2006). The classic book on how stories work.
Still highly influential.
Armstrong, David, How Not to Write a Novel: Confessions of a Midlist Author
(Allison & Busby, 2003). An enjoyable and engaging read.
Austin, James H., Chase, Chance, and Creativity: The Lucky Art of Novelty (MIT
Press, 1978). One of the most interesting books I know on creativity and the art of
getting lucky.
Baker, Barbara, The Way We Write: Interviews with Award-winning Writers
(Continuum, 2007). Excellent interviews with a variety of award-winning writers.
Baverstock, Alison, The Naked Author: A Guide to Self-publishing (A & C Black,
2011). A good, well-written overview of what it means to take your own words into
print.
Bayard, Pierre, How to Talk about Books You Havent Read (Granta Books, 2009). A
fun and intriguing exploration of our different relationships with books.
Bell, Julia, and Andrew Motion, The Creative Writing Coursebook: Forty Authors
Share Advice and Exercises for Fiction and Poetry (Macmillan, 2001). Varied and
engaging advice about all stages of the writing process, from start to finish.
Bernays, Anne, and Pamela Painter, What If?: Writing Exercises for Fiction Writers
(HarperCollins Publishers, 2005). A good book of advice, full of excellent exercises
to kick-start your writing.
Brady, Catherine, Story Logic and the Craft of Fiction (Palgrave Macmillan, 2010).
A little self-consciously literary in its tastes, but a very interesting technical
exploration of the craft of writing stories.
Brande, Dorothea, Becoming a Writer (Macmillan, 1996). One of the earliest and
most influential of books about creative writing. Still worth reading.
Bringhurst, Richard, The Elements of Typographic Style: Version 4.0 (Hartley &
Marks Publishers, 2013). If you are serious about self-publishing and typography, this
is a fascinating if technical guide.
Browne, Renni, Self-editing for Fiction Writers, Second Edition: How to Edit
Yourself into Print (William Morrow & Company, 2006). A detailed and rigorous
book on self-editing.
Corbett, David, The Art of Character: Creating Memorable Characters for Fiction,
Film, and TV (Penguin Books, 2013). One of the best books I know on character,
managing to be both practical and also to pack a philosophical punch.
Cowan, Andrews, The Art of Writing Fiction (Routledge, 2011). An excellent book,
packed with exercises, on the art of writing fiction.
Currey, Mason, Daily Rituals: How Artists Work (Picador, 2013). If you are curious
about how different artists and writers have worked and set up routines, this is a fun
survey.
Doughty, Louise, A Novel in a Year: A Novelists Guide to Being a Novelist (Simon
& Schuster, 2008). A week-by-week guide to writing a novel in a year. Down to earth
and enjoyable.
Eco, Umberto, Reflections on the Name of the Rose. (Secker & Warburg, 1985). A
beautiful little book full of advice about how to build convincing fictional worlds.
Worth returning to again and again.
Forster, E.M., Aspects of the Novel (Penguin Classics, 2005). You may not agree with
everything Forster says about character, but this is a classic nonetheless.
Gardner, John, The Art of Fiction: Notes on Craft for Young Writers (Vintage Books,
2001). Cantankerous, opinionated and enjoyable, with some fiendish exercises at the
end.
Gardner, John, On Becoming a Novelist (W. W. Norton & Co., 2000). Not as
enjoyable as The Art of Fiction, but fun to argue with.
Garfield, Simon, Just My Type: A Book about Fonts (Profile Books, 2011). A breezy,
journalistic exploration of type and typefaces. If you are self-publishing and want to
start thinking seriously about typography, this is an easy way to start.
Gaughran, David, Lets Get Digital: How to Self-publish, And Why You Should
(CreateSpace, 2012). A very good overview of what you need to do to self-publish
well.
Goldberg, Natalie, Wild Mind: Living the Writers Life (Rider, 2009). A good book
to kick-start your writing. Lively, engaging and fun.
Hendel, Richard, On Book Design (Yale University Press, 1999). Not a how-to book,
but instead a guide to the principles of book design. Well worth reading.
of Chicago Press, 2009). Sensible, clear-headed, and perhaps the best book in
existence on what copy editing is.
Smiley, Jane, 13 Ways of Looking at the Novel (Anchor Books, 2006). Novelist Jane
Smileys huge, idiosyncratic exploration of novels, what they are, and how they do
what they do.
Stevens, Karen, Writing a First Novel: Reflections on the Journey (Palgrave
Macmillan, 2013). Novelists write about writing first novels. Varied and enjoyable.
Wood, James, How Fiction Works (Vintage, 2009). A fascinating exploration of the
mechanics of fiction.
Yorke, John, Into the Woods: How Stories Work and Why We Tell Them (Penguin,
2014). A well-known book on story structure, with a focus largely on screenwriting.
Worth reading, although theres more than one kind of story in the world
Finally, the following reference books are both useful and reliable:
Butchers Copy-editing: The Cambridge Handbook for Editors, Copy-editors and
Proofreaders (Cambridge University Press, 2006). A superb companion to the
business of copy-editing. Should be on every writers shelf.
New Oxford Style Manual (Oxford University Press, 2012). A comprehensive style
manual for both US and UK usage. Far better as a handbook than the somewhat
dubious but much-loved The Elements of Style by Strunk and White (Macmillan,
1979).
Writers & Artists Yearbook (A & C Black). Published annually, with listings of
agents, publishers and writers services, as well as plenty of advice for writers.
Essential.
First published in Great Britain in 2014 by John Murray Learning An Hachette UK company.
First published in US in 2014 by The McGraw-Hill Companies, Inc.
This edition published in 2014 by John Murray Learning
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