April 16 @QuakerCentre in the Euston Rd
In conversation about the point of art, explosions, sweet alien orphans, etc
— Stephen Cox (@StephenWhq) March 27, 2019
So you want to write a novel? I’ve been asked how several times in recent weeks, often from people who haven’t written more than a report since school. I’d written fiction but only stared defeated at the idea of writing a novel until 2012. Here’s some thoughts.
Write to see if you can do it, and like doing it.
The curse of writing advice is how dogmatic and simplistic some of it is. Read around, and be cautious of This Is The Only Way.
Start writing. Write a dialogue between two people you know. Try short stories. Write description. Look at what things you write work and what don’t. Compare them to good authors you know well. Lots of authors keep a journal. Get a routine, whether every day, whenever you have a free hour, all Saturday. Don’t worry on day one what this writing is ‘for’.
Novels, short stories, plays, film scripts are different art-forms. They have some similarities and some differences. Writing twenty 5000 word short stories is not inherently ‘easier’ than writing one 100,000 word book. Writing well for children is no ‘easier’ than writing for adults. Write to find out what is the form for your story.
Read a lot. Read the sort of thing you like, the sort of thing you want to write, sometimes other things people praise which are not your thing, and non-fiction too. Occasionally you find a good writer who doesn’t read lots. But very rarely.
Some people try fan-fiction, which is taking a story you like and setting stories in that world. It is said to be a good exercise. Maybe try it but two firm DON’Ts. Don’t sell fanfic, and don’t submit it to agents (because copyright: most likely you do not have the right to use the characters). Use it for practice.
A NOVEL? Not surprisingly, if you want to write a novel, it’s a big job and takes a lot of time. I worked on Our Child of the Stars on and off for five years.
GENRE. Genre is a loose description, a set of promises to the reader. It helps people to market the book and to shelve it in the bookstore properly, so it has the best chance to reach its audience. Genre has conventions, and it is important to understand what they are now. For example, if you read a lot of science fiction published fifty years ago, the field has moved on. If you haven’t read Young Adult novels, you’re unlikely to write a good one.
The industry is very wary of cross-genre books because they can alienate both audiences and satisfy neither. But the conventions have plenty of stretch in them.
IDEAS. A good book is not ‘an idea’. ‘An idea’ can be a starting place, but for example, ‘orphan goes to wizard school’ is the idea for both A Wizard of Earthsea and Harry Potter – radically different books in character, world, story-line, philosophy, writing style and ending.
PLOT. Plot is the events you arrange in order to tell your story well. Lots of other story happens, you just don’t have to write it.
Even good ideas or worlds or research are most entertaining when used as a background to people. Interesting people that we care about, part of their world, driven by things they want, and who face obstacles and the limits of their abilities.
Hamlet is four hours long, yet it asks a few snappy questions. Claudius has murdered Hamlet’s father and usurped the throne. Will Hamlet do the right thing, and what is the cost? Hamlet would be a totally different play if Hamlet was a different person.
Writing gurus can be enormously dogmatic about how to structure a plot; also a Hollywood blockbuster, a literary novel and an art house film have different needs. But they are right that usually plot is about choices made by characters, a series of events following logically one from the other. They need to provoke emotional responses. There needs to be a beginning, a middle and an end – a setup, the struggles to resolve the issues, the climax. (That was the original writing guru, Aristotle by the way. He liked admirable people being brought down by their flaws. You don’t have to write that.)
Writing advice. Good advice explains the arguments. For example, ‘all adverbs are bad’ is terrible advice. ‘Adverbs are often a sign of weak or lazy writing, often they can and should be replaced with better dialogue, or stronger verbs in action. Just sometimes they are an option worth considering.’ is better advice.
Yes, there are books on writing, and some of them are useful. I recommend a few below. Some courses are useful and some writing groups. There is absolutely no way around writing, a lot; receiving criticism, some of which you won’t like; and rewriting. Turning your critical skills on other peoples’ work is also valuable. There are services which you can pay to evaluate your work. (This is a service I am developing.)
No, your first draft is not as good as you can get it. Sorry. Yes, some feedback you get is wrong. Sorry.
PLAN OR NOT? Do you plan every stage of your book before you start writing (a plotter) or do you just start with a situation and free-write (a pantser as in writes by the seat of your pants). Many people shift between the two. For example, I start with strong ideas about the characters, setting, themes, their dilemmas, and where they might end up. I develop the characters and theme as I write, then do some hard re-plotting in the first redraft. A hard-line plotter probably ends up deviating from their plan. I like the discipline created by a firm narrative question (will Hamlet do the right thing?)
Don’t try writing a novel for the hope of fame and fortune. The statistics are blunt, whether you self-publish or traditionally publish. Do it to see if you enjoy it. Do it to see if you can.
On Writing, Stephen King
How to become a writer, Dorothea Brande (very old, very interesting)
How not to write a novel, Howard Mittlemark, Sandra Newman
Get Started in Writing Young Adult Fiction: Juliet Mushens. She is a well known agent. Ignore the title, 85% of this book applies to any novel and it explains modern publishing well too.
I have been officially launched for three and a half weeks, or three and a half months if you count the e-book.
The most important things about your debut book being launched are
- It’s truly great.
- Except it isn’t every minute. It can be a real roller-coaster. Literally, a set-back can send you down, a good review soaring up, in the time it takes to cook a casserole.
- You did it! Yay!
- So you can finish the second one! Aaargh! Tricky Second Album.
- Be proud but also, stay humble. Just one of the paradoxes.
- Try to enjoy its absurdities and unexpected felicities. Old friends getting in touch. Marvellous reviews in odd places.
- Keep focused and working on the next project.
- RATION SOCIAL MEDIA.
Some other thoughts
It has social cachet. People vaguely know it’s a good thing to have published a book.
People do say the weird things you are told they do. Some are just awkwardness. ‘You must have done a lot of research’ for example.
It’s worth remembering how individual responses to a book are. Some people won’t like it, some will buy it but not read it for three months, some won’t finish it, and some who promised to review it won’t. Everyone else’s life does not rotate around your book.
Nice surprise, publishing is full of people who like books and like talking about them. It’s very concerned about the bottom line, but they do like books.
Covers really matter. You see booksellers decide to stock on a two sentence description and the cover.
Self-publishing still has a poor reputation out there. Some people know some self-published books are good, but traditional publishing still has cachet.
I wouldn’t say ‘Nobody in publishing knows anything’ but they cannot predict clearly which books will soar and which won’t. In fact, the current traditional publishing model is to do lots of books that do OK or badly; lots of debuts which may not lead to solid book a year careers; and the cluster of high performers and surprising new hits which keep the show on the road.
There is a great glowing galaxy of book bloggers, and your publicist lines them up to write about the book, a great flood of reviews for about two weeks. In my case, I got tons of splendid blog reviews and a couple that were a bit off, but people are entitled to their opinions.
I got positive reviews in the Guardian, Daily Mail, Weekend Sport, Grazia, Mature Times, Candis,My Weekly, and the Irish Independent. In the SFF world, Interzone and SciFiNow were great. Pleased to see the coverage in Financial Times and SFX. So this is magnificent work by the term.
The good thing about my reviews is that the negatives largely cancel out. A few people don’t like Cory. Many fall passionately in love with him. All those people who found it gripping need to talk to the people who found it slow. Etc.
Then you run into distribution. Truth is, bookshops can’t stock every new novel. Many, if you are lucky, have a single copy, placed spine out on a low shelf. Being surname Co… puts you on the floor level in Waterstones New Fiction. You endlessly tell your friends, “order it – usually comes next day or so… Don’t wander around town looking for a bookshop with thousands in a pile.”
The author thanks you for your support. Honest. They’re just trying to remember why they agreed to write that article for publicity to that deadline. And figuring out the next book.
I am planning several readings, workshops and signings. Details will be updated as I have them.
CENTRAL LONDON Super Relaxed Fantasy Club, (SRFC). 6.45pm, Tuesday 12 February,
Venue is Gollancz (part of the same company as my publisher) Carmelite House, 50 Victoria Embankment, EC4Y 0DZ. The other reader is Adrian Selby
A venue they may use in future is the Star of Kings pub, 126 York Way, Kings Cross, London N1 0AX.
Book via the SRFC Facebook. Usual format, ie entrance fee (but free drinks and free books), books on sale, two different authors and a Q+A. Friendly genre-literate crew.
ENFIELD – Saturday 9 February – Signing at Waterstones 12-2pm, just turn up.
The manager is very supportive so please come and help her!
BRISTOL – Max Minerva’s Wonderful Books. 7pm Tuesday 19th February
New independent bookshop close to ‘the famous Henleaze Waitrose’- yes, my mum gave that description. 39 North View, Westbury Park, Bristol BS6 7PY. Tickets from them, includes drinks, nibbles and a discount on the book
Signed copies; Forbidden Planet, Shaftesbury Avenue – can be ordered signed from local stores while stocks last; Goldsboro Books, Cecil Court; Waterstones Covent Garden and Waterstones Trafalgar Square. Max Minerva from the 19th.
I was delighted to be invited to speak to Woodhouse College’s Creative Writing Class. This is an optional activity, and this particular meeting had 3-4 students who’d come specially. Woodhouse combines a college-y feel and strong academic ambitions with a lot of societies and activities. It’s diverse, smart, and I would have loved that option when I was 16.
I read, then talked through how I came to write it, genre, how publishing works, etc. The students asked plenty of sensible questions, although the questions tended to need quite long answers. Then we did a creative writing exercise around plot.
What did they think? Well, here’s one report.
…Stephen Cox visited the Woodhouse Plus Creative Writing class to give a talk. He read an excerpt from his book Our Child Of The Stars and spoke about writing and publishing the book, giving the aspiring writers in the room valuable insight and advice into the process. He answered our questions on a range of subjects, from finding your voice to how much do authors need to plan and world build in advance? He led a creative writing activity that he uses, that aims to help writers figure out a starting point for a story. It involves creating 2 characters who can be summarised interestingly in 1 sentence each, who have some sort of dynamic between them, in a setting, where one (or both) want something, and something that’s standing in their way. This exercise led to interesting starts of stories that we shared with one another. Stephen’s talk was interesting and insightful, it helped us understand the writing world to a greater extent and his advice and writing tips were useful. I for one will be using them in the future.
Will any of them get a book published? They have plenty of time, and I hope I both encouraged them to work hard at the craft of writing, and gave a not too discouraging discussion about how long the path might be.
It was interesting that all of the plots generated that were shared, were genre or might well have been.
This article appeared in the Jan 2019 Enfield Dispatch under the headline Written in the stars. My thanks to the editor.
How did I write Our Child of the Stars? Did I stick to the old saying ‘Write what you know’?
I wrote a short story for Halloween. A couple, Gene and Molly, and their strange but lovable son Cory. It took me a day or two, and I was intrigued. Obsessed. There was tragedy in Molly’s past and violence in the family’s future. What an oddly likeable little boy he was. Whole strands of the book come from single sentences in the story, like how Cory came into their dreams…
And it was clear the setting was rural New York and the timing was that great mythical decade, the Sixties.
‘Write what you know.’ I was brought up in Bristol. It would have been easier to move the book to the urban England of my childhood and set it a little later. The book would have been surprisingly different.
Yet the characters were very clear where they came from.
What I know, I hope, is people. I have always been surrounded by strong, interesting women, which helped to write Molly, the main voice. I know families, and bereavements, and arguments, and what it is to be a child, a sibling and a parent. I know what I care about, what I think of the world then and now, (war and peace, truth and lies), and what type of books I like. I’m a kind of recovering science fiction and fantasy fan, I like some of it a lot, but always because of the people.
America fascinates me, because I was born there. Research was talking to people, remembering stories from my parents, the books and films of the era, and of course, the internet. And the wonderful soundtrack made music a character in the book.
I knew who to ask, intelligent readers of different ages, genders, tastes and nationalities who would give me robust feedback. I learned what feedback is useful.
I wanted to try for an agent. A previous novel got nowhere but encouraged me. It’s never been so easy to find what agents want. This book interested three agents and one offered to represent me. We didn’t know each other, he just liked the book.
‘It’s wonderful,’ he said, ‘but it needs more work…’
He sold it, and now it is in the world, and complete strangers love it.
I’m enjoy reading reviews of Our Child of the Stars on Goodreads and Amazon, among other places. It’s not done to respond to those directly, even if I wanted to.
I’m writing a second book, which will strongly appeal to those who liked the first one. To stay in touch:
Ideally subscribe to my newsletter – which only goes out when I have real stuff to say.
Drop me an email, if you only want the most significant developments. That goes on a secure list. (The newsletter is easier.)
Follow me on the journey and comments welcome.
I just tweeted this
Three signed proofs of the ‘wonderful, magical, gripping’ #OurChildOfTheStars to be won.
Follow me and RT this to enter
(UK post only)
details, offers, links bit.ly/2RPmOCS
EDITED TO ADD CLOSES 12/13 Dec. Sorry!
- People who sub to my newsletter are entered and if they follow me and RT on Twitter as well they get a second entry
- Anyone can sub to the newsletter so this is fair.
- The publisher only covers post within UK, sorry
- Sorry Mum, no close relatives, wouldn’t look fair
- Actually, Mum has bought a copy
- I use a random number generator to pick the winner. Woo, Science!
- If you haven’t followed me on Twitter or subbed to my newsletter you can’t win
- I’ll try my damnedest to run a clean fair comp, but my decision is final
Well, working on the Second Book, of which more later. I am at the stage of looking a vast pile of words which I am now looking to see if it is a polished train of narrative or just a heap of rusty wreckage. This is an interesting point in the process.
I am in a Debut Authors group, which by the way of things is mostly full of Lovely Americans. Lovely Americans are lovely. Wouldn’t it be good if I got a US+Canada deal for Our Child of the Stars…
Being a debut author is interesting. The Quercus publishers team are working hard. Two months from Official Hardback Publication and you know, launches, articles, blogposts to write. All of which is less stress than writing the second book.
Online reviews have been supportive and insightful. I just need as ever the entire world to see buy the book, like it, and review it.
And to write the second book, so signing off now.
A lost child, the family who try to protect him and the secret that refuses to stay hidden . . .
Molly and Gene Myers were happy, until tragedy blighted their hopes of children. During the years of darkness and despair, they each put their marriage in jeopardy, but now they are starting to rebuild their fragile bond.
This is the year of Woodstock and the moon landings; war is raging in Vietnam and the superpowers are threatening each other with annihilation.
Then the Meteor crashes into Amber Grove, devastating the small New England town – and changing their lives for ever. Molly, a nurse, caught up in the thick of the disaster, is given care of a desperately ill patient rescued from the wreckage: a sick boy with a remarkable appearance, an orphan who needs a mother.
And soon the whole world will be looking for him.
Cory’s arrival has changed everything. And the Myers will do anything to keep him safe.
A remarkable story of warmth, tenacity and generosity of spirit, set against the backdrop of a fast-changing, terrifying decade.