Yesterday I drove down to Middlesborough and the Berwick Hills library for their annual Girls Night In.
The directions at one point had me turning left rather than right or maybe it was how my daughter read them. Anyway, a very kind gentleman pointed me in the right direction and we got there. The event seemed to be well attend and there was a buzz in the air.
Unfortunately, none of my books had arrived for a signing so I felt like a fraud, an author without books out rather than a multi-published international bestselling one. But oh well.
The other authors -- a self published author (Emma Martin) and a debut bonkbusting writer who was also the deputy editor of Heat, Jo Carnegie were there with lots of books.
Emma Martin was interesting and my fingers are crossed for her as her book has done well through her own efforts in Yorkshire. The unfortunate truth about self publishing and commercial fiction is that the exception that makes it rather than the rule. The amount of handselling she has done for the book is truly phenomenal but then she has a background in sales. But she has an agent interested and so it may be the start of a career. And I hope that the agent is one who will be right for her.
Jo Carnegie was also intriguing. But I had to keep reminding myself that she was a debut author and so perspectives were a bit different. Her first completed novel, Country Pursuits has done well enough that Transworld have offer a further 3 book deal beyond her two book one. They are hoping to build it into a series.
We had different points of view on series and aspiring authors. I have seen so many crushed through the rejection of the first book in a planned series. But I also do see the lure and why they can be great. It is a little matter of making sure all the books are standalone, even though you may have recurring characters. Also when do you tout the series. In the query letter? Or when the agent takes you on. My view is that the time for saying -- hey there are possibilities for a series is when you and your agent are having your first proper conversation.
And after a conversation with my senior editor, I am firmly of the view that all planned series should be either of a multiple of two or three for ease in printing of omnibus editions.
Anyway, I suddenly realised as she was talking that I am not a debut author but a mid-career/mid list author who has seen authors being dropped, series cancelled etc etc. and who worries. And who is making a comfortable living off my earnings thank you very much.
But the shock was -- hey, I am no longer new. 14 books is really not new but multi published.
But the only way to keep being published is to write and writers write. Every day.
Showing posts with label writers. Show all posts
Showing posts with label writers. Show all posts
Friday, June 26, 2009
Thursday, August 02, 2007
Practical help for banish the Crows of Doubt
Today I was very good indeed -- stayed at home and wrote. I did not get done as much as I would have liked but I am starting to get a definite handle on the story and how it is going to progress. Far better than I thought this morning.
Some of Swain is VERY dated. 1965 was very much pre-women's movement. It is also interesting that the big earners of the time -- Westerns and too a large extent short stories have gone. Romance that which he dismisses as love pulp or girlie books has done wonderfully well. But that aside he does have useful hints for fighting Crows of Doubt.
All writers fall prey to them. They can be triggered by simple things -- a casual comment, reading something by another author that you wish you had written. Writers tend to be sensitive -- he argues writers have to be sensitive because they need to feel-- but the downside is that flocks of crows can settle.
Some of his tips include:
1. Remembering you are born with talent and you have acquired skill. Two things that do not seep away over night. They are still waiting to be tapped.
2. Make a checklist of potential problem areas. For example go back through your editors' thoughts -- what areas come up time and time again. Make a habit of checking for these things in your work BEFORE you send the ms off.
3. Get enough exercise. Failure to exercise often leads to depression and depression is more inviting to Crows.
4. Let your editor decide. It is not your job to be your editor. That distinction belongs to your editor. Finish your book and let your editor see it.
5. Incorporate present interests into your work so that you rediscover your enthusiasm for the work. Being enthusiastic about what you are writing means that the crows don't get a look in because you are having too much fun.
6. Stay with the cattle. In other words, keep writing. Hypercritical phases don't last. The blood you sweated may turn out to be vintage.
7. Avoid crutches. Alcohol is the crows' friend, not the writer's. It will intensify your mood. Use in moderation.
8. Study craft, so you know you have the skills.
9. Take a break. Do something to clear your mind. Allow your subconscious to work.
10. Going back to number 1. Trust in your talent and write for that unique sub set of readers -- the ones who get your work. You are not writing for another authors' readers.
Does anyone else have any practical tips on what to do when the Crows of Doubt hit? What are some good things to lob at them?
Some of Swain is VERY dated. 1965 was very much pre-women's movement. It is also interesting that the big earners of the time -- Westerns and too a large extent short stories have gone. Romance that which he dismisses as love pulp or girlie books has done wonderfully well. But that aside he does have useful hints for fighting Crows of Doubt.
All writers fall prey to them. They can be triggered by simple things -- a casual comment, reading something by another author that you wish you had written. Writers tend to be sensitive -- he argues writers have to be sensitive because they need to feel-- but the downside is that flocks of crows can settle.
Some of his tips include:
1. Remembering you are born with talent and you have acquired skill. Two things that do not seep away over night. They are still waiting to be tapped.
2. Make a checklist of potential problem areas. For example go back through your editors' thoughts -- what areas come up time and time again. Make a habit of checking for these things in your work BEFORE you send the ms off.
3. Get enough exercise. Failure to exercise often leads to depression and depression is more inviting to Crows.
4. Let your editor decide. It is not your job to be your editor. That distinction belongs to your editor. Finish your book and let your editor see it.
5. Incorporate present interests into your work so that you rediscover your enthusiasm for the work. Being enthusiastic about what you are writing means that the crows don't get a look in because you are having too much fun.
6. Stay with the cattle. In other words, keep writing. Hypercritical phases don't last. The blood you sweated may turn out to be vintage.
7. Avoid crutches. Alcohol is the crows' friend, not the writer's. It will intensify your mood. Use in moderation.
8. Study craft, so you know you have the skills.
9. Take a break. Do something to clear your mind. Allow your subconscious to work.
10. Going back to number 1. Trust in your talent and write for that unique sub set of readers -- the ones who get your work. You are not writing for another authors' readers.
Does anyone else have any practical tips on what to do when the Crows of Doubt hit? What are some good things to lob at them?
Wednesday, August 01, 2007
Having the self confidence
I have been dipping in and out of Swain's book Techniques of the Selling Writer. It was a very influential book I believe and I am now as certain as I can be that I did read it way back when I first decided that I wanted to be a writer. I will admit to even back then being a craft book junkie.
Parts of it now speak more to me than others. Some of this is because I am very comfortable with how I write. When I was reading some of Swian's examples. I kept thinking -- yeah but I'd write this way and it would sound even better.
One of the last chapter is on planning, preparation and production. It starts with the immortal line -- everyone has the God given right to go to hell in his or her own way. In other words, what works for me won't necessarily work for you.
His main criteria for being a writer is the ability to feel and feel intensely. It is why fiction writers can be difficult to deal with. In feeling, you must be enthusiastic about your subject and you have to be sincere. If you aren't, it shows. And believe oh does it show. This is why people say that you need to write from the heart.
The other thing you have to be is self-disciplined. Basically it does not matter to anyone else if you don't make it as a writer. The only person it matters to is yourself. In other words, if you want to be a writer to please other people, forget it. There are easier ways.
Also, nobody pays for stories you don't write. You actually have to produce the stories. A contract is a contract and when you have a deadline, other people depend on you.
To succeed as a writer, you have to get up and work even when you want to sleep. It means working when you'd rather be off gardening or swimming or even occasionally cleaning the toilet. A writer writes. But ultimately it is your decision because no one can force you to be creative and write except you.
It is also the only craft that gets harder the more you do it. Skill brings awareness of weakness. It is part of the tantalizing mystery. You can never ever completely master writing. You can only work at it.
In writing there are two types of people -- those who want to be and those who to do. Successful writers tend to be those who do. Who do keep regular hours, who work to quotas, who do revise, who do strive to improve but also those who do remember why they were excited about writing in the first place.
Anyway, it was interesting to read his take on it. I found it very heartening. He also had some great ideas on dealing with writer's block and the various different fears that writers fall prey to.
Parts of it now speak more to me than others. Some of this is because I am very comfortable with how I write. When I was reading some of Swian's examples. I kept thinking -- yeah but I'd write this way and it would sound even better.
One of the last chapter is on planning, preparation and production. It starts with the immortal line -- everyone has the God given right to go to hell in his or her own way. In other words, what works for me won't necessarily work for you.
His main criteria for being a writer is the ability to feel and feel intensely. It is why fiction writers can be difficult to deal with. In feeling, you must be enthusiastic about your subject and you have to be sincere. If you aren't, it shows. And believe oh does it show. This is why people say that you need to write from the heart.
The other thing you have to be is self-disciplined. Basically it does not matter to anyone else if you don't make it as a writer. The only person it matters to is yourself. In other words, if you want to be a writer to please other people, forget it. There are easier ways.
Also, nobody pays for stories you don't write. You actually have to produce the stories. A contract is a contract and when you have a deadline, other people depend on you.
To succeed as a writer, you have to get up and work even when you want to sleep. It means working when you'd rather be off gardening or swimming or even occasionally cleaning the toilet. A writer writes. But ultimately it is your decision because no one can force you to be creative and write except you.
It is also the only craft that gets harder the more you do it. Skill brings awareness of weakness. It is part of the tantalizing mystery. You can never ever completely master writing. You can only work at it.
In writing there are two types of people -- those who want to be and those who to do. Successful writers tend to be those who do. Who do keep regular hours, who work to quotas, who do revise, who do strive to improve but also those who do remember why they were excited about writing in the first place.
Anyway, it was interesting to read his take on it. I found it very heartening. He also had some great ideas on dealing with writer's block and the various different fears that writers fall prey to.
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