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I hope you’re doing ok during this worrying time.
The Savvy Writers’ Fest is in early May. It looks like Covid-19 will still be causing challenges at this time. I’ve therefore come to the decision to cancel the event. I may think about turning it into a virtual festival. If I do, I’ll let you all know. All attendees should have been emailed about this but do get in touch if not.
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 That revered and wise tome of the 21st century, Wikipedia, defines midlist as:
Books which are not bestsellers but are strong enough to economically justify their publication (and likely, further purchases of future books from the same author) Oh don't you love how they add 'further purchases of future books' like it's an afterthought and not the sole indicator of whether we can enjoy a long term career or not! If we look at backlist sales in mean average terms, the majority of authors will fall into the midlist author category. You might think you're lowlist, but if you're still selling books and have a chance of continuing that in the future, I'd put you in the midlist. Authors can jump from one list to the other. While I have been at the top of the digital bestseller lists, even then I was no JoJo Moyes or Clare Mackintosh (still hope to be!). So for the sake of argument, let's just agree I'm currently a midlist author and while the seas for me are calm at the moment, things feel like they could change any moment. Setting goals is an interesting one for us passengers on the midlist boat. There are things to celebrate from the previous year. For me, I got three offers on the table from publishers and decided to move over to the Lake Union imprint of Amazon. Not all midlisters are lucky enough to stay in contract during this super competitive time so it was a highlight, for sure, and means I'm currently in a reasonably stable position. It wasn't an easy decision to make. I was worried by making such a move, I'd be rocking the boat and end up falling into alligator-filled waters. And yet I couldn't resist taking a peek at Highlist Island. You know the one I mean. Nope, not that one with the botoxed lips and guitar string bikinis. The one with the authors who have parties thrown for them by their publishers and hotel room walls papered with gushing national newspaper reviews as they chill on the beach with their laptops, secure in the knowledge they'll be writing full-time for quite a few years. As a midlist author, you often find yourself treading that fine line between taking risks to try to get onto that island or just sitting quietly where you are, grateful you're not yet one of the ones struggling to keep afloat. That makes it difficult sometimes to make goals. But I believe there are three goals you can make: - one that keeps you secure in your boat - another that works towards getting you over to Highlist Island - Then a final one which could allow you to hitch a lift on a completely different boat all together Here's what I mean... 1. Stay secure in your boat by making the most of that side hustle Most midlist authors don't make enough money to write full-time, or if we are able to write f/t thanks to reaping the benefits of a bestseller or two in the form of ongoing royalties and foreign deals (like me), you still have to take it year-by-year. Unless you get another bestseller, that money could well run out. So side hustles are important to keep you afloat. And by side hustles, I mean using those skills you have - usually writing, or PR, or designing websites or teaching others - to top up your coffers. As long as it's creative and enjoyable and NOT your office job, then it's a step towards gaining control of your working life and tilting the balance in favour of being a full-time creative. Me for example. I've been helping my brother's awesome business out with social media. Just a few hours a week but I've been loving it. Then there's my Savvy Writers enterprise, this blog and related activities. It was never set up as a side hustle, more pure desire to support my fellow authors. But inevitably, with the Savvy Writers' Fest I'm running in May for published authors (UPDATE: now cancelled due to covid) there is the potential to make a little money (though in truth, that money will all go back into Savvy Writers). 2. Aim high by doing all you can to get a bestseller It's important to never lose sight of the end goal that benefits all writers: sell a shit load of books, whatever format those books are in. My latest book Wall of Silence is a milestone for me as it'll be my first book published by the Lake Union imprint of Amazon Publishing after my previous six books were published by HarperCollins. Why the move to A-Pub? It was simple: I want another bestseller. Specifically, I want to get the same kind of royalties I enjoyed with my biggest selling novel, My Sister's Secret. In fact, I want to surpass that (dream big, remember). I came to the logical conclusion The Zon would offer me the best chance of that thanks to their insider knowledge, mammoth marketing machine and the fact I get a better share of royalties (not to mention fluffy reasons like really connecting with my editor and loving their vision for my novel). Sure, it was a risk. I've stood up on that midlist boat and it's rocking slightly. But it's a risk I need to take if I want to get over to Highlist Island. Or more accurately, it's a risk I had to take to ensure I didn't find myself in shark infested waters. 3. Enjoy a detour on Hybrid Haven Hybrid Haven is a small cruise ship (have you tired of my shipping metaphors yet? Good, because I haven't!). It's sailing alongside the bloody mammoth Self-Publishing Cruise Ship which is reallllly busy and very confusing. There are lots and lots of authors shouting very loudly around this ship as they flail those shark infested waters. But those on the ship are working diligently and doing good stuff, just like on Hybrid Haven and many of them are over on Highlist Island already, doing their best to help other authors, especially those on the Lowlist paddle boat and Midlist boat too. I have toyed with the idea of checking Hybrid Haven out. There's a few ideas in totally different genres swirling around my mind which I could self publish. The reason it appeals is it would mean I don't have all my eggs in the traditional publishing basket (or should I say all my ducks in the traditional publishing tanker). Maybe it's something you could look at too? Okay, enough with the oceanic metaphors! Time to sign out. I have a deadline after all!   All my pretty covers from translated novels! Frankfurt Book Fair is taking place this week. It’s one of a handful of fairs, like the London Book Fair, where editors and agents from around world meet up to chat books. And yep, that could include your book too.
The ultimate aim of these fairs is to sow the seeds of a book deal in territories where you haven’t yet sold your rights. This is exciting for us authors as it means there's potential we might see our books published in another country, which in turn means gorgeous new covers and lovely new emails from readers around the world! And, of course, the chance for extra streams of income. So what are the ins and outs of rights deals? Let’s delve in… Do I even have rights to sell? To find out, look at your contract with your publisher. So if you’re a UK author, that could be a UK & Commonwealth deal, World English Language or World All Languages. If it’s a UK & Commonwealth deal, that means you’ve retained a lot of rights, meaning you or your agent can negotiate deals around the world in different languages, including English in territories like the US. If your deal is World English Language, while your publisher will have the rights to any English language editions of your novel (eg, US), you will have retained the translation rights so could get translation deals overseas in different languages. If you have a World All Language deal, you’ve handed all your rights over. Your experience will depend which publisher you're with. Some will have a great dedicated rights team, others will just let your rights sink without a trace. What kind of advance can I get if my rights are sold overseas? Advances can range from the hundreds to the hundreds of thousands. The smallest deal I got was three figures. The biggest deal I got was a good five figures. How much will I see of that advance? If your agent has negotiated a deal, then they will need to take their commission for their work, usually 20% (the standard for US, translation and film rights). If your publisher sells rights, your share of the advance from those deals will firstly go towards earning out the advance they paid you. Once that’s earned out, your share will be paid to you, with your publisher taking 15%-25%, and your agency taking their commission too. It's usually recommended you try to retain as many rights as you can because some (maybe most?) publishers just don't do much at all with all the rights they have. It will depend on which publisher you go with. If you have an agent, this is something they can advise on. Sometimes it's hard to turn a worldwide rights deals down though, especially with the larger publishers who will offer World All Language or nothing. So it’s something you need to consider and discuss with your agent if you have one before you accept an offer. If you don't have an agent, contact the publisher's other authors to learn about their experiences when it comes to world rights. Ask the offering publisher pertinent questions too: do they have a rights team? Will they do all they can to sell your worldwide rights? Will your book be taken to the main book fairs? Can they point you in the direction of one of their authors who did really well when it came to those world rights? On top of all of this, you have to think about taxes. It’s a complicated beast and there are many considerations to take into account when it comes to overseas tax. But an agent will always do their best to help you navigate all that! What about royalties if I earn my advance out? Your share of royalties for print editions will usually be lower than what you are used to. For example, you could get as low as 5% on trade edition royalties. But often, these deals will be negotiated in a way that the more books you sell in that country, the higher that percentage gets. Ebook royalty share tends to be the same as what you’re used to: 25-35%. Like here in the UK, there are some publishers who follow a low advance / high royalty model, especially in the US (having said that, digital publishers are wanting at least World English rights more and more so you might not have US rights to sell). I don’t have an agent. Can I sell my rights to overseas territories? Sure, you can submit to publishers if they take direct submissions. But this becomes difficult when there are other languages involved. Do you speak that language? Do you know the laws of that country so you can expertly glance over the contracts? What about tax issues in those countries? For me, this is one of the many reasons why agents are an essential part of the process, presuming the agent you have has a solid track record in selling translations rights. If you’ve already got a deal in your home country yourself, then you might find an agent willing to help with translation deals. But it can be tough to find one who will only deal with this side of the business. What happens if my book is ‘taken’ to a fair? I asked Thérèse Coen, the rights director at my agency Hardman & Swainson, about this. She said: 'The main focus of fairs like the Frankfurt Book Fair are an opportunity for agents to meet new editors, and to catch up with editors they already share authors with. They’re a great chance for agents in particular to get a sense of a publisher’s plans, plus what is and what isn’t doing well in certain markets. While there is still plenty of pitching going on for existing and future submissions, deals nowadays are rarely made at the actual fair. ‘Hot new debuts’ for example will usually sell before and after the fair.' If your book is featured in some way, first it will appear in your agent or publisher’s rights guide, a magazine-type guide to all the rights they’re selling. Your representative, whether that be your agent, your agent’s rights director, an agency dedicated to selling translation rights or your publisher, will then attend a series of thirty-minute meetings. Thérèse gave me a great insight into these meetings: ‘We fill our schedules from Tuesday to Friday with back-to-back meetings. If we’re meeting an editor we’ve not met before, they will talk us through their list, tell us what kind of books they publish, what has been working well for them and what kind of books they are looking to buy. We will then pitch the books to them which we think could be suitable for their lists. We will meet with editors who publish all sorts of genres so will be pushing the books which we think will work for them. There’s no point pushing a successful romcom to an editor who focuses on crime. So really, our job is to tailor our meetings to make sure we pitch the right books to the right editors. If we know the editor we are meeting already, then we might catch up on publication plans for existing shared authors, talk about books we’ve already submitted to them and get their feedback on those. They will also tell us which books or genres have or haven’t been working in their country, and what they have been buying.’ How long after a fair will I hear if I’ve got a deal? Deals can happen any time of the year, regardless of book fairs. But Thérèse did give some insight into what happens after the fair: ‘We submit books to editors in the form of pdfs (or occasionally hard copies) along with any other useful information, such as reviews, sales figures, author bio, prize wins and so on. The hope is that all this work will then lead to an offer from the publisher. It can take days, weeks, months or even years to hear back from editors proving book fairs are really just the sowing of the seeds.’ It's true! My second novel My Sister’s Secret was taken to fairs before it published, some nearlys but no bites. Then it hit the number one spot on Kindle, and sold really well, giving my agent a selling point at FBF that October. A few days later, I got an offer from Germany and then one from Italy, with even more since including a Portuguese deal over two years later. Is there any way I can improve my chances of getting a deal? The same as any deal really: write a bloody good book and don’t put editors off with any nasty skeletons in the Google closet (by that, I mean no politically incorrect blog posts and so on). Good sales figures, endorsements, positive reviews, and winning prizes all help. But even these can’t guarantee deals overseas. In fact, I know some amazing novels which haven’t had much luck getting deals abroad, even ones that have attracted big advances and sales in their home territories. Some of my novels haven't had any overseas deals! It’ a strange old business. It doesn’t harm to be proactive with your agent though, if you have one. If your novel sells really well or you’ve won a prize, for example, it’s certainly worth asking your agent if they’re going to use that fact to chase editors or pitch your novel to overseas editors. Thérèse has some advice on this: ‘It’s important to see it in this way: translation rights is a bonus, it’s a wonderful thing to have and a lovely surprise when it comes through, but given the slightly random nature of it, it’s not worth beating yourself up if you don’t get a translation deal.’ This is so true. It’s always a lovely surprise when I get an email from Thérèse, not just because she’s a lovely person but it might mean news of a new deal I never expected. So the seeds may be sown at the fairs, but it could be a while before you see them grow into beautiful fragrant deals! Here’s hoping…  The publishing industry goes through so many ebbs and flows, and the role of the literary agent is the same. There was a time when you could submit directly to publishers, but then as more and more aspiring authors worked up the gumption to submit, the flood became too much and submissions closed to all but those with agents.
I’m starting to see another sea-change (how many coastal metaphors can I fit into a blog post?!). Publishers are beginning to offer more and more open submissions, especially digital publishers. As a result, some authors question the need for an agent. Well here I am to say to you: WE NEED AGENTS! An agent’s role isn’t just about getting you deals. It’s also all that comes after too: the advice, the hand-holding, the potential for foreign deals. My agent Caroline Hardman is dynamite and I wouldn’t dream of not having her on my side. She’s a vital cog in the messy publishing machine, and always has my back. So now I've convinced any authors reading this that they need an agent, what happens when you have problems with your agent? Here are five common problems and how to solve them. 1. Your agent doesn’t like your idea This is SO tough and can be for a variety of reasons. Good agents will have their fingers on the pulse when it comes to what editors are looking for so it could be a decision based on solid commercial reasoning. Maybe they simply don’t warm to the idea. After all, they are the ones who’ll have to sell it to editors. It’s hard to be enthusiastic about a novel you don’t gel with. Or maybe they feel it’s too far from your current style of writing, in which case you need to ask: have they considered subbing you under a pseudonym? Either way, as long as you've chosen your agent based on the right reasons then as hard as it is to take when they're just not into your idea, maybe you need to consider if they're right. You can have two pots on the stove at once, so why not work on something new while keeping your other book bubbling away in the background? Of course, if your agent is making a habit of not liking your novels then you need to ask if they’re the right agent for you. You clearly don’t have the same taste any more. Tip: A way to get around this is to send your agent your ideas first. I don't mean long outlines with a paragraph or two summing them up. 2. Your agent takes an age to get back to you This is a regular occurrence for authors. We come across it enough with editors but to have the double whammy of our agent not responding to emails or reading manuscripts quickly enough can be so frustrating. If you’re finding this is a problem, the next time you send a manuscript, ask your agent in the same email when you can expect them to read it by. You can then make a note to chase some time after that ‘deadline’ has passed. Be honest and tell them you’d prefer them to read your MS sooner. If they can’t, or say they will but don’t, then you need to consider if they’re the right agent for you. Yes, publishing can be slooooooooow but at the same time, trends come and go and opportunities pass. You need someone who can read your books quickly. Tip: As a guide, I’d say you really should expect a response to emails within 24 hours, 48 at a push. On manuscripts, my agent is super fast and will often read a manuscript within a month or two (within a week in a couple of cases!). I’ve heard of some agents taking a year which is just ridiculous! A couple of months seems average. 3. Your agent fails to sell your book Even with an agent, there’s no guarantee of a book deal. The reason a book won’t get through the submission process can come down to a multitude of reasons, and often, it won’t be because of your agent or you! So don’t take it out on them. Instead, use your agent to get as much information as you can about why editors ultimately said no to your book, and use that to work on your next book. However, if you agent fails to sell your next book too, then it might be time to wonder if they’re part of the problem. Do they have good relationships with editors? How long do editors take to get back to them when they submit? Are they professional and courteous? Do they have their finger on the pulse when it comes to what’s selling in the market? How are their other authors doing? In the end, this is about your career so if the time comes to look elsewhere for agent, then be brave and do it. Tip: Ask your agent to forward the responses you got from editors. You have every right to see them. 4. Your agent leaves their agency This is super common. Ambitious agents will leave an agency to set up a new agency, like my agent did, or will move onto another agency. Some may leave the agenting world all together, which means you’ll need to find another agent. If you agent leaves to set up their own agency, it can be scary. I remember getting the email from my agent that she was doing that and shot off a number of questions just to assuage my fears. She answered them well and in the end, I was delighted to have moved on with her. If your agent moves to another agency and wants you to go with her, check whether her rota of authors will change in any way. If she's going to be taking on additional authors then you might see a downturn in attention. Does the agency’s ethos make you feel comfortable? Check its website out and ask any questions. Tip: Is your agent going on maternity leave or having a sabbatical. Make sure you’re going to be covered by someone else when they leave and arrange to meet with that person. 5. When you want to leave your agent Authors move on from agents for a variety of reasons. I did it myself many years back. If you begin to feel this might be an option, I’d always recommend sleeping on it and giving it a few days of thought, then send a polite email voicing your concerns so it doesn’t feel like it’s coming out of nowhere. If you’re still sure you want to leave them, then make sure you tell them before you start talking to other agents. It might be tempting to sound out other agents first out of fear you might end up with no agent at all but a) no agent is better than a bad agent and b) publishing is a small world with lots of boozy parties where agents share information. Instead, write an email so you have it writing that you wish to part ways. Be polite. Be gracious. Who knows when you might need their help in the future? Of course, if they’ve been a complete arsehole then don’t worry about the gracious bit! Treat it like a resignation letter stating the date. Most agencies have a three month notice period but agents are often willing to waiver this when it comes to the crunch. Keep in mind though they if they brokered a deal while you were with them, and even within the three months’ notice, they continue to get their commission. Tip: If you do end up looking for a new agent, be sure to ask any current editors and fellow authors for their recommendations.  When people dream of becoming an author, one of the images that springs to mind is that lauded book signing. Imagine the scene: you’re greeted by a bookshop manager who leads you to a table beautifully laid out with your books and some promotional literature. As you take your seat, the manager gushes about your novel. As soon as you sit down, a queue of readers will form and you’ll barely notice when people you know pop by, beaming in pride at how very popular and authorly their friend is.
Then comes the book talk at your local library. They think you’re so ace, they’re even going to charge for tickets and put some nibbles on! Naturally, those tickets sell out within just a few days of being advertised on the library noticeboard and when the day itself arrives, you’re greeted by a room of readers eager to hear all about your road to literary success. Yes, this exactly how it happens… right? Hate to burst the bubble but na, sorry. Unless you’ve just won Love Island or your initials consist of a J and a K, then chances are, the main emotions you’ll feel as you look back to a book signing or library talk will be complete humiliation. Sure, there are exceptions but for most authors, not just debut authors but established authors too, events like these are usually a humiliating and lonely experience. I hear this again and again. It’s the norm, a rite of passage in a way. A little hint of the anti-climactic moments that will sometimes dominate your writing career. Like one author who had a minus one attendance at their library talk as the librarian couldn’t even make it. Or another author who had a delivery of random books plonked in front of their signing desk so hardly anyone could see them over it. The truth is, most authors will be lucky if more than a couple of people turn up. Often the book staff aren’t prepared for your arrival. In fact, your books may not have even arrived! As for selling actual books to anyone but friends and family? You’re having a laugh, right? Talks at libraries can be worse. Even publicising it for weeks in advance or including wine and nibbles don’t shift many tickets. My advice? Don’t bother with events like these. They’re not worth the preparation time, the nerves in the lead-up and the dent to your fragile literary ego. But if you must do an event like this, here’s some advice… 1. Have the right mindset I always bang on about mindset, don’t I? But what I mean in this case is don’t see your signing as a chance to sell lots of books or introduce your ‘author brand’ to a bunch of new readers. Instead, see it as an opportunity to get some great pictures for social media. Even better, bribe family and friends to come along to create the illusion of a crowd around you for said pictures. This is what I did! Thank god for large families. I also invited a friend and my mum to take it in turns to sit with me so I wasn’t there alone. 2. Join forces with other authors Contact other authors who have a book out the same month as you and do it as a joint event. I’m not saying this will attract more people but what it’ll definitely do is help you connect with other authors and have a laugh with them in the process (addition of wine always helps with this too). Plus you have the advantage of appearing on your author pal's social media timelines and therefore, get the attention of their followers too. 3. Create a live event from it If you’re doing a talk, then have someone film it so you can live stream it or make a recording of it for future use on social media… making sure you don’t show the empty seats! This way, it doesn’t feel it’s a waste of time and you’re actually creating some content from it, like with the photos of your signing. 4. Find a ready-made audience If you’re desperate to hold an event, I find that reading groups and clubs like the Women’s Institute can be better as you won’t be the whole event, you’ll be part of a bigger meeting so people will be there already. Again, as long as you don’t see it as a book selling exercise, simply sitting in a room drinking wine and talking about books can be reason enough to do something like this. Same goes for appearing at literary festivals. Many people will have already brought a day ticket so will be more likely to pop into your talk. Personally, I wouldn’t recommend doing an event on your own at a festival though unless you're running a workshop for authors, and instead, ask to be part of a panel. 5. Charge fees This is a tricky one, I know. Bookshops won’t pay you in most cases, and it’s tough with libraries as they’re not making much money. But you should definitely charge for your time at a literary festival (fee plus travel expenses). Going rate is about £175. A token fee for groups like the WI doesn’t harm either, so around £50? At least this means if you don’t sell many books or get much of an audience from an event, you’re being paid for your humiliation. I hope this helps! If anything, it’ll make you realise you’re not alone in attracting nothing but tumbleweed to events. In fact, there’s a whole book dedicated to other authors’ awful event experiences featuring a collection of stories from some of the world’s greatest writers about their public humiliations! So take heart! Got your own stories of mortification? Share them in the comments or come join the Savvy Authors’ Snug on Facebook. Tumbleweed pic by schnoogg  In my first blog post about Facebook groups, I shared the basics of how to set a Facebook group up using my learnings from creating The Reading Snug group with the fabulous Kerry Fisher and Kelly Rummer. Now I'm sharing what to do once you set your group up to engage members and attract more.
Good luck and if you have any questions, just let me know!  I have a super busy year ahead with two novels to hand in (I know, I know, I must be crazy but I love the adrenaline rush!). This doesn't mean I step away from social media though. It just takes a little more planning. So once a month, I'll dedicate a morning (usually in the last week of the month) to plan my social media for the following month.
That morning will consist of brainstorming and writing content tweets, Instagram posts and Facebook posts. I'll then schedule them using Tweetdeck (there are other tools you can use like Hootsuite and Buffer). But how to do all this quickly? Here are some tips... 1. Repeat engaging content: Nothing wrong with repeating content you’ve posted in the past. Twitter timelines in particular move so fast, it really doesn’t harm re-posting engaging content as long as there’s a decent amount of time between items (eg. a couple of weeks). How to find that content? Just look at your stats to see which content has been the most effective (visit the resources section of This Author Can to find out how). 2. Do an audit of available content: Make a list of all the blog posts and articles you’ve done (simply googling yourself should bring them all up if you have any). Use this list to mine for content and as above, remember you can use it more than once. 3. Find out what is and might be trending: I use Google trends to see exactly what the world is searching for. You can change the location to where your target audience is based and even search by keyword. Buzzumo is also a great tool which can be used to look at trends as well as looking up specific themes/keywords. It allows you to see what is trending by platform such as Facebook engagements and Twitter shares. And Awarenessdays.com is a great website for looking at the weird and wacky national days. OK so maybe International Talk Like a Pirate Day does not exactly fit with your theme or campaign but it can be used to add personality to your social media posts. Remember though, the key with all of these tools is not to use them to shoehorn your latest release into a trend that it actually doesn’t quite fit into (if it does – great!)! 4. Excel is your friend: To maximise my time management, I prepare all my content in Excel first and then just copy and paste into the appropriate scheduling tool. Although this may feel that you are duplicating effort, by focusing on just the content I limit the chances of being distracted by cute puppies riding skateboards when I should be posting a poll on my Facebook reader group. Excel also allows you to set up character counts for things such as Twitter so you can quickly edit your tweet to make it fit the 280 characters. You can also use it to help you to decide what images to source, whether that be images you’ve taken, that you have or which you have sourced from free image websites like www.Pixabay.com Once you’ve written it all in your planner, cast a careful eye over it for any errors or broken links. 5. Now it's time to schedule: There are a plethora of social media management tools out there and it is important to find what works for you. Great tools offering free versions include Hootsuite, Tweetdeck, Social Oomph, and Buffer. These free accounts can be limited in the number of social platforms supported or the number of posts per social platform. For Facebook, I actually quite like the built-in scheduler. It is simple and effective and allows you to edit posts quickly and easily. So that’s it. In just one morning you can create the content and schedule the majority of your marketing for the month leaving you to focus on your writing. I think that deserves a coffee!  Christmas can be an interesting time for authors, whether writing novels is a full-time job for us or we fit the writing in with another job. It often means the festive break is anything but a break. Either editors send their revision notes in just before the Christmas break to (understandably) clear their desks, or Christmas is an author's only chance to actually get some solid writing done with some offices closing for the festive period. And for those of us who don’t have any deadlines and are looking to take a break, we’re conflicted because while we know we need to rest, our brains won't stop returning to the ideas swirling around them.
For me, I’ve tried to clear the ‘decks’ (like what I did there?!) so I can focus on family and friends for two weeks. Proofs are all signed off for the US and UK release of my next novel, The Family Secret (The Girl on the Beach in the US) and publicity plans are underway. Next on my list is to begin work on a brand new novel. So while officially I’ve cleared the decks, truth is, that novel will be on my mind a lot. So now doubt I’ll use the break as a chance to mull it over during some festive walks and mulled wine musings in front of the fire. What about other authors? I thought I'd ask authors I know what Christmas means for them this year. Here’s what they said… Psychological thriller author Charlotte Duckworth: For me it means a massive break from my first draft! For the past three years I've tried to write my first draft between September - December, which has worked really well (got about 6k left for this year - limping towards the finish line!). I love Christmas and so it's really important for me to have a proper break and I usually take at least three weeks off, with NO writing, probably not even any reading, nothing book related at all - and then start my second draft in January, aiming to have a readable MS by Easter. It's especially important to me I think because we are a freelance family so we so rarely have holidays - one week in May when we go away but that's it - the rest of the year we've both always got something going on as home and work life is so blurred. Also, my birthday is on January 3 so I like to have a restful lead up to that too! Writer of escapist romantic fiction Isabelle Broom: My structural edit has landed with Christmas this year – and it's a beast. Despite this, however, I am allowing myself from 24th-29th off (well, sort of, I'll still be reading heaps of March books to review), because I need it. Hell, the book needs it. I have such a small window between hand-in of first draft and beginning of second these days that I can't help but be thrown into a fit of turmoil. I need a bit of distance in order to do a better edit. That said, I will probably cave and start plotting the next book instead in those few days. If I don't write, it sends me just as bananas as the edit. USA Today bestseller Janelle Harris: I literally had an email two hours ago detailing my editing schedule. Structural (a monster) and copy all to be complete by Jan 3rd. Oh and I have end of Jan deadline for first draft for different publisher. Along with managing five kids, school runs and xmas shopping that I've barely started. I'm completely panicking 😲 Women’s fiction author Kerry Fisher: Like Charlotte, we're also a freelance family and I take a break. My editor is very organised and we agree a schedule for edits several weeks, if not months, before they arrive so they never just turn up out of the blue. Mystery author Terry Lynn Thomas: My edits are due on the 2nd and I've got tons to do. Going to try to turn the next book in by June so I don't have to do this over Christmas. This has been my routine for the past three years. Kind of over it. Debut crime writer Victoria Selman: Excitement that the holidays are here. Dread that I’m not going to get any work done. I hear ya, Victoria! If you're an author reading this, let me know what your plans are in the comments. In the meantime, have a wonderful break whatever it is you're doing and a fruitful New Year! Pic by Marco Verch.  Location always plays an integral role in all my novels, whether it be the ravished shores of Thailand during the 2004 tsunami in The Atlas of Us or the eerie underwater world of submerged forests in My Sister’s Secret.
And it’s no different with my latest novel The Family Secret (The Girl on the Beach in the US), which is set in several locations such as a wintry British seaside town, a stunning loch in Scotland and the ice beaches of Iceland. Location is so crucial for building tension and atmosphere. Here are five ways I do that: 1. Use all the senses I learnt this one while working as a travel journalist. It’s not just about what you see, but also what you hear, smell, taste and touch. Take a Scottish lodge that features a lot in The Family Secret, for example. This is how wildlife documentary maker Gwyneth experiences it the first time she walks in: 'I was instantly struck by the contrast between the house’s chilly exterior and warm interior: inviting oak panelling, the smell of an open fire and Christmas spices, the delicious warmth of its air compared to the icy white setting outside. A large patterned rug lay in the middle of the hallway, and two wooden stairways swept up towards a balconied landing. Another Christmas tree stood at the back of the hall, so high the star at the top reached the top of the railing on the balcony. A stag-antler chandelier hung from the ceiling on chains, golden lights glistening. It was just Dylan and I in the hallway, but I could hear talking in the distance, laughter, the faint trace of Christmas music tinkling from speakers. I could also hear people walking around on the floorboards above me.' As you can see, I used all the senses so the reader feels they themselves have stepped into that lodge. 2. Bad things can happen to beautiful places I love writing about beautiful places which have something rotten beneath the surface. In The Family Secret, that Scottish lodge looks like the perfect location for a festive gathering, perched on the stunning loch with snow-tipped mountains beyond. But that loch, despite its beauty, can also be a death-trap when iced over, as Gwyneth discovers the first time she's there and falls through the ice. As I write, the loch ‘shone beneath the moonlight, as menacing as it was beautiful’. 3. Don’t worry toooo much about weather clichés Authors are always warned off using weather in obvious ways when writing, especially when opening up a novel. But when it comes to scaring the bejesus out of readers, clichés – especially weather clichés – can work to a writer’s advantage. In The Family Secret, I use the increasing snowfall to create a mounting sense of tension and claustrophobia. In fact, the whole season of winter is used to enhance the effect of the locations with the potential for cracking ice and stifling snowfall. 4. Treat location like a villainous character Okay, confession time. I sometimes plan my novels using Excel. And in every Excel worksheet I set up for a novel is a section on characters. And in that section is where I place all my notes about the location of my novel because (and you’ll hear this from a lot of writers) I treat location like a character. In The Family Secret, location becomes the main characters’ friend and their foe. Like Winterton Chine, the pretty festive seaside village where gift shop owner Amber discovers a girl walking barefoot on the icy beach with no memory of who she is or where she came from. Amber loves the place, it’s where she grew up and lives. But equally, the town can be a constant reminder of difficulties in her past. That loch is also a character on its own with the potential to claim lives beneath its hard icy surface. 5. You don’t have to write what you know Yep, it’s nice to have an excuse to go on a jolly and visit the places I write about... and many times I have. But it’s not essential. I’m a writer after all, I like to use my imagination! I hadn’t visited the submerged forests I described in My Sister’s Secret, for example. I did it from online research and pure imagination. It’s the same for The Family Secret. I haven’t yet been to Iceland, one of the main locations, but I know people who have so picked their brains about it and did lots of online research. The location of Winterton Chine is, however, based on the lovely Alum Chine in Dorset which I visited during the Christmas I started writing the novel. Any excuse for a mulled wine on the beach, I'm pictured here with my daughter during the visit! Right, I think that’s it, I’m off to lie on my chaise lounge (yes, I really have one!) and imagine the world of my next novel… To pre-order The Family Secret, click here.  When I meet aspiring authors who haven’t yet dipped their toes into the publishing world, or have but it was yonks ago, a question I often get asked is: how does a writer get published nowadays?
So this one’s for you, folks! Let’s assume you’ve written a novel (maybe with the help of one of my workshops? Click here for more information), made it as perfect as you can with several rounds of revisions and now it’s ready to be read by more then you, your mum and your writing group. In fact, it’s ready to potentially make you some money. What do you do next? There are three roads you can go down which I've briefly laid out. I then delve into them in a bit more detail below: 1. The literary agent route: Many of the big publishers will only take submissions via a literary agent. So this means you need to submit your novel first to a literary agent. If one takes you on as a client, they will then send your novel out to several publishers on your behalf. If you get a book deal, your novel will then have a great chance of getting onto the shelves of high street retailers like Waterstones and the supermarkets, and online retailers like Amazon, Kobo, Apple Books and Google Books. Income potential: Most larger publishers will offer an advance, paid in instalments such as signing of contract, submitting of final draft and publication of novel. Debut advances range from the low thousands to the hundreds of thousands (rare!). The average is about £5-10k. Once sales of your books have made your publisher enough to cover your advance, you will receive a percentage of the income your publisher receives for each copy sold of your book (known as royalties). This is usually about 11% on print, 25% on digital. An agent will then take commission, usually about 15%. This is why a lot of writers are poor, ha ha. No, I kid, I'm doing this full-time now making more money I did working my full-time office job, so it can be done and is by many authors. 2. The direct submission route: Some publishers have what is called an ‘open submissions policy’ which means you can submit your novel via their website or email. Your submission will then be read to see if it's the right fit for the publisher. With this route, there is no need for a literary agent. Many of the publishers who accept unagented submissions are digital-first, meaning your novel will first come out as an ebook via websites like Amazon. If it does well, then it might be printed too. Some of the large publishers will have ‘open submission’ periods too, usually lasting a month or more, where you can submit directly to them. Income potential: A lot of open submission publishers won’t pay an advance but you will get a higher percentage in terms of royalties, eg. 40% on digital copies. As you're not using a literary agent, you won’t have to pay any commission on this. 3. The indie publishing route: This is where you are in charge of publishing your novel yourself, forking out for elements ranging from book cover design to editing. But the return in terms of royalty percentage is much higher. Eg. 70%. But you won’t have the backing and support of a publisher. Right, let’s delve deeper… The literary agent route If you want to see your books on shelves at places like Waterstones and WH Smith, then the literary agent route is your best bet as the big publishers (the ‘Big 5’ as they're known, so HarperCollins, Hachette, Penguin Random House, Simon & Schuster and Macmillan) will only take submissions via literary agents. I'd argue the 'Big 5' is now the 'big 6' if you include Amazon, which has its own in-house imprints like Lake Union and Thomas & Mercer, and operate in a similar way to the 'Big 5' when it comes to submissions, usually only accepting submissions from agents. Or they've been known to approach authors, often indie authors, who are setting the Amazon charts alight. While you won't see your books in places like Waterstones, you will get the might of Amazon's epic influence and marketing clout behind you. They also pay advances unlike other digital-first imprints but will also offer competitive royalty percentage. So, what does getting a literary agent involve? It’s a bit like applying for a job: a short covering letter giving some details about your background, your book and why you think they’d be a good fit for you, then a sample of your work and often a synopsis which is an overview of the novel. If they love the sound of you and your book, and think editors at publishing houses will too, they will offer to represent you. Often, they will then work with you to fine-tune your novel with their expertise and knowledge of the market in mind, then they will submit it to editors at the imprints of various publishing houses. Each publishing house has an ‘imprint’ which focuses on particular types of books. So my UK publisher is HarperCollins, and I am published by one of their imprints, Avon Books, which focuses on commercial women’s fiction and crime. A good agent will know the editors at these imprints and will compile a list to submit to. They won’t necessarily just submit to the big publishers. They may also submit to smaller independent publishers who are often just as great to work with. Your agent will also be able to negotiate translation deals and more for you. Mine advised me to retain translation and world rights, meaning I've made a really good income from getting book deals in in the US and translation deals around the world. This is more than what I might have done if I'd sold world translation rights to my publisher as publishers will often sit on these rights and not do much with them. Getting an agent doesn’t guarantee you a book deal straight away. But a good agent is in for the long-term and will advise you what to write next then submit that novel for you too. If you do get a deal, then your agent will then take a cut of any advances and royalties you receive. You should NEVER pay an agent upfront. In my view, a good agent is worth this cut. This is not only because it's the only way to get your novel read by editors at most publishing houses but many agents will edit your novel with you before it goes out out on submission. They can also help you make a lot of money via translation deals. Plus they can offer amazing advice and be a brilliant sounding board. Honestly, my agent Caroline Hardman is a bloody godsend! Is it hard to get a literary agent? Yes but then it’s not exactly easy to get published. Many authors will get dozens of rejections before they land an agent. Rejection is part of this business. For more information on the process of querying agents, I think this article is pretty useful. The direct submission route There’s not a great deal to add here on top of what I talk about above. The process of submitting your novel direct to a publisher is much the same as querying an agent. Just know that without an agent, you won’t have help deciphering contracts and it will be difficult to make money with translations deals and more. Of course, there are advantages of submitting direct though: one less hurdle to jump over and also, no 15% commission to pay to an agent. However, it’s worth noting that publishers who take direct submissions will often not pay advances and are digital-first publishers, meaning your book will be out as an ebook first unless is sells brilliantly. But your royalty cut will generally be higher, more like 40% for digital sales instead of 25%. The same word of warning applies here too: you should NEVER have to pay anything up front for a reputable publisher to publish your work. There are publishers out there who will ask for payment for things like editing and so on, but usually these are vanity presses who you should avoid at all costs. Some authors who can’t get an agent or a publishing deal but hate the idea of doing it all themselves through indie publishing could seek out a reputable business who can help them get their book out there. But I think you're better off publishing it yourself… or writing another book. Sometimes, it takes a few books to hone your craft and finally hit the jackpot. For a list of publishers who take submissions, see this website. My publishers take submissions for their digital-first imprint, click here for more information. Bookouture, who publish me in the US, also take open submissions. Click here for more information. The indie publishing route Hands-up, I used to be a bit of a snob when it comes to indie publishing, or self-publishing as it’s known. But the world has changed and authors are doing some seriously exciting stuff in this area. In fact, JK Rowling is an indie author in many ways. She retained the digital rights of her novels and is publishing them herself via Pottermore, after all. If this option appeals to you, you need several things: a business mind, a bit of money for the initial outlay (I really wouldn't recommend designing your cover yourself and getting a professional editor is key) and some savvy when it comes to marketing. You also need to accept it’s very unlikely you’ll see your books on the shelves of high street stores. The outlay of getting books printed can be high, and then convincing stores to stock your novels near on impossible. So this route really suits those happy to publish digitally. Don’t assume your novel will get noticed if you publish it yourself. You need to put a lot of effort in without a publisher helping you with their contacts at the retailers, their knowledge and support. But if you do manage to get heard above the noise, the benefits can be amazing, not least because you get a much higher % of the profit. However, you really need to weigh this up against the fact the trad publishing route gives you a better chance of being heard above the noise. People may argue this isn’t the case but in my experience, I really believe it is. To start exploring this area, visit the guru of indie publishing Mark Dawson’s website at https://selfpublishingformula.com/spf-resources/ and the Creative Penn is fab too: https://www.thecreativepenn.com/resources/ To sum up, the market can be a tough one to crack, regardless of what route you go down. But talent, grit and perseverance is key and whatever route you choose, the rewards can be wonderful. If you live in the UK then I am running workshops to help with all this. Click here for more information. |
