The Druid at Thieves Holm is part three of The Miss Charlotte Quartet and is FREE to all subscribers of the Woodville Village Library Newsletter. CLICK HERE TO SIGN UP.
Parts one and two — I’ll See You In My Dreams and The Last Night of the Witchfinder — are also available completely free to all subscribers to the Woodville Village Newsletter, and all the stories are also available as MP3 audiobook downloads…
London, Autumn, 1744 Charlotte Southill slinks into Newgate Gaol to interrogate a thief before he is hanged. Only Wilmot Moor knows who has the scrap of paper with the ritual that will allow Charlotte to summon Time and discover the truth behind the mysterious girl in her dreams. Charlotte will travel from London to a tiny islet off the coast of John O’Groats where she will encounter the Druid at Thieves Holm. I waffle about it here, and there’s a brief clip of the audio edition, too…
Big thanks to Julian Barr for his editing skills, Claire Burgess for helping Araminta, Dominic Currie for the music, and Andy Bowden for the cover art.
I’ve been working on a new way of writing the first draft of my novel. And it’s been working really well… so far…
Hello, folks. Apologies for the hair. Still in lockdown and two weeks till I get a haircut, so this is going to get worse before it gets better. Anyway, I’m working on the first draft of Skyclad, the third Witches of Woodville book.
Regulars will know that I used to be a big outliner when it came to writing, but I’m becoming more and more of a pantser or discovery writer, whatever you want to call it.
That is, I’m making it up as I go along. Well, sort of. I do have a rough idea of where I’m going and I know how I want the story to end. And I have a few key notes on a few key moments, but I thought you might be interested to know how I’m working with this one. Again, regulars might know that I have a different notebook dedicated to each project. Here’s the one for Book Three of the witches of Woodville, Skyclad.
This was bought at the National Trust Gift Shop at the White Cliffs of Dover, which is a little clue as to where some of the book will take place. What I’ve taken to doing with this story is switching from day to day between paper — the notebook — and the screen — the laptop — and it’s really working for me. So to give you some idea… On, say, Monday, I will start noodling ideas for what happens next in the story in The Notebook.
So here I’ve written in big letters, “How can the Poltergeist exorcism go wrong?” Slight spoiler, but it’s the opening scene. I’ve made notes on what can happen in that scene and they are imperfect notes. I’ve given myself permission to wander off, and noodle and try different scenarios, and scribble stuff out, and put other things in boxes and underline them, and highlight them. And what I find is that by the end of the writing session, I have a really good idea of how that chapter pans out.
The level of detail varies from session to session. But the next day, Tuesday, when I open up the laptop, I’m not victim to the tyranny of the blinking cursor. You know that feeling when you look at a blank page of Word or Scrivener that bastard cursor is flashing at you, “Go on, write something. What are you waiting for? Call yourself a writer?” Well, now I just go to my notes and start typing, and before I know it I’m up and running. I used the less formalised version of this with The Crow Folk and the second book, Babes in the Wood, available to pre-order now.
And it worked really well. So this is an evolution of that. A few caveats. I’m only 10,000 words into this novel and, in my experience, openings are pretty easy when compared to the rest of the book… not least the middle section, which can lead to much wailing and gnashing of teeth. So I’ll check in with this in about a month’s time and see if I’m feeling quite so smug still. Also, I’m writing the third book in a series.
I know the characters and situations really well. I have a very good idea of how people will react when presented with challenges. And that makes a writer’s life much, much easier and makes me wonder why it’s taken me so long to write a series. This is so much fun. Anyway, I hope you found that helpful. How is your writing going? Does this sort of method work for you? Pop a comment below or drop me a line. In the meantime, happy writing.
Part two of The Miss Charlotte Quartet — The Last Night of the Witchfinder General — is now available completely free to anyone who subscribes to the Woodville Village Newsletter. Sign up and grab your copy here… https://witchesofwoodville.com/#library
Manningtree, Summer, 1647
Matthew Hopkins, Witchfinder General, has come out of retirement for one last trial. And now Charlotte Southill is here to show him what a real witch can do…
Charlotte Southill vows revenge when one of her friends falls victim to the notorious Witchfinder General, Matthew Hopkins. But someone doesn’t want him dead and Charlotte must confront some raw and painful memories.
Hello folks. I’m delighted to announce that the second story in the Miss Charlotte Quartet — The Last Night of the Witchfinder General — is available to download… completely and utterly FREE for all the lucky people who have signed up to the Woodville Village library newsletter.
If you’ve read The Crow Folk you will know that Miss Charlotte has something of a secret history and these stories will go some way to letting you into her dark past.
Yes, these stories are a little darker than the Witches of Woodville novels and this one in particular contains hanging, torture, vomiting, farting, drowning, poisoning, shooting, stabbing and al fresco urination.
What more could you ask for in a 5000 word short story? It’s available as an eBook and audiobook. Let’s have a quick listen…
ESSEX WAS no place to be a witch. Charlotte stood in the shadow of the gallows, watchingher friend Dorothy Marsh sway in the summer breeze. Flies buzzed around Dorothy’s gaping mouth. Her bloodshot eyes bulged as if in fright, her last terrified words left unsaid. Dorothy’s pepper hair was matted with blood and the mob had taken all but her stained smock and a single shoe.
A dark rage grew inside Charlotte, rising like bile. She had seen too many women like Dorothy hanging from a noose these past three years. Dorothy wasn’t even a witch, but a midwife. A woman of compassion and kindness who offered Charlotte shelter and food when she was last here.
Matthew Hopkins, Witchfinder General, had come out of retirement for one last trial.
And now Charlotte Southill was here to show him what a real witch could do.
I had great fun writing this one, but even a short story is not written is isolation. My thanks to Julian Barr for editorial wisdom, Andrew Bowden for another cracking cover design and the lovely new logo for Woodville Village (points)…
Thanks also to Dominic Currie for the music. Head Librarian Araminta Cranberry for her introduction and afterword, and Claire Burgess for the usual.
Part Three of The Miss Charlotte Quartet will be available on 4th May and will again be FREE to all newsletter subscribers, so if you haven’t already please click on the link below and sign up. You can also get a free recipe for Jam Roly Poly as featured in The Crow Folk and much more besides. It will also be the first place where you will soon be able to read an extract from book two of The Witches of Woodville BABES IN THE WOOD (which is available to pre-order). Thanks again to everyone who’s read The Crow Folk, and especially those delightful people who have left reviews online and such.
Village Head Librarian, Miss Araminta Cranberry, stated, “This is a vast improvement on the previous village sign, which many said looked like a squirrel nailed to a cross. This new design is much less likely to deter visitors and frighten children and animal lovers. It also better represents the magical heritage of the village, as well as hinting at the incident in 1973 that no one here talks about. No further questions, please.”
The logo was designed by Mr Andrew Bowden of www.ididthat.uk – Mr Bowden won the contract after completing the three trials of endurance and finally agreeing to accept payment in doubloons and bitcoin. Mr Bowden is from the county of Essex, but parish councillors agreed not to hold that against him and he was released from custody after only a few hours.
I’ve got the notes from my editor on my manuscript. Now what? After a week of avoiding my edits, it’s time to knuckle down. Here are five quick tips to help you sort through editor notes before you start your next draft…
Hello folks, about a week ago, I put up a video talking about how I just got my edit notes from my editor, Bethan at Simon & Schuster, for the next book in the Witches of Woodville series, the The Babes in the Wood book. And if you were watching that video, you might think, oh, he’s got his notes. And we talked a bit about things like the edit triage and and, you know, just looking at headlines, bullet points and making notes and stuff like that. And you’d be perfectly forgiven for thinking that immediately upon me, you know, finishing that video, I would jump straight into the edit. So what have I been up to since then? Procrastination, mainly, we can talk about procrastination, if you like, maybe later. But, actually to be fair, I have had a couple of rewrites on two short stories and also some light rewriting on a horror movie which essentially took all week. So, you know, I’ve been doing that. I think, to be honest, it is a good thing not to jump in with both feet. As soon as you get your edit notes, you know those ideas, you know, you read and review those notes that your editor has sent you. Let them simmer in your brain, gain some acceptance from that time. Procrastinating. That’s my excuse. And I’m sticking to it, During the meanwhilst, here are five tips on the first things to do before you start your edit…
Save a copy. Seriously, save it. The original one that your editor sent you. Save it, file it away, leave it untouched. Don’t change anything because there will come a point in the edit where you’ll come across something and you think, oh, what did my editor say about that? And you won’t have any way of knowing…
Accept all changes. I’m going to show a little video here. There’s a thing in Word and other similar word processors called “track changes” where the editor will turn that on and every single change that they make comes up as a change. And you have a choice to accept or reject that change. Frankly, when it comes to the punctuation and grammar changes, there will be hundreds of them. Just “accept all”, you know, there’ll be a way of doing that easily on your bit of software. Google it. You’ll find a YouTube video that will tell you how to do that just “accept all” because frankly, they know their punctuation and grammar. Just accept it. They may make changes to a sentence or may make changes to a particular word. A good editor will leave a note saying, “I’ve changed this… Is that OK?” Or “Does this make more sense?” And, you know, you can maybe go back to your original document, which you will have saved, and have a look and see if that change is harmful or gratuitous in some way. But frankly, in my experience, they don’t make any crucial difference. These these are words that, you know, just there for clarity… Changes are just there for the reader. This draft is not for you. It is for the reader. Hence, all drafts from now will be for the reader as well. Just ask yourself, “Is this a hill I’m willing to die on?” Because in my experience, by the time you got round to the copy edit and the proof edit you’re kind of… You can’t even remember what that word was anyway, so just accept all changes.
So after that, you’ll be left with the comments. I’ve got about three hundred and thirty comments left on my document now from down from five hundred something. Go through those comments, read, make notes, reply to yourself, you know, make quick fixes if you want. Sometimes, you know, you’ll have duplicated word in a sentence or a paragraph and they’re pretty easy to fix. But don’t be tempted to make any big changes yet. Wait till you get to the end, because sometimes editors will see something that bumps them out of the story, make a comment about it, suggest changing it, and then later on, when they get to the end, they realised that was actually part of a plot twist all along. So don’t change it because it may be something that just needs a little bit of clarification or might be fine, just as it is. So read the comments, make notes.
Don’t just focus on the criticism. Look at the praise, too, because a good editor will leave you praise. It’s called the praise sandwich. It’s like, “This works.” “This is a bit rubbish.” “This is wonderful.” Fragile egos of writers strikes again. But actually praise is really helpful because it tells you what’s working. Lean into that when you rewrite.
And don’t feel you need to reply to the editor’s comments. You know, sometimes they’re just posing a question just to prompt a thought from you. You know, they’ll say, is this really necessary? Do you really… Does this make sense? Did they really do that back then? So the editor isn’t necessarily asking for a reply when you send back the next draft, although if you feel you would just want to clarify a point, that’s fine. But it’s usually a good sign that it’s something that’s bumped them out of the story. Might need a quick fix. So think of it that way.
So, folks, five tips. I think that was five. Pretty sure it’s five… Five tips for when you start your edit. I hope that was useful. If it was, give us a thumbs up, leave a comment. All that jazz. Share with writing groups, all that good stuff. If you’ve got any comments pop them below and I will reply. Stay tuned for some goodnews coming about the next book. Some cool news coming on Friday (cover reveal). So, yeah, stay tuned for that. And in the meantime, happy writing.
I’ve just got my first set of notes back from my editor for the next Witches of Woodville book BABES IN THE WOOD, so this is a great time to take you on the journey with me from editing a book to publication. I run through what a marked-up manuscript from an editor looks like and how I plan to tackle over 500 changes and comments…
Hello, folks, Mark Stay here. The second Witches of Woodville book Babes in the Wood, is coming in October 2021, October 28th, I think, just in time for Halloween. And it’s March now, March the 5th. And I’ve just had my first round of line edits turn from my editor, Bethan, at Simon and Schuster. So I thought what I’d do on the ol’ YouTubes is start a whole new thread of the road to publication for Babes in the Woods, starting now. So where I am now, I’ve already written a couple of drafts which have gone to friends, beta readers who’ve made comments and sent thoughts back to me, and I’ve made changes before sending it off to Bethan. I’ve also had… This book involves Kindertransport children, so Jewish children fleeing the blitzkrieg and the Holocaust and coming to England. And I’ve already had a reader, a Jewish reader, go through that and give me all sorts of feedback and notes on that as well. So it’s in pretty good shape. Bethan has come back with a marked-up Word manuscript, which has got… 560 comments or changes, which I’m pretty happy with, actually, I think my first book Robot Overlords had well over 3000 comments and changes on there, so that’s doing pretty, pretty good. So, yeah, we got the first round of edits. I got this marked up manuscript of all sorts of little bumps in the road. So we have a look at some of these on screen. So Bethan’s… uh… Just if you’ve never done this before, we have a thing on Word and Pages and bits of software like that could tracked changes where any changes or comments that your editor makes is marked up so you can see it and easily recognise where a change has been made and accept or reject that change. And also, she’s left comments. And Bethan is brilliant because she doesn’t miss a thing. She notices all the little bumps, all the little things I got wrong,anything that bumps her out the story. But she also does the old “praise sandwich” as well, which is where you say, “Oh, this is good, this needs work, but this is great.” So the author’s poor, fragile, ego isn’t too bruised. What I’ve got now is what I call the edit triage, which is where I go through the comments. I make my own notes in a notebook. I try and take it off the page. And also Bethan has sent me a separate document as a kind of summary of her editorial notes of the big, big problems to solve, which is why the triage thing comes in. If you’ve got you know, do you think of your book as a patient lying on a gurney, you know, what do you have to fix first to save their life? You know, what’s the what’s the biggest injury? So rather than worrying about, you know, slightly… Any punctuation or grammar or anything like that, at the moment, you look at the bigger picture, start wide and move in and move in. So, yeah, really, really good notes. I’ve got a month to sort this out, which should be plenty of time. So we’re in March now. Book is published in October…
Yes, October. Babes in the Wood is book two of the Witches of Woodville series and available to pre-order from retailers now. Visit your retailer of choice or go to the bookshop at WitchesOfWoodville.com and now back to your regular programming
… which if you’re an indie author thinking, well, why are you taking so long? Why does it take so long to get the book to market? Well, part of that is that we’re working to retailer critical paths. So someone like Simon & Schuster will be selling in two retailers, six, seven, eight, nine months in advance of publication. For some retailers, they ask for a lot longer ahead of publication or sometimes over a year. So, yeah, that’s one of the reasons. And of course, you know, a publisher Simon & Schuster will be doing it in forty, fifty, sixty books a month depending on the month. So the marketing departments, the publicity, the art departments, they’ve all got to you know, they’ve got huge, huge workloads to work through. So better to give yourself plenty of time to do it properly, then have it as a last minute rush. So, yeah, I’m looking forward to this. I’m going to I’m going to dig in and start figuring out the big changes I need to make. There’s a murder mystery element to this, which I’ve never done before. And what’s been great with Bethan’s notes is, you know, she just said: a bit of clarity here, a little bit more mystery here. Wouldn’t she have thought this here, stuff like that. So it’s it’s been very, very helpful. So, yeah, I’m going to jump in and maybe check in in a week or maybe two weeks to give you an idea of how I’m getting on. And then after that, we’ll go through the whole rest of the process.
Things like looking at bits of cover art, looking at the blurb, looking at how we might publicise this one, what with lockdown, hopefully not being a thing by the time this comes out. So, yeah, first step on the path to publication. I hope you’ll join me further down the road.
I explain what it’s all about here on one of my walks…
Hello folks, how are you? Hey, who wants a free short story? You do! Definitely well, you can have one right now. Just sign up to my newsletter if you haven’t already. And it’s called I’ll See You in My Dreams. And it features Miss Charlotte, Southhill, who, if you’ve read The Crow Folk you’ll know, she’s one of the witches in the Witches of Woodville, and she has something of a mysterious past, maybe a bit older than she at first looks, which is why the story starts in 1593. And it asks the question, “Would you stop time to save someone you love?” Let’s have a listen to a quick bit right now…
Charlotte Southill first met Time when the plague came to London. Many thought the bitter winter would kill the summer’s pestilence, but it endured and the deaths only increased. The theatres and taverns closed. The streets were lousy with rats and handbells clanged as bodies were taken away on carts. Charlotte had never so much as caught a cold in her 38 years, but that was a reason for that. Lizzie was not so fortunate. She complained of aches and a fever two days ago. On the first day she kept vomiting. Then the swelling came. Charlotte had tried every apothecary trick she knew, but nothing would work. Lizzie’s breath rattled. Her body was riddled with buboes, and it was now only a matter of time.
OoOOOoooh! I have no idea what clip I was going to use, but I assume it’s going to be an “Oooh!” bit, you know, for the sake of marketing. Well, I hope you enjoyed that, because there’s going to be four of them. Four short stories in the Miss Charlotte quartet. Four. Quartet. See what I did? And they’ll tell a much bigger story over the course of the four stories, one a month every month for the next four months. So, yeah, just sign up to the newsletter and hopefully enjoy them. There’ll be e-books and there’ll be audio versions as well every month. So yeah, sign up now, put a link below and do that sort of thing. But yeah, it was, it was, it was fun to write. Short stories are hard, they’re really hard. There’s no room for my usual waffle. I have to be very concise. I have to thank my editor, Julian Barr, for really cracking the whip on this one. He’s a tough taskmaster. And to Andy Bowden for the cover art, which is just splendid. And thank you to everyone who’s bought a copy of The Crow Folk, who’s put a review up. It’s always massively, massively appreciated. Four weeks in the Hive chart in the UK, that’s the chart for a lot of the independent bookshops in the UK. I thought I was going to be out after three weeks. I was at number 19. I got back up again to thirteen. So thank you. Thank you all. You’re all bloomin’ marvellous. Um, Book 2, uh, Babes in the Wood coming in October, October twenty seventh. I see preorder links for that pop up online because that’s what happens. Publishers put it on their database, push a button and (blows raspberry) it feeds out to the Internet. That’s the actual noise that it makes when they push the button. And so yeah, I’ll put a link on the website so you can find it on there: witchesofwoodvile.com and any pre-orders would be appreciated. Check out The Hive, check out Bookshop.org – that helps indie bookshops. And of course, as you know, Amazon, Waterstones and all those lovely people as well. Whatever way you want to do it, any pre-orders much appreciated. So, yeah, free short story. Get in, enjoy and happy reading.
If you’ve enjoyed reading The Crow Folk, then do please consider pre-ordering the next book in the series BABES IN THE WOOD. Here’s a quick blurb…
Fleeing the Nazi blitzkrieg, a trio of Kindertransport children come to stay with Lady Aston at Hayward Lodge in Woodville. Their arrival triggers a murder mystery involving a magic apple tree, modern art, a U-boat, and a demonic hound. Faye Bright must play nanny to the terrified children while gathering clues to uncover the dark magic that threatens to change the course of the war.
I had so much fun writing this one. There’s all kinds of gleeful and exciting stuff to be revealed, so stay tuned.
In the meantime, if you’re the kind of person who likes to pre-order nice and early and then enjoy the surprise when a book arrives in the post (I know I do!), then you can find links to most retailers at the Woodville Village Bookshop here.
I say “most”… some retailers can be slower than others when updating their catalogues, so I’ll be updating as and when.
Also, if you were one of the lovely people who ordered from Coles Books to get a signed book and art print…
… and you would like to do so again for Babes in the Wood… why not drop them a polite line and ask if they will? A little bit of positive customer feedback goes a long way these days. Oh, and I’ve had a sneak peek of Harry Goldhawk‘s “rough” of the cover art for Babes in the Wood. If you though the cover of The Crow Folk was gorgeous, then you ain’t seen nothin’ yet. More news as I get it!
How long did The Crow Folk take to develop? A lot longer than you might think. In this second part of the highlights of the Bestseller Experiment podcast, I talk about false starts, rewrites, junking old versions, nearly self-publishing, and how some notes from my agent changed my mind.
Hello, folks, welcome to the second part of the highlights from the episode of the Bestseller experiment, we talked about all about this thing.
And in this one, we talk about the development of the book, how long it’s been swishing around in my mind, versions that I got rid of, how it was nearly self published. And we feature notes from my editor. All of this in about eight, nine minutes. It’s jam packed. So do please enjoy…
That’s really what I wanted to ask as well. Mark, a bit about this come up a lot, actually. And people are very curious about how the book was developed. And and Mike Revell, thanks for your question. Mike, he said, I’d love to know more about your writing process for the book. Now, if I’m if I’m not mistaken, this book was written with the two hundred word a day challenge, wasn’t it?
No, that’s book two.
That’s book two.
Yes, yes. Way ahead.
Yeah. But this this was well, the thing is, I had as I said, I had entire drafts of scripts and novels dating back over 10 years and I just got sick of rewriting the same thing over and over again.
So I got rid of it all.
You just what you just chucked it all away?
You just said, well, it’s filed away.
Yeah, very little of those… The village is the same, the name of the village, some of the magical background, but essentially most of it’s gone. Did you actually go through a process as you as you were archiving those notes of saying, what am I going to keep from this? Or was it just..
Yes, yeah. But you kind of think, OK, what’s evergreen? What’s what’s going to… What’s the good stuff? And there wasn’t a lot of it, although one of…The story might come back for book four or five if I get there, you know, because that there’s something about that story that I do want to come back to. But it will be told from Faye’s point of view, not the creature’s point of view. So because I was going for kind of a Swamp Thing vibe with with the original and it just didn’t work. And anyway, so so I had I had all these old drafts and pretty much all of it was jettisoned.
So interesting. And so how did you how did you kind of go through the process from initial notes to outline and draft? Mike asks.
Well, it was because it’s the first in a series, I kind of saw it as a bit of a superhero origin story. Faye finds magic, learns how to use it against a terrible foe, her first real test as a character. And I spent a little time making sure I had the main characters right. I kind of discovered where I wanted her to be by the end of the book, and I did pretty much jump into it. So it wasn’t… I didn’t outline very much. I’d outlined The End of Magic heavily, as you know, Back to Reality. We outlined heavily because we were working together. This was this was much lighter. Now, I was… I’ve been prepping this all afternoon, so I did try and find notes and it’s been quite hard to find where I made the switch. I basically started this in December 2018. That was the point where I think I jettisoned all the other stuff, looking at the different old Scrivener files, you know, so and that draft, that, that first draft I found is pretty similar to what’s been published. And also the other thing is I had planned to self publish, inspired by our own Ian W Sainsbury, friend of the podcast, award winning author. I was going to do a quick release, three novellas, Boom, boom, boom, because and I think what helped was mentally, I was thinking, okay, these are going to be short about forty five, fifty thousand words, so just jump in and have fun. And I did. I had loads of fun.
So that was, that was the thinking behind that one.
It’s just. Yeah.
Go for it.
And how many words in the book One? you remember how it turned out.
There’s a little story behind that. And Rhoda asks a question later on about how… Because I got to about forty five in the end it ended up at about sixty five. So still quite short.
But actually Rhoda asks she says, I heard the book started out as a novella and ended up being a full book. Is that right.
Yeah, yeah, yeah, yeah.
So how did you go about extending it.
Good question. And I did dig out my notes. I’ve got my email from Ed. So let me let me read you…
Ed being your agent, correct?
Ed Wilson, the lovely Ed Wilson. And this is great. So I and I said to him up front, I want to self publish this, but have a look at it and see what you think. And I got his email. He said nothing too major, but all ties into my big point. Why is this book only forty five thousand words? Woodville is completely effing brilliant. And he has, bless him, starred out out the “uck” there. He says tonally, tonally spot on.
Just in case it ever got read out on a podcast.
He’s always thinking ahead.
Yes, he’s a smart man, is Ed.
Yeah, he says tonally spot on, perfectly realised, structured and paced, deliciously readable. This is cozy fantasy. The genre mash up we didn’t know we needed the characters zing off the page. You develop a real emotional connection in such a short space of time. I was in pieces at the end, you bastard, which is great.
He’s just written the blurb right there.
And we’ve talked about the praise sandwich on here before. You know how you give criticism. You start with this is good. You know, there’s a but coming thundering over the horizon. OK, so he says but there is sooooooo… I think there’s seven O’s in that so and it’s all in caps. So that’s more you can do because you’ve limited the work and you don’t have time to properly establish the setting before you get stuck into the plot. We need to see more normal village life, more Dad’s Army war preparations, more vicars and oversized veg and tongue in cheek Archer’s style village politics before the talking pumpkins appear, or rather before the villagers see the talking pumpkins. The way you’ve written it, we have the big reveal and the fantastical events go above ground within the first third of the book. And in a book this length that’s too soon, you’re giving up too easy and losing the fundamental tension of what is and isn’t real. Who is and isn’t barmy. When you have more twists and turns, more tension around who and what Faye, Charlotte and Mrs Teach … Those are the witches… Are. You can keep structure and tone the same. Fundamentally, that doesn’t have to change. Just add more tension, intrigue, spooky goings on. Sow seeds for future books. And then once you’ve established the series, you can do pretty much what you want. This first book is vital to establish the series. You’ve got to properly establish it. Book one is too important to have it dismissed as just a novella. So this was great. And I had a manuscript from him marked up all the way through with notes all the way through. So that was my jumping off point to answer Rhoda’s question. It was, you know, the the tension, the questions. I was kind of giving it all away too quickly and just dig a little deeper as a result.
So I’ve got a I’ve got to say, you know, that is the reason why you try and get an agent, because so many people think so many think agents are just, you know, you give given the book and then they go and flog it. You know, they go off and they have a beer or a glass of wine with with their connections. And then they try and sell the book over lunch. But people don’t realize that good agents are your best friends and your best, you know, constructive critics as well. And it sounds like, Ed, at that point in the journey really gave you the crossroads to say, look, these are all the things you can do without. I mean, if somebody is self publishing without an agent, for example they wouldn’t have known where to go at that point. They may have just put it out as a forty five thousand word self published and missed out on what potentially could have been the most incredible ride of their life. So that’s absolutely fantastic. And what a great insight as well to hear that stage of the journey at that point. Absolutely brilliant.
Thank you, folks. Really hope you enjoyed that. All sorts of fun stuff coming up in future episodes, including how I worked with historical language. Writing a book without any swear words. That’s a first for me. I’m comparing my different publishing experiences. So that’s know working in crowd funding and self publishing and traditional publishing, looking at how those all work and all sorts of other good fun stuff. So do please subscribe and I’ll see you next time.