Looking back over 2013 I realise that I've spent nearly ALL of it writing!
To sum up briefly -
After a small submission round of my second book at the beginning of the year, I started writing my third book in February.
I finished the first draft of that book in June but before I had the chance to revise it I was overwhelmed by a voice in my head that forced me to start writing my fourth book. (That may sound weird but hopefully other writers will understand!)
Last week, at the end of November I wrote the final word on the second draft of that same book. Hurrah!
After all that it's no wonder I feel exhausted. Drained even.
But I'm also slightly euphoric. Why? Because a year spent writing is a year well spent in my opinion.
And because the changes I've noticed not just in my writing but in myself are heartening.
On Writing.
I've FINALLY learned not to rush. Whoop!
I've discovered that many plot problems can be overcome by just letting them sit for a while. The answer will come. Eventually.
I've found there is a happy medium between planning and pantsing.
I know when something works and when it doesn't and have found the courage to rewrite as necessary.
I can take criticism and use it effectively and I can also ignore advice I don't agree with.
I've figured out that I really need the VOICE to spark the narrative. Not the other way around.
I know what works for me.
On Myself.
I have discovered the following ;
Writing makes me happy.
Writing is part of my life, not all of my life.
Spending half my life in a made up world is remarkable therapeutic.
The writing community is somewhere I feel happy and enjoy being. I am lucky to be part of the warm and welcoming community that is SCBWI BI and also to belong to a wonderful critique group that's been going for nearly two years.
Optimism is more fun than Pessimism.
Giving up is not an option.
So there we have it. My thoughts at the end of another writing year.
I'm hoping that the things I've learned will be enough to help me cope with the inevitable traumas of submitting in 2014. Fingers crossed people!!
Monday, 2 December 2013
Wednesday, 6 November 2013
Philosophy for Writers
Writing isn't easy.
Getting published is even harder.
But never fear people, I am here with a whole list of ways to help
But never fear people, I am here with a whole list of ways to help
you be philosophical about a writing life.
Pick one of these and all your troubles will be over!*
(*the author accepts no responsibility for any harm that comes to you or others through using these techniques. Nor are any actual promises made as to the success or failure of your writing or the trouble freeness of your life)
Pick one of these and all your troubles will be over!*
(*the author accepts no responsibility for any harm that comes to you or others through using these techniques. Nor are any actual promises made as to the success or failure of your writing or the trouble freeness of your life)
Philosophy Number One
Confidence Arrogancius Pluribus Maximus -Perfect if you think your work is stupendous and the whole world needs to read it. After every rejection you receive simply rail at their sheer stupidity, write aggressive blog posts and send furious emails. The best part of this philosophy is that you can die convinced that you've been unappreciated in your own time and that only when you've gone will your genius be discovered.
Philosophy Number Two
Goddicus Fateicus
Take the view that nothing is in your hands or in your control. Don't worry about whether your book is any good because it doesn't matter. If it's meant to be it will happen. If it's not then it won't. You have no influence on any of it so why worry?
Philosophy Number Three
Superstitious Extremus
You control everything. Your lucky knickers and special bendy pen can make the difference between success or failure. As long as you follow your special routine of writing on a Wednesday between three and four in the morning while wearing your wellies and singing "Paperback Writer" by the Beatles then your work is guaranteed to be lauded by all.
Then all you have to do is send it off on the 3rd Tuesday when the moon is rising in Pluto, to any agents whose names begin with the letter P and are born in September while chanting Celtic nursery rhymes and you're bound to be snatched off the slush pile.
If not then it must have be the fault of that black cat that crossed your path or the ladder you walked under.
Philosophy Number Four
Superious StalkerificBasically if you have stalker tendencies this is the one for you. It's based on the idea that what you write isn't as important as who you know. What you must do is use the internet and social networks to find every agent and publisher you can. Then ignore their submission guidelines.
Instead find out where they are, hang around outside their offices, gatecrash parties, linger around the loos and whenever possible force your manuscript into their hands. That way they're bound to read it and hey presto you'll be published before you know it.
Your other option in case they all take out a restraining order on you (and they probably will) is to try meeting other writers and telling them how brilliant your work is in comparison to theirs. They're bound to realise (after you harass them for long enough) that their real purpose in life is not to write their own books but to help you get published by passing your manuscript on to their agents and publishers.
Philosophy Number Five
Optimism Overloadus
Of course you'll be published! Your mum and dad said so. And you got a gold star for your story in year five so that proves how good you are. You don't need to read any books or go to any courses. And you don't need feedback from others because you know you're destined to be a writer. All you need to do is keep writing. You've already made it to number seven in your twenty three part series. When you've finished them all you're sure someone will be desperate to publish them.
That's all I'm covering this week but I hope you find something there that catches your eye. Remember, the right philosophy can make all the difference to your writing life!
Monday, 28 October 2013
Mastering Middle Grade
Yesterday I attended my very first SCBWI masterclass and lucky me, it was run by the wonderful Sara O Connor from Hot Key Books.
Twenty eager scooby people turned up at the Theodore Bullfrog Pub in Charing Cross hoping for a practical workshop on writing the best middlegrade fiction and that's exactly what we got!
For those of you who couldn't join us Sara has very kindly allowed me to blog about the day, so here we go, Halfway to the Middle by Sara O Connor.
We started off by looking at the basics -
1. Age of the main character (between 10 and 13 usually)
2. Level of violence (do what you want to monsters etc but not so much with people) and romance (not beyond hand holding)
3. Length (around 40 000 words)
4. Contains innocence and optimism and isn't cynical
5. Earnest with a sense of justice.
We then moved onto talking about character and Sara encouraged us to find our inner ten year old. Most importantly;
Remember the Less is More adage. Everything you tell your reader must be worth it!
Imagine that your reader has to carry a backpack from page one to the end of the story. The backpack holds everything you tell your reader so make sure they NEED to carry it.
If they don't need it - CUT IT OUT and remember small details often matter most.
We have to love them in order to want to spend the next however many pages with them.
They need Conviction - we have to believe in them and what they want and need.
Their Motivation must be in sync with the plot.
They must be in the drivers seat, make decisions and drive the plot forward.
For more help with this Sara suggested we check out the Carnegie Shadowing site and specifically Roddy Doyle talking about Greyhound Girl.
Sara used examples from published books and participants submissions to highlight her points and the whole group was buzzing over lunch as Sara's ideas inspired us all to think differently about our work.
Plot should be inseparable from character.
Plot should be because of character.
Ask big questions to develop the plot.
Ask questions again and again - how far will your character go to get what they want?
Each answer should complicate your plot and test your character.
Don't force it! You can't make people do what you want and you can't overlay plot onto character.
Create the situation bring in your character and see how they react.
Before the workshop Sara asked us to write a two line chapter summary that gave the most important points. It was a really useful way to get the whole picture of your novel and check whether the following points all work.
Each chapter should be able to lead on to the next with the word because not and then.
Each chapter should move the story on in terms of plot or character. If it doesn't - Cut It!
With each chapter get in late and leave early.
Remember your backpack and make sure only the essentials are going in.
We talked about the Obligatory Scene which should almost have been set up in the early chapters. It is what readers have been expecting from the beginning and therefore it MUST happen!
And here's what Sara thinks makes great middle grade -
Brilliant idea
Vivid characters
Don't condescend.
Make it meaningful.
Embrace revision.
Have fun!
I want to thank Sara for giving such a great masterclass. Everything in it was useful and can be applied to my w.i.p so I'm very glad I came along and as always I had a brilliant day with my fellow scoobies and the very lovely Sara!
If you found Sara's ideas useful and would like the chance to work more closely with Sara and three other great editors do check out her new venture Book Bound.
Twenty eager scooby people turned up at the Theodore Bullfrog Pub in Charing Cross hoping for a practical workshop on writing the best middlegrade fiction and that's exactly what we got!
For those of you who couldn't join us Sara has very kindly allowed me to blog about the day, so here we go, Halfway to the Middle by Sara O Connor.
We started off by looking at the basics -
How do you define Middle Grade?
1. Age of the main character (between 10 and 13 usually)
2. Level of violence (do what you want to monsters etc but not so much with people) and romance (not beyond hand holding)
3. Length (around 40 000 words)
4. Contains innocence and optimism and isn't cynical
5. Earnest with a sense of justice.
We then moved onto talking about character and Sara encouraged us to find our inner ten year old. Most importantly;
Do Not Condescend or Underestimate
Make sure there is Authentic Depth to your character -
Know what they Want, Think and Need
Ensure there is True Motivation.
Writing Exercise One -
Read your first two pages - what do you learn about character? Underline everything you learn about them.
(Remember - Physical description isn't character - we need to find out what they believe, see authentic motivation for the plot as early as possible.)
If we don't find out enough, why not? Is backstory or secondary characters getting in the way?
Remember the Less is More adage. Everything you tell your reader must be worth it!
Imagine that your reader has to carry a backpack from page one to the end of the story. The backpack holds everything you tell your reader so make sure they NEED to carry it.
If they don't need it - CUT IT OUT and remember small details often matter most.
Writing Exercise Two
To make space for the essential details go through your first page and CUT twenty unnecessary words.
(Yes, 20 words!)
Now Cut twenty more. (Yes I know, it's hard. We moaned as well but No Pain No Gain!)
Main Character Essentials
We have to love them in order to want to spend the next however many pages with them.
They need Conviction - we have to believe in them and what they want and need.
Their Motivation must be in sync with the plot.
They must be in the drivers seat, make decisions and drive the plot forward.
For more help with this Sara suggested we check out the Carnegie Shadowing site and specifically Roddy Doyle talking about Greyhound Girl.
Writing Exercise Three
Ask yourself these questions;
What is the first thing your character does that will make the reader care about them? (how early or late does it happen?)
Why should the reader want to be your main character? (reading is aspirational)
What is memorable about your main character in the first chapter?
What is the worst thing that could ever happen to them?
What is the one thing they will do anything to avoid admitting to themselves or others?
Sara used examples from published books and participants submissions to highlight her points and the whole group was buzzing over lunch as Sara's ideas inspired us all to think differently about our work.
Plot Basics
Plot should be inseparable from character.
Plot should be because of character.
Ask big questions to develop the plot.
Ask questions again and again - how far will your character go to get what they want?
Each answer should complicate your plot and test your character.
Don't force it! You can't make people do what you want and you can't overlay plot onto character.
Create the situation bring in your character and see how they react.
Before the workshop Sara asked us to write a two line chapter summary that gave the most important points. It was a really useful way to get the whole picture of your novel and check whether the following points all work.
Each chapter should be able to lead on to the next with the word because not and then.
Each chapter should move the story on in terms of plot or character. If it doesn't - Cut It!
With each chapter get in late and leave early.
Remember your backpack and make sure only the essentials are going in.
Writing Exercise Four
Write a two line summary chapter summary for your book.
Now cut out three chapters.
(Don't shout at me, Sara made me do it!)
Our last instruction came in terms of making our story meaningful in some way.
We talked about the Obligatory Scene which should almost have been set up in the early chapters. It is what readers have been expecting from the beginning and therefore it MUST happen!
Writing Exercise Five
Do you have your obligatory scene?
Does your protagonist meet the antagonist?
How does the scene change both characters?
Is it the biggest, best scene in the book?
Where does it occur? Would a different setting make it more dramatic?
If the scene isn't as good as it could be look at the buildup before.
And here's what Sara thinks makes great middle grade -
Brilliant idea
Vivid characters
Don't condescend.
Make it meaningful.
Embrace revision.
Have fun!
I want to thank Sara for giving such a great masterclass. Everything in it was useful and can be applied to my w.i.p so I'm very glad I came along and as always I had a brilliant day with my fellow scoobies and the very lovely Sara!
If you found Sara's ideas useful and would like the chance to work more closely with Sara and three other great editors do check out her new venture Book Bound.
Wednesday, 16 October 2013
The Big Book World
As you know, if you read this blog regularly, I am often out at events for writers. The last few weeks have been particularly busy, culminating in the wonderful SCBWI agent party.
As much as I enjoy going to these events I do occasionally wonder if it's actually worth going out in to the Big Book World and if I'd be better off staying in and, you know, writing.
I decided it was worth analysing in more detail, what do I really gain by going to these events that justifies the amount of time, money and effort that I put in?
1. Connection with other writers.
You've heard it said before but writing really is a lonely business. At times the self doubt and the revising and the rejections are enough to send you quietly mad. Which is why I've put this as number one on my list. Going out and talking to others, finding out you're not alone, the giving and receiving of sympathy, the drinks, the chats, the laughs, the bonding of people who all want the same thing. Who all understand. It is priceless.
2. Pulling back the publishing curtain.
Like many writers when I first began to think about publication I was desperate to find out more. I trawled the internet, read blogs and books and tried my best to educate myself in the art of writing and submitting. The one thing that was really hard to find though was what the agents and editors were actually like.
My first submissions were made using the Writers Handbook and based on a very short paragraph. It was hard to imagine them as real people and when the rejections came in it seemed as if they were the gatekeepers. Barring my way into publishing, stopping me achieving my dream.
The first events I went to gave me the chance to see the people in the publishing world as actual human beings. All of the ones I've met, without exception, have been passionate about what they do, giving up their free time to attend events and talk to would be authors. They are unfailingly kind when we flub our pitches, they excuse our stammering attempts at conversation, they know how hard it is and they do our best to help.
It helped me understand that they are all looking for something fabulous and that what that was would differ from person to person. It enabled me to tailor my submissions, to prove that I was serious about what I was doing and to accept the rejections as a business situation, not a personal reflection of me.
3. Managing Expectations
Meeting with professionals and other writers has helped me understand so much more about the process, the hard work, the difficulties, the things that can go wrong.
I know now just how long it could take to find an agent and get published, I know how much work is required, how much patience and perseverance. I understand much more about what's involved in being an author, the school visits, the deadlines, the marketing and social networking, the economic instability, the bad reviews, the bottom line.
And I know that being published will not change my life. I will not become rich or famous. I will not be happy forever more.
But somehow knowing all that and still wanting it makes me quite philosophical. I'm doing it for the love of it and that is a wonderful thing.
Are there any downsides to going to events? Well, I'm not the most sociable person nor the most confident so I've had to push myself to talk to strangers, to pitch to agents, to mingle with the crowds. If anything though it's all been good for me. For example, my ability to converse with five agents at the last agent party with some modicum of dignity and to give a decent pitch at the same time is only because of the previous stuttered and embarrassing attempts of previous years.
The other aspect that can be hard is that being at publishing events moves your focus from the actual writing to the process of submitting instead. It often makes me want to send things out even when they're not done, I feel rushed into submitting so I can make use of the contacts I've made. I feel pressure to just get on with it, to get published now damn it!
I've learnt to my detriment that this is always a bad idea so now I refuse to give into the feeling and after a day or two it tends to fade and I can get back to writing.
Overall then I'd say that going to events has helped much more than hindered. I've learnt huge amounts about writing, submitting and the mechanics of publishing. When I'm finally ready to go into my next round of submissions it will be with an understanding of what I'm doing, an idea of who might best be suited to not just my work but to me as a person and with a few hard earned personal contacts.
Best of all though, because of the events I've gone to in the past I will have a group of people who will be there to help me through the inevitable rejections, to encourage me to keep going and to help me improve for next time. Best of all is knowing you're not alone.
As much as I enjoy going to these events I do occasionally wonder if it's actually worth going out in to the Big Book World and if I'd be better off staying in and, you know, writing.
I decided it was worth analysing in more detail, what do I really gain by going to these events that justifies the amount of time, money and effort that I put in?
1. Connection with other writers.
You've heard it said before but writing really is a lonely business. At times the self doubt and the revising and the rejections are enough to send you quietly mad. Which is why I've put this as number one on my list. Going out and talking to others, finding out you're not alone, the giving and receiving of sympathy, the drinks, the chats, the laughs, the bonding of people who all want the same thing. Who all understand. It is priceless.
2. Pulling back the publishing curtain.
Like many writers when I first began to think about publication I was desperate to find out more. I trawled the internet, read blogs and books and tried my best to educate myself in the art of writing and submitting. The one thing that was really hard to find though was what the agents and editors were actually like.
My first submissions were made using the Writers Handbook and based on a very short paragraph. It was hard to imagine them as real people and when the rejections came in it seemed as if they were the gatekeepers. Barring my way into publishing, stopping me achieving my dream.
The first events I went to gave me the chance to see the people in the publishing world as actual human beings. All of the ones I've met, without exception, have been passionate about what they do, giving up their free time to attend events and talk to would be authors. They are unfailingly kind when we flub our pitches, they excuse our stammering attempts at conversation, they know how hard it is and they do our best to help.
It helped me understand that they are all looking for something fabulous and that what that was would differ from person to person. It enabled me to tailor my submissions, to prove that I was serious about what I was doing and to accept the rejections as a business situation, not a personal reflection of me.
3. Managing Expectations
Meeting with professionals and other writers has helped me understand so much more about the process, the hard work, the difficulties, the things that can go wrong.
I know now just how long it could take to find an agent and get published, I know how much work is required, how much patience and perseverance. I understand much more about what's involved in being an author, the school visits, the deadlines, the marketing and social networking, the economic instability, the bad reviews, the bottom line.
And I know that being published will not change my life. I will not become rich or famous. I will not be happy forever more.
But somehow knowing all that and still wanting it makes me quite philosophical. I'm doing it for the love of it and that is a wonderful thing.
Are there any downsides to going to events? Well, I'm not the most sociable person nor the most confident so I've had to push myself to talk to strangers, to pitch to agents, to mingle with the crowds. If anything though it's all been good for me. For example, my ability to converse with five agents at the last agent party with some modicum of dignity and to give a decent pitch at the same time is only because of the previous stuttered and embarrassing attempts of previous years.
The other aspect that can be hard is that being at publishing events moves your focus from the actual writing to the process of submitting instead. It often makes me want to send things out even when they're not done, I feel rushed into submitting so I can make use of the contacts I've made. I feel pressure to just get on with it, to get published now damn it!
I've learnt to my detriment that this is always a bad idea so now I refuse to give into the feeling and after a day or two it tends to fade and I can get back to writing.
Overall then I'd say that going to events has helped much more than hindered. I've learnt huge amounts about writing, submitting and the mechanics of publishing. When I'm finally ready to go into my next round of submissions it will be with an understanding of what I'm doing, an idea of who might best be suited to not just my work but to me as a person and with a few hard earned personal contacts.
Best of all though, because of the events I've gone to in the past I will have a group of people who will be there to help me through the inevitable rejections, to encourage me to keep going and to help me improve for next time. Best of all is knowing you're not alone.
Monday, 30 September 2013
Four editors, one weekend.
I know I should be waist deep in revision but I have to admit to being out and about in the world of publishing again this week. Bad news for my W.I.P but good news for any of you who missed it!
On Saturday I joined twenty four other writers in London at a free event run by the lovely people at Book Bound Retreat to find out a bit more about what they're offering.
They met while working at Working partners and since then they have all published their own childrens' and YA books which gives them a unique perspective when working with writers. As well as knowing what publishers are looking for they also understand the authors point of view.
Book Bound has been in the works for a couple of years but was delayed due to a surge of baby making! They are all now very excited about launching their new venture which will offer a weekend of workshops to twenty four writers at a beautiful location in Kent.
As a little taste of what to expect each editor gave us a few tips based on the workshops they'll be running over the weekend.
Sara O Connor talked about how to make the most of your opening pages by using details. She said we should bring our characters to life with concrete, character defining details that paint a vivid picture and root us immediately into the story.
Karen Ball will be running a workshop on character and suggested we use Pinterest to make up a mood board, we can use it to deepen our understanding of the character and make them more three dimensional. Stalking our characters through the story from beginning to end was another tip she offered and can help us to see changes and ensure they are learning something during the story.
Jasmine Richards gave us some input on plot and the rather excellent quote
She was also quite keen for us to be as mean as possible to our characters and offered us a few ways to add conflict to our story;
1. deception
2.search and rescue,
3.different setting,
4.death of a minor character,
5.enemies
Sara Grant is well known for her revision workshops and offered us some basic pointers that should help us all with revising.
2. Finish the 1st draft then revise it.
3. Macro edit first, look at the big picture, - conflict/voice/plot
4.Focus on what's best for the story
5.Great story is more important than great writing.
It was a very enjoyable event and all the editors showed huge enthusiasm for the project. A big thank you to everyone involved for sharing a little of their expertise with us. It gave a real indication of how useful the weekend could be.
If you would like the chance to go on this retreat then you need to submit per the guidelines on the website. The writers will be chosen based on potential and what the editors feel they can offer you. They want everyone to be at the same stage so that they can make full use of the weekend. They aim to let writers know within two weeks as to whether they have been accepted or not. Full payment will be required on acceptance but if you sign up to their newsletter now you can claim a £50 discount.
I am off now to do some actual writing but will be out again on Thursday night for the marvelous SCBWI agents party! No doubt I will report back on all the excitement in a week or so.
On Saturday I joined twenty four other writers in London at a free event run by the lovely people at Book Bound Retreat to find out a bit more about what they're offering.
The four editors running the event were Sara O Connor, UV co founder and editorial director at Hot Key Books, Karen Ball from Little Brown, Jasmine Richards from OUP and UV co founder Sara Grant.
They met while working at Working partners and since then they have all published their own childrens' and YA books which gives them a unique perspective when working with writers. As well as knowing what publishers are looking for they also understand the authors point of view.
Book Bound has been in the works for a couple of years but was delayed due to a surge of baby making! They are all now very excited about launching their new venture which will offer a weekend of workshops to twenty four writers at a beautiful location in Kent.
The retreat takes place from 9th to 11th May 2014 and includes accommodation, food, workshops and an in depth one to one with one of the editors. You will also have the chance to pitch your work (after a handy session on how to pitch) to four agents -
Zoe King from the Blair Partnership, Julia Churchill from A.M Heath, Claire Wilson from R.C.W and Polly Nolan from the Greenhouse Agency.
As a little taste of what to expect each editor gave us a few tips based on the workshops they'll be running over the weekend.
Sara O Connor talked about how to make the most of your opening pages by using details. She said we should bring our characters to life with concrete, character defining details that paint a vivid picture and root us immediately into the story.
Karen Ball will be running a workshop on character and suggested we use Pinterest to make up a mood board, we can use it to deepen our understanding of the character and make them more three dimensional. Stalking our characters through the story from beginning to end was another tip she offered and can help us to see changes and ensure they are learning something during the story.
Jasmine Richards gave us some input on plot and the rather excellent quote
"Conflict is plot. Plot is conflict"Another good pointer was to describe each scene and see if you use the word "and" to connect them or "but/therefore". If it's the former then it may be that the scene isn't moving the story on and should be changed.
She was also quite keen for us to be as mean as possible to our characters and offered us a few ways to add conflict to our story;
1. deception
2.search and rescue,
3.different setting,
4.death of a minor character,
5.enemies
Sara Grant is well known for her revision workshops and offered us some basic pointers that should help us all with revising.
MOST IMPORTANT - "Don't get it right, get it writ!"1. Don't revise as you go.
2. Finish the 1st draft then revise it.
3. Macro edit first, look at the big picture, - conflict/voice/plot
4.Focus on what's best for the story
5.Great story is more important than great writing.
It was a very enjoyable event and all the editors showed huge enthusiasm for the project. A big thank you to everyone involved for sharing a little of their expertise with us. It gave a real indication of how useful the weekend could be.
If you would like the chance to go on this retreat then you need to submit per the guidelines on the website. The writers will be chosen based on potential and what the editors feel they can offer you. They want everyone to be at the same stage so that they can make full use of the weekend. They aim to let writers know within two weeks as to whether they have been accepted or not. Full payment will be required on acceptance but if you sign up to their newsletter now you can claim a £50 discount.
I am off now to do some actual writing but will be out again on Thursday night for the marvelous SCBWI agents party! No doubt I will report back on all the excitement in a week or so.
Wednesday, 18 September 2013
Reasons to be Cheerful
Number One - I don't have an agent!
Number Two - I don't have a book deal!
Why would that make me cheerful you might ask. Surely those are things I've been yearning for? And yes it's true, I DO want a lovely agent one day in the future and a book deal would be a most marvelous thing but, rather than bemoan my lack of either, I decided to try a change of perspective and see what happened.
But the thing is that I don't. I don't have anyone's expectations to fulfil except my own and that is a freedom I intend to enjoy while I still have it.
It means I can write if I want to but if I don't, if I'm busy or not in the mood then that's fine. It doesn't affect anyone else and that let's me balance my writing in to my life in a way that's stress free. It means that writing can always be a pleasure rather than a chore.
I can also write exactly what I want. I don't have to factor in the opinions of others, market trends or publisher preferences. If I want to write a book about a girl who discovers she's a witch and falls in love with a vampire then I can do that. I don't, funnily enough, but the choice is mine for now.
And, because there's no book to market, I don't have to worry about reviews or think about sales. I don't have to do school visits or book festivals. And much as I will enjoy promoting any book of mine in the future I think it's important to appreciate the fact that for now, for this little part of my life, I don't have to work at anything except writing the darn thing. That thought fills me with cheer.
The second thing that altered my perspective was reading a blog by the very talented and refreshingly honest Candy Gourlay called The Pursuit of Happiness. She talked about the publication of her second book Shine and how she sometimes misses the days of being on the slushpile. I have to admit that surprised me.
Candy had achieved what so many of us long for, she had escaped the misery of rejection and toil that the rest of us pre published authors have to suffer and yet she looked back on that time with affection! Why? What could possibly be good about the slushpile Candy?
"it really was lovely when the dream hadn't come true yet." - she said
And that is the key! Hope is a wonderful thing. I might still have all that to come. One day in the near or distant future I might have the joy of running around telling the world that I have an Agent! A Book Deal! A Launch Party! A Million Pound Film Deal...okay, I got a bit carried away there but you get my drift.
I could, if I'm very lucky, have some of that to look forward to one day and that thought, that idea, that dream makes me cheerful.
Now then, back to the editing.
And the hoping. :)
Monday, 2 September 2013
Chickens, eggs and editors.
I have been following the development of The Golden Egg Academy since it first began last year, after all how often can you expect editors the caliber of Imogen Cooper (Previously Head of Fiction at Chicken House), Beverley Birch (Previous commissioning editor at Hodder) and Bella Pearson (Previously at David Fickling) to be available to help up and coming authors?
Therefore as soon as the opportunity arose to meet Imogen in person came up I jumped at the chance and headed off to a London Writers Cafe event at a pub near Liverpool Street last Tuesday night. I wasn't the only one either as the room was packed with hopeful writers all waiting to hear Imogen's words of wisdom.
She began with a brief introduction and told us how much she enjoyed working with Barry Cunningham at Chicken House. She said that the small team of seven led to a very exciting environment, with plenty of creative ideas and a fair few arguments as they all worked together towards the same goal. However Imogen saw so many manuscripts from the slushpile with potential that just needed the help of a good editor she decided to take a step back.
She moved from the position of Head of Fiction at Chicken House to the role of Senior Editor and set up the Golden Egg Academy with Beverley and Bella.
They are now offering their skills and support to writers in the way of workshops, in depth reports, one to one sessions and mentoring. Imogen is also planning to set up a course for editors with Winchester University that will provide training for up and coming industry professionals.
Next, Imogen began to talk about the three things that make a desirable novel -
1. Strong Concept
2. Driving Plot
3. Universal Themes
When she became an acquiring editor she had to start looking at manuscripts in a different way. She needed to be able to explain to a whole team of people from different departments why the novel she wanted to buy was so great and back it up with solid reasoning. This meant that she had to have a real understanding of the novel, she needed to be able to find the essence and heart of the story so she could explain why children needed to read this book and what made it so original.
Imogen was firm in the idea that knowing the heart of your novel will make it stronger and enable you to edit it effectively.
She asked us if we knew what our book was about, was it different to others and could we describe it in one paragraph? Imogen suggested we all try to distill our work into one paragraph that we could then use when submitting or pitching to agents and publishers.
What is the backstory/skeleton upon which everything else hangs?
Who are the main characters and what are their motivations? (You should be able to see these in every scene).
The story must come first with any themes supporting the story and being shown subtly within the motivations.
She said it was very important to be able to break your story down and be objective. Of course it isn't that easy as any writer could tell you and one of the reasons why an editor can be so important. She quoted one of her mentoring clients as saying her book was a beautiful jigsaw puzzle until Imogen helped her turn it into a 3D picture. A bit like connecting the left and right sides of your brain or turning a written play into the stage version.
Most importantly she said the paragraph should be about the BIG PICTURE and not the detail.
To give us some ideas Imogen brought along some advanced information sheets on a few Chicken House Books like Poison Boy by Fletcher Moss and Muncle Trogg by Janet Foxley. On one side was a copy of the book cover and on the other some info on the author and the all important blurb.
It was very useful to see how these books had been distilled down to their essential parts and I understood just how hard it could be as during my submission to Undiscovered Voices I'd been forced to write a fifty word blurb for my entry.
Imogen suggested we all try to write that paragraph and then keep it written up near our writing space so that we never lose track of the heart of our story.
Next we were lucky enough to hear about the Book Map which Imogen sees as an essential tool for use with editing. After the first draft has been written she suggests writing out some or all of the following -
Chapter info
Plot summary
Dramatic incidents
Backstory
Main characters - including their involvement and motivations. You could divide these up into fore, mid and background characters.
Setting
You can add or take away from this but however you do it she believes it helps you to take a step back from your story and view it as a whole.
It's a little bit like storyboarding where you make the whole thing come alive.
You can then use this method to see the whole novel, all of it's important elements and then try to weave everything else through during your second and third drafts.
The whole room was buzzing by the time Imogen finished speaking and she very kindly agreed to answer some of our questions. One of which was on the biggest problems she sees in submissions.
Imogen said it was mainly plot related and often involved authors not seeding the clues throughout their book and not signposting enough.
I really enjoyed hearing Imogen speak, her enthusiasm for her work shone through and I'm sure motivated many of us to go away and start working on our manuscripts! I imagine it would be a real pleasure and privilege to have her keen and exacting eye focused on to your own work and with the Golden Egg Academy you might just get that chance.
Thank you to Imogen for such a useful and informative talk. You can find out more about what the Golden Egg Academy offers Here.
Therefore as soon as the opportunity arose to meet Imogen in person came up I jumped at the chance and headed off to a London Writers Cafe event at a pub near Liverpool Street last Tuesday night. I wasn't the only one either as the room was packed with hopeful writers all waiting to hear Imogen's words of wisdom.
She began with a brief introduction and told us how much she enjoyed working with Barry Cunningham at Chicken House. She said that the small team of seven led to a very exciting environment, with plenty of creative ideas and a fair few arguments as they all worked together towards the same goal. However Imogen saw so many manuscripts from the slushpile with potential that just needed the help of a good editor she decided to take a step back.
She moved from the position of Head of Fiction at Chicken House to the role of Senior Editor and set up the Golden Egg Academy with Beverley and Bella.
They are now offering their skills and support to writers in the way of workshops, in depth reports, one to one sessions and mentoring. Imogen is also planning to set up a course for editors with Winchester University that will provide training for up and coming industry professionals.
Next, Imogen began to talk about the three things that make a desirable novel -
1. Strong Concept
2. Driving Plot
3. Universal Themes
When she became an acquiring editor she had to start looking at manuscripts in a different way. She needed to be able to explain to a whole team of people from different departments why the novel she wanted to buy was so great and back it up with solid reasoning. This meant that she had to have a real understanding of the novel, she needed to be able to find the essence and heart of the story so she could explain why children needed to read this book and what made it so original.
Imogen was firm in the idea that knowing the heart of your novel will make it stronger and enable you to edit it effectively.
She asked us if we knew what our book was about, was it different to others and could we describe it in one paragraph? Imogen suggested we all try to distill our work into one paragraph that we could then use when submitting or pitching to agents and publishers.
What is the backstory/skeleton upon which everything else hangs?
Who are the main characters and what are their motivations? (You should be able to see these in every scene).
The story must come first with any themes supporting the story and being shown subtly within the motivations.
She said it was very important to be able to break your story down and be objective. Of course it isn't that easy as any writer could tell you and one of the reasons why an editor can be so important. She quoted one of her mentoring clients as saying her book was a beautiful jigsaw puzzle until Imogen helped her turn it into a 3D picture. A bit like connecting the left and right sides of your brain or turning a written play into the stage version.
Most importantly she said the paragraph should be about the BIG PICTURE and not the detail.
To give us some ideas Imogen brought along some advanced information sheets on a few Chicken House Books like Poison Boy by Fletcher Moss and Muncle Trogg by Janet Foxley. On one side was a copy of the book cover and on the other some info on the author and the all important blurb.
It was very useful to see how these books had been distilled down to their essential parts and I understood just how hard it could be as during my submission to Undiscovered Voices I'd been forced to write a fifty word blurb for my entry.
Imogen suggested we all try to write that paragraph and then keep it written up near our writing space so that we never lose track of the heart of our story.
Next we were lucky enough to hear about the Book Map which Imogen sees as an essential tool for use with editing. After the first draft has been written she suggests writing out some or all of the following -
Chapter info
Plot summary
Dramatic incidents
Backstory
Main characters - including their involvement and motivations. You could divide these up into fore, mid and background characters.
Setting
You can add or take away from this but however you do it she believes it helps you to take a step back from your story and view it as a whole.
It's a little bit like storyboarding where you make the whole thing come alive.
You can then use this method to see the whole novel, all of it's important elements and then try to weave everything else through during your second and third drafts.
The whole room was buzzing by the time Imogen finished speaking and she very kindly agreed to answer some of our questions. One of which was on the biggest problems she sees in submissions.
Imogen said it was mainly plot related and often involved authors not seeding the clues throughout their book and not signposting enough.
I really enjoyed hearing Imogen speak, her enthusiasm for her work shone through and I'm sure motivated many of us to go away and start working on our manuscripts! I imagine it would be a real pleasure and privilege to have her keen and exacting eye focused on to your own work and with the Golden Egg Academy you might just get that chance.
Thank you to Imogen for such a useful and informative talk. You can find out more about what the Golden Egg Academy offers Here.
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