Tag: help for writers

Categories
Writing

How to improve your writing by avoiding things that I don’t like

snowdrops growing in a garden
Snowdrops, just because they're seasonal and they were conveniently there.

Maybe it’s just a coincidence. You don’t see a particular mistake for years and then several examples turn up at once and you find yourself asking, ‘Is this a thing now? Why are people doing this?’ So here we go. How to improve your writing by avoiding things that I don’t like. Will it actually improve your writing? Maybe. No guarantees. Depends on context, etc. etc. etc. Try it and see!

There seems to be a trend for writers to use ‘inside’ or ‘within’ where the little word ‘in’ – or ‘into’ – would work just as well. Hence we have ‘The hero strode inside the room’ or ‘She reached within the cupboard’ or ‘He put it inside his pocket’. Try substituting ‘into’ (first two examples) or ‘in’ (last example). Doesn’t it sound cleaner and crisper? See also: ‘placed’ instead of ‘put’: for example, ‘Maria placed it inside the box’ vs ‘Maria put it into the box’. People are always placing things inside things instead of simply putting them in. That’s not to say there isn’t a place for these usages, just that it would probably improve your writing if you stopped and thought about it first to make sure that’s really the best way of saying what you want to say.

There’s another construction that’s been bugging me lately. Again, it’s not ‘an error’ per se, but it’s something you might like to think about to make sure you’re using it consciously and to maximum effect. Technically I’d call it ‘gerund vs infinitive’ – here’s an example:

‘She started walking along the path.’ Compare and contrast with: ‘She started to walk along the path.’ (walking – gerund; to walk – infinitive)

I’ve been seeing a lot of gerunds lately – the ‘ing’ form of the verb – especially in action sequences. ‘Dave started shooting …’ ‘Emma started running …’ and so on. I can totally see why people do it – it has a certain flow, and it tends to be how people talk, as well. But it can actually serve to slow down the ‘feel’ of the action where the infinitive would keep it moving along. This is the case especially where the action is interrupted or moves rapidly on. Neither construction is right or wrong, but if you keep it in mind while you’re reading through your own work, you can make an informed decision about which one you want.

Those are the most obvious things I’ve seen recently that give me an impression of laziness rather than bad grammar or mistakes. When one construction is used a lot at the expense of another which works just as well or better, it just makes me think that the author has got into a comfortable groove and hasn’t really ‘seen’ their own writing. It doesn’t make it bad writing, but if you take a look through fresh eyes and try mixing things up a little, it might give your work that extra pop and sparkle that elevates it from ‘competent’ to ‘good’ or from ‘good’ to ‘great’.

Final note: a character telling another character something is still ‘telling’ rather than ‘showing’. I find ‘show, don’t tell’ rather a simplistic instruction – there’s a place for both – but don’t think you can stick something into dialogue and it suddenly becomes better. It’s particularly annoying when a character has spent a couple of paragraphs thinking about, for example, how Mr X can’t possibly be a plausible suspect because of Y and Z, and then feels compelled to repeat their thought process word-for-word to their colleague in the next chapter.

snowdrops growing in a garden
Snowdrops, just because they’re seasonal and they were conveniently there.
Categories
Copyediting

Working with an editor: getting the most out of the editing process

Man and woman talking over laptop, notebook and drink

You’ve finished your draft, done a spot of proofreading of your work and followed last week’s advice on how to choose an editor. You’ve found someone you like and you’re about to embark on that scary journey: getting your book edited. You’re probably wondering how you can get the most out of working with an editor, so that’s what I’m about to tell you!

I’ll start by saying that, if you’re like most writers, the thing uppermost in your mind at this point might be how you can avoid falling out with your editor. Perhaps you’re simultaneously scared of getting your work pulled apart and nervous in case you ‘push back’ and rile your editor, ending in a big, messy fall-out over a serial comma. You’ve picked someone you like and you seem to have a good rapport with them so far, but you’re afraid that will all come crashing down when you see what they’ve done to your manuscript.

I’ve got news for you. We don’t want to fall out with you, either.

Sometimes a grammar or punctuation rule or a particular spelling is right or wrong. Sometimes it’s a matter of opinion or personal preference. If it’s the latter, we won’t make it a hill to die on. If you want ‘spelled’ instead of ‘spelt’, or ‘well-being’ with a hyphen, guess what? It’s up to you! We aren’t scary grammar nazis; we want to be nice, and we want to help you and make your book as good as it can be.

With that in mind, here are some things you can do to make the editing process easier for both of us.

1. Know what kind of editing you’re getting

By the time you’ve got to the point of engaging an editor they should have gone through this with you, but to be on the safe side, make sure you know what kind of editing you’re getting – and that it matches up with what you need. As a copy-editor, I can’t do my best job if major structural reorganisation is needed, and if you want me to re-edit your work after you’ve rewritten and added parts, I’ll have to charge you extra – and most editors will do the same (it’s in my Ts and Cs, so make sure you read the small print!).

2. Be willing to consider changes

I was going to phrase this ‘Don’t be a dick’, but on reflection that seemed a bit harsh. I can honestly say that I’ve never had an editing client who has been rude about my suggestions, comments or queries. But I’m sure they exist, and you don’t want to be That Person. It’s natural to feel a little bit defensive about your work, but try to bear in mind that your editor wants your work to read as well as possible. If something is unclear to them, it may well be unclear to your target audience too. Remember that it’s up to you whether you accept all their suggestions, so try to not feel too dismayed, but also remember that they’re professionals and have made those suggestions for a reason. If it feels as though they simply haven’t ‘got’ your tone or what you’re trying to do in your book, have a chat with them about it. They should be on your side helping you achieve your vision!

3. Brace yourself

When you first open your edited manuscript file, there will be Track Changes – or the equivalent of red pen – all over it. And I mean all over. It’ll look shocking. I might as well get that out of the way. That doesn’t mean your writing is bad. Brace yourself and grit your teeth. I can pretty much guarantee that a lot of the ‘corrections’ will be things like changing a comma into a full stop or adding a space on either side of an ellipsis. 

4. Turn ‘Simple Markup’ on

In Word, under the ‘Review’ section of the toolbar, you have the option to view ‘All Markup’ or ‘Simple Markup’. Start by viewing the document with simple markup turned on. This means that you’ll only see the editor’s comments – queries or suggestions – rather than every single edit, deletion, insertion, etc. It makes the text look a lot less scary and will help you concentrate on the important stuff. Later, if you do want to go through every tiny change, when you get to a bit that looks confusing or that you have strong feelings about, turn simple markup back on and read through the passage ‘clean’, as though you’d already accepted the editor’s suggestions. Sound alright to you now? You might be pleasantly surprised!

5. Use the opportunity to improve your writing

Look at what the editor has changed and how those changes affect the flow of the text as a whole. This may help you improve your writing for the next book – if you have one planned! 

6. Don’t be afraid to ask questions

You are perfectly within your rights to ask the editor to explain their rationale for certain decisions. It doesn’t mean you’re arguing with them; it just means you’re curious. Any editor worth their salt will be happy to tell you why they’ve done what they’ve done. If they’ve changed something wholesale without consulting you, there’s a good chance it’s straight-up wrong rather than just a matter of stylistic preference. Ask and you’ll learn! 

7. Don’t ask too many questions

This sounds counterintuitive, but it’s just a shorter way of saying don’t bog the process down by questioning absolutely everything. The more you ask, the longer it will take, and you may end up getting charged extra. Got a question? Ask away! Want to go through the edit line by line with your editor? You’ve probably got too many questions. Be brave and make your own decisions about which changes you want to accept and reject. Remember: you don’t have to agree with everything your editor has suggested.

8. Use the appropriate technology

I usually work on manuscripts in Word, so I’ll refer to Track Changes here, but if you and your editor are working on a pdf document my advice applies equally to pdf markup. Use the technology available to you. Use Track Changes and Comments. Please don’t send your edits, comments or responses by email or as a separate document. You might think you’re referring to page 114, but by the time your comment gets back to the editor, they’ve continued to make changes and page 114 is now page 113 or 115, line references make no sense at all, and it takes them precious extra minutes to find the bits you’re talking about. They should have told you at the beginning of the process how they were going to present their feedback (Track Changes, Comments, pdf markup, etc.) and at this point you can ask how they’d like you to communicate yours in return.

9. Don’t be afraid to use the phone

It’s quicker than email and you might be able to get an instant answer. You can both ask lots of questions one after the other without any awkward written to-ing and fro-ing. Check first with your editor when they’re available to talk on the phone so that you don’t worry about interrupting them. And, of course, check that they’re comfortable with it – not everyone is, but if they are, you can both save yourselves time and energy!

10. Keep in touch

Let your editor know if you’re going away, have had a crisis or are going to be incommunicado for a while. That way they’re not left hanging and they can plan in order to either meet the deadline or extend it if necessary. Also, they won’t expect you to respond while you’re away or otherwise occupied. They should, of course, return the favour!

11. Write a testimonial

If you think your editor did a good job, say thank you – it’s always nice to be thanked. But you can go one better. Write a testimonial that they can use on their website or a review on their Facebook page if they have one. Ask them where they prefer to have their reviews (some people use Trustpilot or similar sites) and show your appreciation by writing one. Asking clients for testimonials can sometimes feel a bit awkward, especially if a bit of time has passed since the job was done, so we really appreciate it when you take the initiative – believe me! 

If you’re feeling particularly generous you could even credit your editor in the book. The first time an author wrote something really nice about me in the acknowledgements I actually bought the book, despite it being an academic work on a topic totally unrelated to my interests! So you never know, you might even bag yourself an extra sale.

Go for it!

Hopefully I haven’t made you overthink the whole thing. Perhaps I should come back to the one bit of advice I almost didn’t say: don’t be a dick. Most people aren’t. You probably aren’t. In which case you’ll get on with your editor and both of you will enjoy the process of getting your book into great shape!

Categories
Copyediting

Choosing an editor: a guide for self-publishing authors

As a self-published author, it’s your responsibility to make sure your book is as good as it can be. An editor can help to make your book look professional instead of amateurish.

Editing your own work: getting off to a good start

Many people will tell you that you can’t edit your own work. That’s correct; you need a fresh and impartial pair of eyes. What you can do, though, is get your work into the best possible shape before you hand it over to an editor. This will save them time and, more importantly, you money!

woman sitting cross-legged and working on laptop
Definitely not me this time.

Ask your peers – other writers – for their opinions. Join local writing groups. Meet writers online and ask them to have a look at one or two chapters for you. Don’t be shy about getting feedback from your fellow writers.

Every writer is focused on their own work, so make sure you contribute something back to the community by returning the favour for others.

Now is also a good time to write a synopsis. This is a skill in itself, so practice is good. Don’t forget that a synopsis is different from a blurb – it should be about one A4 page long, contain all the major plot points and describe what happens in your book. Don’t worry about spoilers!

Writing a synopsis is a great way of identifying weaknesses or plot holes. Read it out loud. Does it ramble or sound boring? Do things seem to happen for no reason? Maybe you just need to tweak the synopsis, or maybe you need to go back to the book and make some changes there.

When you feel happy with your book, that’s the right time to look for an editor. But wait! Do you know what you’re asking them to do, and does that match up with what you need?

Different types of editing

Think about what you expect an editor to do for you. For instance, you might envisage them:

• making sure the spelling is correct
• making the writing ‘flow’
• improving your style by, for example, removing excess adjectives or pointing out clichés

Or you might picture your editor:

• suggesting ways to make the dialogue less clunky
• helping to reveal the motives of the villain
• flagging up areas where the timeline or chapter ordering makes the story unclear and suggesting solutions

These are all things an editor could do, but they are different types of requests and may need different types of editors.

A structural or developmental editor will look at ‘big picture’ stuff like plot, characterisation, themes, voice, dialogue, pace and flow. They’ll look at how everything fits together and pick up on major inconsistencies and inaccuracies.

A copy-editor will look at spelling, punctuation, grammar, style, consistency, wording and legal issues. Their job is to get your manuscript ready for typesetting. They’ll help you make sure your work is accurate and fit-for-purpose.

There may be some crossover between those types of editing – a copy-editor might query plot holes and a developmental editor might flag up grammatical ‘tics’ – but, in general, developmental editing looks at the big picture and copy-editing looks at the fine details.

If you choose one type of editing when you really need the other, it’s frustrating for all concerned. No editor wants to spend hours correcting your spelling only for you to rewrite or delete entire chapters. And you don’t get the result you wanted.

What type of editor do you need?

‘But wait!’ I hear you cry. ‘I can’t afford all these rounds of editing! What should I prioritise?’

I’m a copy-editor, so naturally my advice would be not to skimp on the copy-edit. A lot of developmental work can be done in advance with feedback from other writers. That’s not to put down developmental editors – actually, I think they have a harder job than I do! – but if you’re on a limited budget you might only be able to afford one type of editing. No matter how great your book is, it will look terrible if it’s riddled with typos.

A word to the wise: if you’re releasing your book as an ebook only, and not getting it printed, don’t look for a proofreader. A proofreader checks your book after it’s been typeset for print (here is some more information about the difference between proofreading and copy-editing if you’re interested), so if that isn’t going to happen, proofreading isn’t what you need.

I strongly recommend you use an editor who is experienced at preparing manuscripts for conversion into ebook formats, as the requirements for ebooks are quite different from those for print.

How to find the right editor for you

Look no further! I specialise in working with self-publishing and ‘DIY’ authors. I’ll help you to get your book ready for ebook conversion and distribution, as well as for printing if necessary.

If for some inexplicable reason you don’t want me to edit your book, look for someone who has worked on similar projects. Your country’s industry body for editors may have a directory you can use (in the UK this is the SfEP Directory of Editorial Services). You can also ask other self-published authors for their recommendations.

Don’t be afraid to ask questions! Prepare a list before you make an approach. You have every right to query anything you don’t understand.

Pricing

Don’t be put off if an editor doesn’t list prices on their website. Some charge per word or per thousand words; others, like me, base their charges on how long the job is likely to take, so they won’t be able to give you a quotation until they’ve looked at your manuscript. Neither approach is ‘better’ than the other; they each have their pros and cons and both methods are used by professionals.

It’s time to go ahead!

A good editor should respond to your enquiry within a reasonable length of time. They should be upfront about the likely cost and clear about what they can do for you. It’s important for both of you to be confident about the scope of the work. Most editors will have terms and conditions; ask to see them before work starts.

They should send you a sample edit of part of your work to give you an idea of their approach. You can decide whether they’re a good fit for you and whether they respect your ‘tone of voice’.

Once you’ve found an editor who is on your wavelength, it’s time to go ahead! Stay tuned for my next blog post about how to work with your editor to get the most out of their service.

Categories
Proofreading

How to proofread your own work

‘Proofread your own work?’ I hear you say. ‘But that’s ridiculous! You proofreaders are always telling us it’s impossible!’ And it is impossible to proofread your own work to the same standard as a trained and impartial professional. But if you use common sense and a keen eye, you can get your manuscript to a good standard before it hits the copy-editor’s or proofreader’s desk – and hopefully save yourself a few spondoolies! Here are my tips on how to go about it.

  • Read your work out loud. This is the single most important thing you can do when trying to polish your own writing. Don’t worry about sounding ridiculous. Shut the door. Wait until everyone has gone out if you have to. And, most importantly, take your time about it. Reading a piece out loud will show up a multitude of sins. If you slow down and really look at what you’re reading, it should help you to spot any missing little words. You may spot other errors as well.
  • Read each line backwards. That’s the next step. Invest in some ink and paper and print out your manuscript so that you can hold a piece of card under each line, just like when you were learning to read at school. Most of my proofreading is done on screen, but I still find it easier to see mistakes in a printed passage. If you can afford it, do it. Read each line backwards, a word at a time.

person proofreading sitting at desk with papers
A Lesser-Spotted English Proofreader in its native habitat.

Those are my two top tips – a couple of basic principles, if you like. Here are some pitfalls to watch out for.

  • Run a search for ‘pubic’. You won’t regret it. (Unless you’re actually writing about genitals, of course, in which case you’ll probably find yourself typing ‘public’ by accident.) If you mention martial arts at all, you might also want to search for ‘marital’.
  • Consistency is key. You may have noticed that apostrophes and quotation marks can be curly or straight depending on which font is used. Make sure all yours are consistent. Even if you’re sure you’ve applied the same font throughout, you might be surprised. I don’t think I’ve ever seen a manuscript where the odd ‘odd’ apostrophe hasn’t crept in.
  • Pay special attention to the letters f, i, l and t, especially when they crop up close together. Check that ls aren’t is and is aren’t ts, or vice versa. Check that double letters aren’t triple.

There are also a few simple things you can do to make it much easier to format your book for print or digital distribution.

  • Please don’t use double spaces. Not after full stops; not anywhere. It takes seconds to run a ‘find and replace’. Watch out for triple spaces if you’re a heavy-handed typist!
  • Get rid of spaces at the ends of paragraphs. I know the feeling only too well – you’re typing away and your thumb automatically adds a space at the end of the sentence. But you don’t need one at the end of a paragraph.
  • Use Word’s ‘Styles’ function. If you don’t know what it is or how to use it, there are plenty of tutorials out there. Take some time to figure it out and your copy-editor will thank you for it.

I could add a lot more, but that’s enough to be going on with! Remember the three golden rules: 

  • read it out loud,
  • read it backwards, and
  • take your time!
Categories
Events

Coming up: writing & literature events

I’ve had my nose buried in a tricky copy-editing job and only just surfaced for air. In the name of professionalism I can’t post about work I’m actually doing, and I’ve been living and breathing this particular subject for several weeks. I’ve even dreamed about the references!

As a result I’ve fallen behind on finding out what is going on in the world of writing and literature, so in the process of catching up I thought I would compile a few of the writing/literature events taking place in the UK in August to October.

Steve Bowkett workshop story grids

One event I’m particularly looking forward to is Leicestershire author Steve Bowkett’s workshop on ‘Story Grids: Techniques to Improve Your Writing’, which will take place on 3 October, 14:00-16:30 at The Dock, 75 Exploration Drive, Leicester, LE4 5NU. Steve aims to help you form a narrative organically and ‘take your mind by surprise’. The workshop will look at building the key elements of a story and sustaining reader involvement. It’s not specific to any particular genre, so there should be something for everyone! Book onto this workshop.

Steve’s workshop is taking place as part of the Everybody’s Reading Festival.

Categories
Help For Writers Networking Writing

Networking for introverts & special snowflakes

people talking in conference setting
Me (L) attempting to network at the London Book Fair.

I just wanted to share a couple of really useful articles I’ve read recently which touch on both networking and writing your novel.

‘A Survival Guide for Introverts Networking’, a blog post by Abi Saffrey, is aimed at people going to the Society for Editors & Proofreaders conference in September, but it applies equally to any conference or event you might be going to. I’m not actually an introvert, but this post is full of helpful tips like ‘Pre-break the ice’, ‘Don’t wear new shoes’ and ‘Prepare some opening lines or questions’.

I found Randy Ingermanson’s explanation of the ‘Snowflake Method’ of writing a novel clear and inspiring. It made me want to start planning my own novel! I don’t have a plot or theme or any characters in mind, but reading Randy’s article made me feel as though I could write about anything. Remember, folks: ‘Good fiction doesn’t just happen’!

If you have any especially useful blog posts or articles that you keep going back to again and again, let me know in the comments. Helpful resources for writers are always welcome in these quarters!

 

Categories
Writing

Erotica: Banned words

silhouette of heterosexual couple facing each other eroticaEditing erotica presents its own special challenges. By the time something gets to copy-editing stage I don’t want to suggest a major rewrite, but there are some words that get so much use in erotica that I would like to put them on my ‘banned words list’! There’s nothing wrong with these words per se, but if you’re a writer and you’re thinking about using any of these in a sex scene, please, I implore you, think again:

  • manhood
  • nub
  • mounds
  • glided
  • throbbing
  • moist
  • wantonly
  • channel
  • globes
  • bulge
  • appendage
  • heaving
  • rampant
  • slippery
  • pert

I’d also like to put in a special plea for authors not to describe pubic hair as either coarse and wiry (ouch) or soft and downy (sceptical hmm).

If you’re an editor or proofreader, are there any words you’d like to add to the ‘banned words’ list? I’d love to hear about anything I’ve missed!

This isn’t supposed to be a dig at authors who have used these words in their books, and I’m certain that there are some excellent erotic passages (ahem) that contain them. However, they all seem to get used a lot, so if you want to be rigorous about avoiding clichés, you might want to think of something else or see if you can get away with removing that word altogether.

Bonus points available: outside my office someone has marked up the pavement ready for some forthcoming works. They’ve written ‘SERVICE TRENCH’ in large letters. Every time I see it, I wonder whether this phrase could be worked into an erotic scene. Bonus points for any author who can manage it.

Categories
Copyediting Proofreading

Proofreading & copy-editing: what’s the difference?

person proofreading and marking up textI advertise proofreading and copy-editing services and I try to be clear about exactly what you get for your money with each service. I don’t want to bore potential clients to death before they’ve got half-way down the page, though! If you’re not sure about the difference between proofreading and copy-editing and you’d like to know more, read on …

A key point is that proofreading is the final stage your manuscript will go through after typesetting and before the final print run. The purpose of proofreading is to polish and perfect a hard copy book before it goes to print. A good proofreader should try to keep changes to a minimum because it costs money for the typesetter to make amendments at this stage.

An ebook doesn’t get typeset in the same manner as a printed book. On an e-reader, the reader can choose various aspects of the text’s appearance, such as font, font size, line spacing, margins etc., so there’s no point in laying out these elements with precision. Of course, ebooks still need to be checked for errors, so even if you’re only releasing your book in digital format you might still want the services of a proofreader.

A proofreader looks at spelling, grammar, punctuation, layout and consistency. They’ll also check that your work has been typeset correctly – that page numbers and page headings are all present and correct, that illustrations and captions correspond, that styles are consistent, and that the table of contents is correct. They will check everything, including front and back matter such as the copyright page, dedication, bibliography etc. See the Society for Editors & Proofreaders website for a full explanation of what a proofreader does (and doesn’t do).

Copy-editing happens at an earlier stage, before typesetting. After copy-editing the author will probably want to make a number of changes. This may result in a few errors – usually minor – being introduced, so, no matter how good the copy-editor was, there might still be a few typos or bloopers in the finished product. That’s why it’s also a good idea to get a proofread done after typesetting, but if your budget is limited you might prefer to take a risk – particularly if your work is destined to be ‘ebook only’, without so many formatting elements to consider.

Copy-editing is concerned with getting your work ready for typesetting. A copy-editor will make sure your work is accurate and fit-for-purpose. As well as looking at spelling, punctuation and grammar, they’ll also look at style, consistency, wording, legal issues and technical design elements related to the typesetting process. If your work contains illustrations, graphs and tables these will also be covered. They should flag up doubtful facts for your attention and may query anything that looks ‘wrong’ or which is hard to understand.

A copy-editor does look at some ‘big picture’ issues such as plot holes and structure, but they won’t do the job of a developmental or structural editor. If a piece of work requires extensive rewriting, it’s too early to be using the services of a copy-editor, because much of their work will be undone during the rewriting process or they may have wasted time working on sections which are later removed. The Society for Editors and Proofreaders has an excellent and thorough explanation of copy-editing on its website.

If you would like more information or a quotation for copy-editing or proofreading, please do not hesitate to contact me.

Categories
Events

The 4th Self-Publishing Conference

self-publishing conference brochure

On Saturday 7 May I attended the 4th Self-Publishing Conference, organised by Matador.

self-publishing conference brochure

As a Leicester City supporter I was feeling particularly proud of my home city, so it was nice to see people converging on Leicester from all parts of the world – even from Spain!

University of Leicester flowers
Leicester boasts many beautiful scenes around the city as well as on the football pitch.

The keynote speech was by Caroline Sanderson, Associate Editor of The Bookseller. She talked about what self-published authors can do to maximise their chances of getting noticed and promoted. There was a strong emphasis on the importance of good cover design, and she highlighted various examples, talking about what made them stand out.

I attended a workshop by Louise Jordan of the Writers’ Advice Centre. She talked about structuring a children’s book. I dived into the exercises, despite not having a children’s book on the go, thinking, ‘I’ll just have to make something up.’ It then occurred to me that that’s exactly what writer’s do! Her advice was so useful that you might be seeing my book on a shelf near you soon! (Well, that last bit might be a slight exaggeration.)

Next, I listened to Rachel Gregory from Troubador and Barbara Scott from Surrey Libraries talking about how to maximise your ebook’s potential. Most people know that you can borrow ebooks from libraries, but they don’t take ebooks directly from authors. Barbara was a great advocate for libraries. It might be free for people to borrow books, but the libraries have to buy the ebooks in order to stock them, so it’s still worth getting your book into libraries if you can! It was heartening to hear that library loans of self-published material are growing.

Professor Alison Baverstock from Kingston University gave an excellent plenary session about her research into self-publishing. I felt like jumping up and shouting, ‘Yay!’ (I didn’t. I just went up to her afterwards to say it in slightly more articulate words.) When I was planning the marketing for Help For Writers I noticed that there’s a lot research into readers – demographics, habits, what they like – but precious little about writers. Alison’s work helps to fill that gap. I can also confirm one of her findings from a personal perspective – editors enjoy working with self-publishing authors!

Prof. Alison Baverstock
Professor Alison Baverstock talks about her research.

Mike Bodnar, author of humorous travel book Against The Current, talked to us about self-promotion for self-publishers. He gave us loads of useful information with a few jokes thrown in. I covered several pages with notes – thanks Mike!

Cressida Downing of The Book Analyst probably thinks I’m stalking her, because this is the second time I’ve been to one of her workshops in a short space of time. She’d asked people to submit synopses in advance, and she read out excerpts and gave some insightful criticism of each one. Don’t get your synopsis confused with your blurb – it’s perfectly OK to give away spoilers in the synopsis; in fact the whole point of a synopsis is to tell the reader what happens in your book!

After the conference came the drinks reception, where we mingled and talked.

Group of people talking
Networking in progress.

One of the authors I spoke to was Julian Jackson, who has written his own account of the day. Apart from Mike Bodnar’s talk, he attended different sessions from me, so it’s well worth a read if you want to find out what was going on elsewhere!

Thanks to Matador for putting on an informative and well-organised day.

 

Categories
Events

Looking forward to the London Book Fair

London Book Fair Help For Writers graphic ebook distribution self-publishing

 

This year I’ll be at the London Book Fair for the first time, and I’m excited about it!

I’ll have my Help For Writers hat on, but I’ll also be looking out for opportunities to get involved with new proofreading and copy-editing projects. If you’re a writer, please do stop by stand 1F50C and have a chat – I’m always happy to talk about proofreading and copy-editing! I promise not to come over all salespersonlike. It’s just good to talk to fellow writing geeks from time to time.

If you’re feeling really brave, you can ask about my ‘words I would ban from erotica if I had my way’ list. Settle down for a long ride … no pun intended.

I’m also on a panel. That’s right! I’ll be talking about ‘How to prepare for self-publishing’. The panel will take place on Wednesday 13 April at 12:45 in the Author HQ. The session will be chaired by Fiona Marsh (Midas PR, ex-HarperCollins) and I’ll be joined by self-published author Will Green (Default Setting) and Marketing Executive Nikki Halliwell. I’m really looking forward to it! Come along if you’re there, and feel free to fire questions at us afterwards.