3 weeks away from our book launch, we’re exploring virtual book launch ideas as the UK is in lockdown. So “The Crow Folk” author Mark Stay, pivots his book launch plans online. Joined by facilitator Sara Cox – we discover how to launch a book online.
In this 11th outing of the ‘Book Marketing Challenge,’ You’ll learn loads of tips for planning a successful book launch, with stacks of book launch ideas, to make your next book launch a massive success.
This series takes you on a journey of book publishing – offering writing tips and writing advice – along with book promotion and book marketing strategies. It’s the uncut, inside story of a book’s journey from the page to it appearing on a bookshelf in your favourite bookstore …
New Year – new lockdown! With just 4 weeks to go – our book marketing plans are dealt a blow thanks to the Pandemic – how will I keep my latest book launch on track?
The 10th outing in this series – following the book marketing journey of Mark’s newest book ‘The Crow Folk’ – the video is rammed full of book marketing strategies and tips for authors, as well as writing advice and all sorts of book promotion insights.
This series takes you on a journey of book publishing – offering writing tips and writing advice – along with book promotion and book marketing strategies. It’s the uncut, inside story of a book’s journey from the page to it appearing on a bookshelf in your favourite bookstore …
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Hello folks, Mark, Stay here. It’s January 6th and the UK has gone into lockdown for the third time, third time’s a charm and that means all bookshops are closed. So if you want to buy books… In particular, if you’re going to buy this book. Where can you go? Now, uh…
All sorts of options. All sorts of options. Number one, I would suggest you go to Coles Bookshop in Bicester because they’re selling signed copies of the book with a free signed art print, signed by myself and the artist Harry Goldhawk. Look at that. Marvellous. Look at it. Ooh. That’s port of call number one.
If you’re a if you’re a Waterstones fan or if you never used Waterstones before, try them because they have a wonderful thing. Every time you buy – spend ten pounds – you get a stamp and if you buy books as much as I do, then in no time at all. You get a free book or ten pounds credit. Fantastic. So get it from Waterstones.
If you live overseas, well, The best place… When I say overseas, outside the UK, obviously go to The Book Depository. They have free postage and packing worldwide, which is a wonderful thing. And very often you get free bookmark. Not my bookmark, but you know, a bookmark. Just get it for the bookmark. And then apparently there’s some online start up called Ammaz? Amzz? It’ll come to me… Anyway you can… Look it up online. Just Google it. But, yeah, if you’re working in a bookshop, and they’re on furlough now and, you know, help them support them as much as you can. We’re going to need them more than ever.
We interrupt this video to bring you an update on behalf of UK bookshops. Many still operate on a click and collect or mail order basis during lockdown. And we’ll be able to get you all the books you can eat. Also, check the Hive and UK.Bookshop.org, an easy way to shop online and support local bookshops. You’ll find links to these below. Now back to your regular broadcast from somewhere in Kent
So yeah. I put some links for all this gubbins below. Where you can get not just my book… They do all sorts of books, but yes, support your local bookshops. And, you know, if you can’t get out much, use Amazon. I know it’s fashionable to hate them, but, you know, if you are housebound or whatever, they’re bloody good at what they do. So, yes, anyway, Oh here we go… Out of the woods. It’s a metaphor for something, innit What a wonderful day to go for a walk. Happy reading. See you again soon.
Hello, folks, Book covers, let’s talk about book covers. If you’ve ever wondered how a book cover comes about, the process of it, all the ins and outs, how it goes from just a few words in a brief to something like this… Ooh! This is the video for you. I’m going to be talking to Harry Goldhawk, the artist who did the front cover for my book, The Crow Folk, about the process that he goes through. Absolutely fascinating stuff. But before that, I want to say a big thank you to anyone who’s watched these videos, liked, commented, spread the word, told their friends. Thank you for that. We’re coming to the end of a very strange year. I’m recording this on Christmas Eve Eve, if that’s a thing. And a couple of days after the solstice, the dark days are behind us. There are brighter days ahead. If you’re in the northern hemisphere,that is anyway. So, yes. Thank you and Merry Christmas. A happy and prosperous New Year. But before that, here’s my chat with Harry Goldhawk.
Harry Goldhawk, How are you, sir. How are you? How do we find you on this lovely day?
I’m very good, thank you. How are you?
I’m tickety boo. Thank you for asking. What we’re going to do today, We’re going to talk through the whole process from soup to nuts. From the first brief of cover art, through the rough compositions, to the finished artwork. So how does it start for you? I presume you get you get a brief from the designer. Who is Matt Johnson at Simon & Schuster. Is that your first contact?
Yes, my first contact was from Matt Johnson. He sent a brief over to me just with an outline, asked me if I was interested. So I got a synopsis of the book itself, what they would like me to illustrate and whether I was keen, really, along with the timeline, whether I could fit that and the budget.
Excellent stuff. And the synopsis. I mean, how much does that sway you? And I’m not I’m not fishing for compliments here. I’m just wondering what kind of book… because you may think, it’s not my kind of book I might not get this. Does that have any bearing on whether or not you take on a project?
It definitely does sway me. If it’s something along the lines of fantasy and with magical elements. I’m definitely a lot more interested in that. So as soon as I got this through, I was very keen. I mean, as you can see from all the roughs that I’ve done, I just wanted to make sure I explored all the options. So I was I was very excited about the project overall. Yeah, wonderful.
And what’s the first… Once you’ve got this brief, which I presume is essentially is it a one page document? So you’ve got that synopsis. You’ve got an idea of who the lead character is and some of the situations in the story. What’s your process and do you start sketching ideas immediately?
I’m not really one for sketching. My tutors hated it at college, but I, I definitely do struggle with sketching ideas down. Initially, I start writing. I write down the themes, I write down the elements that I think I think of the colours that I might use. And then I usually start with a few thumbnails, just rough compositions that kind of thing. And then I have a bad habit of jumping straight into final artwork because it’s quite nice for things to look polished. It’s a terrible habit and one I’m working on, as you can see from the roughs that they are a little finalized, but I just enjoy seeing a final product.
Let’s, uh, let’s have a look at these “roughs”, let’s put that in air quotes, because brace yourself, viewers, because these are these are anything but rough. And so let’s let’s just bring up the first one here. So and this, as you can see, very, very different to the well, the colour the colours are there, aren’t they? But we’re seeing Faye’s face here. We’ve got the moon in her glasses, there where her eyes would be. Where did where did this come from and how long would something like that take you to put together?
So this was the the initial brief. The initial brief was to illustrate the outline of a girl say, and within that silhouette of the illustration of rural Kent. So, rolling hills, the woods, possibly the Scarecrow and the Spitfires and then the the other note that they added was that they wanted it, at first glance, to appear normal. And, although that magic is a theme throughout the book, to not show anything physically magical and to instead convey that feeling of magic through the colours or another way. So for me, that feeling of golden hour, the hour where the sun is setting or rising is such a magical time of the day. And that is something that I was trying to capture in this. Just that gorgeous light. And in terms of the timeline. I’m not sure. A few hours, I would say.
Wow, that is just amazing. OK, well that’s that’s that’s terrific. So that was your first “rough”. And then with that with this and the colours. What was interesting is the colours have stayed all the way through. So this is a slightly updated rough version where we see more birds around the edges here.
Yes. That was the one that was presented at the final cover meeting. So before that, the notes were maybe remove some of the stars from the outside and switch them with crows, which aesthetically I thought was a very good note. That helped definitely. But once they presented the at the meeting, it was deemed too Young as it’s a book for adults, which at the time I was a little disappointed with, but I was ecstatic to be given another shot with it. And Matt came back to me and just said, it’s the silhouette that’s making it look a bit too young. So how about we scrap the silhouette, make the illustration full bleed, and bring it out edge-to-edge and we’ll see how that looks instead.
There are some other ideas here, which I’m going to I’m going to run through. I’d like to know where they came in the process as well.
We’ve got this version here, which is which shows sort of a full length illustration of Faye with a crow.
Was that something you worked with before you showed it to Simon & Schuster or is that something that came out of conversations that you had with them?
No, no, no conversations. So bear in mind, I hadn’t read the book, so I was just going by the the synopsis that I had. I did at the same time that I did the profile of Faye’s face. And I just wanted to make sure it explored a few of the different silhouettes that we could do. But as you can see, with a full body silhouette, there’s only so much detail you can fit within it. It is sort of lost a bit, which is why I don’t think any of those got used.
And this… There’s another one here. Let me bring this up. You say you’ve not read the book, but there is a scene in the book almost exactly like this, which is just uncanny. And again, you’ve got the placing of the…
Really?! I was guessing
Crescent moon right where her heart is as well. So, again, that’s just that’s just uncanny. But this idea. That the silhouette, that the character made it too young, is that something you find helps make a distinction between adult and children’s novels because adult novels tend to be more design led, whereas children’s novels, you tend to like to see the characters on the cover, don’t you?
Yeah, they are they generally are a bit more character-led. Yeah. I mean, in honesty, I haven’t illustrated too many adult novels so as an area I’m looking to to do more of these.
Okay. And then we come to… Very, very close to the actual final image. Now this is… I don’t think I saw this version. I think I saw the version afterwards. But yeah. To talk us through this one.
Yes. So that was what I worked on immediately after getting the feedback to make it full bleed edge-to-edge. I was just thinking of alternative ways, you know, alternative ways of presenting it, essentially. And I felt like the creepy woods needed to be a bigger part of it. So to make that frame the illustration, rather than being in the middle distance at this point, this is my bad habit of things being finalized. So I sent this over to Matt, just to get his opinion of it before I took it any further and I said I think it needs something like a focal point, like a village or something else in the centre there, let me know what you think about that. And he responded. He showed it to his editor and they agreed, but they gave me the green light to go ahead and take that final.
This is almost final. But you’ve got a couple of things. And this is this is the version that I was first shown which was blew me away, which I absolutely loved. There’s a little bicycle highlighted down there because I said, wouldn’t it be great if we had Faye on her bicycle cycling either away or towards the village, which looks amazing. Also up here, we’ve got… Well, would you like to explain yourself, Harry? What’s going on here with this buttock?
Yes, that was something that I just didn’t see whilst I was drawing it. And when I read the note, I thought, what are you talking about? And then I came back to it and I showed my wife as well. And we were just howling because it does it does look very bum-like.
Well, we could talk about, the psychological factors behind this for hours, I suspect. But we haven’t got that much time. But yeah, that’s amazing. And what’s this little tick over here? We lost a crow on the left hand side as well.
No, I think there was a… Yeah, I think there was a crow there, which they removed and asked me to remove. So that was the third final tweak. So, yeah, that was a relatively easy tweak to make. Yeah.
Hi, folks. Just a quick note to say that if you’re loving Harry’s art as much as I am, you can get a signed print of The Crow Folk cover art just like this one signed by me in the top left hand corner and Harry signing it in the bottom there. When you preorder the book from Cole’s Books, there are only 200 of these signed by myself and Harry and they’re exclusive to Coles. I’ll pop a link in the description. Get yours while stocks last. Back to the show.
Let’s cut to the actual finished final cover art here and see what that looks like, because it has to has to roll over the spine. So this is the finished article. And folks, you can see the village there, which gives it that focal point. You can see Faye on her bicycle. So, yeah. And the framing. It’s only when you see it in that context that you see the framing and the way the wood kind of moves in from the edges. It’s just wonderful. And I’ve got to tell you, I guarantee this… I’ve had so many comments from people on the cover art. This is what’s selling the book. This is what’s making such a difference. I did hear that a certain high street retailer doubled their order after seeing the cover art.
Harry, I do owe you a drink at some point at least a drink or at least a lunch or something. So I…
I’ll have to take you up on that offer.
When the world gets back on its feet. But that’s amazing. How long did the process take from that first brief to to this here? From start to finish.
So yeah, I designed this all on my iPad with an iPad Pro with the Apple pencil. And the app that I use tracks my time that I use. I checked the other night and in total it was around about thirty hours from start to finish.
And of course you’ll be working all sorts of–
Yeah, I’m not sure if that’s too much or too–
I mean I was going to say, is that kind of the average or is that, is that kind of, you know… Like you say you like to, you like to, to make stuff look finished, even your roughs look really, really finished. So I suspect you’re putting a lot of time in there, aren’t you?
I do.I do like to put a lot of time into it. Yeah. It depends on what kind of illustrator you are. I’m sure there are plenty of amazing illustrators that could do it in less time, but I definitely like to take my time with my illustrations.
Well, I for one am very, very grateful for it. What software are you using? So you’re doing this on an iPad? You’re using an Apple pencil. What’s the software that you’re using to create this?
An amazing piece of software called Procreate. It’s made by an amazing group in Australia who regularly update it its a serious competitor for Photoshop. At the moment, I think it is one of the most popular pieces of software for iPad users.
Wonderful. And if you’re talking, if you’re saying it’s like Photoshop, are you working in layers to allow you to add things in layers and compare before and after and that sort of thing?
Yeah, yeah, yeah. It does work in layers, so there’s quite a few in this one and you can group all the layers together. So from a convenience perspective, it’s fantastic, really. It’s very convenient. And also having… Being at home with a toddler, it means I can draw I don’t just have to be at my desk, I can be anywhere.
That’s fantastic. What other stuff are you…? Because I’ve we just got our Christmas Radio Times and I’m looking at the Christmas Radio Times and there are banners across the top. I’m thinking that’s a familiar looking style. You’re doing the banners for the Christmas Radio Times! How did that come about?
That came about through my amazing agent, the Artworks. There are a few different illustrators that are also signed by the Artworks that did a few of the illustrations within this year’s Radio Times. So I was just… I’m just very fortunate to be represented by them and have them championing my artwork.
I mean, for me, that’s that must be that feels like an incredible honour. That’s that’s like up there with an exhibition at the National Gallery or something that is part of that as part of a British institution, isn’t it? You know, I think listeners outside of the UK might not understand this, but it’s fantastic. Huge. Congratulations on that. I’m telling everyone I know, you know, it’s so… I’m so delighted. Okay, so that’s cool. I’ve got two more books in this series. Could you kindly come back and do the other two as well, please? Harry, please. Please.
I think I might be able to squeeze them in.
Yeah, very much. Thank you very, very much.
And the other thing is you also you do all kinds of…
I’d be delighted.
Oh, thank you. You do all kinds of artwork that we can buy online. You even do hats. I got one of your hats for my daughter for her birthday, and she’s absolutely delighted with it. She wears it all the time, even indoors. Where can we where can we find all this stuff, Harry? Where can we track you down?
So I run a lifestyle brand with my wife called Papio Press. So we sell a lot of stationery and other illustrated goods, hats and art prints. And you can find that all on PapioPress.co.uk. So that’s PapioPress.co.uk.
Wonderful stuff, folks. I’ll put a link in the description below so you can find that nice and easily. And if you’re looking for a unique gift, absolutely gorgeous. Wonderful stuff. Harry, thank you so much for this. This has been it’s been absolutely fascinating because it’s… Speaking as someone who managed to fail A-level Art… I’m always fascinated by the the artistic process, particularly with new technology in the way it works and that sort of thing. So thank you for your amazing artwork. Like I said, it really has made all the difference to the book, and I think will continue to do so.
And I’m delighted to if you can come back for books two and three, maybe we can talk about those then.
That sounds amazing. I would love to come back for more. I really would. I was ecstatic to draw this cover. And I was so pleased when you mentioned that you signed on for two more books. So I’m excited to see how they turn up.
Thank you so much, Harry, and speak to you again soon. So cool. Thank you very much Mark, take care.
I join forces with video creator & video marketer Jeremy Mason to implement digital marketing techniques to drives sales and pre-orders of my new book The Crow Folk! Join us in our adventures in video marketing and book publishing …
In Episode 9 you’ll learn: – WHY persistence is key in book marketing and book publishing – YouTube’s algorithm changes WHAT it means & WHAT you should do as a video creator – HOW to keep motivated and keep consistently creating video marketing content – HOW to deal with rejection in business and as an author – The evolution of ‘The Witches of Woodville’ book series – HOW to use YouTube Live for book marketing – What NOT to do on Facebook and YouTube Live – Brainstorming virtual book launch ideas – ACTIONABLE ideas of how to promote your book with video – HOW to use content calendars to create PR-able ideas…
Writers live in fear of a leaky story, but I’m okay with plot holes. And here’s why…
Hello folks, Mark Stay here. I’m going to tell you why I’m completely okay with Plot Holes…
What is a plot hole exactly? Well, in a story, it’s one of those little bits that doesn’t quite make logical sense, doesn’t really stand up to any scrutiny.
For example, in The Godfather, just how does Tom Hagen cut that horse’s head off without anyone noticing? So in the Ewok village, Princess Leia’s dress… Where did that come from? Just how did Andy’s poster stay on the wall in his prison cell after he broke out? Just what did Bruce Willis do when he wasn’t talking to the scary ghost kid? Who exactly heard Charles Foster Kane say “Rosebud?” The entire final act of this, and every James Bond film ever made.
All of these films are bona fide classics, films that most of us love and adore. And they get a pass. We gloss over their plot holes. And why is that? Because we respond to stories on an emotional level.
As a writer, this doesn’t mean you now have license to write a story that’s full of plot holes and we all vary in our tolerance of plot holes. And you have to work hard to make sure that your story makes sense and not just, you know, paper over the cracks and hope we don’t notice.
Always write on the assumption that your readers are smarter than you are, you know, work as hard as you can to iron out all those little holes. But the thing is, when you’re dealing with stuff that doesn’t exist, you know, fantastical stuff like time travel, magic, warp speed, that sort of thing, you’re not going to be able to… One or two will inevitably slip through. However, ask yourself this: What’s more important to you? A watertight logic puzzle-style story, or something that’s going to have some emotional oomph? I know which end of the spectrum I veer towards, although none of my books have plot holes, none of them, if you doubt that you should buy them all, and read them from cover to cover and make copious notes and then drop me a line if you spot any. Anyway, hope that’s helpful. A little note on plot holes, and sleep tight in the knowledgethat when Dorothy wakes up from a trip to Oz, Toto will still be put down by Mrs. Gulch
Are you an indie author, or a seasoned writer looking to promote your book with video? TV pro Jeremy Mason joins author and screenwriter Mark Stay as they deep dive into book marketing -revealing book marketing strategies and tips for authors that will get your book discovered.
We talk cover art, vlogging for beginners with lighting tips, and how to hook your viewers in just a few seconds…
In Episode 8 you’ll learn – –
WHY you MUST invest in QUALITY cover artwork as an author – WHY book cover design is CRITICAL to your book success – WHERE you can source quality book cover design for $350 – WHAT are successful Indie Authors doing to build their success? – Deep dives into best vlogging setup for beginners – YouTube Vlogging lighting tips and tricks from a TV professional – Lighting for YouTube videos at home – YouTube Vlogging mic’s and sound setups – YouTube audio recording tips – HOW to create your YouTube home vlog set up – Basic framing guide for YouTube vlogging – The structure of an ‘ideal’ YouTube video – HOW to hook in your viewers from the start of your video – HOW to keep viewers engaged by using different backgrounds – The importance of involving your audience – HOW to use Calls To Action in your video
When you write, do you prefer to outline beforehand? Or write by the seat of your pants?
I go for a walk without a map and discuss plotting versus pantsing. Beware: heavy-handed metaphors ahead!
Hello folks, Mark Stay here. I’m on a walk today. One of the things I want to talk about today is plotting versus pantsing. Something that’s been on my mind quite a bit. And I’m on a walk because, and you should be aware of this, there are some heavy-handed metaphors on their way, because I’m going on this journey today and I have no idea where I’m going. Hey, hey, hey. Plotting, pantsing, eh?! Anyway, so let’s get on with it.
So, yeah , let’s define some terms first. So, a plotter is someone who outlines before they write. A pantser is somebody who writes by the seat of their pants. And this term was completely new to me before I started the podcast I hadn’t heard of it before. I think it’s an Americanism, frankly. But yeah, it kind of makes sense. You know, there are people who make it up as they go along. And I’ll be honest, I was, uh… the idea of that always kind of terrified me and I was always a very big outliner. And anyone who’s listened to the bestseller experiment podcast will know that I got quite a bollocking for that from Ben Aaronovitch, because my outline was, well, for Back to Reality that I’d written with Mark Desvaux was some 50-odd-thousand words long. Which is, to be fair, is quite a lot. And it was quite a wake-up call for me. In my defence my background’s in screenwriting and in screenwriting, you have to outline everything because you need to serve stuff up to directors and producers, pitching stuff that you haven’t actually written yet. I’ve done it. Just this week, I put together a 10-page outline for a TV show for the director to see. Now, I’d rather write that 10-page outline than a 50-page pilot show that he then doesn’t like at all, you know, so it makes a lot of sense to do that, certainly in the film world. And certainly if you have a deal with a publisher, they’re gonna ask to see synopses upfront, but not big ones, usually just three paragraphs tops, usually. So, you know, you do have to outline a bit and certainly Ben Aaronovitch says he does, like, a page. You know, before he writes anything and other authors we’ve spoken to, people like Martina Cole, you know, they do a page. The important thing is they have an ending. They know where they’re going. They know where the protagonist is going. Anyway, back to me. and my fifty thousand word outline.
Ben’s bollocking was quite a wake up call because it made me think, actually should I really be… is this is the right way to do this? Is there a right way or wrong way to do this? So the book I’d been working on before the podcast that I put aside to write Back to Reality was my fantasy novel, The End of Magic, which I had outlined very, very heavily. You know, I had three plot strands going on and I needed to know where they were going. And I felt outlining would really, really help me. And I’d done it. I’d finished the draft before starting the podcast, put it away. And then sort of a year later, after we wrote Back to Reality, I picked it up again, had a look at it and realised two of the threads were fine, really, really good. There was one character that just wasn’t working. A character called Oskar, and he needed work. I had a choice, then. I could have sat down and outlined it very heavily. Or I could have pantsed it. Fly by the seat of my pants. Well, that’s what I did and I loved it. It was great. I mean, I had the safety mat in that I knew everything that was going on all around him, you know, I knew what’s happening with the other characters. I knew how the story was going to end. I had a very good idea of how I wanted his story to end. So I approached the rewrites of his chapters just with the attitude of “What happens next?” What can be the most interesting thing that happens to poor old Oskar? I made his life hell. Very difficult. And I loved it. I had a great experience. And what’s interesting is in a lot of the reviews, people single out Oskar’s thread as their favorite bit. So that was a lesson learned, you know, and I took that to heart. So when I started working on my next project, which was the Woodville books, I figured, you know what? Let’s pants this one. And I did.
The Witches of Woodville Books, starting with The Crow Folk. OK, I figured, you know what? Let’s pants these. A little bit of history on the books. I’d been writing them on and off for about ten years, basically as contemporary fiction set in the current day. You know, with magic and what have you. It just wasn’t working. And so I put them away and it was my TV agent who said, you know, why don’t you set them in the Second World War? He figured I could sell a TV series like that to the Americans. Much to his annoyance, probably, I started writing it as a book series. And it all clicked into place. But what I did was abandon any previous story ideas. I worked on the characters, particularly the character of Faye, and just figured where I wanted her to end up and headed towards that ending. So I did kind of a one-page outline and got to know Faye. I wrote the book up and around her. And I would ask the question, what happens next? How can I test her? How can I make life difficult for her? How will she recover? And pick herself up? And dust herself off and become a better person? And it was fun. It was really freeing.
The other habit I started was I got a notebook and at the end of my writing day, which is only a couple of hours each morning, I would write what happens next or write down sort of half baked ideas, “What happens next?” Or finish mid-sentence. And the old brain— Wow, look at this. The old brain would be ticking away. And I would usually have ideas at some point during the day. Send them to myself. And the next morning I knew what I was going to be writing. So, in a weird way I was still outlining. But just, you know, one nibble at a time. And it worked and it needed surprisingly few rewrites as well. Because that’s the thing with outlining. I think I always viewed it as a safety net. I always viewed it as that thing… How rude. I always viewed it as that thing of, you know, at least I know where I’m going. But, you know, I’ve been writing for so long now, I kind of know story structure. I kind of have a good idea of what should happen next. And then I heard on the Script Notes podcast, a brilliant talk by the screenwriter Craig Mazin, where he said what he uses is, he knows where he wants his character to end up. He kind of has his ending in place. And then he writes from the opposite of that, you know, so he knows how they’re going to change over the course of the story. So he says, whenever I got stuck, I would just think, OK, I’m going from “this” to “the opposite of this”. How is this chapter affecting that? How is my character changing in this part of the story? And it’s such a simple rule and it works. So I use that. And I’ve used it for the second book in the Woodville books, which I’ve just handed in to my agent. You know, that’s kind of been my method. But that’s not to say that I’ve abandoned plotting altogether. I have to do it with screenplays. It’s just like I said, I’ve just done a TV thing. So this idea that it needs to be an either/or thing is hooey. I think George R.R. Martin says, you know, writers are either architects or gardeners. You know, they build something or they let it grow organically. I don’t see why you can’t be an architect with a garden, frankly. Why the hell not? Yeah. By the way, this is where we shot the video for The Crow Folk. It’s changed a bit since the summer, hasn’t it? There’s normally a path here. These are new!
That’s not to poo poo people who outline, you know, outlining, I’ve done it and it’s been successful for me, you know, if that’s the way you do it, go for it. All power to you. But I don’t think you have to define yourself as one or the other. You know, allow your writing style to evolve over time, allow yourself the flexibility to change the outline, because, by all means, study the Hero’s Journey, Save the Cat, all of those seven point story things or whatever. Understanding structure is important. Definitely important because it allows you when you are stuck to maybe fix things. But what I would say is all those books, you know, on why Thelma and Louise and Silence of the Lambs is, you know, the greatest structured screenplay ever. They’re all done from a point of analysis. After the fact. The screenwriters weren’t thinking like that. You know, they were just thinking what happens next? And either through experience or their own insight, they were able to come up with great solutions. And believe me, they didn’t come up with it first time. They would have rewritten and rewritten until they got it right. See, don’t let anyone define what you should be as a writer. You have to figure it out for yourself. That takes time. It’s taken me over 20 years.
So here’s the heavy-handed metaphor bit. When I left the house this morning. I didn’t know which way I was going to walk. I knew that I was going for a walk, but I didn’t have a preplanned route. But I know the area really well. I didn’t realize it was going to be so muddy back there. But I got through it because I’ve been here before and I sort of know the way. Huh? I told you. It’s heavy-handed, didn’t I? I’m a writer. I do metaphors, me. Oh, yeah. But, you know, I’ve ended up here. I’m pretty happy with that. Yeah, it’s not bad. All things considered, at the end of it, I’m going to reward myself with a cup of tea, maybe a little cookie or something. Here we go. Till next time, happy writing. And if you get lost, don’t worry. There’s usually a path somewhere.