getting published

Garden path with steps and flowers

Bogged down at the beginning?

In books, as in essays, the beginning is sometimes the last thing you write – or at least the last thing you work on before finishing.

It’s not just that the beginning is, in some ways, the most important bit – if people don’t read on, it doesn’t matter how good the rest is; it’s also that you can’t write a good beginning until you know exactly what it’s the starting point for. No matter how carefully you plan, you never know exactly what will end up on the page and what, therefore, your beginning needs to offer your readers.

It’s easy to write a functional beginning. Surely, it’s just about the story starting in roughly the right place with the right people present, some interesting questions and Things Happening? Nope. Sorry. It’s not that simple.

The first thing to do is acknowledge that faint sense of unease about your beginning. It’s going to need work: a lot of work. Most beginnings do. But it’s equally important to acknowledge that until almost everything else is done, there’s only so far you’ll get with it, no matter how hard you try. And you should try: beginnings get better inch by inch, rarely all at once. That said, the main thing is to know that you will have to come back to it at the end. That’s when, if the rest of the book is ready, you’ll be able to fix the start.

New Book sold on the basis of a synopsis and give-or-take 50 pages. They weren’t terribly good pages. Oh, don’t get me wrong, there was some good writing and it was all very functional, but it wasn’t right. This weekend is when I need to fix it. The rest of the book feels happy. I am content and relaxed about it (to the extent I am ever relaxed about anything to do with writing). But the beginning is still bugging me. As it should, because it is just not right.

Though last night I started to really make inroads into fixing it. I worked on the first 3824 words. There are now 3304 words. In other words, 12 pages have become 10. Hopefully, I’ll get down to 8 or 9 but we’ll see.

The main thing I knew was wrong about the beginning was that it was slow. It wasn’t obviously slow – plenty of interesting, fairly important things happen to the main character internally and externally, and lots of questions are raised. But still it dragged. Even I wasn’t in a rush to read on when editing. This is a Very Bad Sign: writers ignore it at their peril.

I was also worried about the fact that one of the three characters we meet at the start will disappear and never reappear. There’s an important reason for his presence at the beginning of the book, but how much time do we want to spend with him? Isn’t it better to do what we need to but efficiently? Yes! Fewer pages with The Nobody!

What else? The writing. I knew it was clunky and had to grit my teeth to submit it: knowing your writing is clunky isn’t the same as fixing it and I know my own writing process enough to understand that no amount of time or effort (there had been a LOT of both) was going to get it further… until the rest of the book was done and heavily edited. I know why it’s clunky now, or at least I’m getting there with this understanding.

Point #1: At the beginning, when there is no book, clarity means spelling things out. There are no ‘next pages’ where little hints and questions get explained: there is no development so that the implicit may become explicit. There was far, far too much I’d said on the page that I didn’t need to with an entire book to come to do just that. Don’t be obviou: you only need to be reasonably clear about some things at the beginning. Other things can become obvious over time and do not need to be spelt out on page one event if they are very important.

Point #2: Don’t say things twice. At the beginning of the book, things are happening for the first time. It’s easy to worry that readers won’t see that they’re important unless you repeat yourself. There is a whole book to do that in – gradually and over time. As you edit, cut the repetition in the beginning. It is slowing you down and making your writing clunky and it is just Entirely Unnecessary.

Point #3: Don’t draw attention to things that don’t matter, unless they’re purposefully there as red herrings (or, as I prefer to call them, wanton fish – a lovely post-anaesthetic semantic leap into the absurd). My Nobody character is there to be a nobody. My beginning must make this clear then not dwell on it or him, otherwise I’m muddying the waters in ways that are unhelpful and boring.

Point #4: Is this absolutely necessary? Beginnings should contain only that which falls firmly into the ‘Yes’ category. Sometimes beauty and interest can make things necessary, but they must be very beautiful and/or interesting indeed for this to be the case.

Point #5: Beginnings are like an orchestra warming up. Every element must tune up to come into harmony with all the others. It’s a necessay part of the process of finding the voice not just of the characters but of the book: its particularly rhythmns, sounds, the little threads of language that will make it tight at the level of song. Once the rest of the book is singing, you can go back to the beginning and tune it all up properly so that it does too. Books shouldn’t start softly, with little mumbles of nervousness: they should belt from page one. Not belt in every sense, but in the lanuage sense – absolutely. You can only accomplish this when you have a whole book behind you to work with. That is the ‘score’ for your song: all the ornaments, the developments, the themes. How can you write a stonking beginning unless it references those things, perhaps slyly and shyly, but references them all the same?

So that’s where I am. New Book is almost done, though there is still work to come. But I have a good feeling about that. If only I can sort out this slow, clunky, out-of-tune beginning…

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Acer leaves

Are you in the mood?

When writers talk to me about the ‘energy flows’ of their writing space, or the purity of the vibes in their study, or the necessity of being in a state of zen before they can centre themselves to create, I tend to want to vomit. While one part of me says ‘each to their own’, the part that gets irritated by people trying to make writing mysterious starts snarking on about the fact that it would rather like to examine some entrails to see what is in store for the day – preferably, the entrails of a moron who needs to ‘centre’ before work can commence.

I get the concept, I really do, and I think meditation is actually quite a good idea. It’s just the way people talk about it that gets me. Mediate. Go ahead, but just do it. Don’t dress it up as something half miraculous… And don’t dress writing up like that either.

Writing is many things but most of them aren’t mysterious if we’re not trying to pamper our lazier tendencies… or trying to exclude people. The mysteries of writing can only be mysterious if a select few – and only a select few – are clued in. I’d rather like to think that everyone could be clued in. Believing this should be a prerequisite if you also teach writing, though a fair few writer-teachers don’t seem to agree. I suspect most of these people are only teaching to make money on the side because writing often doesn’t pay enough. Which is fine, but if you’re going to teach you need to do it with decent principles rather than in a state of petulance that your last advance wasn’t six figures.

Of course, no matter what their teacher believes, some people will be good at writing and some won’t be, with varying levels of goodness and badness in between. But there’s no reason for the enterprise of putting pen to paper (or fingers to keyboard) to be this weird thing shrouded in rites and rituals and secret handshakes and, most horrid of all, secret clubs where you’re in or you’re out.

Writing is about putting words on a page. It is both as simple and complicated as that. But there’s no reason it can’t be democratic – or at least a meritocracy: open to all who are good at what they do, whether that’s writing novels, fanfic or blogposts.

There is ‘magic’ in writing but it’s not the magic of a study’s vibrations or The Perfect Pen. It’s the magic of turning something in your imagination into words that will recreate that imagined something (or an equally interesting imaged something) in the mind of a completely separate human being. That’s pretty magical all on its own, if you think about it: the closest to telepathy as we currently get. What more magic do we need?

Another good reason to do away with the concept of the mysteries of writing is writers’ block. This is equally unmagically. It’s not some pseudo-illness that other people just can’t understand because they’re not true artists [sniff, sniff, wail: my tortured soul, etc. etc,]… It’s simply a problem with the process of getting words on the page, usually because you don’t actually know what you’re doing with a specific project yet and haven’t blindly stumbled on the right answer through pure dumb luck so have to actually work at it. That’s something that happens to all writers all the time. The thing that makes one person a ‘real’ writer and another not is that the ‘real’ writers just get on with the hard work of figuring out where they’ve gone wrong… or they turn to a new project, taking a break to get some perspective on the old one. Either way, ‘real’ writers get on with the act of putting words on the page.

And there we lead into why I find the idea of having to ‘centre one’s energies to get the creative zibbles flowing smoothly’ such a lot of rot. Meditate to clear your mind because you’re plagued with self doubt: a great idea! Do a bit of yoga or karate or go for a walk to give yourself time to climb out of the real world and into the world of the book: absolutely, go for it! But don’t see it as some weird magic ritual.

Everyone’s inner writer has a delicate ego. But that doesn’t mean it should be pandered to and inflated by silly means. I generally prefer the word ‘writer’ over ‘author’ because it comes from the verb: a writer is a person who writes. Who puts words on a page. End of story.

Or rather, the beginning…

 

bluebell wood light and shadow

Reading and writing as democracy: response to Anakana Schofield

There is much in Anakana Schofield’s recent Guardian article that I agree with; she makes three key points, and I’m with her (for the most part) on the first two. However, the third I disagree with entirely.

‘Third: why is there so much fuss in the media about how to write a novel – “everyone can become an author” – when the more important thing is how to read one?’

Is it really more important to learn how to read a novel than to write one? For those who want to write, it’s important to love to read (and, as Schofield says, read widely) but does reading always have to come first? Can’t the two go hand in hand, lessons from reading supporting writing development and lessons from writing supporting reading development?

Is it so very wrong that one of the things that readers want from writers is guidance on how they might become writers too? On the one hand, as writers, we know that there isn’t room for everyone to write. Or at least not to write and get paid. (Bear in mind here that one of Schofield’s key points, which I agree with, is that writers don’t get paid for a lot of their time and work: often people don’t even think this is unfair.) Be that as it may, shouldn’t writers still support and encourage readers who dream of writing too? Should we let self-interest dictate what we choose to give readers… especially if this isn’t what they want?

I think there’s something wonderful and truly democratic about people everywhere, with all sorts of backgrounds, wanting to write. For me, it says a lot about our society that we’re finally in a place where writing doesn’t have to come from money and privilege or even extensive formal education. I think that’s amazing. And I think people’s drive to write is to be applauded and encouraged.

What I don’t think is wonderful is when people want to write for all the wrong reasons and don’t want to spend any time trying to do it properly. But that’s a whole other matter. And, yes, there will be more people in that category as more people see themselves as both readers and writers (or at least potential writers). But it’s more important for building a progressive, liberal, open society that we encourage everyone to feel that they could write if they wanted to. That writing isn’t barred to them. That everyone with the right skills and the determination to do the best they can has a shot at success and reaching an audience.

As someone who specialises, alongside fiction, in editing human rights non-fiction, I find the third part of Schofield’s article disheartening. Yes, it’s difficult being a writer. Yes, there’s a lot you don’t get paid for. Yes, what people want is to learn how to become writers, potentially increasing the chances that you’ll get paid even less…

But should writers really feel that their audience can’t ask for what they want? That they should stand, solemn and silent, as writers impart their pearls of wisdom about how to read… including how to read their own work? I think this view appeals to a particular type of writer: one who feels they have authored a definitive text. One who feels in a unique position to explain how that text should be read.

I don’t feel that at all. I believe a text, when it is read, belongs to the reader and is created uniquely in that reading by the unique person reading it. Of course I’ve created the book that is being read, but I don’t own the reading itself: the process of transformation in which my words are turned into pictures and sounds and objects in the reader’s mind. That’s something that is jointly owned: that’s where my imagination and the reader’s imagination work together. That’s where who I am on the inside touches another person in the same way: at a level that human beings often struggle to connect on.

That’s why books are so wonderful: they mediate that process. And they do so across time, distance, language, culture… across all the trappings of society, finding a meeting point in what makes us most uniquely, individually human. (Which is not to say that books always appeal across time, distance, culture and language… but it is possible. And it’s truly is a form of magic when it happens.)

I guess the heart of the issue is that I don’t believe that there is (or should be) some hierarchy of quality as regards readings, with the authors at the top of the pile. Yes, some readings seem more interesting and/or detailed and/or knowledgeable and/or creative than others, but that doesn’t make them ‘superior’ is a general sense, partly because it’s all so subjective: what’s superior in a reading for one person is inferior for another. It’s subjectivity building on subjectivity, so feeling a need to put readings on a scale whereby some become ‘low culture’ and others ‘high culture’ defeats the beauty of imagination: that it can be truly democratic. Otherwise, that scrambling for position and authority makes a mockery of all the best that is human in reading and writing and imagining.

So I don’t think writers should tell readers that their job is to shut up about their own writing dreams and listen to the ‘masters’ (gender implications fully intended) declaim about proper readings and how readers might be better readers while still being passive listeners and receivers of literature. Not creators. And not a threat to writers’ income or position. Just a source of money and admiration.

I agree with Schofield that ‘contemplation of literature’ is vital, but why can’t space for it encompass the links between reading and writing? Why can’t those boundaries dissolve and with them the ‘politics’ of literature that separate people into writers, learned readers and ignorant readers? Why can’t we just talk about literature both as text and as process, open to everyone?

Which is not to diminish the fact that readers and writers do bring different levels of skill and knowledge and imagination to both activities… But skills and knowledge and imagination are processes too. If we say to people ‘these avenues are open to you: if you work hard and progress you too will have a chance at succeeding’, we’re not also saying everyone will become a writer: it’ll depend on both the work they put in and their innate ability. As it always does. But everyone’s work and innate ability will qualify them equally to try.

Ultimately, Schofield argues that

‘It’s a great deal more fulfilling to read and think about a fine book than to attempt to write one.

Is it? Is it really? It isn’t for me. I love reading. Of course, I do! It’s one of my favourite things. And I wouldn’t, couldn’t and shouldn’t be a writer if I didn’t do a lot of it and love it. But I like writing best of all. And that is why I am a writer first and foremost in my own mind. And why I think others should be free to strive for the same. Free and encouraged. Because a society in which all people feel they are allowed to write – to speak to the world in words fixed on paper – is a society that says anyone may work hard and talent may be found anywhere, and whoever they come together in should have the same chance of success.

The Bone Dragon book cover

Win a copy of The Bone Dragon

… Just retweet any Faber Children’s (@faberchildrens) message on Twitter about The Bone Dragon competition by 4.30pm today and you’ll be entered to win a copy!

The Bone Dragon book cover

Publication day! Thank you to all the wonderful reviewers…

Today, I am officially a published author. I was expecting it might have sunk in by now, but a year on I’m still astonished from day to day to realise (a) I have an amazing agent, (b) I have a wonderful publisher, and (c) I’m being published. Am published as of today. It’s really quite nice that it won’t sink in because the realisation that it’s not just the latest in a string of daydreams is a lovely surprise each and every day.

And there have been all sorts of lovely surprises, not least that I’ll be speaking at the Hay Festival later this month along with Sally Gardner and Nick Lake. You can find more details about our ‘Happily Ever After?’ event here if you think you might be interested in coming along.

And then there’s the thing I’ve been longing for and dreading… finding out what people think of the book. Thank you so much to everyone who’s bought the book, read it, ordered it, included it in posts and cover reveals, and generally started getting the buzz going.

Luna’s Little Library was my first ever reader to comment. I literally jumped around for a little while being over the moon that my first reader liked the book. She’s also written an absolutely lovely review. Literally the sort of review I’ve dreamed about.

The first review to come out though was actually Annabelle Hammond’s detailed and thoughtful look at the book. It’s been amazing to hear that people are reading my book, but it’s the most wonderful compliment when people take the time not only to review but to review at length.

Katie from Storytellers, Inc.’s wonderful, insightful review picks up on so many of the things that I hoped readers would find in the book. Was so touched by the discussion of how I’ve handled the darker themes in the book: Katie review captures exactly what I was trying to do.

Laura from Sisterspooky’s review made my day by tackling many of the mistaken assumptions readers might make about the book if they only glanced at the blurb. It’s such a great thing for a writer to see reviews that address market forces so that readers can get a true sense of what a book is about.

Finally, INIS magazine have my first trade press review! So exciting to have one out before the official publication date. Now to cross fingers that there are more to come.

I know that everyone gets bad reviews. It’s part of the territory. But it’s so lovely to start with nice ones. Let the bad ones wait as long as possible!

It’s a strange and wonderful thing to read reviews of your work and especially to see the time and care people have put into thinking and writing about your book. I’ve been astonished with how many things these reviews have picked up on that really mattered to me as a writer. I wasn’t sure how much of what I see as the heart of the story would translate to readers. It’s a powerful thing to be told that it has translated: that readers are seeing what I see in the story… or at least partially. Seeing readers’ alternative interpretations of their work drives some writers mad, but mostly I’m curious. The book may be my creation but any reading of it belongs to that reader. I love that about the writing-reading process: there’s a point at which it’s collaboratively creatively, albeit it at a distance.

Thank you so much to the wonderful reviewers who have made my publication week so amazing. I can’t tell you how grateful I am for the care with which you’ve treated my work.

 

The Bone Dragon front cover

A thing of beauty

A post with pictures of my first copy of The Bone Dragon now up on my book-specific blog: http://www.thebonedragon.com.

From here on, I’ll be trying to keep the content of the two blogs separate rather than cross-posting, but there’s the odd thing I just have to share on both.

Today is BOOK DAY for me!

The Bone Dragon book cover

Cover Reveal: The Bone Dragon

Turns out there’s been a change of plans (either that or I slightly mixed up 1 March and 1 April – it happens) and the cover reveal is going to be… today. (YAY! [does happy dance] April seemed SOOOOOOO far away.)

So here it is. What do you think? [bounces in anticipation]

 

The Bone Dragon book cover

 

We’re also up on the Faber & Faber site! [Teehee!]

Pre-order at Waterstones, WHSmith, Amazon and most local bookstores… Now with our beautiful cover to enjoy!

Watch out for the new blurb coming soon…