I thought I'd share this giggle from The Onion:
http://www.theonion.com/articles/why-havent-we-finished-our-novel,19351/
I'd like to add: I haven't finished my novel because I'm in mourning for the promised but undelivered ending of LOST.
Wednesday, 27 April 2011
Tuesday, 26 April 2011
Common Writing Mistakes
As I gain more experience in the industry, I notice that newly-minted writers seem to make the same types of mistakes. The next time you are looking over your manuscript, you might want to check for these things:
*verb-tense inconsistencies
*run-on sentences
*dialogue that doesn't advance the plot
*dialogue that isn't specific to the character
*characters acting out of character
*Telling and not showing the story
These are just a few of the common errors I routinely run across. These tips do not replace a professional edit (I have previously posted on this) but will help get your manuscript into better shape before an editor sees it.
Happy writing!
*verb-tense inconsistencies
*run-on sentences
*dialogue that doesn't advance the plot
*dialogue that isn't specific to the character
*characters acting out of character
*Telling and not showing the story
These are just a few of the common errors I routinely run across. These tips do not replace a professional edit (I have previously posted on this) but will help get your manuscript into better shape before an editor sees it.
Happy writing!
Thursday, 21 April 2011
How to successfully self-publish
As self-publishing gains more currency in serious publishing circles, it becomes more apparent that writers need to understand what self-publishing involves and the best way to capitalize on the process.
1. Understand the process and its limitations.
*Are you willing to enter into a partnership with your work? Many times, authors with whom I work believe our process is identical to traditional publishers. This is definitely not the case. When you self-publish, you are assuming more of an entrepreneurial role. You assist with pre-production. You do the proofing. You are responsible for any errors after the proof is signed off. You market your book (with our guidance and tools).
*Is your book suitable for the process? Are you writing a 300 page colour book? Print-On-Demand (POD) doesn't handle colour books over 32 pages very well. The final selling price becomes astronomical.
*Is your anticipated book size available through POD?
*Do you have a cover already designed? Have you thought about your cover?
*Are you comfortable on the computer? Can you learn how to revise your proof using a Track Changes function?
*Find out the final selling price at the beginning of the process. Is it competitive?
*Are the various formats available through POD appropriate for your book?
*Has your book been professionally edited?
2. If you need illustrations, have you decided what style of illustration works best? Have you researched how much to pay an illustrator or whether your self-publisher provides illustrators?
3. If your goal is to get into a brick and mortar bookstore, do you have Book Return Insurance? Do you have a Book Promotion Plan? Do you have any connections at your target bookstores?
4. If you are writing a book that triggers you emotionally, are you able to be objective about it? If not, you might not be ready to publish. Are you prepared for reviews of your work?
5. Be prepared to be responsible for marketing your book.
Our most successful authors already had realistic marketing ideas. They learned from our Book Promotion department and had identified their goals early on. They knew their readers and tailored their approach appropriately.
6. Are your expectations realistic (both in terms of process and sales)? I can't tell you how many times I have heard authors say they will sell 1 million books or that they will get on Oprah. Although there are a few writers with startling rags-to-riches stories, they are the exception, not the rule. Be prepared to compete against books published by traditional publishers and their marketing know-how and connections.
7. Will you be able to take advantage of the global distribution networks? Do you have a plan to capitalize on that?
Not all books are appropriate for self-publishing, but hopefully those authors that will capitalize on the advantages of the process will come to it better informed.
Good luck with your book!
1. Understand the process and its limitations.
*Are you willing to enter into a partnership with your work? Many times, authors with whom I work believe our process is identical to traditional publishers. This is definitely not the case. When you self-publish, you are assuming more of an entrepreneurial role. You assist with pre-production. You do the proofing. You are responsible for any errors after the proof is signed off. You market your book (with our guidance and tools).
*Is your book suitable for the process? Are you writing a 300 page colour book? Print-On-Demand (POD) doesn't handle colour books over 32 pages very well. The final selling price becomes astronomical.
*Is your anticipated book size available through POD?
*Do you have a cover already designed? Have you thought about your cover?
*Are you comfortable on the computer? Can you learn how to revise your proof using a Track Changes function?
*Find out the final selling price at the beginning of the process. Is it competitive?
*Are the various formats available through POD appropriate for your book?
*Has your book been professionally edited?
2. If you need illustrations, have you decided what style of illustration works best? Have you researched how much to pay an illustrator or whether your self-publisher provides illustrators?
3. If your goal is to get into a brick and mortar bookstore, do you have Book Return Insurance? Do you have a Book Promotion Plan? Do you have any connections at your target bookstores?
4. If you are writing a book that triggers you emotionally, are you able to be objective about it? If not, you might not be ready to publish. Are you prepared for reviews of your work?
5. Be prepared to be responsible for marketing your book.
Our most successful authors already had realistic marketing ideas. They learned from our Book Promotion department and had identified their goals early on. They knew their readers and tailored their approach appropriately.
6. Are your expectations realistic (both in terms of process and sales)? I can't tell you how many times I have heard authors say they will sell 1 million books or that they will get on Oprah. Although there are a few writers with startling rags-to-riches stories, they are the exception, not the rule. Be prepared to compete against books published by traditional publishers and their marketing know-how and connections.
7. Will you be able to take advantage of the global distribution networks? Do you have a plan to capitalize on that?
Not all books are appropriate for self-publishing, but hopefully those authors that will capitalize on the advantages of the process will come to it better informed.
Good luck with your book!
Friday, 15 April 2011
Is Self-Editing ever a Good Idea?
One of my biggest frustrations involves the perception on the part of authors that professional editing is only an option. Typically, upon inquiring whether an author has had their work professionally edited and I hear, almost inevitably, "I've edited it myself" or "I have spell check" or "My partner/spouse/child/neighbour/co-worker looked it over".
Self-Editing
The inescapable truth is that, as authors, we are NOT able to judge whether we have successfully conveyed our ideas, because we already know what we want to say.
Very few authors are trained to spot verb-tense inconsistencies, awkward phrases, style inconsistencies or even simple grammar.
That being said, there are some tricks to revising your manuscript that you can do yourself:
a. reading it aloud, to yourself or to someone else
b. reading it backwards to catch spelling and grammatical mistakes
c. computer grammar and spell-check, as a starting point (although this should never be exclusively relied upon)
These should never be used to replace a professional edit, but can be used to revise the manuscript before an editor sees it.
Spell Check on the Computer
This should never be relied upon as the sole source of vetting your manuscript, for a number of reasons:
a. These are dialect specific, so as a Canadian, my spelling will differ from both American and British versions.
b. Most computers have spell-check but not necessarily a check for grammar. Homonyms frequently escape this detection (eg. foul and fowl)
c. highly technical or unique jargon is problematic
Again, these do not stand in the place of a thorough, professional edit.
Non Professional Editing
While a professional edit is expensive, there is really no substitute. Often I will try to help writers find a reasonable facsimile where the price is out of reach by suggesting they find a graduate student or teacher. Sometimes this works out well, but sometimes, writers will substitute someone who is not trained to identify these issues. While I think it's great that your partner/spouse/co-worker/neighbour wants to be supportive and give you their input, their qualifications are not necessarily up to snuff.
In short, is any other form of editing able to replace a professional edit? My answer is a resounding NO. Who wants to read a book full of typos and syntax erros? A professional edit is ultimately a sales tool.
If you can't afford a professional edit, you aren't ready to publish.
Self-Editing
The inescapable truth is that, as authors, we are NOT able to judge whether we have successfully conveyed our ideas, because we already know what we want to say.
Very few authors are trained to spot verb-tense inconsistencies, awkward phrases, style inconsistencies or even simple grammar.
That being said, there are some tricks to revising your manuscript that you can do yourself:
a. reading it aloud, to yourself or to someone else
b. reading it backwards to catch spelling and grammatical mistakes
c. computer grammar and spell-check, as a starting point (although this should never be exclusively relied upon)
These should never be used to replace a professional edit, but can be used to revise the manuscript before an editor sees it.
Spell Check on the Computer
This should never be relied upon as the sole source of vetting your manuscript, for a number of reasons:
a. These are dialect specific, so as a Canadian, my spelling will differ from both American and British versions.
b. Most computers have spell-check but not necessarily a check for grammar. Homonyms frequently escape this detection (eg. foul and fowl)
c. highly technical or unique jargon is problematic
Again, these do not stand in the place of a thorough, professional edit.
Non Professional Editing
While a professional edit is expensive, there is really no substitute. Often I will try to help writers find a reasonable facsimile where the price is out of reach by suggesting they find a graduate student or teacher. Sometimes this works out well, but sometimes, writers will substitute someone who is not trained to identify these issues. While I think it's great that your partner/spouse/co-worker/neighbour wants to be supportive and give you their input, their qualifications are not necessarily up to snuff.
In short, is any other form of editing able to replace a professional edit? My answer is a resounding NO. Who wants to read a book full of typos and syntax erros? A professional edit is ultimately a sales tool.
If you can't afford a professional edit, you aren't ready to publish.
Wednesday, 13 April 2011
How to write and have a full, productive life
A big problem that I often hear in talking to writers is how to combine writing with a busy life schedule. Here are some tips that I have found helpful:
1. Set up a place to write and only write there. I find I don't write well where I pay my bills or where I play games with my family. I'm not sure of the reason, but I need a space that is dedicated only to writing.
2. If possible, make that space as full of inspiration as possible. I am lucky that we have a half room off of the bedroom. I have put up posters, sayings, thought-provoking bits of information or questions. I also have a sound system in there, so when I'm stuck, I can lose myself in different kinds of music.
3. Establish a schedule and stick to it as much as possible. I used to get up to write in the morning, but my current schedule no longer permits that. I then switched to writing on the weekends, but that too got swallowed up. Now, I write when I can after work. Although this is more difficult than the other two times, I find the writing more productive. The key here is to know your own patterns and account for them.
4. Recognize what feeds your art. Do you like to attend concerts, poetry readings, football games, the circus? Where ever you draw your inspiration, make time to attend the events that float your boat.
5. Don't turn this into a drudgery. If you have lost touch with the fun that you had writing, switch projects. Write in verse. Do some writing exercises. Join a writing or critique group that stretches you out of your comfort zone. Take a break from writing. Critique someone else's work. Review your rejection letters (I have learned more from my rejections than anything else). Change whatever you need to so that you are reinvigorated.
6. Work out life obstacles through writing. I have often thought about how one of my characters would deal with whatever issue I'm dealing with at the moment. This not only allows me to over come the blank screen with the lonely flashing cursor, but in some cases has given me a solution I wouldn't have happened upon otherwise.
I hope that some of these suggestions are helpful. Please feel free to add your own.
1. Set up a place to write and only write there. I find I don't write well where I pay my bills or where I play games with my family. I'm not sure of the reason, but I need a space that is dedicated only to writing.
2. If possible, make that space as full of inspiration as possible. I am lucky that we have a half room off of the bedroom. I have put up posters, sayings, thought-provoking bits of information or questions. I also have a sound system in there, so when I'm stuck, I can lose myself in different kinds of music.
3. Establish a schedule and stick to it as much as possible. I used to get up to write in the morning, but my current schedule no longer permits that. I then switched to writing on the weekends, but that too got swallowed up. Now, I write when I can after work. Although this is more difficult than the other two times, I find the writing more productive. The key here is to know your own patterns and account for them.
4. Recognize what feeds your art. Do you like to attend concerts, poetry readings, football games, the circus? Where ever you draw your inspiration, make time to attend the events that float your boat.
5. Don't turn this into a drudgery. If you have lost touch with the fun that you had writing, switch projects. Write in verse. Do some writing exercises. Join a writing or critique group that stretches you out of your comfort zone. Take a break from writing. Critique someone else's work. Review your rejection letters (I have learned more from my rejections than anything else). Change whatever you need to so that you are reinvigorated.
6. Work out life obstacles through writing. I have often thought about how one of my characters would deal with whatever issue I'm dealing with at the moment. This not only allows me to over come the blank screen with the lonely flashing cursor, but in some cases has given me a solution I wouldn't have happened upon otherwise.
I hope that some of these suggestions are helpful. Please feel free to add your own.
Thursday, 7 April 2011
Etiquette: A word of warning
Working for a self-publisher who has connections to a few traditional publishers puts me in a unique position. We have just short-listed a number of our authors' books from which we will select five to forward to those traditional publishers for their consideration.
In reviewing the selections, there were some books that surprised me by their absence but in retrospect, I shouldn't have been surprised.
While the books themselves were worthy of consideration, the conduct of these authors when dealing with our staff was unprofessional. I'm not referring to poor grammar or lack of technological knowledge but personal behaviour. We decided to forward authors who would be easy to work with in a traditional mileau.
After all, we want to maintain a good reputation in the industry. Putting forward an author whose work is solid but who is abusive on the phone or unreasonable in terms of process will not reflect well on us. It is important for authors to note that publishing is a pretty small community (cf. Jacqueline Howett) and your conduct can impact your success in unexpected ways.
In reviewing the selections, there were some books that surprised me by their absence but in retrospect, I shouldn't have been surprised.
While the books themselves were worthy of consideration, the conduct of these authors when dealing with our staff was unprofessional. I'm not referring to poor grammar or lack of technological knowledge but personal behaviour. We decided to forward authors who would be easy to work with in a traditional mileau.
After all, we want to maintain a good reputation in the industry. Putting forward an author whose work is solid but who is abusive on the phone or unreasonable in terms of process will not reflect well on us. It is important for authors to note that publishing is a pretty small community (cf. Jacqueline Howett) and your conduct can impact your success in unexpected ways.
Tuesday, 5 April 2011
Creating Characters
I have learned the hard way that a believable character that resounds with the readers I one day hope to have is a bit of an art form. I actually have 9 pages of typewritten interview questions that I pose to them, including What is your favourite flavour of ice cream and Why are people poor. Sometimes the answers surprise me but the characters get fleshed out in a way that gives me some insight to their potential reactions to some plot points.
These pages always include a physical description, backstory, idiosyncrasies and description of their home environments.When those characters show up in subsequent stories, I make sure that I do this again, because they have changed with the experience of their first mention.
What do you do to make your characters real?
These pages always include a physical description, backstory, idiosyncrasies and description of their home environments.When those characters show up in subsequent stories, I make sure that I do this again, because they have changed with the experience of their first mention.
What do you do to make your characters real?
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