Tuesday, 2 May 2017
When it comes to books, the word 'ownership' can mean different things at different times.
Who owns an idea?
Nobody. Try copyrighting an idea and be prepared for laughter and disdain.
Who owns a completed manuscript?
Unless you've been paid to ghostwrite a novel, ownership rests with the author. The laws on copyright different between the UK and US, so as this is a mixed audience I will simply say that in the UK copyright exists (but would still require proof if there was a legal challenge) from the act of writing it. The Society of Authors has some brilliant information here:
Who owns your book once it's contracted?
You own the manuscript and you enter into a contract with an agent or a publisher. They own their edited version of your original manuscript. No matter how many drafts you've gone through, an objective editor will find more gold and cut away more. Their contract permits them to do certain things with your manuscript and specifies which of those actions requires your prior approval.
Who owns your book once it's published?
You and the agent / publisher retain the same proprietary interest in the book, but the reader owns their copy. Now, here's the thing, they may also have an emotional investment in your characters and their adventures, which - I would argue - is every bit as important as the nuts-and-bolts ownership principle. If you disappoint them during that book or in any subsequent book, they will vent their frustration online or by word of mouth. Once you become aware of this factor it can be a challenge to balance what you want to write, what your characters want you to write, and what your audience expects.
I have spoken on this blog before about the principle of 'the same but different'. However, different can mean different things to different people.
The BBC website recently reported that JK Rowling tweeted her apologies for killing off Professor Snape in the Harry Potter series. Some would argue that the plot demanded it and that there's a certain logic in his demise. Others were so attached to Snape (and, of course, Alan Rickman who portrayed him) that it felt like an act of literary cruelty.
I ponder all of this as I write my fifth book in the Thomas Bladen Spy Chaser series, and I'm mindful of the feedback I've received, including:
- Isn't it about time that Thomas and Miranda settled down?
- Is there an ultimate revelation at the conclusion of the series?
- Is Book 5 the end of the series?
- Why isn't Thomas more macho?
- I hope you don't kill someone off just for the sake of it.
Without giving away any spoilers, my statement to the imaginary panel is:
Someone dies in each book. I won't name the dead but I make it a body count of at least eight so far. Thomas has shot five people, been wounded by one, and restrained himself from shooting someone on at least one occasion (not counting a familial near-miss!). How much more macho do you want him? Thomas and Miranda's relationship has its own carousel of baggage, but it has also evolved through the series. Book 5 continues that journey. Is it the end for Thomas and Miranda and Karl? That depends on the readers and what they want. Of course, a TV deal would certainly help bring Thomas Bladen to a wider audience! And yes, there is a revelation of sorts in Book 5. It's subtle, but it is there.
Now, if you'll excuse me, I have gun battle to conduct. Or do I?
Sunday, 29 January 2017
|Deep within an enchanted Cornish wood...discuss!|
Are you a writer who was born in Cornwall, or who lives in Cornwall?
If your answer is yes then opportunity has just knocked and your ship has come in.
Emma Timpany and Felicity Notley, both published short fiction writers themselves, are the editors for Cornish Short Stories: A Collection of Contemporary Cornish Writing.
You can find out everything you need to know here:
In the meantime, here are some crucial details:
- A word count of between 2,000 and 6,000 words.
- The submission deadline is 7 July 2017.
- OnTwitter at @CornishShorts and a dedicated page on Facebook.
What can you write about? Let your imagination go wild!
The Collection will be divided into four thematic sections and you may or may not wish to make use of these as a prompt for your own writing:
Sailors' Knots - the high seas and all things maritime
The Heart of the Storm - love and death
Enchantment - magic, hauntings and concealment
Cornishware - domestics
The new collection of Cornish short stories will be published by the History Press in May 2018.
It's time to tell some tales!
Friday, 13 January 2017
Writers are an interesting community. We bicker, compete, support each other and also draw inspiration from one another. It's my great pleasure here to interview Celina Summers, who I had the good fortune to meet when I was part of the Musa Publishing family. She's not only a savvy writer; she takes a scholarly and detailed approach to creating her fiction. Frankly, if you're not inspired after reading this you need to go and read it again!
Q1 Tell us about your recent work and what inspired it.
Right now, I’m playing around with multiple genre mashups. Probably the best way to describe what I do is literary fantasy. My recent work has been set in 18th century Europe, Asia, and America, with time traveling, magic realism, mythology, and swords and sorcery combined with historical fiction. It’s a lot to keep straight. Greco-Roman mythology is a huge influence in my writing, having studied classical authors like Ovid and Vergil since I took Latin in high school. So while I have immortal entities that are based upon mythology, my main characters are having to confront 18th or 21st century problems, which creates fascinating conflicts for them.
This kind of multiple genre work is more difficult than the straight-up epic fantasy I used to write. The historical aspects of the story requires a lot of research, for one. I have huge storyboards on Pinterest with images of everything from costumes to knickknacks to architecture and art. All the details must be correct in order for such a world to work. So crafting the world is far more difficult. And the consequence, naturally, of writing something so different is you (or your agent) finding a publisher who is willing to take on your literary/historical/time travel/magic realism/mythological/romance/swords and sorcery fantasy novel. They can’t immediately see how to shelve such a novel in bookstores, and that makes them hesitant to take on a project that complicated.
So it’s definitely a challenge on many levels, but I love what I’m doing so I keep plugging away at it.
Q2 What is your take on the publishing industry at the moment?
The publishing industry is once again in transition. For indie authors and small presses who rely primarily on e-publishing, the options are narrowing fast. Amazon’s KDP is convenient and easy to use, so the market is getting flooding with really bad books. The other platforms like Barnes and Noble or Smashwords aren’t any e-pubbed writer’s top selling site. So authors who are self-publishing have one real shot at breaking through and that’s Amazon.
But not so fast—the Amazon sales algorithms are skewed. Preferred product placement occurs only if a book has enough ratings and reviews. Well anyone can get all their friends and co-workers to run off to Amazon and review their books, and many authors do just that. So it’s frustrating when you see books that should never have been published getting so many sales and reviews and popping up on your sales pages as suggestions.
That being said, the pendulum between traditional publishing and digital publishing is swinging back to a more balanced market. While the Big Five are still controlling the lion’s share of the book market, e-books are here to stay. Many writers (and I include myself in this) are learning how to use both routes professionally. I am self-publishing my backlist of small press-published books and adding new sequels to those stories, while my agent is representing my new work. The arrangement works well for us both.
Q3 What are you currently working on?
The primary project I’m currently working on is a series entitled Danse Macabre. In this world, Death isn’t the Grim Reaper, but a conglomerate of immortals who each are assigned a specific group of mortals whose lifespans they monitor. When a civil war breaks out among the immortals for control of humanity’s future, Morgaine, the Death of Art, is faced with a series of adversaries that are not only targeting the mortals in her domain but threaten existence itself. What results is the ultimate Danse Macabre, and neither the mortal nor immortal realms will ever be the same.
At the moment, I have several projects on my desk. But I just finished Symphony of Death, the first book in the Dance Macabre, so it’s uppermost on my mind. In fact, my agent received the manuscript yesterday.
I’m also working on a sequel to the two series I self-published in 2016—The Asphodel Cycle and The Black Dream. (By the way, publishing eight books in eight months looks like a really great idea on paper. But it’s a lot harder than you think it is and you have to work your rear end off to make that happen. Trust me.) The new book, which may turn into a series as well, is the story of the Asphodel heirs. The world of Asphodel is the retelling of major classical myths like the Trojan War or the Titanomachy using traditional fantasy characters and settings. So there are endless possibilities for future stories there. The Asphodel Cycle was my first published series, and coming back to the world after ten years away was a lot of fun.
I’m tinkering with an idea that’s a riff from my Harlequin Theater literary fantasy series. That world is set in contemporary American theatre, and revolves around a company that uses magic to integrate the audience into the performance. Think The Phantom of the Opera meets Something Wicked This Way Comes. That world is a lot of fun to play in.
And I’m building a couple of other fantasy worlds, revising my horror series, Red Ink, which is based on Jack the Ripper, freelance editing and sports writing. Safe to say I’m extremely busy. But I love it.
Q4 Ebooks or paperback, or both?
I don’t write with a particular medium in mind except for the Asphodel series. Unless you’re self-publishing or writing for a specific publisher, this isn’t a question a writer should really worry about. All my books that are currently published are available in both digital and paperback formats.
Q5 Name two books that changed the way you thought about your own writing, or even changed the way you write.
Kushiel’s Dart by Jacqueline Carey, and Daughter of the Empire by Raymond E. Feist and Janny Wurts. Both books revolve around female protagonists who find a way to succeed despite their gender.
Carey’s world is lush and voluptuous and vivid, having based her story in a world where a courtesan who’s been taught how to be a spy is the key to changing her society. Carey’s descriptive powers are incredible—probably the most intricate and extravagant world building I’ve ever seen—and her heroine is unforgettable. She is deeply flawed and superior at the same time.
Feist and Wurts set their heroine in a lavish, intense world with Oriental settings, culture, and traditions—which needs to happen more in fantasy. The story is about a girl who has always followed traditions having to take the reins of a once powerful house after her family’s rivals kill both her father and older brother. She learns that in order for her and her house to survive, she must play the political game better than any man in the Empire—and she cannot afford to unquestioningly follow the traditions that usually bind the players.
Both books feature heroines who don’t need to be saved. They are intelligent, cunning, and strategic. They use their minds to outplay their foes, and I appreciate the incredible stages those heroines have been provided as well. Both books changed the way I looked at my heroines, and how I can give them the same stage without having to beat the reader over the head with, “She’s a bad ass. Get over it.” With both books, the writer in me was able to dissect how to establish a strong, victorious heroine without having to make her unfeminine.
Q6 How do you know when your characters have 'come to life'?
When they won’t shut up. I’m one of those writers who ‘sees’ the story in my head and puts it on paper. I never outline, but I always know where the book is going to end. I just let the story play out—it’s basically like taking dictation for me, which irritates some of my writer friends for some reason. And as I’m writing full time now, I’m working 14-16 hours a day, 7 days a week. If the characters keep talking while I’m working, then I keep working.
Hate to break the flow. Don’t want to stop and then face a Samuel Taylor Coleridge “A maid with a dulcimer” moment and forget where the story was taking me. Of course, I’m not cranked up on opium so maybe it wouldn’t hit me the same way it did him.
Q7 What are your top tips for acquiring and then working successfully with an agent?
I’m a believer in going to conventions and meeting them in person. That’s how I acquired my agent. I went to World Fantasy Con, and hung out all week with a friend of mine (DAW author of the Touched By An Alien series, Gini Koch) and her agent (Cherry Weiner). Cherry asked me to submit my manuscript to her, and upon reading it she signed me. Never underestimate the possibilities of establishing an acquaintance with an agent first.
If cons aren’t your thing, then query. But when you do query, make sure there are no spelling or grammar errors. Learn how to write a great hook, which is more difficult than it sounds. Present your work in a professional manner—don’t try to be cute or clever. Use standard manuscript format. If you want literary representation, you need to demonstrate your professionalism as much as your work.
Q8 Where can we find out more about your writing?
The best places to find out more about me are my website and blog. I spend a lot of time on Facebook and Twitter, and for some reason people really like my Pinterest storyboards. You can keep up with my articles on writing and publishing (like my recent series on the collapse of All Romance Ebooks and how they absconded with the 4th quarter royalties due every single author and publisher in 2016) on Blogcritics. I enjoy hearing from readers and writers both, and am happy to advise young writers who have a question. So if you catch me between writing blocks, I always appreciate the interaction.
Monday, 14 November 2016
|Science is golden.|
The First Law states that:
a) An object at rest remains at rest unless a force acts upon it.
b) An object in motion stays that way - same direction and speed - unless a force acts upon it.
Simply put, in fiction something has to happen in order for something to change, whether the outcome is progressive or regressive. You could argue that every twist and turn in a novel is really a Newtonian force zinging into the protagonist from an unanticipated angle.
I'm more of a plotter than a pantser when it comes to putting together a story, but I welcome an unexpected inspiration that careers towards me and knocks a character out of the picture or into it. Shadow State, the fourth book in the Thomas Bladen 'Spy Chaser' series owes a debt to Newton. I thought I had the plot figured out and my characters were moving purposefully towards the checkpoints on my writing roadmap. (I know, it makes writing sounds really romantic, huh?)
And then...out the corner of my mind's eye, this speck of light, this flicker of 'what if' from the muse slammed into my carefully constructed plot. Okay, carefully might be overstating it a bit. But the result was surprising. A character did something unexpected and I had a choice of whether to run with it and see where it led, or to rein them in and remind them that it was my ball and therefore my rules. I went with Plan A, trusting the character I thought I'd created - we can debate that one on a chair and couch some other time - and ended up somewhere else. It was different to my original vision and I liked it. Writers like to be surprised. It keeps us on our toes and it's a great reminder that we are engaging with a fluid and mimetic imagination.
You could say that Shadow State is something of an experiment in places. It features many characters from the series and a couple of new ones. It redraws the map in places, as far as loyalties go, and it peels back the layers a little more of the characters we think we know. It plays with some of the conventions and, I hope, it adds something special to the canon.
If you're drawn to British spy thrillers that give a nod to Len Deighton, John le Carre, Raymond Chandler, and Harlan Coben, Shadow State might be just your cup of coffee. Intrigue, action, sardonic humour and swearing - what's not to like?
Thomas Bladen thinks he is in control. He's wrong. When Thomas is confronted by a Shadow State operative, he is given a stark choice - expose a defector or face the consequences. But who is the real enemy? A stake out becomes a rescue, an intervention leads to murder and loyalties are stretched to breaking point. Soon Thomas is forced into a dangerous game, turning the Shadow State against itself.
"Good spy thriller with a appealing flawed hero in Bladen. Liked the London life evoked!"
Shadow State is published by Joffe Books. Come and meet Thomas Bladen.
Saturday, 24 September 2016
I first heard about Lynn Michell and Linen Press when artist, writer and friend Susie Nott-Bower's debut novel, The Making of Her, was published in 2012. Lynn and I recently found ourselves part of the same virtual conversation and, happily, she accepted my offer to write a personal post about the world of publishing from an independent perspective. I think this thoughtful piece adds to the great publishing debate and I invite you to both add your opinion in a comment and to check out the Linen Press, whether you're a writer or a reader.
Am I selling books or cornflakes? Lynn Michell
As the director of Linen Press I’ve seen the book trade change over the last ten years from an open space for experienced, emergent and experimental writers to a closed shop in which only the famous, the celebs, the major award winners and writers with a golden gift for self-marketing can be confident of ending up on the shelves of Waterstones, W H Smith and Tesco.
The language of publishing reflects those changes. I’m hearing online presence, marketing, niche, social media platforms and branding. Reporting from a recent writers’ conference in Brighton, Sally-Shakti Willow of the Contemporary Small Press writes: ‘branding’ was definitely the buzzword of the day with every speaker stressing ‘the importance of marketing yourself like a packet of cornflakes.’ Writers were told ‘your novel is a piece of fruit’ so make sure publishers know to place you with bananas or kiwis.’ Sally concluded: ’what I saw through that shop-window was not bananas or kumquats or cornflakes but something rotten, and potentially toxic.’ (https://thecontemporarysmallpress.com/2016/03/15/small-presses-worth-much-more-than-money/).
So authors need to market themselves like cornflakes. They must build websites, set up Twitter accounts, give talks in libraries to three people sheltering from the rain, and push a copy of their book into the few remaining indie book shops. I hate to force this on Linen Press authors, not because for many it goes against the grain to chase the limelight but because I’m not convinced that their efforts will bring them recognition or sales. All the evidence from six years of Linen Press’s strong social media presence suggests that there is no correlation between activity on our social media sites and sales. Here’s the reality check. UK publishers released 184,000 titles in 2013. Jonny Geller at Curtis Brown described the figure as “either a sign of cultural vitality or publishing suicide. Of course, it is utter madness to publish so many books when the average person reads between one and five books a year.’ Jamie Byng at Canongate agreed: ‘I think we publish too many books, Canongate included, and I think this impacts negatively on how well we publish books as an industry. It is very easy to acquire a book. Much harder to publish it successfully. (https://www.theguardian.com/books/2014/oct/22/uk-publishes-more-books-per-capita-million-report). So it’s from inside this avalanche of yearly publications that an author must carve out a niche for herself. How many niches remain?
And published authors have to shout over the sales pitches from the self-published book mountain. It’s hard to find recent, accurate figures but between 2014 and 2015 self-published titles rose from 16% to 22% of the digital market. http://www.thebookseller.com/news/self-published-titles-22-e-book-market-325152
In 2009, 76% of all books released were self-published although the average financial return was only £500. (https://en.wikipedia.org/wiki/Self-publishing). As Derek Thompson says in an email to me: ‘Much as self-publishing has democratised the route to seeing work in print, it has opened the flood gates without a quality filter.’
It may be that the sheer volume of published and self-published books sends readers to the security of the Top Ten in Waterstones and the other chains. They can sit on public transport reading the same novel as the person next to them. Call it Girl on a Train syndrome.
My authors ask why their books aren’t in Waterstones. The Big Five can throw £100,000 of marketing budget at a few chosen titles leaving the rest to fall by the wayside. Waterstones takes a minimum of 60% of the RRP which makes it prohibitive for small presses who work with costly small runs. We’d be paying Waterstones to sell our books.
As a small indie publisher, it’s a growing challenge to sell the books on our list. Ten years ago Childhood’s Hill by Marjorie Wilson, Linen Press’s first publication, was accepted by Blackwells in Edinburgh and sold so well that for one week it beat Ian Rankin in their Top Ten. Later books also managed a toe in the door because managers, not central sales offices, still decided whether or not to take a risk on a book.
Jump to 2016. Sometimes A River Song, one of the best books on our list, received a dozen rave reviews and its Costa prize-winning author, Avril Joy, attended three book fairs shortly after the launch, yet still we struggle to sell copies and Waterstones won’t look at it. I sense a further seismic shift towards a limited diet of mainstream-published crowd pleasers.
The three routes to publishing have split and gone their separate ways. Think cornflakes, brand yourself, find a vacant niche and you may hook a mainstream publisher. Go down the self-publishing route if you know how to stand head and shoulders above the self-marketing crowd. Or go with an indie press which occupies the space between the other two. This year three out of six books on the Booker short list come from indies, one a tiny Scottish press. Success is possible. And, as Sally-Shakti Willow says, even without the rainbow end of best seller status, small presses are ‘committed to freedom of expression, artistic risk, literary innovation, and championing new and exciting writers.’
Excuse this final bit of branding. Linen Press, the only indie women’s press in the UK, does read unsolicited manuscripts and we are looking for beautifully written books. Send us your manuscript. www.linen-press.com
Wednesday, 13 July 2016
Norman Whitney has gone one better by choosing a completely different setting and genre for his debut novel, The Water Babes. I caught up with him online and asked him what it was like to go in at the deep end.
What was your inspiration for this book?
My inspiration was basically to see whether I could write a novel, following my successful career in English Language Teaching (ELT), and as someone who is now in his seventies! I wanted to write a novel that was not peppered with violence and murders.
I also wanted to promote my main theme, which is how people – even those of very different cultures, faiths, and personalities – are interconnected, even though they may not think so. That is why surprises and shocks about such connections are such a feature of the story, especially towards the end.
How did you find the process of creating fiction, having previously written textbooks?
Textbooks, especially those in ELT, have to be written within the constraints set by syllabuses, which very from country to country. These constraints affect everything, including grammar, vocabulary, pronunciation, and types of illustration. Syllabuses were, and still are, subject to fashions in education, which publishers had to be aware of.
My course books were for teenagers learning English overseas, and each country has specific interests such as guidance on how to study, how / whether to include guidance on study skills, self assessment, and cross-cultural issues. Also, the different weights given to the skills of reading, writing, speaking and listening in each syllabus have to be taken into account. In addition, my books specialised in the study of English in different subjects, e.g. history and geography.
Novels are free of such constraints! So, writing without grammatical or vocabulary limits came as a great relief! But there are other constraints such as continuity, consistent characterisation, and in my case, plausibility of plot lines. Adapting to new freedoms meant adapting to new conventions. Sometimes, this was relatively difficult (textbooks have wonderful artwork support which novels usually do not), but sometimes relatively easy (in novels, you can use any tense you want to whereas text books of my sort have very strict limits and prohibitions and different levels).
What was your path to publication?
My path to publication was not easy, despite textbook sales of 25 million. I needed an agent, for the first time in my life. I tried 25 agents, but none were interested, save one or two, who were very complimentary about my sample, but nothing more. I came to the conclusion that unless one were extremely talented or very lucky (I was neither), or unless one were already famous in some other field (politics, pop music, sport) the chances of getting an agent were very slim. Interestingly, several agents (hedging their bets?) asked if the manuscript had already been self-published. My other problem is that, at the age of 73, I am clearly not an agent’s idea of a solid future investment!
So I took the hint and investigated self-publishing. I looked up one or two companies that offered help, and came across Troubadour/Matador, based in Leicester. They have always been helpful, prompt, and clear. From the start, I wanted to give my book every help, and to cover all the bases (marketing, promotion, sales) that I could, and which were offered by Matador. Inevitably, this has proved costly, but since I wanted to give the book every advantage, I consider the expense worth it, no matter what happens in the future.
Are you working on anything at the moment?
Yes. One idea is a sequel to The Water Babes. The other is about the closed world of luxury cruising. But I am waiting to see what happens to The Water Babes before working on other ideas in earnest.
How do you go about balancing comedy and drama in your fiction?
It remains to be seen whether readers think that there is a balance in my book…!
But for me, it helps I think to have a sort of ironic detachment to the world about us. I have found that if I tell people that my novel is set around a ladies' aquarobics class, they already seem to sense the comic potential in the basic setting. It’s a bit like setting up a situation comedy.
Add to that a mix of themes such as separation, divorce, sexual shenanigans, and a farewell party, it isn’t difficult to see how life’s dramas and even tragedies might also have their place amongst the comedic moments.
What has been your biggest challenge in creating The Water Babes?
The biggest challenge was how to introduce each character. It is an ensemble piece, (unusually for most novels, I think) and so I didn’t want to have just one dominant central character.
I had trouble making the opening scenes plausible, because I didn’t want to bombard the readers with lots of names or initial character descriptions too soon. I needed to make space for the introduction of each character’s motives for joining an aquarobics class in the first place. Then I had to combine what is initially a character driven story with what becomes a story driven more by plot, which darkens as the novel progresses.
The Water Babes demonstrates the old adage that no man – or woman – is an island.
On the contrary, the story shows that we are all in this together.
The ebook is available as a free download for an introductory period
Weds 13th July to Sun 17th July
The ebook is available as a free download for an introductory period
Weds 13th July to Sun 17th July
Where can we find out more about your book?
Paperback via publisher: http://www.troubador.co.uk/book_info.asp?bookid=3701
Paperback on Amazon: https://www.amazon.co.uk//dp/1785890921/
Ebook on Amazon: https://www.amazon.co.uk//dp/B01HZBUEW0/
Author website: www.normanwhitney.co.uk
Tuesday, 21 June 2016
Dear unsatisfied customer,
I know how you feel, having bought goods and services myself and found them wanting. The price doesn't enter into the equation and I recognise you've chosen to spend your money on my book. Thanks for that initial vote of confidence.
I read your review with interest - as you can imagine, I read them all! I can't speak for your experience because, let's face it, nothing has that fingernails-on-a-blackboard feel to it like an author trying to justify their work to a critic. And it could be argued that if I have to point out the good bits, or what I was trying to achieve, that's as good as admitting I've failed.
However, while I'd never knowingly attempt to change a person's mind once it's made up, may I offer some advice? If a book has really disappointed you, when you review it why not let the author - and other readers - know where it failed and why? That way your negative experience can be turned into a positive by giving the author something to work on with their next book.
I hope the next book you choose is more to your liking. Incidentally, I have other books out there that you might enjoy, or not!