On Sunday afternoon a wonderful thing happened. I finished the first draft of my second novel. I’m not a Stephen King-type 2,000 words a day writer but I had been consistently pushing out 600-1,000 words every day for the past two or three weeks trying to get the job done. Coming to the end was a strange experience, different to A Shadowed Livery, and, because I’d decided to put the manuscript to one side for a while (they say you should do that), I suddenly felt bereft and I’ve been the same for the last couple of days. Not quite knowing what to do with my time. So yesterday evening I began another project. I say ‘began’ but I was actually returning to a novel I last worked on two and a half years ago. I’m not sure where it will go but there’s 7,000 words in the bag and a fairly comprehensive draft plan in place. I think I may have given it up when I started the editing of my first novel because the date coincides with receiving a contract from the publisher.
I’ll only work on the new project intermittently because I do want to get back to the real job of editing ‘Let Venom Breed‘. The first task will be to re-sort the chapters – some are an acceptable 2k-3k words but some are as high as 7k, just a result of expansion in the redraft. Then I’ll check the whole thing with Pro-writing Aid, a great tool for finding all the repeated words and phrases, cliches, over-long sentences, etc. I had a note they’ve released a version for Scrivener so I’ll have a look at that one soon. These steps are really a bit of a slog, but necessary (even without Pro-writing Aid I’d have to find all that stuff).
I’ve already made some project notes as I’ve worked on the first draft, such as checking for conflict in every scene, strengthening my protagonist’s internal goal, ensuring there are barriers to achievement of his internal and external goals, etc. So I’ll work on these larger themes next.
Then to reading the manuscript again. Slowly, sentence by sentence. Can I say this any better? Have I said this before? Does this need to be moved? Underlying this is the check for spoilers related to this and the previous novel, completeness of the narrative (e.g. have I left anyone standing at a bus-stop for ten chapters?), are my characters rounded and the overall shape of the novel.
All of this, of course, is only the first phase of the edit, getting it as good as it can be before it’s wheeled in front of a publisher. If they think it’s good enough then the process starts over again – only this time it will have the benefit of external eyes.
Actually, I’m looking forward to it. Let me know your tips and tricks.
A few days ago I was chatting to a writer friend who was saying she’d submitted to around 30 publishers and agents without success before self-publishing. Her book has sold a couple of hundred copies to date and has been widely praised, so why no traditional publisher?
If I knew the definite reason for that then I could probably retire on the proceeds but it occurs to me there are at least three elements:
The first is obvious – write a good piece of work and edit it until you’re happy it’s finished. It won’t actually be finished because the publisher will have their own views on the need for changes, but it needs to be as good as you can get it before you submit.
The second is also obvious if you think about it – you need luck. There are a limited number of publishers out there and they’re all trying to be a commercial success. Nothing wrong with that, they need to pay the bills same as anyone else. As I result, they will be cautious about what they take on and more likely to go with known names, famous/infamous writers of autobiography, or the current fashion. So the luck comes in at least three ways: either be famous, somehow hit the current trend (but don’t forget that the current trend was probably commissioned a couple of years ago and publishers have moved on to the next one), or hit on a publisher who currently has a space in their list.
Thirdly, research and focus – There’s very little point sending material to publishers who don’t accept unsolicited manuscripts or who only accept submissions through an agent. Equally, there’s even less point sending your noir-crime novel, regardless of how good it is, to a publisher who specialises in literary fiction or science fiction. The internet enables us to both identify publishers with an interest in our particular genre and then research them in detail. When I started to submit A Shadowed Livery I looked through the Writers’ and Artists’ Yearbook and highlighted all of the publishers who published crime fiction. Then I stumbled upon a list of these on the ‘net so added a few from the Yearbook which had been missed. There were, I believe, 63 on the final list. I then went through the websites of every one and weeded out those who were not taking submissions or who only took them via an agent. This left me about 13. Further research took out the ‘vanity’ publishers and those where their preferred sub-genre or target group didn’t match my novel. This left me with eight publishers I felt confident I could approach. The final bit of research was to be clear about the submission requirements and to then follow them to the letter. Virtually all of them were different. I was lucky enough to find three who expressed further interest and then went with one who definitely wanted to proceed. So, even with all the initial research, there was interest from less than five percent of the initial list – but if I had simply used a scatter-gun approach, firing off submissions just anywhere, I might not even have hit that figure.
On the other hand, I might have. What did I say about luck?