writing

Happy Valentines Day

My partner and I don’t do anything for Valentines Day, so I forced a couple of my characters into a room to write to their significant other. Harry was not allowed to take part in this exercise. It would have only descended into dick pics…

Finn,

I don’t know why I’m doing this. I don’t see what this will achieve. I’m no good at letters. This must be fifteenth version and the others are all crumpled up at my feet, a pile paper and frustration. It’s probably best Belle’s not here or she’d be playing with them.

I’m only any good at stealing things. And that’s no good if I can’t find them. I…I miss you. I hope wherever you are that they’re treating you well. I hope you miss me, too.

Or maybe it would be better if you didn’t. I’m trouble, we all know it. I’m a scruffy little thief with a lax sense of personal morality. I wouldn’t blame you if you wanted to run far away.

But…

I hope you don’t. I really hope you don’t. When I go to sleep at night I see your eyes, they way they glow like flaming brandy. I remember the line of the muscles on your arms, and that time we fell in the fishpond. I really miss your laugh. It sounds strange but I felt safe when you laughed.

I’ll get you back. I’m going to steal you one more time. And then we can go dancing as long as you like. Promise.

Byran

 

Dear Harry,

I feel that I am forever saying sorry to you. Sorry you were hurt because of me; sorry I did not have time for you; sorry I cannot stand on the top of the tower and shout to the kingdom about how much I love you.

I’m not even certain that I’ve told you that. I hope you know, even if I do not speak the words. I think I struggle because those three words are so very small. I worry that they cannot possibly carry all the meaning they need. How can they express the way my skin tingles at your touch? Or the way my heart beats when you so much as look at me? How you make me feel safe, and yet at the same time so alive.

I love you seems too shallow to express my feelings for the man who changed my life. Who has done so much and asked so little. I would give you everything in my kingdom, but it would not be adequate. So instead, I give you my heart and these three, tiny words.

I love you.

For all eternity,
Brendan.

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#JanuaryWIPjoy

I did this on twitter for my current project. Now that’s over, I thought I’d collate responses to the same questions for Happily Ever After. The event was created by the lovely@simmeringmind CX4bzZRUMAEfSWC

1 – Hmm, I don’t have a good answer for this.

2- Why do I love Lavie? She’s a broken hero, and I adore that archetype. She’s spent the last three years of her life fighting for what she believes is right. And now the fight has stopped, she gets to find out just how the experience has damaged her. She’s also a wonderfully, viscerally angry young woman, which was great fun to write.

3- Harry. Everyone loves Harry. He’s a born optimist, whose ideal evening would involve good food, plenty of drink, and then going home and snuggling with the man he loves. He’s also very fond of innuendo, which I noticed affecting me when I was writing. Not that I haven’t always found the word knob funny…

4- The Usurper has the best dialogue, I think. He’s cruel and manipulative, but he only ever speaks the truth, something that makes his jibes even harder for Lavie to deal with.

5- That it made them laugh and cry and if I ever meet the author I’m going to hug and punch her. (If you’re going to provoke emotions in people, you might as well go the whole hog!)

6-I’d definitely be friends with Harry. Everyone needs that friend who always knows how to pick them up when they’re down.

7-The first idea or inspiration came from watching the film, Mama. I was left at the end of it wondering how on earth the characters were ever going to go back to their lives. And then I got to thinking you never find out what happens in fantasy epics after the big bad has been defeated.

8-“Harry would wear a title like I wear a dress,” I tell him with a grin. “Grudgingly, and with the intention of spoiling it at the first possible opportunity.

9- The short, scrubby vegetation around us clings for life while occasional larger rocks push through like breaching whales.

10-I enjoy most of the interchanges between Lavie and Harry, but this one is probably one of my favourites:

A blush spreads across his cheek like sunrise. “I am sweet, aren’t I?”

“You’re a hopeless romantic, Harry. You’re also still half-drunk and smell like a midden heap.”

 

11-Bit more than I line, but this speech always gets me when I read it:

“Of course I love him. Do you have any idea what this is like for me, Lavinia? Do you have an idea what I am going through? I can’t eat. I can’t sleep. It feels like there is a hand around my heart, slowly crushing it. I must hurt the person I care for most in the world and I must pretend I don’t feel a thing.”

12-I love this scene, but it didn’t really fit in anywhere. Deleting was done with great sadness:

“Your Highness? Harry?” I call as I approach and there comes a sharp ‘shh’ in response. As I walk round, I can see Harry sat at the head of the chair, while Brendan is stretched out. The prince’s head rests on Harry’s shoulder and his hand clutches Harry’s shirt. His eyes are closed and his chest rises and falls in the steady rhythm of sleep.

“Pass my drink,” Harry says, gesturing to a tankard on the table. “I’m stuck.”

I grin and hand it to him. “Have you been trapped for long?”

“No, I can still feel my fingers. This is the first time he’s been able to stop all day.”  He drinks deeply and then gives it back to me. “It’s been like this all week, and it’s not going to stop, is it?”

“I expect so. There’s a lot to be done before and after the coronation.”

He sighs. “As long as the days end like this.”

“What, with a dead arm and drool on your shirt?”

He glares at me, but cannot move to retaliate without waking Brendan and there’s nothing in reach to throw.

I think about the conversation with Lord Vayne, all his talk of marriage and duty. But how can I bring up with Harry the suggestion of my marrying the man he loves? Besides, this is not the right moment. Better to let them have their peace while it lasts. Deep down, Harry knows things won’t always be like this.

And a wedding won’t be needed immediately. Things like that take time, and negotiations. And who knows, maybe Brendan and whoever is chosen will end up like Stefan and I, putting on a face for court and then ignoring each other.

Brendan mutters something in his sleep, his lip twitching in a grimace. Harry runs his hand over the prince’s hair gently and kisses the top of his head.

“Long live the king,” he murmurs.

13-The feedback that makes me smile most is that addressed to the characters – “You tell him, Lavie,” or “I don’t think that’s the important thing, Harry.” I did laugh when I got a comment saying is this a sexual reference to a Harry saying he’s plenty good at bending the knee to the king (spoiler, yes, yes it is!)

14-I want them to bond with the characters. I want them to laugh, to cry, to ache, and to heal with them.

15- Has to be Buttercup, the only creature Lavie is scared of:

Harry’s horse is a monster, over seventeen hands with a coat of pale gold. It has the temperament of a hung-over dragon and I swear when it looks at me, it’s sizing me up. Harry, of course, dotes on it.

16-The main sight is Tallman’s Keep, the imposing castle situated on the edge of a cliff overlooking the sea.

17-If you follow Lavie around, you’ll hear insults (at Harry), cursing (at the Usurper), and frustrated outbursts (usually directed at Prince Brendan)

18-Down in the kitchens the smell of fresh bread, roasting meat. Brendan wears orange oil in his hair, and Lavie can never quite get the smell of blood out of her clothes.

19-Cinnamon, honey, apple, and walnut are popular ingredients used in the kitchen products.

20-The rough granite stone of the keep contrasts with the smooth silk of the ceremonial uniforms of the king’s personal guard.

21-I’d love it be a movie, and get to see how actors would interpret my characters.

22-Most epic thing was the size of it. It’s the longest thing I’ve written by a long way, even after editing cut it down by 20k.

23- Cut the filter words, draw back the introspection, change the start point to later, show more of the emotions

24- Start earlier and show the war. This isn’t what the story is about, so I didn’t want to draw out the events before the war is won.

25- Shout out to @Ianbarnes, @Leighstanfield, @MichaelMammay, @KamerheLane, and ml_keller for the CP support. There are lots of others who have been very supportive as well with beta reading and encouraging comments.

26- Fantasy is a way of exploring ideas and themes without being caught up in the how and why of the real world. It’s a way of testing with what if and applying it to the human aspect.

27- I don’t know where this image came from, but it definitely reminds me of Lavie.

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28- Lavie and Harry. They have a completely platonic relationship, but each of them can read the other perfectly. They constantly insult each other, but know the other always has their back.

29- I want people to get to know the characters. When you’ve spent that long in people’s heads, they become real and you want people to meet them. I also think it’s important to have more representation in fantasy of other sexualities and also mental illness.

30- Lavie shares a lot of my frustrations and flaws. Her feeling of trying to turn back tides of pettiness, and trying to protect people she cares about against snowballing situations are ones I understand. Also having suffered depression myself, having characters who experience the same symptoms is important to me.

31-I’ve learned about the effectiveness of armor against projectile weapons, about palfreys, and a number of techniques for improving my writing.

Red Velvet

For Laura Heffernan. Hope you’re feeling better!

RED VELVET

 

6.00: I awaken. New. Fresh. Warm. Steaming slightly as the baker busies herself at the sink. Her name is Janice, I know instructively. Six others of my kind sit in a line beside me, and there are more on another counter: sponge, fruit, coffee and walnut, and one quite ugly lemon drizzle.

7:00: Janice smothers my surfaces with a mixture of cream-cheese and icing sugar. Pride spreads through me as I catch a glimpse of myself in her metal bowl. I’m perfect. She finishes off the others, doing what she can for the lemon drizzle, then packs us into boxes.

8:00: The door bell rings almost immediately, signalling the start of morning rush. It doesn’t take long for the cozy shop to fill with calls of ‘Morning and ‘How are you?’ punctuated by the sharp ding of the till. Janice sells two sponges, but most people are after bread. It’s not my time yet.

9:00: The rush dies away. Janice sweeps the floor, humming to herself. She’s flat, but it doesn’t matter. You don’t have to be in tune when you’re happy; a smile carries the melody just fine. I’ll make someone happy today.

11:00: A trio of mothers come in and buy a selection of cakes for their coffee morning. One of them casts her eye over me, but her friend shakes her head.

“It’ll go straight to your thighs,” she warns. “The icing must be an inch thick.”

I can’t explain how little this matters and they walk out without me.

12:00: Lunchtime. I’m hopeful again. The queue stretches out the door for most of the hour. A policeman orders a ham sandwich with extra mayonnaise and looks at me hungrily, but holds up his hands when Janice offers me to him.

“I can’t. I need to watch my weight,” he says, patting his stomach with a grin.

15:00 Most of this morning’s batch are gone now. It’s just me, one of the coffee and walnuts, and the ugly lemon drizzle. Five minutes later, the coffee and walnut leaves, headed to cheer up an old man in hospital after a fall. What’s wrong with me? All I want is to bring happiness to someone. Why won’t anyone see that?

16:00 The bell rings. I try not to get my hopes up, but they soar when the diminutive old woman tells Janice she wants a celebration cake.

“Of course. Red velvet or lemon?” she asks.

“Oh, lemon please. I’m not fond of overly sweet things.” She goes on to tell Janice that she’s a great-grandmother now, and her whole family will be coming round. I imagine them, cooing at the new baby, reminiscing about when the older ones were young. Together. Smiling. Happy.

17:00: I’ve failed. Janice wipes down the counter and heads over to flip the sign. Perhaps she’ll take me home. Perhaps it’s Janice who I’ll make happy. Then I remember her talking to one of her customers about her husband’s diabetes and realise it’s unlikely.

The bell jangles as the door flies open, making Janice slide-step out the way. A woman stumbles in, breathing quickly.

“Are you closed? I…I need a-”

Her last word is cut off as the door opens again with a clang.

“I need a cake,” says a man. His words come out in a rush, mixed together like batter. He notices Janice and the woman for the first time and adds a muffled, “please.”

“I’m sorry,” the woman says. She’s short, a little dumpy, with curls of brown hair around her face. I’m sure I could make her happy. She doesn’t look the sort who worries about her thighs or dislikes overly sweet things.  “I was here first and I need that cake.”

I can barely believe what I hear. Overlooked all day, and now there are two people who want me.  The man frowns. “Seriously? There’s only one?”

“We’re closing,” Janice apologies. “If you would like to come back tomorrow, you can have your pick.”

“I’d prefer it today,” the woman says, wrapping her arms around herself. Despite the warm shop, she shivers. “Please.”

“Lady, it’s my birthday. It’s been a long day in a string of long, shitty days, and I want a birthday cake.” His voice rises as he speaks, like the high-pitched whine of something about to break. “I’m going to eat it, get drunk, and find a train to throw myself in front of.”

Her hand flies to her mouth and the man’s face turns red.

“I.. I’m sorry,” he says. “I didn’t mean to… I… I’m sorry.”

They’re quiet. None of them moves; they don’t even look at each other. Then the woman looks at me.

“Perhaps,” she says. “Perhaps we could share it.”

“I’d like that,” the man replies.

Janice closes the lid on my box

 

17:30 The woman sets me down on a sideboard, over-looking a faded blue velveteen sofa. There’s a photograph of a young boy on a tricycle next to me. He smiles at the camera, the grin affecting every inch of his round face.

“I’m Kate,” the woman says, holding out her hand.

“Jacob.” He takes it cautiously, as afraid she might slap him, or he might hurt her.

“Take a seat.” Kate points to the couch. “Do you want tea or coffee?”

He doesn’t move. “Maybe I should go.”

“Nonsense. No one should be alone on their birthday.” She pauses in the doorway. “Did you mean that, about killing yourself?”

“I don’t know,” he says to his shoes. “I don’t think so. But sometimes I wonder what’s the point, you know? I’m thirty-seven. I have no friends, a job I hate, and my mother loves my ex-wife more than she ever loved me. So what’s the point?”

“I don’t think there is a point,” Kate says. Her voice is muffled by the sound of the kettle boiling. “Not to life. We just are, that’s all.”

“Maybe.” Jacob looks at the front door, then the kitchen door. He sighs and sits down on the sofa, his hands clasped together. A few moments later, Kate comes back with two cups of tea on a tray. She sets them down and sits on the other end of the couch.  Jacob picks up a cup and stares into it. There are no knives and plates, I notice with disappointment.

“I don’t know how it got to this,” he says suddenly. “Threatening suicide and drinking tea in a stranger’s house. I know I haven’t been happy since Rebecca, though.”

Kate takes a sip of tea.

“Rebecca was my wife,” Jacob continues. “I don’t think I ever loved her. Loved the idea of her, maybe. Lusted after her, definitely. She did her best to make me miserable, make me doubt myself. She was a cold-hearted manipulative bitch, but I didn’t see it until we were married.”

“How did you get out?”

He blushes, colour creeping up his neck and settling in his ears. “I fell in love with a man. For a while, it was great. Sneaking around was exciting. Then we got careless and we got caught. Turns out he was more in love with the thrill than he was with me. Rebecca dragged me through divorce court. Took me for everything I had. I never had many friends and those who were mutual all took her side. So did my mother.”  He sniffs and Kate hands him a pack of tissues from her handbag. “Mum’s the sort of person who thinks gay is something you catch from dirty public bathrooms, and I’ve never even bothered to try and explain bi to her. I might as well have leprosy.”

“I’m sorry,” Kate says.  It’s a small phrase, but Jacob sits up straight, as if a weight has been lifted.

“No, thank you. You never told me why you wanted that cake so badly,” he says, looking over at me.

“It’s my son’s birthday, too,” she says, and her voice trembles slightly.

Jacob blushes harder. “Oh, shit, sorry. I didn’t realise I was taking cake away from a kid.”

She smiles, but her eyes are wet. “It’s okay. He won’t be needing any. He died, when he was two. Every year, I buy a cake, light two candles, and go through my photographs.”

He reaches for her hand. “I’d like to see them.”

 

18:00 The photograph albums lie discarded on the table, by the now cold cups of tea. Kate has finished crying, those loud, painful, yet cathartic sobs. They’ve moved from opposite ends of the couch to the centre, and Jacob has his arms around her.

“I’m sorry,” she says, and blows her nose.

“Don’t be. I feel like I’ve done something good for the first time in years.”

She smiles and it reaches her eyes this time. “I’m glad you wanted to buy that cake. I’ve missed human contact so much. It’s funny, how you never notice something missing until you find it again.”

They continue talking, about unimportant things now. Things on TV, the weather, their favourite foods. They don’t go back to opposite ends of the couch.

 

21:00 I’ve been forgotten again, left on the sideboard by the photograph of the smiling toddler. But I don’t mind this time. Kate cooked dinner. Jacob did the washing up. Now they’re sitting in the middle of the couch together, not watching some nature documentary. Kate’s fingers entwine with Jacob’s, her head against his shoulder. Things might be different in another hour, another day, another year. But at this moment in time, thanks to me, they’re happy.

 

 

We’ve just Met, and this is Crazy, but here’s Trauma, so Read my Story?

Someone once told me I was very good at torturing my characters. I take this as a compliment. (My characters are currently hiding behind the couch, quivering and wondering what fresh hell I have planned for them.) It’s important to worry about characters. If things come too easily for them, then we stop caring as much. It’s a dark kind of fun, at times, too.

But there’s a time and a place.

I’ve never read Harry Potter. It wasn’t the plot, or the writing that put me off picking it up. It was the room under the stairs. It was too much, too soon. How could I care about the suffering of a character I know nothing about? It felt like instead of presenting me with a rounded character, I was being offered a series of escalating bad events in place that was supposed to endear me.

It didn’t work.

Harry Potter isn’t the only example, by a long way.  And maybe other people feel differently. But for me, I’m much more likely to want to follow a character if I see something positive first. Captain Mal Reynolds won my heart through the way he handled a hostage situation in the first episode of Firefly. (The fact he’s played by Nathan Fillion didn’t hurt, though.)

I think this was one of the issues with the opening of Happily Ever After. While I didn’t pile on Lavie’s backstory, there wasn’t much of a chance to see her as a person, either. So I’ve returned to an earlier scene that was cut, giving a moment before the heat of battle and a chance for the reader to get acquainted with the three protagonists before things go to hell. There’s the entire rest of the book for that.

What are your views? Do you suck up protagonists who have lost both parents, been kidnapped by monsters, and had their puppy killed before the story gets going, or do prefer to get to know the character before the author starts beating on your feelings?

Pantsed Myself Right into a Corner

At the beginning of the year, I set myself a word count of 150,000 new words to be written over the year. Editing didn’t count; they had to be part of a first draft. I did it the year before – not easily, perhaps – so I thought I’d do it again this year. I’ve not managed to write half that yet, and it’s December.

There have been a few external pressures that have contributed to high stress levels this year. That hasn’t helped. And I have done huge amounts of editing. So it’s not like I haven’t been busy writing, querying, editing and so on. I don’t feel too bad for the most part.

What’s bugging me is chapter eighteen. I’ve sat down to write this and every time I’ve barely managed to get a handful of words down. I think I might have pantsed myself into a corner with this one. Not in terms of plot, just in the sense that I don’t have a clear enough idea of what I want to happen. Once I get over this hump, I’ll probably be okay. But it is driving me nuts.

I love this story. It’s not particularly big or clever, but the characters are so much fun. I’ve got a nervous wizard with a weak stomach who wants to do the right thing, but is way over his head; an Amazonian side-kick who can roll men into little balls of broken limbs and turns into a kitten during the full moon; and Byran, who has a lax attitude to personal property, a wit drier than a Saharan summer, and unfortunate case of claustrophobia. I even have ideas for writing more with them once this one is done. And I never get serious about sequels.

I know where the story is going to end up, but that’s in the wrap-up, last chapter. I’m not sure about the climax, let alone how they’re going to get there. The only things I’m reasonably confident about are things I don’t want to reveal because I want to save them for later stories. I pantsed my way through Happily Ever After when it became clear early on that my original version wasn’t going to work (thanks, Squeak!), but that seemed to just flow. This one is being more of a pain.

I’ve just got to take it one line at a time. So if I seem to be hanging out on Twitter to much, give me a kick and tell me to go and write another one.

Five Reasons Why I think Contests are a Good Idea

I’ve entered a few contests this year, starting with #Nestpitch in the spring and finishing with #pitchslam this week. Some I was selected for, some not. Some I got requests, others I did not.

Many contests run on a roughly similar format. A pre-selection period, where you hone the required materials, pitch, query, first 250 words etc. Then the section period where you wait and bite your nails, hoping to be selected. There may be a mentoring phase, where writers and editor help improve your selected materials, and this may be a couple of days or longer. Finally, an agent round, where your materials are displayed for agents to make requests. Throughout, there is generally a hashtag for the community to build up on Twitter.

I think every contest was worth my time. Here’s why:

Reason five: Agents. It can be daunting to know where to start when you begin querying. Having agents who you know are interested in your work gives you are starting place. You should always research agents before submitting, but it gives you a much smaller pool to start with, and then you can widen your search.

Reason four: An opportunity for feedback. For contests with mentoring, this will come from those who have already been through the querying process, or who are editors who help writers get there. They know their queries inside out, and can help you get that dreaded synopsis down to a page. Even if there’s no mentoring, it’s easy to get feedback from other competitors in the pre-selection phase. A show me yours and I’ll show you mine attitude gets fresh eyes on your work and fresh friends on your list.

Reason three: It can help identify if you’re ready. It’s almost impossible to know if you’re at the right point to be querying just on your own. Getting an opportunity to see how your work compares with others, and the feedback you will get, can help you place yourself. Maybe you’ll enter and find out you’re not in the right place to publish. #Nestpitch ultimately taught me that. Maybe you’re not ready to query yet. But if you learn that in a contest, you can revise and still go on to query agents you want to work with, whereas if you’d jumped into querying, you might have lost your chance with that manuscript.

Reason two: It teaches you how to deal with rejection. You won’t get picked for all contests. And you won’t get requests from all the ones you do. We’ve all got to deal with rejection, and this is a more comfortable way of doing it. There will be lots of others who didn’t get in, and you can commiserate and console each other, then work together to build yourselves back up. And you can enter the same contest when it runs next, whereas you can’t generally re-query a rejected project to an agent.

The number one reason I think you should enter contests is for the people you meet. Writing can be a lonely, stressful business. Non-writer friends can be supportive, but they don’t necessarily have the insight other writers do. Having people who know what you’re going through is wonderful. Then there’s the opportunity to meet people who can help build up your skills. Published writers and experienced editors. Your betas and your critique partners. As mentioned in #pitchslam, these are the people who will end up in your acknowledgements when your book is published. A good CP is worth their weight in gold and not easy to come across. Contests are a great way to meet them.

Convinced? Check out this list:
http://carissa-taylor.blogspot.co.uk/2013/01/contest-madness.html

7X7X7X7 Challenge

I’ve been challenged to do this by a few people on Twitter. It’s a simple exercise – starting from the seventh line, post seven consecutive lines from page seven of your current work in progress. So, here is a section from what is currently titled Lock Stock and Two Smoking Goblins:

Great. I rolled over to find myself staring into a pair of amber eyes. On a small, buttermilk-coloured kitten.
“That’s how you’re going, Belle?”
The kitten made a soft chirruping sound.
“Fat lot of good you’re going to be if a fight breaks out.”
Somehow her expression managed to convey the fact that she had chosen that shape for exactly that reason.

How to Slay the Blank-Page Beast

I came across a thread about the hardest thing about writing. For me, editing is probably the thing I find hardest. Having created something, tearing into it, criticizing it, breaking it down into little pieces is very hard, even if the end result is so much stronger. But for other people, the hardest bit was getting started.

The blank-page is a monster. It stares up at us, preening and immaculate, daring us to defile it with our words. It’s a mirror of our own insecurities – will the words I put down justify despoiling the perfect image in front of me? Can I be worthy? You get caught up, trying to find the important scene, the most compelling hook. Do I start in media res, or is getting to know the character more important? If you let it, the blank-page beast will get you so tied up that nothing quite seems right and after writing and deleting sentences, you give up.

You can try a not-quite blank page. I always begin with a pre-formatted template that has chapter title and page numbers in place. The beast is weakened, because you know it’s waiting for words now. But that’s not always enough. Here’s my tip for defeating the monster:

You don’t have to start at the beginning.

You don’t need to worry about that hook, or what’s the best opening sentence. You could write something that occurs in the middle, or something that’s near the beginning but not quite. You don’t even need to write something that’s going to be in  the book at all. If you want to write a page of exposition or the history of your world, or your main character’s first date with someone who’s going to be married with three kids by the time the book starts, it’s all good. As long as you write something, that page is no longer blank. It’s yours now. You have bound the beast to your will and it will now work for you.

It’s okay to be mediocre. That’s a very hard lesson to learn. Whatever reason a person has for writing, I’ve never met one who wrote simply because it was the least worst thing to do. Everyone who writes out of choice has a passion, a drive to become better and do their best. But that is never going to come instantly. If you polish every sentence as soon as it is on the page, you’ll struggle to finish. Worse, you might give in to the lies of the blank-page beast and never start. I’ve found the first draft is the most fun, and that’s because I’ve learned to stop worrying if it’s shit. The first drive is for meeting characters, throwing them into situations, and watching to see if they can pull themselves out and recover. The hook, the best opening paragraph, the pacing, and the plot holes can all wait. Don’t worry about them.

For now, just wrap your characters in the skins of the blank-page beasts and watch your creations sweat and bleed onto their hides.

Why “Making your Dreams Come True” should raise red flags

Let’s say you’ve just finished your book. And I mean finished. You’ve gone through multiple drafts, had it looked over by alpha and beta readers then sorted through their feedback, edited, redrafted, almost turned to drink, and come out the other side with something wonderful.

What to do next? This thing has been your focus for maybe years. Let’s face it, out books are like our children. We raise them up, shaping them into something we can be proud of. We want what’s best for our books. And there are lots of options. You can go the route of seeking an agent to represent you, get your books to publishers that you couldn’t reach on your own. Or you can take on everything yourself and self-publish – hard work and lots of heavy learning, gives more control over your creation. There are even companies that you can pay to publish your work for you – they’ll do the editing, cover design, maybe even some marketing.

All options have pros and cons. What works for one author might not work for another. You have to judge them on what’s right for you and your book. Whatever you do, you have to go in with your eyes open and know what to expect. Because not everyone is honest and young, naive, or rejected writers are blood in the waters to these sharks.

Look out for anyone who says they are there to make dreams come true, or take a chance on new writers. Publishers aren’t there for dreams. Publishers are there to sell books. A publisher’s market is readers, and that’s who they should be directing their marketing towards. If they’re too busy seeking out new authors to take a chance on, how will they find the time to sell those books? Beware for anyone who says first time writers have to pay. This is not true. There may be times when a writer wants to pay, and that’s fine as long as they make the decision and thoroughly research the options, just as you would when buying any other product.

How do you tell a shark?  Speaking to authors on their list can be one way, but if they don’t realise that they don’t necessarily have to pay, if they’ve been conned into thinking you can’t be serious about your book if you don’t want invest in it, they might give a glowing report. All writers invest massively in their books – that’s the time spent writing, editing, head-banging the desk, buying more and more tea etc. Publishing should be about the pay-off on that time.

There are several good places to check out:

Preditors and Editors has a wealth of information for writers. They have a directory of publishers, with notes about who to avoid.

Writer Beware is similarly extensive and the blog has useful news to keep up to date. Also has thumbs down lists of agents and publishers to avoid.

The Absolute Write forums is a good place to go if you’ve come across a publisher and want to know more about them,

Any other good resources, let me know in the comments and I’ll add them.

Learning to Love a New Story

When inspiration strikes, there’s a wonderful sense of being drawn into something new and exciting. It’s unexplored territory, like waking up in a foreign country or finding that all your favourite cereal has been swapped for something in a language you can’t read.

But sometimes, when you’ve just started to look around or had a few mouthfuls, you find it’s not quite what you expected. Sometimes bonding with a story isn’t instant. A story that the writer doesn’t love is hard sell, so what to do?

Don’t start at the beginning:

Especially if your inspiration came from a scene or event later in the story, try writing out of chronological order. Beginnings are important, and sometimes their weight can press down too much if you’re unsure about the story. Find a section you’re dying to write, and get it on paper. Get invested in that moment, and it will be easier to carry on that feeling as you build up around it.

Make notes

Even if you’re a pantser rather than a planner, doodling some ideas down on paper can help get into the world. You might come across that perfect scene to jump into, or hit upon another idea that builds up on the original one.

Draw

No good for me, as even my stick figures look at me in shame, but I know not everyone was cursed with the artistic ability of a dead newt. Drawing characters, mapping out the world, sketching the streets or you lead’s house can get you invested in a way that words are unable to do.

Spend some time with your characters

Often, the stories we love most are the ones where we had the strongest emotional reaction to the characters. Get to know your new ones: who are they? What do they like for breakfast? How would they react if someone broke in and swapped all their cereal?

Make a soundtrack

What sort of feeling do you get from the book? What sort of things happen? Have a hunt for music that reminds you of these things and build up a list of them. Close your eyes and think of your world, your plot and your characters while you listen. The music can get you into the mindset of the story when you carry on writing it.