The Short Story: A Way for a Writer to Experiment?

Victoria Grefer's avatarCreative Writing with the Crimson League

test-tubes-1256556-mEarlier this week, to commemorate my mom’s birthday, I wrote about a fun memory: how she taught the value of branching out and trying new things. This is no less applicable to writing fiction: all authors need to stretch themselves and leave their comfort zone to develop new skills.

What are some ways to do that, though?

Well, of course, there’s always reading. Find an example of a great novel that exhibits the qualities you want to try out, to see what makes the technique work.

When it comes to giving that technique a shot on your end, though, the short story is GREAT for experimentation!

I realize none of those observations are particularly deep or earth-shatteringly brilliant. Still, I’m sure I’m not the only novelist out there who avoids writing short stories, and I think that’s not good for me.

I don’t think it’s good for any writer to…

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A sneak peek at “Sympathy for the Devil”

Since April I’ve been writing a novel which I’ve heretofore called a “secret project”, simply because I had no title for it.

Around early August I hit upon a title: Sympathy for the Devil. And at the same time I finished the first draft of the novel. It was a quick turnaround for a first draft: about 4 months, writing in my spare time outside work.

During August I rested the material and started writing some new material for Sympathy, with the intention of matching it up when I started editing. I find this an important exercise when writing – it gives me an opportunity to ‘brain dump’ material that never quite made it into the first rush through the narrative, or which might give clues for editing or character or plot development.

Longer-time readers will know that I occasionally publish rejected material for my books, and I’m repeating that habit here. Pasted in below is a rejected Chapter One for Sympathy. There’s nothing wrong per se with the writing, except for one thing: the tone and voice of the material, and the narrative perspective, doesn’t fit the rest of the book. This rejected Chapter One is written from a 3rd person omniscient point of view, whereas the rest is from a 1st person. And this text includes a confused amount of the unique voice of the main character. On which note, a warning: the main character’s voice is in poor grammar, so you’ll see wrong words in places. These are deliberate, not typos. Spelling mistakes are typos, but poor grammar isn’t.

I owe a debt of thanks to my writing circle for convincing me to reject this material.

If you’re still reading by this point, and want a sneak peek at Sympathy for the Devil, then here you go. This is the real background to the novel, but the material won’t make it into the final edit.

Enjoy,

astro x

Sympathy for the Devil:

[REJECTED & UNEDITED]

Chapter One – 1984 CE, 1945 CE, 61 CE

It started in many places. Three, if you want to focus. But who’s to say they was more important than another three? Let me pick one for you, though, my love. Because you’re new to this and you want to know what’s going on, ain’t I right?

Now how do I know where it started, you’re wondering? Me and all. Well, there’s some things what you just know. Know what I mean?

It started up north in Yorkshire in 1984CE, when Little Ruthie put up her hand and said, “My dad says there’s no such thing as G-d. He says there’s no need for G-d in nineteen eighty four.”

Mr. Sowerby, who was her teacher, held his hand behind his back. Between thumb and forefinger he squeezed the stick of compressed skeletons what he wrote confused facts with about people long since dead. “Does he now? I know your dad. Taught him in this very classroom, Miss Willoughby.”

“Yes, Sir.”

“He,”

“But he does say that Margaret Thatcher is the devil.”

“Really?” Squeeze. “And who is the Saviour, then?” A smile full of pride on his face.

“Mr. Scargill, dad says.”

“That donkey jacketed,” squeeze, but she interrupted again.

“Sir, my dad says Manvers will never be closed. That’s why Mr. Scargill’s got them to walk out. To keep it open.”

“So he’s a picket, is he? Always was a trouble maker. You listen to me. Your dad could have had a proper job, rather than being buried underground ten hours a day hitting rocks. Thatcher’s Britain doesn’t need uneducated oafs. It needs people with O levels and ambition. Britain needs strivers, not miners.”

You can imagine him thinking, There, that shut her up. Ten years old and full of herself.

“Sir?”

“Miss. Willoughby.”

“My dad says Mrs. Thatcher is a complete,”

“We’ve all heard quite enough from you, Miss Willoughby. Let’s return to your religious,”

“When I’m Prime Minister I’ll re-open Manvers.”

Little Ruthie ducked as the chalk flew over her head and shattered on the wall behind her. It made a high pitched chink when it struck the tiled floor, where it rolled from side to side to side to side. Children looked every which way.

“There’ll be no presumption in this class, you hear me? This is a religious education lesson. I am in control.”

O’d faces all around the class. No one had ever seen Sowerby mad.

Little Ruthie looked at him and opened her mouth to speak.

“Enough!” he shouted.

“I’m telling my dad on you.”

“Tell him all you like. If you can get him off the picket line. These strikers care more about coal than they do their families. Now, anyone else wish to discuss the politics of Communists? No? Good. Then please open your bibles to the Book of Job.”

Little Ruthie flicked through the pages. Her eyes was out the window, on the distant colliery where the wheel no longer turned. No fun fairs went to Wath, not any more. The only spinning lights came from the riot vans at the coal plant.

One day, she thought, one day I’ll prove my dad’s right.

And it started in London in 1945CE, where it carried on decades later. And sometimes for startings, names ain’t so important, not now and not after.

“Let’s see,” said the girl. “Is it really Mr. Churchill?”

“He’s with someone. Who is it?”

“Shh, shh, he’s gonna speak.” The girl craned her neck.

“He’s done us ever so proud,” said someone nearby.

“It’s his victory what’s freed us,” said a woman close to the girl.

“We should all say that, eh?” said the girl. “Shout at him, ‘It’s your victory!’”

“’It’s your victory.’ I like that. Here, mate, you hear what she said?”

And so on through the crowd.

Winston Churchill took the balcony of the Ministry of Health, abet by two colleagues. The skies were finally clear. That nice Mr. Hitler’s bombs and doodlebugs and V2 rockets were silent, his scientists fled to America to dream of space and rocket ships.

“Here he goes, shh shh,” said the girl.

On different sides of the throng of people, two men dressed almost identically started pushing their way in. They thought very similar thoughts and were headed for the same point in the crowd. Each was in a smart wool suit, fedora, Mackintosh coat. Even in the crowds they cut a dash, while their eyes and elbows cut a swathe. One was tall, the other short. From a distance that was the only difference.

“G-d bless you all. This is your victory!” said Winston Churchill from the balcony.

“No, it is yours!” shouted the crowd. People looked around at each other. They’d done it, said the thing all together. There was that spirit, still working together, singing the same message. They all cheered. It was a new dawn, a new day. Britain was a community, working together to defeat National Socialism. Now Britain was victorious, triumphant.

Churchill looked down at the crowds of people: nurses, labourers, soldiers, children.

“It is the victory of the cause of freedom in every land,” he continued. “In all our long history we have never seen a greater day than this.”

In the crowd, the two men pushed, separately, through hugging friends and wormed through strangers bonded over that singular moment of triumph.

“Everyone, man or woman, has done their best. Everyone has tried. Neither the long years, nor the dangers, nor the fierce attacks of the enemy, have in any way weakened the unbending resolve of the British nation. G-d bless you all.”

Applause. Cheers. Hats thrown in the air in that way what don’t happen no more. London in celebration, a nation glued to its valve-radios and memories of steamer ships and Victorian colonies. Flags flipped back and forth, hearts swelled with pride, relief and grief and loss.

In the crowd there was a surge, and it pushed a gentleman against the girl.

Further back, another gentleman looked on, eyes flat. He tipped his hat and turned: it was too late. He would have to wait. He disappeared into the crowd, melted away into London and the world and future plans.

She, the girl, looked round, briefly, at the contact. People pushing didn’t bother her. It was a crowd. Besides, she thought, it was gentle and felt nice. Sort of cosy, like. And she knew the cues, the signals, how her profession worked.

Churchill carried on talking, but the girl had places to go. There was money to earn, bread to put on a table. She turned and looked up into a smile and a twinkle.

“Quite the speaker, isn’t he?” said the man behind her. Nice hat, she thought. Nice suit.

“Did you hear what he said?” she smiled back. “We all done our best. No one ever said that before. Least not to me.”

The man looked into her eyes, “I wonder if a victory gin would be appropriate?”

“For you or for me?”

“For us both.”

“Sauce. Don’t even know you.”

“Perhaps,” and he leaned until his breath stroked the fine hair on her earlobe, “today demands the spirit of triumph, rather than the spirit of propriety.”

She looked at him, her hands fiddling with a purse, irises never quite settling in one place. “Where was you stationed?” she asked. “Gotta know you’re respectable, ain’t I?”

“North Africa, originally,” he said, and pulled back, adjusting his hat.

“Rommel and Montgomery?” she weren’t quite sure who they were. Surviving the Blitz and keeping up with what was happening over in France had taken all her time. But everyone knew the names, and it had always been enough to strike up a conversation with other clients.

“Something like that,” the man smiled. “What’s your name?”

She tugged his tie, gently, gently smiling, “No names today, Mr. Desert Fox. Gin and triumph only. Alright?”

He offered his arm, and they fought their way out of a cheering crowd.

They drank in a little place he knew, and then went to a quiet back street hotel where they saw in the dawn.

By the morning he was gone. Despite her insistence that the night was a celebration, there was still a pile of money on the dresser. “Bloody men,” she whispered.

A knock on the door, “You’ve had your fun. Ten minutes, then I call the police. Back to normal, missy. This is a respectable place.”

The girl pulled her clothes on and picked up the money. “Bloody Nora,” and she looked to the window, even though she knew he wouldn’t be outside, standing by a lamp-post, looking up at the window, waiting for a reaction. “Gin and triumph,” she whispered. She left behind the stained and crumpled bed sheets, and entered that new world with a swing in her step and a seed in her belly.

And it started somewhere above Watford, in Northamptonshire, long before it were called that in 64CE. It were somewhere along the Fosse Way, after the sacking of Londinium and Camulodonum and Verulamium. Bodies of Romans strew the land. And the warriors of the Iceni and Trinovantes and the other tribes lay with them, their blood seeping into the mystical land of northern Europe, that land what the Greeks called Albion. Cos sometimes stories don’t start all together. Sometimes you gotta go way back to the roots, ain’t ya?

“We are defeated.”

“My Queen, the Romans are too many and too strong. It’s impossible. Their ships arrive every day with more soldiers.”

“Send word Corslan. Despatch a rider to the Fair Folk. Then tell the tribal chieftans. Those who want to remain may do so. But we will take our armies and those who will come with us, and retreat.”

“My lady?”

“We retreat to Tír inna n-Óc until the time is right.”

“Retreat? But the Romans will spread and take Britain.”

“We will abide. The Fair Folk will provide a champion. When the time is right we will win back Ierne and Albion from the foreign invaders.”

“Yes, my lady.”

“Albion will endure.”

Little Ruthie, Ruth Willoughby, ten year old Yorkshire lass. Hair pulled back under an Alice-band. School bag decorated with pins for Bananarama and Adam and the Ants.

The streets of Wath-upon-Dearne was decorated with banners, “SUPPORT THE MINERS”.

Policemen walked around in pairs or sat in riot vans, bored, waiting for something to happen. Pissy little mining towns with their upstart miners. Why couldn’t they just get other jobs?

Men in donkey jackets stood at braziers, watching pathetic flames lick at the cold air. The great chimney at the colliery was quiet, its usual belch settled in its belly. The men grumbled about the lack of jobs, and talked about the families what had moved south, to the factories of the Midlands. One family had even moved to the south coast to open a bed and breakfast. Not one of the men could bring themselves to call those who’d gone traitors. But still the word floated in the air between them, missing its lightning rod. Traitors. Traitors. Traitors.

“It’s John’s girl,” one of the men nodded his head at Little Ruthie. “John! Your lass is here.”

John Willoughby was stood in a group of miners, a confabulation.

“Ruthie, come ‘ere love,” suddenly all smiles for his daughter.

Over their shoulders, the coal ramps were still. The site was asleep, the workers was outside and above ground, and the coal slumbered in its bed.

“Bring her along, John. She should see,” said one of the other men.

“You want to come to Orgreaves, Ruthie? We’re going on a demo up Rotherham way.”

“OK.”

“It might be a bit scary. Lots of pigs around.”

Little Ruthie held her dad’s hand. The callouses and ground-in coal dust were home, her tiny hand was soft and clean, now smudged with that solid fuel that burns so well. She could smell her dad a mile away, the pit was in his lungs and his bones.

“Will Margaret Thatcher be there?”

“Trained her well, John!” shouted the men behind him. They laughed and turned away.

“No, she won’t come up here. Them politicians don’t care, Ruthie. We have to care instead. Listen, don’t tell your mam we’re away to Orgreaves, you know how she is.”

“I’ll say I’m at Nanny and Granda’s, don’t worry.”

“There’s my girl.”

A coach pulled up. Men moved and shared cigarettes, small roll-ups which drooped and went flat between their fingers.

Little Ruthie climbed onto the bus, the only girl amongst those grown-up men, strikers, pit workers.

Little Ruthie went on the bus to Orgreaves, her first demonstration.

Ten year old Little Ruthie darted between the legs of policemen and strikers alike, avoiding the truncheons and flung stones.

Little Ruthie hid behind a police car, hating its protection, and watched her dad struck, fall to the floor, blood on the tarmac and flow between its cracks where grass pushed up, ever hopeful.

Ten year old Little Ruthie hated Margaret Thatcher.

Little Ruthie, Ruth Willoughby, cradled her dad, John Willoughby, while he held his cut head and looked at his blood on the soil of his country. “Never forget, Ruthie,” he said, all the way to the hospital, and all the way home. “Never forget.”

The girl quit her old job. Not that there was a boss to tell. She just stopped turning up at the regular places.

The man had left her more money than she earned in three years. Five. She bought a house, decorated, bought plants. Started a small allotment. Dig for victory! still rang in her mind.

She took up sewing work.

Well, she had to. She knew almost immediately that the gin and triumph of victory in Europe had become motherhood and hope. The other girls told her about back street doctors, about women who had gin and coat hangers and hot baths and towels.

“No. It’s a new start,” she told them.

And forty weeks later, she gave birth in that small house, and as the midwife was tidying her room, the man walked in and sat down. Bold as brass. Nary a word nor letter in between before and then.

“Mr. Desert Fox,” she said, hair slick to her forehead. The baby was clamped to her nipple, gumming it, blind, a maggot squirming in swaddling. “Had a feeling you’d be back.”

“Wild horses and all that. So, boy or girl?” He took a seat from the opposite side of the room and put it next to the bed. No other introduction or by your leave. No explanation. Straight in, treated the place like it was his. Which.

“Girl,” said the girl. Woman now. Mother.

“She’s perfect,” said the midwife. “Don’t mind me, I’ll be on my way. I’ll pop in tomorrow, see how you are. Good day,” a professional nod to the man. She saw similar things every day. A baby boom, she called it. The Victory Effect, others said.

“You left me alone at that hotel,” said the woman, mother. She stared at her daughter’s face, the gummy eyes.

“Duty called.”

“It’s OK. Thank you for,” she looked at the walls of the house and around. “What shall we call her?”

Straight away, “Lucy. The light bearer. The morning star.”

“Morning star, I like that. Here, Lucy, meet your father.”

The man held his daughter and looked into her face, “Lucy. You’re going to run this country one day.”

“You can hold her a bit longer,” said the woman, “I need my sleep. Do you mind?”

“Of course not.” The man walked away with the baby and left the mother to sleep.

When the midwife returned the following day, she found the woman still in bed, propped up on pillows. Her face was serene. Possibly the most beautiful face the midwife had ever seen. Not for her natural beauty; she was plain at best. But for the look of deep contentment and peace which had settled over her.

Shame, thought the midwife. The bed sheets was already turning black, the blood dried to a resin.

“Haemorrhage,” the midwife shook her head. “Where’s little miss? She’ll need a wet nurse.”

But the baby weren’t anywhere to be seen.

“My lady. We have what villagers will come. Some of our warriors have chosen to stay.”

“Very well. And the Romans?”

“Sending heralds to the other tribes. They will soon know of our defeat.”

“Queen Boudicca is never defeated.”

“No, my lady.”

Queen Boudicca looked over a stone fence at the rolling green of Albion. “I have a final mission for you. This is your life’s work.”

“My lady?”

“My son. I’m appointing you as his protector, Corslan.”

“I’m honoured. But,”

“I am not going with you. I am the last of the Iceni. Britain goes under Roman rule. But promise me one thing, Corslan, Steward of Britain.”

He said nothing, instead standing straighter and looking to the horizon.

“These islands, Albion and Ierne, will soon be over-run with Romans and their gods. The Fair Folk have agreed to grant you the power of Tír inna n-Óc. We will absorb the Romans, they will become British, and we will win the slow victory. But others will come behind them. New people, new gods. Defend our lands, Corslan, defend Britain against the darkness, against chaos, against anyone who does not hold our values.”

“Yes, my Queen.”

“And when the time is right, put my son on the throne of this land.”

“And what about you?”

She reached out, a muddy hand in a misty field on a young captain’s shoulder. He became a Queen’s knight, “I will become myth. Legend. We shall not meet again. But my spirit will be in this land evermore.”

Corslan kept his gaze on the horizon, “The morning star is risen.”

“Sunrise approaches. Take our people. Protect my son.”

“He shall take the throne, Queen Boudicca. For Albion.”

“For Albion.”

[end]

Editing Sympathy for the Devil

Writing update 26/08/2013

I finished a first draft of Sympathy for the Devil, my new novel. The novel started well, but I wrote it without a thought on overall plot, which meant it went awry near the end.

The first edit I’m doing is for grammar, fill in sentences and tidying up the dialect it was written in. I find it hard to edit when there are simple readability errors in the text.

The next edit will be for storyline. There are 2 significant sub-plots which need considerable strengthening or re-writing.

Overall, though, I’m please with the first draft, and looking forward to a stronger novel coming into shape throughout September and October.

I may post some sections of it as editing goes on – maybe of deleted material to give a taste of the novel’s tone.

Hope you are all enjoying your own writing,

astro x

9 Tips on Submitting Novels for Publication

In this blog I’m returning to the mechanics of writing and getting published.

I’ve self published, but that doesn’t mean that I don’t want to be published the old fashioned route. I’ve learned about getting published the hard way – by figuring things out as I went along. So I thought that a post for newer authors on the route to getting published might help. So here are my 9 tips on submitting novels for publication.

Tip one – get your work checked before you send it

As an absolute minimum, get someone to read your manuscript for typos and repeated words. Agents don’t mind the odd typo here and there – we’re all human – but if you send in work that’s littered with poor spelling, poor grammar, typos, repeated words, half finished sentences, and so on, it will be binned.

Tip two – use a professional editor

A professional editor is someone who understands how stories work, and can read your work and give specific feedback on its structure, characters, stories, and the central concept or ‘hook’ of the story. They can also identify typos and grammar issues if you ask.

Beware that professional editors tend to be self-employed and that this is their job, so they rightly charge for their services. A typical cost for a sample of your manuscript to be reviewed, and to receive a report, is £500. Check editors’ fees with them in advance, and make sure you identify your budget in advance. If you only have £200 available, tell them up front, and ask what you can receive for that. If you have £1000, you can obviously have more in depth feedback, or more of your work read.

Authors should consider this an investment in their work. But like all investments, it’s a gamble on the author’s side.

Tip three – ignore the publishers

This is a tip for newer authors who might not – yet – have much insight into the publishing industry. There are two ways to get published – the first is to self-publish on Kindle, Lulu, FeedaRead, iBooks, Nook or other platforms.

The more traditional route is to get published by a publishing house, like Random House/Penguin, Orion, Picador, and so on. But many first time authors make an unwitting mistake in sending their complete manuscript to these publishing companies.

If you’re approaching completion of your first novel or short collection, hold back. Here’s the route to take.

Literary agents are the people to focus on. They are like the gate keepers – they look for work and decide which books they want to publish. Publishing houses will approach agents for material, and also let agents know what kinds of books they’re looking for.

To be clear – in general, publishing houses will not accept direct submissions of work (there are a few exceptions, but this is the norm).

A literary agent acts as the first line of formal quality control in the publishing ecosystem. Their quality control includes identifying books they can sell to publishers. This means first time authors really need to write for the market. Identify what’s selling, and write a book that pitches to those successful markets. For example, crime books are still selling well, but the interest in teen vampire books is on the wane.

I’ve been to many talks by agents who talk openly and passionately about the many brilliant books they receive for consideration and which they choose not to represent. They talk with genuine regret about not being able to pick up books that have no existing market into which they can be sold.

Newer authors might think this is unfair – it suggests that the industry is conservative and favours existing authors, or stories very similar to what’s already sold. There is some truth to this. Authors like Neil Gaiman have spoken openly about the publishing industry needing to take more risks. But we also have to accept that we live in a world where people need to pay their rent or mortgage, which means they need to be able to predict sales from books they publish. Authors need to accept this is the case.

So, if getting a literary agent is the way in, how do you get one?

Tip four – getting a literary agent

The general approach for agents is this:

  • check their website first to see if they are currently accepting submissions from new authors. There is no point sending material to an agency which is closed to submissions. Your work won’t be read.
  • if they’re accepting submissions, send a query to them either via email or in print, depending on what they prefer.
  • Your query should feature: a cover letter giving brief details of your book; a 1 or 2 page synopsis of your book (with the ending!), and usually the first 3 chapters or 50 pages of your book. Do not send the full manuscript.

At the end of this post, under my sign-off, is a list of literary agents I’ve submit work to so far.

Tip five – writing a cover letter to agents

Here’s a cover letter I use when submitting to agents. I’m not saying it’s perfect, however I get responses from 90% of the agencies I contact, so I believe it isn’t putting them off. Please feel free to use the format if you think it’s useful.

  • Literary agent cover letter sample
Dear [name of literary agent],
please find attached a submission document containing a synopsis and the first 3 chapters of my novel “Backpackers”.

Escalator pitch: Skins meets Eat, Pray, Love.
Logline: In 2013, rock star Jack Wolf tries to track down Cath Pearson, a backpacker he fell in love with in south east Asia ten years previously. He traces her through the stories of other backpackers, but the more he hears about her, the more he fears she never survived her backpacker days.
Genre: General fiction / road journey
Target audience: 18 – 35 year olds
Full novel word count: 107,260
Notes: Backpackers is currently self-published on a number of platforms. It is my second novel.
Author biog:
My first novel, Planetfall book one: All Fall Down, is science fiction/space opera and has around 400 book sales or electronic downloads from self publishing sites (primarily Kindle). I am halfway through writing the sequel. (Note: published under a pseudonym)
I am currently writing a genre book about the antichrist coming to power in the UK, and her desperate attempt to avoid her fate (horror/political satire).
I attended City University’s creative writing course Towards Publication, and have previously self published a collection of short stories, Dark Things, and written a sitcom pilot Out Of Work.
I blog about my writing at www.astrotomato.com
I am 40 years old and work in the sustainability sector. I live in Surrey with a gay cat.
I hope you enjoy the material,
Faithfully,
[your name]
So that’s the generic template I use. Notice a couple of important things here:
  • Escalator pitch – this describes your work using the format of 2 well known books or films (etc) crossed with each other. So for Backpackers, I’ve said it’s like Skins (young people having trouble growing up) mixed with Eat, Pray, Love (a woman goes on a road trip to discover herself).
  • Logline – this gives a one or two sentence description of the core tension within the book. Note that it’s not the same as a book cover blurb (although it is similar). It can be quite hard to produce loglines! It’s worth writing a number of these before you send off your first query. Don’t worry if you don’t get the hang of it immediately.
  • Word count – most novels should be between 80,000-100,000 words. My books are slightly over this. Including the word count allows the agent to judge if you’ve written to the industry standard. For example, if it was under 80,000 words, they may class it as a novella, which has a lower chance of sale to publishers. Significantly over 100,000 is also difficult to sell, unless you have a track record in the industry. (Would you risk your money on 1000 pages of a new author’s work? Or would you prefer to reduce your risk to 250 pages and less time?)
  • Notes – if your book is already self-published, you must say so. The vast majority of agents and publishers don’t mind, but they do need to know if your work is already on the market, or if it has a profile and sales record behind it.
  • Biography – tell the agent a little about yourself. What have you written previously? Are you a serious writer, with a number of works, or is this the very first thing you’ve ever written? Have you had a short story published anywhere? Also, bring yourself to life – give them some insight into who you are as a person, without divulging your life story.

Tip six – write a synopsis

Your work must be accompanied by a synopsis. This will be a description of the story, the main characters, the main dramatic themes or tensions, so that the agent can see what the whole book is about. Remember, the agent will only see three chapters of your work, and needs to make a decision about asking for the rest of the book based on those 3 chapters, and your synopsis. You must include the end of your book in the synopsis, even if there is a twist. Every important plot point must be divulged.

I’ve attached a file here with a synopsis of Backpackers. However! I know that writing synopses is a weak point of mine, so while I’ve included it for reference purposes, I would advise that you can find better examples on the internet.

The agent’s website will tell you how long the synopsis should be – as a guide, you should keep it under 2 pages, and aim for 1 page.

Backpackers synopsis

Note that the synopsis is at 1.5 line spacing. You should use this or double line spacing.

Tip seven – don’t send the whole manuscript

Most agents will ask for the first 3 chapters or about the first 50 pages of the novel. Make sure you stick to this. If you have long chapters, or no chapter structure, then stick to the 50 page limit. Certain agencies stipulate 10 pages only, so check carefully.

Tip eight – keep track of agents

Literary agents tend to take 2 – 12 weeks to read submissions and respond. If after 12 weeks you haven’t heard anything, it’s fine to send a polite query asking if the agent has any feedback. Phoning agents every day, or sending angry or impolite or hassling emails will get you blacklisted.

Remember that agents love literature but need to be able to sell your book. If they respond with a “this book is not right for us at this time”, don’t take it personally. Most of the amazing authors we all love had scores, if not hundreds, of rejections before they were published. And their “debut novel” might actually be the third, sixth, or tenth book they wrote. This is a journey.

When submitting to agents, it’s important to keep a note of which agents you’ve contacted and when. This allows you to check when to send a polite query asking for feedback (if you don’t hear from them), and also means that you don’t submit your work twice. I’ve made this mistake before, and I am sure it’s pissed off an agent (apologies to Janklow and Nesbit).

Tip nine – self publishing

What if agents keep saying “no”? Does that mean your work’s unpublishable or has no audience?

Not necessarily. Publishers only have statistics on what’s selling in the formal marketplace and which books have sold most. They aren’t psychic and can’t know how books might sell in unproven markets.

Self publishing is a great way of testing your material. There are millions of novels self published now, and many of them are very good, and of a quality that could be published in the traditional route. But they are in niche, unproven markets. Let’s be clear – the publishing houses are watching what’s being published and what’s selling. If a significant new market emerges – like with Fifty Shades of Grey – they will investigate and try to develop it.

Self publishing is also good for understanding the tasks involved in the publishing world: producing drafts, book covers, writing the back cover blurb, marketing, reaching readers, dealing with feedback, pricing, and so on. If you choose to self publish be clear with yourself that it’s almost a full time role, where you are Creative Director of a company. You will need to enlist the help of different people (readers, proof readers, editors, cover designers, etc). Books don’t sell by magic, so be prepared to learn about marketing, identifying your key readership markets, influential blogs… It’s a tall order.

So there we have it. Nine tips on the route to getting published. If you have any advice to add to this, think you can improve on anything I’ve said, or want to write a better synopsis of Backpackers which I can use, please leave a comment.

Bye for now,

astro x

Literary agents (most accept email submissions)

A M Heath (by post)
Ampersand Agency
Andrew Lownie
Annette Green Agency
Anthony Harwood
Blake Friedmann
Capel & Land (by post)
CarinaUK (publisher)
Caroline Sheldon
Conville and Walsh
Curiosity Quills Press (publisher)
Curtis Brown Creative
Darley Anderson
Ethan Ellenberg
Eve White
Felicity Bryan
Futerman Rose Associates
Greene & Heaton
Gregory and Company
Hardman and Swainson
HMA Literary Agency
Janklow and Nesbit
Jenny brown associates
Johnson & Alcock
Ki Agency (Donald Maass)
Kimberley Cameron
Knight Agency
Lindsay Literary Agency
Lutyens Rubinstein
Madelein Milburn
Marjacq
MBA Literary Agents
MCA Agency (Mulcahy Conway)
Mic Cheetham Associates (by post)
Prentice Beaumont
Rogers, Coleridge and White
Rupert Heath Agency
RupertCrewLtd
Sharon Ring (independent)
Snowbooks
Standen Literary Agency
Susan Yearwood
Talcott Notch
The Susijn Agency
Tibor Jones
Toby Eady
United Agents
Viney Agency
Voyager publishing
Wade & Doherty
Williams Agency
WME Literary Agency

Free ebook summer giveaway!

Hi groovers,

It’s summer in the UK and it’s hot and sunny, and we’ve all gone a bit bonkers with the heat.

So let’s go a bit crazier: for the next month the ebook versions of my 2 novels, Planetfall and Backpackers, will be free to download from lulu.com.

Follow this link to grab them. And if you like one or both books, feel free to share them:

http://www.lulu.com/spotlight/astrotomato

What can you expect? Well, if you don’t mind following a different link to Amazon (where they’re not free because of the way Amazon Kindle works), you can read reviews from readers. Click:

here for planetfall reviews

here for Backpackers reviews

Happy reading!

astro x

Competition winner announced

A few weeks ago I ran a competition to win this very copy of Backpackers:

Backpackers book photo

 

 

 

 

 

There was a good response to the competition (which I am hugely grateful for). I am pleased to announce that the winner is “lovely Rita of Stroud Green“. Well done lovely Rita!

For everyone else who entered, sorry that this wasn’t your time. You can buy a copy of Backpackers very cheaply on ebook through my store. Paperback copies are also available through that route, or via FeedARead (which I am promoting, because it was set up by Arts Council England, and that’s A Good Thing).

Thanks again to everyone who entered. I will undoubtedly have other give-aways later in the year.

Best wishes,

astro x

Competition – Win a Copy of Backpackers!

Hi all,

It’s competition time once again (UK residents only). This is your chance to win a paperback copy of my latest book, Backpackers.

The book follows a number of people backpacking through south east Asia in 2003. Each one of them meets Cath Pearson, who is running from home, screwed up on drink and drugs, and heading for oblivion.

Ten years later in 2013, rock star Jack Wolf is in a similar situation: screwed up on drink and drugs and running from himself. He decides to find Cath, who he fell in love with on a beach near Bali in 2003. But the more he learns about what happened to Cath after they parted, the more he fears she may be dead.

It’s a tale of growing up, of love and loss, of adventure and greed, and of villains and heroes. Rated 5* on its Amazon ebook page.

To be in with a chanBackpackers book photoce of winning this very copy in the picture, simply answer a few ridiculously easy questions and send your answers to me using the details below.

Competition questions

1. The first few chapters of the book are set in Indonesia. What is Indonesia’s capital city?

2. Later in the book, a boat journey becomes very dramatic for our main character Cath Pearson. The river she travels on stretches from Vietnam, through Cambodia, then up through Laos. Which river is it? It’s a big one.

3. I have a science fiction book for sale under my pen name, astrotomato. What is it called? (ps, it’s really good – read the reviews)

Competition rules

This competition is only for UK residents, due to postage costs. If you live elsewhere in the world and want to enter, I am happy to give away an .epub file of the book for e-reading devices as a separate prize. This prize is only available if I receive entries from outside the UK.

None of my family are allowed to enter. Isn’t it about time you bought a copy, anyway?

Oh yes, closing date. Please ensure your entries are with me by midnight (GMT) on Saturday 22 June.

Send entries to astrotomato@gmail.com or follow and DM me on Twitter @astrotomato. (I think I’ll need to follow you, too, so let me know.)

Good luck!

astro x

Writing update 02 June 2013

A very productive weekend.

I was sent home sick on Thursday afternoon with a weird virus-thingie. Hot & cold flushes, nausea, disassociation. By Friday afternoon I was starting to feel better, so I sat down to write around 4pm. By Sunday morning, with pauses for sleeping, eating and going into London to see friends, I’d managed to write about 10,000 words.

I don’t know if it was the illness, but most of the writing revolved around two new characters in my secret project. They’re dwarfs from 10th Century Romania who develop a cocaine habit. They were a completely unplanned part of the novel, though they seem to have found a very natural place in the narrative.

They initially sprang out of a Twitter comment which caught my imagination. I played around with them in one scene, and grew rather fond of them.

This afternoon I also made a few lazy edits to my long-in-gestation Robocop fanfic. I realised, too, that it’s not very good. And though I’d originally wanted to write it quickly and with a complete pulp fiction feel to it (that’s pulp fiction as in the 1950s and 60s stuff, not the film), I’ve now fallen into a trap of wanting to improve its quality.

That’s about it writing-wise.

I finished reading The Twelve Tribes of Hattie, too, which was OK. There are a handful of good short stories in there, and a larger handful of fairly tedious ones. The book is structured in a similar fashion to my own novel, Backpackers, which is pleasing, as I had been concerned that a narrative which is loosely centred around one person, but goes into short stories about other people, wasn’t market friendly.

Adieu for now,

 

astro x

5 Reasons Why New Authors Should Use Clichés

I started writing fiction when I was about fifteen years old. It was 1988, Margaret Thatcher appeared an unstoppable force in the UK, and The Smiths were a popular band. It was misery in politics and misery in the charts. And writing, for me, was an escape.

That’s the clichéd start to how many of these blogs start, isn’t it? “I wrote as an escape.”  And for those people who say that they wrote – write – to escape, it remains true. It’s a truth repeated so often that it has become a cliché, albeit one we allow to continue existing, because we don’t want to take anything away from people’s feelings.

Fine.

But if you read writing blogs that aim to help new authors, you’d be forgiven for thinking that clichés are verboten, that they’re forbidden in all creative writing endeavour. And I think this is wrong. If we’re allowed to start writing for the same reason – it was an escape – then why can’t we write clichéd things?

Below, I argue that we can, and indeed should, write in clichés. This argument is very much aimed at people new to fiction writing, to help cut through the confusing ‘rules’ on other blogs.

Reason #1 – The 7 Basic Storylines

There are seven basic plots that underpin all stories, or so argues Christopher Booker in his seminal work The Seven Basic Plots. (You should buy this book.)

These plots are:

  1. Overcoming the Monster;
  2. Rags to Riches;
  3. the Quest;
  4. Voyage and Return;
  5. Comedy;
  6. Tragedy;
  7. Rebirth

Often these plots are combined, such that we might have a Voyage and Return, like Jason & the Argonauts, in which the hero must also Overcome the Monster.

I won’t describe the basic plot types, but the point here is simple: if we can boil all plots down into one of these basic seven types, with a dash of another thrown in depending on the cocktail presented to the reader, then we are quickly bound to clichés anyway.

“A-ha!” you argue, “but if there are only seven basic plots, then shouldn’t we do our best to escape cliché elsewhere?”

Not yet, dear new author. Not yet. Otherwise there’d be no blog for me to write! But let us ignore that inconvenient truth, and explore reason to cliché #2.

Reason #2 – Wriggle, Wiggle, Crawl, Walk, Run, and Fly

Imagine this: you’re a new mother or a new father. There’s your baby just days old. Her or his little fingers wiggle in your hand, their chubby knees squirm at your tickle and their delicate feet are too cute for words. Now, carefully put the baby on the floor in your home, stand back, and say:

“Baby of mine, I want you to stand up right now, walk to the door, run to the nearest airport, buy a plane ticket, hop on the plane and go travelling!”

What do you mean it’s just a baby and it’s impossible? Tell it to fly immediately, damn it!

You get the point. New authors are like new babies. You’re perfect in every one of your toes and fingers, and each of your letters and words on the page is lovely and cute. But like that baby, you need to practice the basics first.

We don’t look at a baby and say, “Oh god, it’s so clichéd, crawling. Come on, little bubba, innovate a different way to strengthen your legs.”

No, we encourage them to wriggle and wiggle. We help them stand until they can stand on their own. We help them to walk by holding their hands, until they can manage their first few steps unaided.

And that’s how it should be when we’re learning to write. Practice the basics first. And that means practicing the clichés. For example:

Develop a simple love story.

Write a story about going into a cave and fighting a monster.

Craft a tale of a hero who is too flawed, and becomes a victim of his flaws and loses everything.

Write in clichés, and write them until you’ve mastered them. Be good at crawling to build leg strength. Be good at walking and upright balance before you start to run. Write in as many clichés as you can, until you can churn them out without even thinking about it. And then think about flying.

Reason #3 – Clichés Have Power

Here’s a few basic plots and characters. See what you think about them:

1. A woman treated like dirt by most of society is noticed by a rich and handsome man. He takes a fancy to her, and rescues her from the poor life she leads. She lives happily ever after.

It’s a cliché, right? And yet Cinderella is famous the world over, and Pretty Woman is one of the most famous films ever made. Why? Because the clichéd story of someone in a low position being rescued by someone in a high position appeals to us. It gives us hope that maybe we, too, can be rescued. Or if not us, then someone just like us.

2. A dark power has cast a blight on society. A small group of apparently weak and insignificant people travel into the heart of the dark power and overcome it. Society is saved.

Another cliché. Like the first example above, it’s one of the basic plots. But we recognise the power in it. The power of the story speaks to us. What did you think this plot was from? Star Wars? Lord of the Rings? Krull? These are powerful films because they’re clichés, not in spite of them.

Notice where the power lies in these clichés. It’s in their simplicity. Knowing our clichés, mastering their forms, and then using that mastery to unleash the power in the story is what gives us the grounding we need to become competent, good authors.

Reason #4 – Even Famous Authors Aren’t Above A Cliché Now & Again

What’s that? Famous authors use clichés? Yes, and they get away with it, too.

The question, of course, is why do they get away with it? Is it because they’re famous that we’ll forgive them anything?

No. I’d argue it’s because they’ve practised their writing so much, have mastered the basic forms so much, that they have a damn good sense of when to use a cliché. Because the point isn’t that we master a cliché so we can step away from it. Rather, we master clichés so we know when to use them for maximum impact.

Here’s an example from one of my favourite authors:

“[their] eyeballs moved no more than necessary, as with animals on the hunt.” – 1Q84, Haruki Murakami

Is that an innovative way to describe something? Is it beautiful description? Does it soar with beauty? Or colour synaesthetically our emotions? Not particularly. It’s the kind of description we’d find in a thousand books, from the wonderfully written to the absolutely atrocious.

But it doesn’t matter. It may be a clichéd line , but it’s the context in which it’s placed that makes it stand out: two men are in a bar appraising two women. These are men on the prowl, but within the story, so are the women. And it is the women in this scene who have the power. Haruki Murakami is so practised with clichés, that he can deploy them in a way that makes them effective: here stoking the appearance that the men have the power, when we know it’s actually the women. Mastery of the form, “men looking for women are like hunters looking for prey” is what gives him the ability to use it to better effect.

The point is that you can’t innovate or twist a cliché until you know how to use it properly. And to use it properly, you have to use it improperly first. Write in clichés until you’re sick of them and can spot the approaching from a mile off. And then push yourself to use them in an unexpected way.

Reason #5 – The More Creative the Writing, the More It Distracts

I’m falling back on the great Elmore Leonard here. Here are two of his 10 Rules of Writing which he outlined in a New York Times article [source]

  1.  Never use a verb other than “said” to carry dialogue.
  2.  Never use an adverb to modify the verb “said”…he admonished gravely.

Now, what’s the cliché here? For new writers who are still practising their craft, and who are trying to build their creative writing muscles, one of the most common instructions is this: “Try to find interesting ways of to allow characters to express themselves.” So you’d think that using “… she said,” is bad, and we should write things like, “…she screamed,” or “…he whispered,” or as Elmore says, “…he admonished gravely,” and so on.

Elmore is telling us that in fact we should stick with the clichéd, “…she said.” Why? Because the power of the dialogue should come through how it’s written, punctuated, and the surrounding build up and atmosphere. It’s a cliché to just use “…said”. But that simple form isn’t is a barrier to the characters properly expressing themselves in the narrative. Flowery description (he admonished gravely) is a barrier and distracts from the story and the characters’ emotions.

(And when you feel you’re practised enough with using “…she said,” try dropping it altogether and just putting the speech in, without attribution to a character.)

Of course, Elmore Leonard also said, “Never use the words “suddenly” or “all hell broke loose.” and he was absolutely right.It’s not they’re clichéd, though. It’s that they’re just awful.

 

So, there are 5 reasons to use clichés. The blog was aimed at authors still exercising and building their writing muscles. And to them I will always say: use as many clichés as you need to. Master the basic forms and basic approaches to writing, like Daniel in Karate Kid mastered his basic moves in slow motion: first wax on, wax off, and then wax lyrical.

Oh, and that reason I gave at the start about why I started writing? It wasn’t true, it was a cliché and it also gave me a reason to say that The Smiths are rubbish and get away with it. And do you know what? I think I got away with it, too.