Showing posts with label Getting Published. Show all posts
Showing posts with label Getting Published. Show all posts

Tuesday, 3 January 2017

When is a novel finished?



This is a kind of zen koan - a mind-bending unanswerable question - for many authors. But as I'm getting ready to send off my next manuscript, these are the ten questions I ask myself:

  1. Prose - is it fresh, evocative, vivid, agile? Is it clean, with the occasional sparkle? Are the first five pages as good as they can possible be? Does it have a killer first line? Does the reader get a feel (or at least a hint) for the upcoming conflict in the first few pages?
  2. Characters - are they memorable? Do they each have their own voice? Does the protagonist undergo a change by the end of the book?
  3. Dialogue - is the dialogue sharp, never banal? Do characters interrupt each other? Do they occasionally say things that can't be taken back?
  4. Setting - are places described using all the senses, as perceived by (and reflecting) the characters' views of the world? Do settings imbue their own character on the novel (could it only happen there, or could it happen anywhere?) Do the settings signpost the mood(s) of the book?
  5. Pace - does every chapter advance plot and character? Is there a good pacing of action/drama, and dialogue/exposition/internal scenes allowing the reader to go deeper inside the characters, without ever becoming either too static (aka boring) or breathless? 
  6. Story - is the story coherent, every apparent loose end tied up, no deus ex-machina? Once the reader gets to the end, could she/he tell a friend what happened and why, and what it all means? 
  7. Genre - is it clear what genre it fits into, and what sub-genre? Does your novel follow the etiquette for that genre? [you have to read in your genre to know this]
  8. Motive - are you clear why you wrote it? Vanity and profit making are valid reasons. But if there is a part of you trying to come through in your writing, does the novel do you justice? Because it is personal.
  9. Essence - can you already boil it down to a handful of killer tweets? It's best to 'get' the essence of your novel before it's published.
  10. Cover - does the cover reflect the novel/s genre and essence? Because the cover matters.

Okay, back to my editing. I hope the above may interest or even help a few other writers.
JFK

Thursday, 11 August 2016

Is it worth paying for a copy-edit?

First, I'm an author, not a copy-editor, and I'm not selling any services. For my first four books I didn't use a copy-edit as it would have cost me around a thousand pounds to do so per book, and I didn't think it was worth it. Now I have a large publisher behind me, and have just had a copy-edit done for me (for free), I've basically changed my mind. 

The last stage before your words are locked in forever
When your manuscript is heading for publication, after you've done all you can to polish it, there are always two remaining items to consider. Copy-editing and proofing. Proofing can be done mostly automatically via grammar and spell-checking, and having careful readers go through your manuscript. Copy-editing is different, though. 

So, what is copy-editing, and why is it a good idea? 

Here's a formal definition:

The goal of copy editing is to ensure that content is accurate, easy to follow, fit for its purpose, and free of error, omission, inconsistency, and repetition.[

Here's another way of saying it: A good copy-edit will:
  1. Smooth out your prose, making it flow better and read easier, and remain fresh (e.g. by avoiding repetitions)
  2. Ensure consistency throughout the book - not just names and places and timings, but what people know or should know at various points in the book
  3. Making sure your character stays true to their nature (e.g. asking whether a particular character would really say such things?)
  4. Pointing out (usually minor) plot holes. The reader can often bridge these gaps, but will be aware of them. 
  5. Point out strange, antiquated or specialized usage of language that may jar with the reader. These things can stop a reader, making then think 'huh?', and either make them get out their smart-phones to try and work it out, or just stop them reading.
  6. Identify where something should have been explained earlier in the text
  7. Detect position or layout anomalies - e.g. someone stands up but we didn't know he was sitting down - or an action scene only the author can visualize
  8. Cases where 'less is more', e.g. where the author had successfully made a point but then carried on, weakening it.
  9. Noting where machinery or the environment seems to have been forgotten, e.g. I originally had the skipper of a boat try to seduce someone, and he (apparently, because I 'said' nothing) just left the controls with the engine in gear. No real skipper would do that.
  10. Helping to isolate the best word, or as the French say, le mot juste. I'd said that someone had disappeared, when in fact they had been abducted. An important difference. 
Why can't authors do they down copy-editing? 
Of course we all do, to an extent. But we are too close to things. In our heads the characters and their motivations are perfectly clear, as are things like locations and what is going on around the characters. But this 20:20 vision of what the novel is supposed to say sometimes makes us blind to what we have actually committed to paper.

I belong to a writers group in Paris, and we all review each others' work. But an author is not usually a copy-editor, nor vice versa. These are different skill sets. Of course, the more people who read your novel, the better, but even so, a skilled copy-editor is likely to come up with new issues that do need to be fixed. My book had been read by nine people (four readers, four authors and an editor) before it was copy-edited. 

Copy-edit as an acid test - is your manuscript really ready?
Another important reason for a copy-edit is to gain feedback. Not whether they liked it or not, but just how many comments or queries did you get? For mine, which had already been reviewed and edited, I had around a dozen queries, for a 97000 word manuscript (I'm discounting the simple grammatical corrections, of which there were a couple of dozen). If I had received fifty queries, I would have realized it simply wasn't as ready as I'd thought. 

Eliminating reader potholes
Each of those dozen queries contained something that made me think - okay, I need to change this. A couple of times I replied to the copy-editor "good catch" (or 'nice save'). I want my thriller to be a page-turner, and it can't be if there are potholes scattered along the reader's pathway. It only took me 2.5 hours to go through the copy-edits for the entire manuscript, make the changes, and then send it back to the publisher. Probably the best 2.5 hours I spent on the book since I started it.

But it costs so much...
But what about the cost? If you have a medium or large-sized publisher they should do copy-editing for you, so just sit back and wait for those track changes. But for many writers, particularly those self-publishing, an extra 600-1000 pounds/dollars/euros seems a lot, given that you have to also pay for formatting, front cover, etc. So, is it worth it?

If you want to be serious/professional about your writing, I'd say 'yes'.  Either of two things will happen. One, you'll get comments and think, oh gosh, yes, I need to change that, or else you'll get very little, in which case you can be confident that your novel is in very good shape. 

Another way to think about it is to reflect on how long it takes to do a copy-edit. This is no speed-read with a glass of wine in your hand, but is a very careful reading, making notes, continually referring back to earlier sections for consistency checking, etc. Think about how many hours it must take to do a copy-edit.

Where do I find a good copy-editing service?
Okay, so this is where I have to say I don't know, as I've never paid for one. However, two literary services I trust in the UK are Writers Workshop and Cornerstones, but hey, shop around, find other authors who have had copy-editing done and ask them who they'd recommend. 

Final thought
Think what a sprinter would pay to shave off half a second. You've written the best novel you possibly can. Don't sell yourself or your novel short. Make it that little bit better.

Good luck!







Sixty-Six Metres is released 25th August





Saturday, 23 July 2016

Why I wrote 66 Metres

I wrote Sixty-Six Metres over the course of several years, initially stopping after 7 chapters and putting it down for eighteen months while I was working on something else. But it actually started back in 2011 when I had a short story called 'No Diving' published online. It takes place in a Welsh quarry called Dorothea, where the bottom is at just over a hundred metres. It's a dive site that has claimed a few lives, and the story was about a man who had lost his buddy there, and blames himself, so he goes there to commit suicide (to find out whether he does or does not, read the story). You can read it here.

A colleague at work happened to read it and then called me into his office. 'Do you need to talk about it?' he asked, evidently believing it was autobiographical. I laughed, saying it was just a story. 'Sure,' he said. 'Anyway, if you need to talk about it, my door is always open.' I left, thinking, okay, I may have something here.

I began the novel a year later after a back operation which meant I couldn't dive for about a year. I was really missing it. So I got out my laptop and started the novel. Seven chapters contain underwater scenes. Several of them may appear realistic, because they are based on some of my diving experiences, e.g.
  • I blacked out on a dive in Norway at a dive below 50 metres while carrying out a rescue
  • I dived the Scilly Isles, and almost got trapped inside a wreck when some kind soul untied the line my buddy and I had clamped to the outside.
  • I dived to 76 metres on air, in Sipidan, looking for (and finding) hammerheads (please do not try this)
  • I have over 600 dives under my weight belt, and used to be an instructor
Of course there are some things I haven't done, like being chased by Navy SEALs armed with spear guns, or trying to enter a ditched helicopter in the Thames while its blades are slowing down. Well, not yet, anyway. Some things are better left to fiction.

The story grew, and evolved from an adventure into a thriller. I got pretty involved with the characters, especially the bad ones. Danton was based on someone scary I used to know, and Lazarus came out of nowhere, but I knew he had to stay. The protagonist is Nadia, closely followed by Jake, the BSAC instructor from the original short story. But it is Nadia's book, and about her unwillingness to kill, even when she is being hunted by stone cold assassins above and below water.

The other reason I wrote it is that there are so few diving thrillers, and yet the underwater world is so exotic and dangerous. So I tried to capture it. Here's an early scene from the book (which you can pre-order here), in which a night dive to fifty metres in a Norwegian fjord begins to go seriously wrong...

Excerpt from 66 Metres
The cold hit the nape of Jake’s neck as he rolled backwards holding mask and regulator in place with one hand, torch in the other. Chill water seeped into his hood and gloves. A single droplet defeated his dry suit neck seal and ran down his spine as he righted himself. Finning to the back of the boat, he shone his torch onto his left hand to give Andreas the ‘OK’ signal. In that brief moment he caught the concerned look on Andreas’ face while he lowered the green nightlight into the water to help them find the boat later.
            Jake turned to the others, giving them time to get adjusted. Their torches, dangling from lanyards attached to their wrists, shone downwards, cones illuminating the depths below, sharp halogen light diffusing into shadows. A few silver fish scurried away from the searchlight beams, unwilling to be lit up as tonight’s main course for larger fish. Beneath them the abyss of the fjord sucked downwards. Jake knew the lure of the deep only too well. He lifted his mouth out of the water.
“Fin to the wall. We need a frame of reference as we descend, it’ll help avoid narcosis setting in.”
Jan Erik and Bjorn turned and finned towards the shore. Jake put his head underwater again and shone the beam down until it caught the green, orange and red fauna of the underwater cliff face. He lifted up his head. “This’ll do.”  He angled his torch upwards, still underwater, just enough so he could see their faces clearly, the water refracting the light through the thin layer of glacier run-off hovering near the surface, turning their faces a ghostly green. He searched their eyes. Anticipation had taken over concern. Good. Jan Erik grinned behind his mouthpiece, and Bjorn’s eyes adopted the look usually reserved for sharking blondes at discos.
They were both hungry for this, like he’d been ten years ago when he first dived this deep. The adrenaline rush caught him, too. This is why I dive. He replaced his regulator, gave them the ‘OK’, then the thumb-down signal. They returned both signals, and the trio slipped below the surface.
            Jake dumped air out of his stab jacket and sank backwards, breathing out a little through his nose into his mask to prevent redeye, and watched them do the same. He pinched his nose between forefinger and thumb and equalised the pressure his ears. At six metres he gave them another OK signal, and they returned it. He did his trademark reverse pirouette and dove down head first, arms folded in front so he could see both dive computers, equalising his ears every five metres. Like free-falling, like flying, like surfing, like – diving. All his problems, petty concerns, worries, and unsatisfied desires, condensed into the trail of bubbles behind him, cascading up to the real world where they belonged. He didn’t fin, and every ten metres he jetted a little more air into his stab jacket, compensating for the rising water pressure.
Bjorn shot down in front of him, finning hard. In Jake’s headlight Bjorn looked like a fireball. Clearly he wanted to be first. Jake turned to Jan Erik to stop him from following suit, shaking a flat hand horizontally. Jan Erik rolled his eyes inside his mask.
Jake looked down again but could only see the glow of his light below in a stream of rising bubbles growing larger as they ascended. Bjorn had disappeared. Dammit! Fatality scenarios swirled into his mind. Blocking them off, he followed the stream of Bjorn’s bubbles, and checked his computer. He dolphin-kicked once to arrive faster, but not so fast as to trigger nitrogen narcosis. Out of the grey the cliff-face appeared again, now a seventy degree slope, and there was Bjorn, propped on it with his fins, steady as a rock. Jake sighed through his mouthpiece, and relaxed.
Jake realised he hadn’t been breathing much, and took three slow breaths. As he neared Bjorn he checked his own air gauge: two hundred bar, which was plenty. He and Jan Erik touched the silt with their fins, a couple of metres from Bjorn. Jake checked both his computers. Fifty metres. Exactly. He took a few more measured breaths. He didn’t bother to look around – it seemed to be mainly silt anyway – he just wanted to get them back up to safer depth. He signalled to Jan Erik ‘OK’, then ‘Up’. Jan Erik pretended to wipe a tear from his mask with a gloved finger – he wanted to stay longer. Jake shook his head, and Jan Erik nodded, returning the ‘Up’ signal. Jake turned to Bjorn, who was still balanced on the tail edge of his fins, staring down into the abyss. Jake gave him the ‘OK’ signal, then Jan Erik’s torchlight lit up Bjorn’s eyes. They were bloodshot, glazed, half-closed, as if he was drunk. Nitrogen narcosis. Shit. At the same time that Jake reached out for him, Bjorn gave the ‘Down’ signal, and did a pretty good impression of Jake’s reverse pirouette, and dove deeper into the fjord.
Jake’s fingers just missed Bjorn’s trailing fin and he watched, unbelieving, as Bjorn spirited downwards. In the two seconds that followed, he calculated the odds of catching Bjorn before they went too deep, and whether he should focus on stopping a single fatality turning into a three-diver fatality, then traded that risk against trying to explain to Vibeke and the authorities how he’d stood by and done nothing while watching Bjorn plunge to his death. He flicked his wrist to Jan Erik, gave the ‘Down’ signal and dolphin-kicked hard after Bjorn.
Jake finned fast down the escarpment, exhaling steadily. Depth and time were their enemies. The faster he caught Bjorn, the better. One of his computers, the Aladdin, beeped an alarm. Sixty metres. The rising partial pressure of oxygen would begin killing them soon. Breathing hard, with Jan Erik close behind, Jake raced for Bjorn’s red fins. The second computer, the Suunto, beeped. At last he grabbed one fin and then a leg, and yanked Bjorn around to face him. Both of them were still sinking. They bumped into the sludge-covered escarpment like two drunken men falling down a hill in slow motion. Jake had to let go of his torch. It spun around wildly, strobing like a disco light as he gripped Bjorn’s harness with one hand and inflated his stab jacket full of air with the other. Bjorn’s eyes were nearly closed. Nitrogen narcosis had taken him elsewhere. Jake checked his second computer, the Suunto – the Aladdin had stopped working – sixty-eight metres. His fins found purchase on the slope. He flexed his knees and with both hands shoved Bjorn’s body upwards.
Jan Erik arrived.
Jake could hear his own heart pounding. But there was another, stranger, pulsing white noise, getting louder. The beginnings of oxygen poisoning. He pointed to his inflate button, and he and Jan Erik both pumped air into their jackets. Jake had just given the ‘Up’ signal when Jan Erik’s eyes went wide, seeing something behind Jake. He turned just in time to see a snowstorm of descending silt they must have kicked up whilst chasing Bjorn. The next second it enveloped them like thick soup, and suddenly he couldn’t even see his outstretched hand. He reached out for Jan Erik but he was already gone, hopefully upwards. The white noise was now a din in Jake’s head. He knew what it meant. He was about to black-out. Then he would sink, and then it would all be over.
He finned hard, worked his thighs almost into cramp. He had to get up above fifty. Once he was moving upwards, the air in his jacket would carry on expanding and propel him to the surface. If he blacked out and didn’t wake up till he reached the surface, it would be a nasty decompression incident, but that was preferable to the alternative. It grew more difficult to concentrate. The porridge-like silt meant he could barely read the Suunto, even when he held it right in front of his mask.
He suddenly didn’t know which way was up, or where his torch was. All around him, a sea of clay and bubbling blackness. White noise roared in his ears. Then he remembered – follow the bubbles. Watching their direction in front of his face, he righted himself, kicking hard. Jake felt himself lifting. He dared to hope, and read the Suunto, counting down the metres. Fifty-nine, fifty-eight… He was going to make it. His eyes watered inside his mask. The crushing noise pressed inside his skull. Concentrate! Fifty-three … fifty-two … fifty-one … fifty-two … fifty-three… No! That wasn’t possible! How the hell could he be going down? Numbness crept over him. Unable to fin anymore. His legs not responding. Fuck. Not like this! Seconds, seconds… Then he remembered. He reached down to his right side and cracked open his emergency cylinder. It blasted air into his jacket, squeezed it around his chest and shoulders like an airbag. The white noise whirled like a tornado in his head.

He lost consciousness.


66 Metres comes out 25th August




Friday, 8 July 2016

Landing a publishing contract with Harper Collins...

I remember staring at The Call letter when it came in, and at first thinking it was just another rejection. But something in my brain snagged… and then, an OMG moment, especially when I read the ‘three-book’ part. I had to re-read the letter several times, and call Charlotte, my brand new Carina UK editor, to make sure I wasn’t hallucinating!
I had to do some quick thinking. Two weeks earlier I’d received another offer from a US publisher. I had been strongly considering it and was about to sign… but this was Carina UK, aka Harlequin, aka HarperCollins Publishers. And for me that was a no-brainer!
My writing journey started back in 2003 when I moved to Paris. At first, it was just for fun and to meet people, but then I began to take it more seriously as I published a number of short stories, and then produced a novel. But then I wanted to write a thriller…with a twist! I’m an avid diver, and I noticed that so few thrillers use the awesome undersea world where so many things can go wrong…
So I began the writing journey for 66 Metres, referring to the underwater depth at which air becomes toxic. After workshopping the book and having it professionally critiqued by three authors, I started hawking it around agents and writing conferences, but it wasn’t quite what agents were looking for. I met several editors who really liked the opening chapters, but their publishing houses only accepted ‘agented submissions’. Catch 22. And then I found Carina UK, one of the few publishers brave enough to consider and take on new talent.
So there was no question about it. I signed! And anyway, as one of my characters says, you don’t have to make the right choice, you just have to make the choice right. And I’ve had no qualms ever since, either. Fab editor, great staff, a professional organization. Together we hope to produce thrilling books you won’t want to put down!
66 Metres will be released August 2016