There’s a technique for book writers (both fiction and non-fiction) called book journalling. David Hewson calls it a book diary in his Writing A Book in Ulysses. The idea is simple: any thoughts relating to your book are entered into one journal for that book. That could be a physical notebook, or it could be a file on your computer. (I create a file in my Research folder in Scrivener.)
One of the most common resolutions writers make is: to write more. Actually, if you’re seeking publication, a better resolution would be: to submit more, or to ship more.
It’s easy to seek perfection. (Attaining it is another matter.) However, that search for perfection meets the resolution of doing more writing. But does it actually achieve anything?
If you’re toying with the idea of self-publishing a book, then I would encourage you to read Andrew Franklin’s blog post on the Society of Author’s website.
Andrew Franklin is the joint founder of Profile Books. Therefore, he understands the costs involved when it comes to publishing a book. In his blog post (which was also an article in the Society of Author’s Journal published back in the autumn) he candidly talks money. A lot of money. Particularly when you think that as a publisher he’s capable of exploiting economies of scale, something that self-published authors can’t necessarily access.
While he admits that the costs of publishing one book varies from book to book, he mentions some general figures:
Social media was buzzing with more contract queries last week, after one magazine began issuing fiction writers with a new contract.
I haven’t seen the entire contract because I am not one of those writers on their preferred supplier list, but many of the queries were around a clause that appeared to request the transfer of all intellectual property rights.
Clearly, without seeing the whole contract, it would be inappropriate for me to give advice. And, anyway, I’m not a legal expert, so I’m not trained to give such advice. But I did think it would be useful to remind writers of potential basic steps they can consider when faced with a situation like this.
Many of you will know that I’m a fan of the Scrivener software. I use it for all of my writing (articles, short stories, novels, non-fiction books and even for recording my pitches).
Last week saw the launch of the updated version (for Apple Macs). Scrivener 3 is an amazing piece of software, although regular users will spot many changes. Some of the tool options have changed locations. To help with this, Gwen Hernandez, author of Scrivener for Dummies, has produced a free online course that quickly reviews the changes. It can be accessed via her website here: https://scrivenerclasses.com/course/jump-into-scrivener-3-your-transition-guide-for-mac/
Last week I read a blog post from Frances Garrood (http://francesgarrood.blogspot.co.uk/2017/11/farewell-womags_15.html) about her decision to stop writing short stories. It was a short, interesting piece about how she’d arrived at this decision. And it struck me that, when it comes to the business of writing, sometimes you need to accept that it’s time to move on.
There are many reasons why a writer stops writing in a particular genre or for a specific market. Frances wrote about how she used to write lots of short stories for the women’s magazines, but now finds her time is spent focussing on her novels. As a result, she said she now finds writing short stories harder, because she’s more used to writing novels. She’s evolved as a writer.
Last week’s post (What To Do With My Business After I’m Dead) looked at a book that fellow Writing Magazine columnist Tarja Moles has published. This week, another fellow Writing Magazine columnist, Lorraine Mace, explains why she’s bitten the bullet and self-published her children’ novel, even though it was something she swore she’d never do.
“Vlad the Inhaler was the first book I wrote,” Lorraine explains, “and so it has always had a special place in my heart. In 2007 I was taken on by one of the UK’s top children’s agents. She loved Vlad and was certain she could find a home for him in one of the big five. We came close, but it wasn’t to be.”
“In 2012 Vlad was picked up by a US publisher and looked set to do very well. I wrote the second in the trilogy and that was also published by the same company but it wasn’t a marriage made in heaven. I was able to take back my rights just over a year ago and, sadly, believed that was the end of Vlad’s publishing lifespan.”
Nobody likes to think about dying, but have you considered what might happen to your writing business after you’re dead? Don’t forget, everything you write is protected by copyright for another 70 years after your demise. That’s 70 years when others could make use of your intellectual property rights.
But would they know that? Where would they go to look for information about your writing business? I keep all of my information in a database in my computer … which is password protected. Which is no use to anyone when I’m dead.
Covers. They are hugely important but, generally-speaking, not where a writer’s skills lie. Yes, we often know what we like, but that doesn’t mean to say we have the right ideas. Nor does it mean we shouldn’t think about them.
If you write a book that is traditionally published, then your contract will usually contain a clause stating that you will be consulted on the cover. That does not mean you will have the final say. Far from it. It just means that the publisher might approach you and say, “Here are three ideas, which do you prefer: A, B or C?” You might reply that you love B, detest A and are indifferent with C. Your publisher will probably go with A. But it doesn’t matter because you were consulted. They have met their contractual obligations.
Last Saturday I was assisting with a workshop on self-publishing run by Wrekin Writers, as part of the Wellington Festival, and the topic of Hybrid Authors was briefly discussed. So I thought I’d take the opportunity of posting my recent Writing Magazine feature where I chatted to two writers about being a hybrid author.
Traditionally-published or self-published? Simon Whaley chats to two writers with a foot in both camps.
A few years ago, a writer’s life was binary: either you sought a traditional publishing contract for your book, or you self-published it. Traditionally-published authors liked someone else picking up the costs of editing, proofreading, jacket design and production (in return for a reduced royalty rate), while independent authors were proud that they were in complete control of the whole process, despite having to finance it, in return for a higher royalty rate.
However, the business of writing is changing. No longer is it necessary to be one or the other. Some writers are choosing the hybrid route: having a mixture of traditionally-published and self-published projects. Why be pigeon-holed into one, or the other, when you can have your cake and eat it?
Leah Mercer (https://www.leahmercer.com/books), whose latest novel The Man I Thought You Were, published by Amazon imprint Lake Union Publishing, believes being a hybrid author offers many benefits. ‘Hybrid authors really have the best of both worlds,’ she explains. ‘By self-publishing, they have the freedom to publish what they want at a price they choose, and they can plug the gaps that often occur when publishing with major houses.’
Do your journal? I do, and it’s something I’m doing more regularly. Is there a business case for journalling? I think so, because it’s an opportunity to mine your brain for ideas and thoughts. Sometimes journalling helps me to identify a theme, or a connection between ideas, and hone them into shape.
Fellow writer and friend Stephen Wade is celebrating the publication of his latest book: Write Your Self. It’s a guide to making the most of journalling, and explores various themes and techniques for exploring your self, through journalling. By asking the right questions, we can learn more about ourselves generally, as well as ourselves as writers. The contents of those journals then become a huge resource for our creativity.
So this week, I thought I’d offer Stephen an opportunity to tell you more about his book:
Last weekend I watched Trumbo. So this is a film review … sort of.
Dalton Trumbo was one of Hollywood’s top screenwriters, but in 1947, he, along with several other writers, were imprisoned for their political beliefs. (They faced court hearings where they were asked if they were members of the Communist Party.) Refusing to answer, they went to jail, where Trumbo served 11 months for contempt of Congress. When he was released, he found he and his other imprisoned writer-friends had been blacklisted by Hollywood Studios.
When I was at NAWGFest17 last month, I attended a Q&A panel session where two agents (Kate Nash and Hattie Grunewald) spoke freely about their work, what they could do as agents for authors, what prospective authors can do to increase their chances of securing an agent, and general chat about the book industry at the moment. Actually, I should probably also confess that I was there in a semi-official capacity as cameraman … for NAWG wanted to record the event and share it on their website (all camera wobbles are, therefore, my fault).
You can watch the event here: (it’s about an hour, so make yourself comfortable).
It’s that time of year when writers might see some ‘free’ money pop into their bank accounts, but not everyone will be lucky. The secondary rights organisations (ALCS and DACS) are making distributions, as follows: