Tag Archives: fiction

Ten Helpful Tips for Novelists

Let’s face it, writing fiction is a daunting undertaking. It’s heartening that so many people want to write novels, and we want to help you before you get too far along, by identifying some of the most common areas for improvement we see in submissions as well as in published works.

First, a lesson from the Japanese. This may be the most important word to keep in mind when working on your novel and living your life:

Kaizen (改善), is the Japanese word for “continuous improvement.” In business, kaizen refers to activities that continuously improve all functions and involve all employees from the CEO to assembly-line workers.

So when you find yourself tearing your hair out working on a first draft, or tearing your remaining hair out when revising, keep this important concept in mind. Everything, including your novel, can be improved.

Here are Ten Areas for Improvement:

  • Strive to be Original. The vast majority of submissions we receive are poor imitations of work already done very well by popular writers. Much of this imitation is subconscious, so pay careful attention to your premise when first setting out. Has it been done before? If so, then why bother?
  • Find Your Own Voice. Related to the above, try and write in a tone and attitude that is uniquely you. Much of the writing we read has no distinctive voice at all, but is just words strung together on the page lacking flavor. Like a bad soft-serve ice cream cone. Insipid. It might take you much of your life to find your voice. It will take plenty of practice runs with much work tossed in the trash before you finally start getting the hang of it. Listen to this voice as you walk around town. Finding it is a bit like hitting a baseball: you cannot try too hard or you’ll miss. It’s a delicate mix of passive and active living and effort, paying close attention to your subconscious mind.
  • Be Fearless. You must be confident enough in the mysteries of the creative process to not judge yourself as you write. Just start writing and go with the flow. Even though you cannot see over the next hill, you need to at least get to that hill, which means moving forward. Kurt Vonnegut described it as driving in the fog. What are you afraid of, anyway? If you don’t make the drive, someone else will. So go for it. Life is short. We’re all going to be dead soon enough. Let yourself go and become the characters on the page. It’s fun and rewarding, despite all the difficult work.
  • Read Great Works. The books you read while writing will influence you. So try and read great literature or non-fiction you admire, and study all the problems of fiction: what point of view (or points) is the story told in? How does the author handle time? What do the characters smell, hear, think, taste? How you tell your story is as important as the story itself. Maybe you have noticed this at the movies. The filmmaker and camera have a unique way of telling the story. Maybe we go into the future, then back into the past. Maybe a different character tells the story in each chapter, so the story itself becomes murky, conflicted, fascinating. How is Thomas Hardy telling his story as you read along? Virginia Wolfe? Jane Smiley?
  • Write an Original Metaphor on Page One. You’d be amazed how many submissions do not have a single striking metaphor anywhere within them. Yes, there are hackneyed ones, the ones stuck in your brain because they’ve been drilled in so many times over your lifetime you don’t even think about them as you put words on the page.  Metaphors allow us to better see inside our characters. A favorite example we cite is the recovering alcoholic, just out of rehab, who drives to the ocean.  “The sea looked like a giant Tom Collins.” This is great because it helps us understand how difficult it is for the character to just gaze at the ocean without thinking about the allure of a cocktail. Hit us over the head with an original metaphor on your first page.
  • Create Your Own Analogies for the Writing Process. This is how you think about and approach your writing. For instance, some writers consider their initial draft to be more of a sketch than a watercolor. But one needs a great sketch to create an even greater watercolor, with all the details filled in as you circle back over and over again, adding texture, detail, and depth. Another analogy is . . .

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Another Way to Help Indie Bookstores in the Digital Age

Did you know you can help several leading indie bookstores add to their bottom lines by ordering select Publerati titles from their Espresso Book Machines?

The Espresso Book Machine is a networked print-on-demand service producing high-quality trade paperback titles in minutes. Let’s face it, with close to 60% of all print and ebook sales being made online these days, indie bookstores need all the competitive advantages they can find. Print-on-demand books can be picked up in store or mail ordered and are a great new way to help indie booksellers tap into the vast network of online titles, which simply cannot be stocked in preprinted inventory the way large online resellers do.

Here is a list of U.S. bookstores with an Espresso Book Machine. Help support them and Publerati by ordering one of our titles for store pickup or mail order.

The Tattered Cover in Denver, CO; the Harvard Bookstore in Cambridge, MA; Prose and Politics in Washington, DC; Powell Books in Portland, OR;  Schuler Books, Grand Rapids, MI;  Boxcar and Caboose, Saint Johnsbury, VT;  McNally Jackson, NYC; Third Place Books, Seattle, WA.  Machines can also be found in select Barnes and Noble and Books-a-Million locations.

The current Publerati titles available through this growing international network are: Normal Family by Don Trowden, Thanksgiving by Ellen Cooney,  An American Gospel by M.T. Daffenberg, and Dancing in the Kitchen by Susan Sterling.

Publerati only publishes literary fiction and believes that ebooks and print-on-demand are important ways to maintain the viability of this genre going forward. Check out our titles and unique goodwill business model here.

 

Why Digital-First Makes Sense for Books

Anyone who has worked in marketing knows how to use digital communications to test and improve the quality of the work before going into print. The best brands test first in digital format because they can improve internal knowledge at little expense before carving their marketing into stone and investing those subsequent expensive ad dollars. True for product packaging, advertising campaigns, and just about anything going out the door.

Does this same approach make sense for books? Books are long, contain a lot of words with plenty of opportunities for typos and other errors that the author and publisher would love to fix before it is locked into print.
 
Imagine how awful most software would be if user-response mechanisms were not built directly into the product so they can be quickly addressed and fixed wherever possible. All the participants in the content benefit from an ongoing continuous quality improvement process. Alpha. Beta. Release. Round and round and round.
 
I have a feeling this is what the future of books will look like. The vast majority will be released in digital first and then some will go to trade paperback editions and then a lesser amount into deluxe hardcover editions. The digital edition will have the most errors and needed fixes; the paperback should be near perfect if not perfect, and then the deluxe hardcover that someone pays $29.95 or more for will be flawless in all the best ways of the printed book. Design. Typography. Editing.
 
The digital edition costs the least so the reader will be slightly more forgiving of errors. The print editions will then fix those issues reported by readers. Right now,  if a reader encounters typos, there is no good feedback system in place. In fact, getting through to anyone in editorial at a major publisher without already having an email, which most readers will not, is like trying to penetrate a fortress surrounded by music-theory graduate student zombies playing spectral music from Germany. (Trust me here.)
 
The other advantage this new approach would have relates back to the marketing example at the beginning of this post. Publishers could test their digital editions before going to print to better identity new readers, to better understand the demographics of the markets with growth potential. Then the print distribution and associated marketing could be that much smarter when their time rolls around.
 
— Caleb Mason