Back in June 2018 I received a contract for a third novel in the Inspector James Given series (it didn’t start out as a series but has just grown that way) and, despite my slackness until I agreed a deadline, I completed the first draft by the last week in November. Hurrah!
I even got as far as devising a working title – it’s been James Given #3 for the last 5 months but now is called A Patient Man for the time being.
Unfortunately this is just the start of the process and there are many hours of work still ahead before it’s ready for a professional editor to take a look. Certainly I could just check it for typos, package it and send it off, there are plenty of novels out there where the author seems to have taken that approach, but then it wouldn’t be the best I could make it would it? And that’s what I want it to be, so the hard hours have to be put in.
I suspect every writer edits their work differently, and there are lots of guides out there to self-editing, so all I can talk about is how I’m attacking it. There are two main issues to address at this stage:
- I’m about 15,000 words short of my target length;
- I need to make sure the narrative of each of the story strands works from beginning to end.
I write using Scrivener on my laptop and on my iPad but prefer to read a hard copy, so the first job is to print a full manuscript, double spaced, punch it and put it in a ring-binder. The general advice seems to be to put it away for 6 months to give distance, but I’m not sure that works for me. Firstly, I’ve an awful memory so would probably forget where I put it. Secondly, I suspect that if I put it away I wouldn’t pick it up again, having moved on to new projects. Thirdly, there’s that deadline.
So, with my hard copy in hand, I skim read it, looking for time/day references or specific real events which provide a date stamp. I then produce what I should probably have produced before I started writing, a timeline. Because I’m that sort of geek, and because it’s easier to amend than a paper version, I tend to produce this as an Excel spreadsheet. Then I find that I need to go over the manuscript several times making margin notes to correct the times/days. This can, of course be very frustrating, and produce problems which seem almost insoluble – in this novel I had the declaration of the Second World War, which I’d have preferred (for other events) not to be on a Sunday, but it was, and nothing I could do about that so just had to make adjustments.
With these timing errors noted and rectified as far as possible I read the hard copy again, trying to avoid looking at typos, bad phrasing, etc, (that’s a later stage), making margin notes where further explanation might be needed, where gaps in the narrative arc have occurred and where opportunities exist to increase the word count. This latter one is really dependent on the others because adding words just for the sake of it isn’t a good idea, the reader simply finds it annoying to read verbiage.
Having read from beginning to end, without making any changes on the digital version, I then begin making the amendments in Scrivener, making sure I tick off each one on the hard copy.
This is the stage I’m at now. When it’s complete I’ll then read again and perhaps ask someone else to read it, still looking for errors in the narrative.
After that I’ll look for opportunities to increase internal and external conflict – the lifeblood of any good story. Then the work will start on phrasing, typos, repeat words, redundancies, excessive adverbs, clichés, pacing, etc. So not much there then.
Today I have received an offer of contract from a publisher, Sapere Books, and am so excited. Sapere Books has offered to publish the new novel, A Rose by Any, alongside a relaunch of A Shadowed Livery and possibly a third in the Inspector James Given series which is currently at an early stage.
Those of you who read this blog regularly will be aware I’ve been looking for some time to place my second novel, following the decision of Holland House to stop commissioning new work for its Grey Cells Press imprint. It was a shame, because I have nothing but admiration for the dedication and editorial insight of Robert Peett and his team at Holland House, but independent publishing is a difficult game and I fully understand his decision.
One of the effects of these changes is that the digital version of A Shadowed Livery has ceased to be available for a while, although the print version may remain available via Amazon and other online outlets, or directly from Grey Cells Press. Hopefully, they will both become available again, alongside the new Inspector James Given novel, in a few months.
I’m very much looking forward to working with Amy Durant and her colleagues at Sapere Books on this new phase.
Two weeks ago several members of our writers group attended a day workshop on Editing Your Novel, led by Brian Langan of Transworld Press. The breadth of advice was immense and it prompted me to get back into gear with submitting my second novel to publishers – but not before a ninth edit.
I’ve written before about the excellent ProWriting Aid software (or is it ‘app’ these days?), and this was my first port of call – oh oh PWA would definitely pick that up as a cliché – and that one as an adverb. So, I ran the range of reports on my first ten thousand words and gasped at the number of adverbs, passive verbs and personal pronouns it highlighted. How could I get it so wrong?
Simple. We all use these devices every day in our speech, often as a kind of shorthand: clichés probably exist for that primary purpose, to avoid extensive explanations; adverbs help us avoid flowery imagery; passive verbs often sound more natural than their active counterparts in English speech patterns; and personal pronouns are almost unavoidable regardless of whether we’re writing in first or third person. I’ve given you seven personal pronouns to this point in this paragraph alone. However, I’ve dodged the cardinal sin here of repeating the same pronoun at the start of successive sentences.
Try a little test if you use Microsoft Word. Search your manuscript for ‘I’ (better to search for ‘. I ‘ – that’s: full stop, space, I, space – to avoid finding the letter as part of other words) if in first person, or ‘He’/’She’ in third person. See how many you find. If you miss out the full stop from the search you’ll be likely to find lots more.
Before going further perhaps a short explanation might be beneficial:
- Personal pronouns are used to replace names and denote gender and/or number. Examples include he, she, I, it, you, they, them, us, and so on.
- Adverbs are used to qualify verbs, nouns and adjectives. They tend to be frowned upon in creative writing. In most cases (or at least most cases I could think of) they end in ‘ly’. Examples include quickly, slowly, gleefully, quietly, etc, etc, etc.
- Depending on where you use a verb in a sentence it can be active or passive. For example: ‘John throws the ball’ (active) or ‘The ball is thrown’ (passive). Both are valid but active verbs tend to give more movement and immediacy to writing.
Finding these little devils isn’t difficult, it’s fixing them that is. Sometimes we can avoid them, sometimes we can’t. A good thesaurus can often provide alternatives to adverbs, though we shouldn’t dispense with them altogether. They can be used in opposition to the verb to provide atmosphere where an alternative verb wouldn’t. For example ‘He laughed grimly’. The personal pronouns are like grains of rice dropped on the kitchen floor – you sweep and sweep but they still pop up days later where you were certain you’d got them all. Passive verbs can be so hard to fix – the ball was thrown and you don’t know who threw it, and you want to avoid ‘Someone …’ where do you go. Wholesale rewriting of the sentence is often the only option. Sorry folks, no easy options here.
So, I bounced into my novel, scanned the analysis from ProWriting Aid, wept a little, then set about reducing those low scores. The results, I think, are looking beneficial. Let’s hope a publisher thinks so soon.
As an author I still believe that most satisfaction comes from having a novel accepted by a publisher who then takes it to a finished work on the bookshelves. For me, there’s a vindication in it that someone else is prepared to commit time and energy into something I’ve written. Also, the experience of working with a publisher to hone the writing is incredibly beneficial. When A Shadowed Livery was published by Grey Cells Press in 2015 it was nothing like the draft I’d sent to them a year earlier, I thought it was improved immeasurably.
However, finding a publisher or agent is very difficult, the competition is enormous, so, in this digital age, self-publishing has become an option. It isn’t easy, nor is it a guaranteed route to fame and fortune, but neither is the traditional route. Having co-ordinated the self-publication of two pieces of work – a memoir and a collection of short-stories – using both Amazon’s CreateSpace and IngramSpark, I have a some insights which might be helpful to anyone considering this path. There are more extensive comparisons available but these are just some basic thoughts from my own experience.
When considering self-publishing, one of the first questions is whether you want a printed version or are you happy with putting it out as an e-book. This decision will affect the budget you require and also the marketing plan you’ll devise. I don’t think either is best, though there’s nothing quite like the feeling of holding a book, your book, in your hands for the first time.
My recent (Nov 2016) project on Ingram’s cost a little over €900 euros for printing and shipping (from UK to Ireland) of 200 copies of an 8″ x 5″ paperback plus setup costs of €49 and cover design costs of €135. On CreateSpace there are no setup costs, the cost per copy is a little less but they ship from the US so this can be considerably more if you’re in another country. The shipping costs of the books when I used CreateSpace was around 44% of the cost of printing. This compares with around 5% using IngramSpark. This can, of course, make a huge difference in the financial viability of the book.
There can, however, be a saving on cover design. CreateSpace has free cover templates to modify and the process is fairly simple. IngramSpark does not, and you need to design and produce your own cover. They do provide a size template in a couple of formats but the actual design needs to be provided by you.
There’s also a difference in the complexity of the process. CreateSpace allows uploading of Microsoft Word files, which is handy. IngramSpark only allows uploading of PDF files, which requires conversion software or add-ins, and can be a bit tedious when errors in the draft are spotted (as they inevitably will be). With both providers, the process for e-books seems to be a lot simpler. The most complex part with IngramSpark, I found, was the cover. This needs to be produced using the size template provided, with no variation, probably using something like Adobe InDesign, then converted to PDF format for uploading.
IngramSpark provides distribution to a wide range of on-line and physical outlets, CreateSpace, I believe, only goes through Amazon and affiliates, which is still substantial.
On the memoir I helped publish, I found CreateSpace easier to use, but the shipping costs were so high outside the US it meant we changed to IngramSpark for the second print run. I’ve also found IngramSpark’s support desk really knowledgeable, understanding and helpful each time I’ve used it – a massive advantage if you’re not an expert.
This is just a quick run-through of some differences. If you’ve any questions please feel free to get in touch.