10 Top Tips for Writers!

1. If possible, write on something that is NOT connected to the internet. That way you aren't tempted to check Facebook/Twitter every 5 minutes. Or less.

2. If you are writing on an internet-free laptop, make sure it isn't in the same room as the internet connected one (see 1).

3. If you can't accomplish 1 and 2 for physical/financial reasons, try to allocate yourself specific times of the day to Tweet/update your Facebook. Do not weaken.

4. Unless specific, dickering about on Google is not 'research'.

5. Checking your Amazon rating and sales figures every two days is liable to lead to suicidal feelings. Ditto reading posts from other writers who do this.

6. Ditto reading the 'I wrote a whole novel today - go me!' claims on social media

7. There is no such thing as 'Writer's Block', it is just a posh excuse for not writing.

8. The only way to write a book is to write a book.

9. If you are not constantly awash with doubt/fear/insecurity/self-loathing/envy/anxiety/panic, you probably aren't a writer.

10. Follow your dreams by all means. But make sure you have a day job.

Can You Make A Million Pounds From Your Writing?

Yes, I thought that would get your attention.

Over the past few weeks I have seen several requests on social media forums from new writers or self-published ones asking if anybody knows a good agent, or can advise on submitting to top mainstream publishers.

I have blogged before about my experience of literary agents. Basically, they are there to make money for the agency, not you. They will take 10 -15% of your earnings, and unless you have an exceptionally good one (I am told they exist), they may well not bother to submit your stuff if it is not taken quickly. Small agents are in competition with the large established ones in a field that is decreasing all the time as publishers shave their margins and take fewer risks to stay in business.

Agents are certainly useful for sorting out publishing contracts and making sure your rights are protected: pre-agenting, I had a very bad contract from OUP (yes!) which my former agent was disgusted at. BUT the Society of Authors - well worth joining, can do that. Few publishers nowadays make you sign rip-off contracts - we are all too well lawyered for that to happen.

So, let's move on to the mainstream publishing trade. Forget all those 'X signed a 3 book contract and has been offered eight squillion in advances and a film contract with a top Hollywood director!!!' 
I now see these in the same category as those 'teaser' rates offered by big banks.

The sad truth is that 0.00000006% of writers submitting to 'one of the Big 5' will be taken.
These lucky souls are probably:

1. Very young, very attractive and with a very heart-tugging backstory (see JK Rowling)

2. Have an MA in Creative Writing from a university where one of the publisher's top writers tutors.

3. Is a friend, girl/boyfriend, employee of a publisher or is in the media business already.

4. Is a celeb.

5. Has just happened to write something that the publisher feels they can put out to compete with a rival's book that is just taking off.

6. Has been 'discovered' in one of those 'competitions' where the lure of publication is offered to unpublished writers. This is a useful way of getting round paying agency fees or having the hassle of dealing with them.

Then there is the vexed question of Royalties. This is the money you get as a % of each book sold via bookshops or other platforms. If you are a new author, you start at the bottom.

The Royalty rates offered by most standard (UK) publishers are:

10% on the first 5000 copies
12.5% on the next 5000 copies
15% over 10,000 copies

Yep. You are shocked. I checked my Usborne contract the other week and sure enough, 10% is the amount offered. Bear in mind that my then agent took 10% of that, which left me with 8% ... about 60p on every £6.99 book sold.

So why bother?

I return to my title. IF your only reason for writing is to make money, then go find a job in your local supermarket. Or do the National Lottery. Or find yourself a rich partner. If, however, writing comes in the same category as oxygen for you, then keep at it. Enjoy what you write, marvel at your luck in having such a wonderful gift. Start a blog. Enjoy chatting and sharing with other writers on social media. Self-publish. But do not hope or expect to make a fortune from it.

Of course, I don't expect you to listen to a word of this, because YOU have written the one book in the history of the publishing universe that defies all of the above. Good luck, fellow scribe. You may or may not believe me, but you are going to need it!

Are You A Serial Offender? I Am.

As you probably all know, Diamonds & Dust, which was rejected out of hand by my former agent as ''not remotely publishable'' and subsequently went on not only to be published, but was listed for the CWA Historical Dagger, the Walter Scott Prize, the Folio Society Prize, and scored 110 + reviews on Amazon, is now developing offspring.

It wasn't meant to. Seriously. I didn't envisage trotting out the two Victorian detectives Stride and Cully again. But like lily pond paintings by Monet and Haydn String Quartets, once started, it seemed logical to keep going.

Thus the sequel Honour & Obey, which was published November 2014, Death & Dominion which came out in October 2015. Rack & Ruin (Sept 2016) was the fourth outing for Stride & Cully, Wonders & Wickedness (Sept 2017) was the fifth, and I am currently putting the final touches to a sixth book: Fear & Phantoms, which should be ready to read this September (see below for sneak peek of new cover)

There are those writers who regard a series as a bit of a ''cop-out''; after all, you've got your characters already written for you. To them I would say: writing a series is MUCH harder than producing a one-off text. And I know what I'm talking about: this is my second series of books. (The Spy Girl series for Usborne was the first)

The main problem is that unless you started with the idea of writing a series, and few authors do, they just tend to evolve, you are stuck with whatever you wrote in the first one. You cannot radically alter the appearance nor personality of the main character/s without readers going ''What the ...?'' After all, it was how they were in book one that will keep them reading books 2, 3, 4, 5 etc. You can and must develop the main characters, but in essence, they have to bear some resemblance to how they were in the beginning.

Then there is the problem of keeping the plot momentum going. I find book 2 is usually the easiest, as it seems to evolve naturally out of the first one. Book 3, however, is far more problematic. New areas have to be introduced to keep the reader interested. Some fundamental shifting of perspective must take place, or else book 3 becomes merely a watered down version of the previous two. Actually, book 3 is usually the pivotal one upon which the rest of the series rests. If you cannot pull it off successfully, it is best to admit defeat and pretend you only meant to write two in the first place.

By book 4, the pitfall is over-confidence. You have run the gauntlet of three books. You feel the surge of expertise as fingers hit keyboard. This, after the previous three, will be a doddle to write. You have your characters, you know how the story arc works. Sometimes this attitude pays off: I still think Dead Man Talking, the fourth Spy Girl book, is the best plotted. However, beware: book 4 can so easily wander off into alien territory, or become a repetition of book 3 with added lacklustre.

By the time you reach book 5, you can say with confidence that you have planted your flag upon the summit of Series Mountain. Whether your trajectory goes up or down is now up for debate. I can say from avidly reading crime series, that some writers manage to sustain plot, characters and reader interest beyond book 5, but many more don't and the result is a series of  flat read-alike stories with little variety at best, or downright daftness at worst, (bounty hunter Stephanie Plum's hamster has survived longer than any hamster should or ought!)

The trouble with series is that publishers LOVE them. They are easy to market, and each book sells on the back of the previous ones. Thus the temptation to go on churning them out year after year, when by rights the whole thing should have been allowed to quietly slink off and hide in a dark corner after the fifth one.

I have been told though, that the ''real money'' comes from a 5 book series, which means most other writers will have been told this too. Mind, I never thought I'd get as far as a third or fourth. My former agent didn't see any mileage in the first ... and here I am already tentatively starting a seventh.

So what's your experience: Do you prefer to read a series? Or a one off novel. If you are a writer, have you ever tackled a series, or does the prospect fill you with horror? Do share your thoughts .... 

Cover c/o Gina Dickerson (Rosewolf Design)

10 Top Tips for Writers

1. If possible, write on something that is NOT connected to the internet. That way you aren't tempted to check Facebook/Twitter every 5 minutes. Or less.

2. If you are writing on an internet-free laptop, make sure it isn't in the same room as the internet connected one (see 1).

3. If you can't accomplish 1 and 2 for physical/financial reasons, try to allocate yourself specific times of the day to Tweet/update your Facebook. Do not weaken.

4. Unless specific, dickering about on Google is not 'research'.

5. Checking your Amazon rating and sales figures every two days is liable to lead to suicidal feelings. Ditto reading posts from other writers who do this.

6. Ditto reading the 'I wrote a whole novel today - go me!' claims on social media

7. There is no such thing as 'Writer's Block', it is just a posh excuse for not writing.

8. The only way to write a book is to write a book.

9. If you are not constantly awash with doubt/fear/insecurity/self-loathing/envy/anxiety/panic, you probably aren't a writer.

10. Follow your dreams by all means. But make sure you have a day job.

Inspiration or Perspiration? A Writer's Life.

So here we are, almost the end of June and I am reassured that my Winter fuel payment will still be paid. For now. Last Winter, I probably spent it at least 20 time over. The price of oil is supposed to be lower than at any time over the past few years, yet I was spending every penny I earned on keeping warm enough to earn the money to spend on keeping warm. Paradoxical world.

As writers, we are often asked (well, I am) how the creative process of writing a book happens. What I think people desperately want to hear is the apocryphal Enid Blyton response on the lines of: 'I just wander into my little writing place, and suddenly, all sorts of lovely characters and plots tiptoe through the mental bluebells straight into my mind fully formed, and all I have to do is write them down and hey presto! a book appears.' In other words, writing is easy and you, interested interlocutor, could easily do it too.

Sorry, it doesn't work like that. At least not for this little duck. In another of these paradoxes, I find that creativity only occurs when disciplinary structures are applied. Rigorously. In other words, I have to make myself sit at the keyboard, regularly, and write. I can fantasis
e about the book all I want, imagine the amazing prose that I will write when I get round to it, but until my rear end and the chair are brought into contact, and remain in contact for long periods of time, nothing creative happens.

Sure, there are moments, and flashes of inspiration, when one stares at the screen, and wonders whether the Writing Fairy has just made a house call, but on the whole, these episodes only tend to emerge out of a period of just slogging away at the writing process. And I should know, having just edited 73 thousand words of the next Victorian novel, which I wrote purely by dint of making myself sit down at the eMac every day and write it.

An article in the Guardian some time ago lifted the lid on how to be a successful author. No secret, sadly. A lot of labour and a bit of luck. Heavy on the former. As Wm Blake remarked: Without contraries is no progression. Ain't that the truth!

Don't Give Up The Day Job!

I am becoming less and less a fan of bookshops. Yep, I know that sounds heretical, but from a writer's point of view ( especially a self-published one like me) bookshops are the reason we are bottom of the financial food chain, even though WE are the reason they exist in the first place. It is unfair and I am miffed about it.

Bookshops do not have the writer's best interest at heart. To get books into any bookshop, a publisher has to offer at least a 48% discount. This means that for them to stay in business, publishers in turn offer writers such measly returns on books (10% - if you are lucky, and that's on the discounted figure) that it just isn't worth bothering. The growth of ebooks is as much the greed of bookshops as it is the development of technology ~ they signed up to the scrapping of the Net Book Agreement, allowing them to discount titles and then discovered Amazon/supermarkets beat them to it.

I was recently in a blog discussion about small publishers and royalties, and one of the participants (Dr Teika Bellamy: @MothersMilkBks) helpfully provided the following breakdown of costs:

On a £10 RRP (please note, these are approximate figures)

50% retailer (£5)

10% distributor (£1)

10% author (£1)

20% printer (£2)

10% publisher (£1) ← That 10% needs to cover things like ISBN costs, advertising, free books that are sent off to reviewers (and postage and packaging), illustrator’s costs, editing, proofreading, typesetting and all the various running costs of the business (including salaries if employers are paid).  

Based upon this, the writer at the bottom of the pile ends up with so little for all their years of hard graft that they might as well go and work in Asda (also selling discounted books).

Large publishers can print books cheaply and in bulk, and take a hit on a couple of titles. Small publishers cannot. And most bookshops still operate their snobby policy that if it's NOT published by one of the big names it is, ergo, of inferior quality. As one who has given up on so many novels by 'famous/hyped authors' because I can't get beyond page 9, I find that, frankly, deeply insulting.

My local Waterstones had a local writer shelf. I was on it. Then it didn't have one. Now it has reinstated it, but they don't take my Victorian Detective books as I am self-published on Amazon and Bertrams & Gardiners (the 2 big suppliers) won't look twice at me.

More evidence of discrimination. Even though the quality of Createspace books rivals many other publishers' stock (and they frequently resort to using POD companies anyway). Same policy with WH Smith. Same with most independent bookshops. Same with their suppliers ~ same suppliers.

I am lucky in that a local gift shop takes my books (at a slight discount) and sells them like hot cakes as I am not in competition with shelves and shelves of other titles. Now I am, let's face it, at the latter end of my career. And most of my sales now come from Ebooks.

But for a writer just starting out, full of expectation and hope, I'd have to say: Be realistic. Love what you do, be proud of your end product, but don't give up the day job. As a fellow writer remarked: 'unless you sell gazillions of copies, writing books is mostly for pleasure, or a little income to subsidise what else you have.'

Is it worth it then? Yes ~ a hundred times yes, as long as your definition of 'worth' is not measured in pounds and pence

THE IMPORTANCE OF PUBLICITY: My Favourite Portals

'If I write it, they will read it' ~ thinks many a fledgling author with a quiet smile.
Oh no they won't!
It is estimated that a new author on Amazon may sell as little as 50 copies of their book in a year. 95% of writers earn less than £5k. The 'top earners' are a teeny tiny % of the market, and usually get there on the back of a publicity department. But you don't have one, do you? Nor do I. So where to dive in?

Writing a book and getting it published, by whatever conduit you use, is only the start. To get any sales, you have to make people aware of your masterpiece. In this blog, I'm exploring some of the portals I use to promote my work ~ if I don't mention something, it's because I don't specifically use it for book promotion. Feel free to expound on how useful you find it in the comments section, because unless we are all out there, loud and proud, nobody will notice

1. Pre-Publication: At least three months before you are ready to gift the reading public with your masterpiece, it is good to offer it to a few REPUTABLE book blogger sites to read. I say 'reputable' because you want an honest opinion. One of the best sites is Rosie Amber @rosieamber1  Getting your manuscript to them early means that you will have a few (hopefully good) reviews up as soon as your book is published. And yes, I can vouch for their integrity : a reviewer posted a less than enthusiastic review of one of my YA ebooks. I am sure there are other book bloggers out there. Maybe people could identify them in the comments section.

2. Twitter::  I make Twitter my main platform. Most of my sales come from Twitter  eg:

 ‏@tuesdayscomet   

6 hours ago

I have been looking at your books on Amazon and all look great, will buy two of your favorites. Select please. @carolJhedges

 I also encourage readers to post pictures of the actual book (and then they get a surprise signature sent to them in the post)

@carolJhedges @IARTG It's next on my 'to read' pile

And practically all sales come from me chatting, posting stuff etc or people recommending the books to other readers. In other words, I'm a friend first, an online character second, and a writer selling books third.

2a Twitter Hashtags: I use #histfic or #Victorian and #historicalfiction. This places my book alongside the others in the same genre and makes it easier for readers to find them. Your genre will have a #. Or there are general ones #bookboost @IARTG ... check other people's promo posts and you pick them up quickly. You can also follow readers via the authors especially if they have the magic words Avid Reader in their bio. Don't send them promos though. If you want to see some Twitter book promos, check out @TerryTyler4 or @paul_cude (or even me) for ideas.

Make sure you RETWEET other writers and say a general or personal thank-you when people retweet you.

 3. Press Releases: The local press are (usually) delighted to receive a press release, a publicity pic and a free copy to review.

3a. Press Releases: Anywhere your book is set will be delighted also.

3. Local Radio: Contact them via Twitter, phone them up, arrange to do a studio interview. Listen, I sound like a 15 year old mainlining helium, but I still do it.

4. National Press: Will be interested if you have a brilliant backstory, particularly if it involves abuse, or hardship. Also if you earned shedloads of advance shekels or you are very very photogenic. I haven't cracked this one yet. Maybe you will. Also if your partner/family member is 'famous'. However I was told by the wife of someone well known in public life that this could be a two-edged sword as the press can jump on you if said famous person is not liked.

Bernie Steadman in W H Smiths

5. Literary Festivals: Everybody's doing it. Local library will have contacts of yours. Organisers have a Twitter site. Get in touch. I did the first St Albans Literary Festival two years ago and last year. I ran a workshop on how to get published ... ooh, and I had some books on a side-table.

6. Signings: Local bookshop is worth approaching (see pic). Make sure you are professional in your set-up and your conduct ~ do not hassle people to buy your books.

Harpenden Writers, 27th Jan 2017

7.Talks: WI ~ you have to audition and be approved, but it's worth it. They pass you round like a sweetie. Local book clubs/writers' groups are also worth contacting. Library should hold the list. If you write YA or children's fiction, schools are always keen to have a visiting writer. Make sure you get paid ~ the Society of Authors has recommended fees. WI expects you to donate 10% of any book sales to their group.



8. Blogging: Worth a whole post on its own. Maybe I'll write one. Sufficient to say that blogs are great for writing interesting posts around your book. I have blogged on Sex, Food, Child cruelty, Poisons .. did I mention Sex? Some people arrange Blog Tours to publicize their book. I host other writers and write posts for other blogs. It's getting your name out there, building your profile and being part of the writing community.

Writing Magazine

9. Writing Magazine (@WritingMagazine) : The 'bible' for any writer. It has comps, helpful articles, lists of publishers/magazines that are open for submissions, everything you need to stay in touch with fellow writers etc. It also has a Membership Spot where you can happily plug your new novel. I always do them a small write-up. Worth the subscription (which you can claim as legitimate expenses against tax). You can also use their own marketplace to promote your book FREE!

10. Local Shops:: If you are a small published/self published writer with books, it is well nigh impossible to get them into the big bookshops. This is because they get 45% discounts from established publishers and usually only deal with 2 or 3 suppliers. But other shops like gift shops, & craft shops may well be happy to negotiate a better rate. I get a kick from seeing my books in a local shop window (see pic at top of piece). I've never had that happen at Waterstones!

Finally -  if you have published actual books, make sure you are registered for PLR ~ Public Lending Rights: that's the money paid by libraries every time your book is borrowed. You can register here. Every little helps.

What I do not do, and nor should you, is inundate followers, friends on Facebook, or total strangers with 'buy my book' promos 24/7. If you want to read one of my books, great. If not, hey. And I won't be constantly checking my sales figures or Amazon and informing you every hour of the day. That way madness lies. And somehow I have to find time to get on with the next book, (which is the other GREAT way to generate sales), so that IF you bought, read and enjoyed Diamonds & Dust and its three successors, there will be another book in the pipeline for you to read very soon.

Giving Author Talks: Top Tips

St Albans Literary Festival 2016

Once it comes to public notice that you have published a book, or books, you may well find that you are invited to speak to a group about it. Or you may apply to one of the numerous literary festivals to be a speaker. Either way, it is important to plan and prepare carefully in advance, if for no other reason than it stops you panicking as the day draws closer. I have participated in the Edinburgh, Cheltenham and St Albans Literary Festivals as both visiting author and audience, and over the years I have sat through some pretty dire author talks ( I hope I haven't given any!). 

So for 2017, let's look once again at How To Give a Good Author Talk.

1. Your session should contain 3 elements

* You and your books ~ how you write, why you write, what you write. With readings from your books.
* Audience questions.
* Informal book signing and chat.

I suggest for an hour's session the ratio should split into: 25 mins talk, 15 mins questions, 20 mins chat and signings. Obviously the last two can overlap.

2. Set the Scene - including yourself

There is nothing more boring than a pile of books on a bare table. Or a bare table. People like to look at interesting stuff while you are speaking. THINK about your genre. I bring a Victorian top hat and hatbox, part of a Victorian tea set, I lay the table with a lace tablecloth, I also have opera gloves, a seed pearl bag and some of my original Victorian books, which I stand up so people can see the covers.
I wear a steampunk outfit. I put my books to sell on a separate table away from the talk area.
Start collecting interesting stuff for a table display.

3. Practice makes perfect

If you have never spoken in public before, or feel nervous, WRITE your talk out in full first. Then SAY it ~ speak more slowly than normal and time yourself. Keep practicing ~ how do you think actors learn their lines? Some people perform in front of a mirror, or film themselves so they can eliminate any unnecessary gestures. Once you know your talk pretty well, reduce it to one sheet of paper with key words.

4. Sit or stand?

Stand. Always. You command the room, and can check the back row hasn't dozed off. Also you can walk about and pick up some of the interesting objects as you talk about your books.

5. Q & A

Have some pre-prepared questions to stimulate a debate, in case nobody asks anything. Things like: what do they think about self-publishing ~ is it just an excuse for poor writing? Do they prefer ebooks to print and why? What was the last book they read that they really enjoyed? Do they think some writers get over-hyped?

Be prepared to divulge all sorts of stuff. Some audiences will ask how much you earn, have you ever got a bad review, etc etc. Laugh it up and don't get insulted. I frequently bring some rejection letters along and read them out to much merriment.

Next week, we'll finesse your technique, look at a few more tips and
 pick up on any comments left by you that need attention.

How Not To Plan A Novel (Some Tips)

Whatever we write, be it short story, play, novel or poem, we all go through the same initial process: Planning. There are more ways of planning a piece of writing than there are pieces of writing - please read on quickly as I'm not sure this analogy works.

It is said you are either a ''planner'' or a ''pantster''. As the world's weirdest combination of the two (more anon) I don't think I am in the slightest degree qualified to lay down the law on the Hows and How Nots. Nevertheless, given that my lack of expertise has never stopped me piling in and sharing my ignorance, and several people who've read my four soon to be five Victorian crime novels have asked me how I went about it, here's what I do:

Thinking: Every book I've ever written has started in the same place. Inside my head. I spend an inordinate amount of time before starting, and during the writing process just mulling over ideas for story development, or characters. Many of them will be discarded. Sometimes I do this lying on my bed, sometimes I go for a walk, sometimes I carry the story around whatever I'm doing. But however it happens, nothing begins without a lot of thinking taking place. No notes are made at this stage. The thinking will recur regularly right throughout the writing process.

After a lot of cogitation, I progress on to:

Sketching: This is where I might make a few notes on paper. More likely I will write up small sections of the book, or small pieces of dialogue that I quite like. I know the names of the main characters (secondary ones get named as they appear). At this stage I usually have a couple of ''pages'' at the end of a file named ''new book'' with phrases or descriptions that I think I might incorporate.

When I think I know, very roughly, what I might want to say, I progress to

Researching: For Diamonds & Dust, Honour & Obey, Death & Dominion, Rack & Ruin and the new one: Wonders & Wickedness, I visited London and took pictures of the areas I thought I wanted to use. I went online and searched for original documents (there are loads on various Victorian sites). I transferred the entire contents of 3 local libraries' Victorian history section to my TBR pile (rotating as necessary). And I read every novel written in the period that I could -- frequently skimming to get a sense of it.

At this stage, I have a couple of random pages of notes, some online, a pile of downloaded articles, and books with bits of paper and bus tickets poking out of them. Again, researching is not a finite process and will change as I write and need to find out different things.

And now finally, I start:

Writing: I always do this the same way. I write the end. Then I write the opening section. Then I write a bit more of the opening ... a bit more of the end. Then I kind of join them up. Yup. Weird. And AT NO STAGE do I ever have a clear idea of the overall structure of the book or what is going to happen next. It's like fast downhill skiing in the dark.


No serious pre-plotting is ever done. None. No story arcs. No narrative graphs. No cards files. Nothing. The story evolves as I write it. And I write in short episodic sections, rather than chapters, tracking the story through a host of different characters. It's a spirally way of doing it rather than a linear one. I think it makes the story far more pacy and exciting - certainly for me as the writer, although it is sometimes like herding cats as bits of plot wander off into the long grass and have to be rescued.

As I write, I also revise in the light of the direction the story is taking. The whole thing takes about eight months. And then I have to go back and edit. So that's me. Chaos and madness.

How do you plan ....?

9 REALLY Useful Writing Tips

1. If possible, write on something that is NOT connected to the internet. That way you aren't tempted to check Facebook/Twitter every 5 minutes.

2. If you are writing on an internet-free laptop, make sure it isn't in the same room as the internet connected one (see 1).

3. If you can't accomplish 1 and 2 for physical/financial reasons, try to allocate yourself specific times of the day to Tweet/update your Facebook. Do not weaken.

4. Unless specific, dickering about on Google is not research.

5. Checking your Amazon rating and sales figures every two days is liable to lead to suicidal feelings.

6. Reading the 'I wrote a whole novel today - go me!' claims of other writers on Facebook
ditto.

7. There is no such thing as 'Writer's Block', it is just a posh excuse for not writing.

8. The only way to write a book is to write a book.

9. If you are not constantly awash with doubt/fear/insecurity/self-loathing/envy/anxiety/panic, you probably aren't a writer.