Y’know, jobs with salaries and pensions and commutes and all the stuff I had consigned to the past when I found myself suddenly self-unemployed. Why? Because the banks insist I pay back this mortgage thingy, and suppliers will insist that I pay for goods and services. Unbelievable, eh?
Around mid-October I started to panic. It was very clear that the money was draining faster than it was being replaced and that I would run out of dosh just in time for Christmas.
Here’s the thing: I have a TV show in development, a feature film script with a great director attached, I have three novels published and one about to go out on submission. I’ve had my best year ever as a writer since Robot Overlords was released but, crucially, none of these gigs are paying anything like a living wage.
If the TV show happens I’m off to the races, but TV is high-risk business. Big budgets mean slow progress. I’ve been paid an option plus renewal (a couple of grand). The same risk and speed applies to the film script, though this is a spec script and it hasn’t paid a penny yet. Books move marginally faster, but the advances and royalties have a long way to go before they pay the bills.
I’ve tried getting TV writing work, but still have a long way to go before I have the kind of contacts who will hire me (a lot of it word-of-mouth/who-you-know). Again, there’s a high risk factor. TV is expensive, and me having made a movie and a stack of spec scripts doesn’t seem to be enough for TV producers to take a chance.
It was becoming clear that writing — the thing that took up most of my working day — wasn’t going to keep me in the manner in which I was accustomed…
And so my mind defaulted to the thing I knew was safe and certain: a job with a salary.
I began scouring the Bookseller and other publishing work agencies for jobs. Preferably for some sort maternity/paternity cover that would tide me over till the TV/Film/Book big time happened (stop sniggering at the back – it’ll happen). I applied for a number of jobs that I was perfect for. I had the experience they needed and I was ready to start immediately. What could possibly go wrong?
Warning: the next few paras will make me sound like a grumpy old man, but I can only speak from my own experience as a grumpy old man…
Nobody wanted me! I had interviews, sure, but the language of job vacancy copy is quite revealing. They blurb excitedly of dynamism and enthusiasm and pro-active-ness, but when you get to my age that all sounds exhausting. Whatever happened to a safe pair of hands? Someone who will come in and do the job to the best of their ability with a smile on their face and not set fire to the place??
Also, middle-aged folk don’t come cheap. We expect to be paid well, unlike the poor Millennials who have all been duped into taking a pittance and expected to work all hours. In the interviews I was treated like a curiosity. A survivor of the digital wars of the early 2000s, and one that would probably answer back occasionally, take an hour for lunch, and leave on time every day. Okay, yes, I guess it was my attitude that lost me the jobs, but there’s also a definite bias against middle-aged-grumps-who-don’t-take-any-crap in publishing. I’m shocked, I tell you. Shocked.
I also had a couple of replies telling me they’d read my CV and that I was a successful writer and grossly overqualified. If only they knew.
I think this was all publishing’s way of telling me that it was done with me.
The mind begins to reel when confronted with a black hole of uncertainty.
I’ve been skint before. I’ve been unemployed before, but not when I’ve been the one paying the mortgage. I’ve been massively overdrawn and in debt before, but I had the security of a monthly salary to at least rob Peter to pay Paul (with interest). I’ve never been in a situation when there was literally no more money coming in and yet here I was. Bear in mind, while all this was going there was a disastrous election, Brexit loomed like a cloud of poison gas, and humanity’s inability to get to grips with climate change made one entertain thoughts of selling-up and digging a large bunker in the Outer Hebrides.
What can you do but persist? I kept applying for jobs and touting for editorial work. The editorial stuff started coming in and that was good, but it was a few hundred quid here and there. Not enough to keep my head above water.
I’ve been scared of it for too long and now I’m challenging it to an arm wrestle in a crowded bar. Wish me luck…
Are you looking for feedback on your novel or screenplay? sending to agents? I offer all kinds of services for writers at all stages in their careers. There are more details here and get in touch now for a free ten minute Skype consultation and a quote.
This may sound a little odd, but we all have our favourite forms of putting off writing, so why not just get them done and out of the way? Mine is social media. If you follow me on social media, you might notice that I’m busy first thing in the morning (breakfast), I might pop up for ten minutes or so mid-morning (tea break), then there’s lunch and then the evening when I’m done.
Diving into Twitter and Facebook first thing in the morning quenches any curiosity that there might be something more interesting going on in the world. I pop in, have a laugh (or get outraged), put it aside and then jump into the writing.
Close the door
The old advice from Stephen King. Most people think The Shining is about a writer battling his inner demons, but I reckon Jack just wants to make his daily wordcount and his wife and kid complaining about the terrors in the Overlook Hotel really isn’t helping the poor guy hit his targets.
Closing the door works. If you’re lucky enough to have a room of one’s own then use it, and make sure your family or flatmates know what it means: no knocking unless there’s a fire, nuclear war or similar*.
Before I was lucky enough to get a writing room, I used to write on my commute on a busy train. I used headphones to block out the world. If you’re a time poor writer — and who isn’t?! — you have to make the most of your writing time and any distraction can be detrimental to keeping your train of thought. Which brings me to…
*Unless they bring tea and biscuits. I can allow that occasionally.
Silence (or nature sounds)
I used to have specific music playlists for any writing project and I find these useful when I’m brainstorming ideas and trying to get into mood… But when I’m in the thick of a draft I now need complete silence. It might be a middle-age thing, it might be that I just need more brain capacity to concentrate on this stuff, but I can’t write now if the theme from The Witchfinder General is scratching at my brain.
When I’m travelling and using headphones I’ll use a nature sounds app. This blocks out extraneous noise and is far less distracting than music, though you if you find that you start getting annoyed by repetitive bird calls, then maybe switch to a white noise app.
What are you actually going to do today? Is this a first draft and you’re hitting a word target? If it’s a screenplay, how many pages do you want to do today? If you’re editing, are you working on a particular chapter, character or thread? Whatever it is, set yourself a goal. Once you’ve hit it you can either smash through or, what the hell, take the rest of the day off and binge something on Netflix. One of the biggest lessons we’ve learned on the podcast is setting achievable goals is one of the biggest boosts to writing productivity.
It’s all very well splashing words onto the page, but what the hell are you actually saying? What is the point of this book? This character? This scene? And where are you in the story?
I always take a moment to figure out just where I am in the story. If my protagonist starts at A and ends up at Z, where am I in the alphabet of change? How is this scene helping them evolve and head towards that ending? What change is occurring through drama? In other words, how does this scene earn its place in the story? I find that once I have a clear idea of that, the rest comes relatively easily.
And she’s absolutely right. Keeping that story brain ticking over in the back of your mind is so important. But, if you’re like me, you have no idea when inspiration might strike. It’s usually at two in the morning, so I have a stack of Post-It notes by the bed, or I’ll be out for a walk and a story problem might solve itself and I end up sending myself an email on my phone before the thought it gone…
And that’s the dread thing. I know now that if I don’t make a note STRAIGHT AWAY, it’s gone. For good. Again, that might be a middle age thing, but it’s real. Always be ready to make notes wherever you are.
I’m a pretty speedy typist. My dad used to be secretary of football referees association and I used to type up his handwritten notes for their newsletter on a second-hand fire-damaged BBC B computer, so I was a touch typist from about age eleven. The temptation for me is to stick to typing on a screen because it’s so fast, and that’s great when I’m on a roll, but when it comes to problem-solving you can’t beat pen and paper. There’s something about scribbling on a pad, or a scrap of paper, or on a whiteboard that fires up a whole new set of synapses in my noggin. I’m hearing a lot of writers are switching to dictation now that the tech is getting more reliable. I haven’t tried it yet, but watch this space.
This might feel like more procrastination, but at my age I have to get off my arse every hour or so, if not more. If I’m working from home there’s always a bit of washing to put on, a dishwasher to empty, some vacuuming to do. Getting up and moving around gets my blood flowing and it’s a good way to let the brain take a breather, and it often leads to solutions to story problems. And of course nothing beats a good walk…
But doesn’t all that interruption break into my concentration…? Well, I have a thing for that too…
Whenever I take a break, and especially at the end of the day, I try to end either in mid-sentence or in the middle of an incomplete scene. This means that when I resume work I’m not faced with a blank page or fresh chapter to start. I just need to polish off what I was working on yesterday. I’ll often leave myself a note along the lines of, “You were thinking this, and this thing was going to happen next.” That’s usually all I need to get started and before I know it I’m up and running and ready to tackle the next chapter.
Similarly, if I ever get stuck I’ll go back and rewrite or edit the pages running up to the moment of stickiness. This run-up usually gives me the momentum I need to break through the sticky bit and keep going.
Prepare to change
Here’s the thing. What worked for me two years ago, doesn’t necessarily work for me now. I’ve never written a script or a book the same way twice. I’m always looking to shake things up. I think the day I think I’ve got it all figured out is the day to give it up.
Bonus tip: Back up your work
Every day. Back up your work to a dongle, a cloud, email yourself — whatever it takes to ensure that your magnum opus isn’t sat on a device that will inevitably crash and die. There’s no “maybe” about this. Tech dies every day and often without warning. Sometimes it’s unavoidable and that’s horrible, but you can and should take steps to avoid it.
The 3-2-1 back up rule is best: keep three copies of your data, two on different storage media and one off-site.
And do please leave your own tips and comments tips below…
Are you looking for feedback on your novel or screenplay? sending to agents? I offer all kinds of services for writers at all stages in their careers. There are more details here and get in touch now for a free ten minute Skype consultation and a quote.
I have finished the first of my Woodville novels (a series about three witches in a Kent village in the Second World War: think Bedknobs and Broomsticks meets Pratchett’s Witches), and I’ve started the second, and I was all set to self-publish, but my wonderful agent read it and it made him cry on the tube (twice… in a good way) and he wants a shot at selling it. He calls it “commercial gold dust”, which is nice.
And Interstellar Mega Blaster is my middle grade science fiction adventure, which has had a few encouraging rejections. All par for the course.
The more astute of you will note that I’ve not achieved any of these goals (so far). Does this mean I’ve failed? Heck, no.
Goals aren’t immovable objects like Stonehenge. You can shift them, squeeze them and even toss them away. And no, that’s not cheating.
Really, it isn’t. Okay, you might reasonably ask, What’s the point in setting goals if you’re just going to keep moving them? Well, if you’re like me, they’re what get you out of bed in the morning to start writing. They’re aspirations, dreams, and even if we fall short we’re still ahead of bugger-all, which is what we started with.
One of the biggest lessons we’ve learned on the Bestseller Experiment podcast is that setting a clear goal, a definite deadline, and making a public declaration are the most effective things you can do to boost your writing.
Be ready for real life to give you a swift kick in the nadgers every now and then, and be just as ready to pounce on the new opportunities that come along, too. Set a goal.Today.
I love deadlines. I love the whooshing noise they make as they go by.
Douglas Adams, The Salmon of Doubt
Do you have a writing goal? Tell me about it and maybe I can help you make it happen.
It’s not much of a spoiler to say that we didn’t make it. However, if failure is a teacher then we learned an awful lot. Here were the big lessons for me…
Write a series – It’s much more difficult to sell a standalone book using advertising tools (Amazon Merchandising Services, Facebook Ads, Bookbub, Publisher Rocket) that are best designed to sell more than one product. So guess what I’m writing next…?
Not being able to use AMS in the UK hurt our chances of success. Yes, I know some authors have managed to use loopholes to run ads in the UK, but that wasn’t available when we signed up. I did ask Kindle’s Darren Hardy at the London Book Fair when it might be available and he said it was coming soon, but couldn’t give a fixed date. I’m not holding my breath. Back to Reality is very British in its humour and tone — and it’s been great to get such a wonderful reaction from readers all over the world — but it would have been great to sell more effectively to our Amazon readers in the UK.
It might just be that I’m bad at marketing. This is very likely my biggest issue… I did the Mark Dawson course, I read the David Gaughran books, I did everything I was supposed to… but marketing is a skillset you have to develop over years, and I was hardly going to master it in a few months.
Genre and readers are key. Back to Reality is a little bit of humour, a little bit contemporary fiction, a little bit science fiction, and a little bit rock n roll, so pinning down one genre was nigh-on impossible. And it’s tricky trying to identify just who your readers are, especially when your “also boughts” on Amazon are mostly for non-fiction “How to write” books (a byproduct of the podcast: our first readers were our listeners who are all writers). Compared to straight-down-the-line thrillers or romance, our novel wasn’t quite as straightforward.
But I’m not complaining!
It is said that the definition of insanity is doing the same thing over and over and expecting different results (I guess that makes every author insane). With that in mind, I’m going to repeat this experiment with The End of Magic, but I intend to make ALL NEW MISTAKES!
We’ve long banged on about writers making public declarations on the podcast. They put a fire under your bum and, combined with a firm deadline, can spur you on to great things.
I can only do this in the USA… Unbound have the UK rights and I have no visibility on sales other than the twice yearly statements.
I’m going to stick with Kindle and Kindle Unlimited.
I’ll be counting both Kindle and Paperback sales.
Wish me luck! I’ll chronicle my progress here on the blog and in my newsletter. I’ve already started with a couple of AMS ads and Bookbub newsletter ads. I’ll let you know how they get on. Current sales are zero. The only way is up…
The following blog post has MASSIVE SPOILERS FOR GAME OF THRONES
Have I mentioned the MASSIVE SPOILERS FOR GAME OF THRONES?
Still here? Good. You’ve been warned…
Endings are a bugger. There’s no getting around it. Often, writers are advised to start with the ending and work back from there. Though the problem with that is as you get to know your characters you’ll start changing their story trajectories. And that’s where things can start to get muddled and how endings can end up making no sense whatsoever or just fizzle out into nothing.
I’ve just watched the finale to Game of Thrones for the second time and, for all its flaws, I found it immensely satisfying and for me it illustrates a great principal of storytelling:
Characters will get what they need (or deserve) and not what they wanted…
Dany gets to defeat Cersei and at least touch the iron throne (though she doesn’t actually get to park her bottom on it), nor does she get the satisfaction of seeing Cersei die, which may be why she still thirsts to bring the rest of the world under her heel, triggering Jon to (eventually) grow a pair and stop her.
Jon’s ethos of honour and duty at all costs sees him banished to the Night’s Watch, which is where he was off to in the pilot episode anyway. He could’ve saved himself an awful lot of trouble and stayed there in the first place. Bless him, he tried. Though he did stop Dany from turning other cities into dragon-flamed barbecues, so we should all be thankful for that.
Arya doesn’t get to tick Cersei off her list, but on seeing the bodies of children in the streets of King’s Landing she’s realised that her childhood has been spent pursuing empty vengeance, and so she’s off on the Westerosian equivalent of a gap year exploring the unknown.
Sansa wanted nothing more than to be a princess to a handsome king, though Joffrey the Bellend, first of his name, was enough to put her off that ambition and now she’s Queen in the North with a neat line in costume jewellery and she’s taking crap from no one (see how she tells Edmure Tully to sit down).
Bran was just a little boy who wanted to climb and have adventures and now he’s the fricking king with second sight. Betcha never saw that coming in the pilot. Oh, wait, you all did? Okay…
And Tyrion has the most satisfying arc of all. He has come a long way from his whoring and drinking, and his final scene opens with him arranging chairs in order to make a good first impression. He’s gone from an irresponsible smart arse with zero responsibility to someone who, as Bran says, will spend the rest of his life atoning for his sins.
These, along with dozens of little callbacks to the opening episodes, close the circle of the Game of Thrones story, as well as giving all our surviving characters new beginnings.
So, if you’re stuck on your ending or it doesn’t hit you in the feels hard enough then think about your characters’ wants, needs, new beginnings and… er… uhm… y’know what? I don’t have a proper ending to this blog. I… oh, this is embarrassing. Er… BUY MY BOOK!
Need some help with your writing? I can help you out…
There I was, feeling all kinds of smug about my new blog post on seven books on writing, getting all kinds of lovely clickthrough action, when I woke up this morning to discover that I was called out on Twitter…
Gah! Typical bloke… In my defence, this wasn’t supposed to be a definitive list of the best books, but the ones that I had found to be the most helpful over the years and for some reason I find myself – a middle-aged, flabby man – reading books by other older (and dead) flabby men . But that’s no excuse (well, it’s the only one I have), and here in a craven attempt to redress the balance are some excellent books on writing, from my shelves, written by women…
Eats, Shoots and Leaves by Lynne Truss
This was on Julie’s Tweet above and I’m kicking myself for leaving this off, because I recall devouring this when it first came out. This book should be handed out to anyone who opens a social media account, with its clear and concise approach to punctuation there’s simply no excuse for getting anything wrong after this. With the exception of semi colons; no one knows what to do with those anymore. I also had the pleasure of driving Lynne from bookshop to bookshop to promote her book Going Loco and she’s completely delightful and not the grammar Nazi that people might think she is.
Dent’s Modern Tribes by Susie Dent
I bought this just a couple of days ago when I was lucky enough to meet Susie at the Whitstable Literary Festival. I’m reading it at the moment and it’s hugely entertaining. Susie – who folks will know from Countdown and Eight Out of Ten Cats do Countdown – has an encyclopaedic knowledge of words, but is no stick-in-the-mud. The English language evolves and twists and turns and that’s one of the reasons it has endured this long. With Modern Tribes she investigates the languages used by bankers, DJs, Hells Angels, Soldiers, Politicians and more. If you have a character that inhabits these worlds you will want this book to hand to add that extra snap of authenticity to your dialogue. Susie has written about a dozen other books on the English language and they’re all a feast.
The Pitch by Eileen Quinn & Judy Counihan
I definitely should have included this one because it has actually got me writing gigs (though sadly it appears to be out of print with no sign of an update). Eileen and Judy have decades of experience in film and TV production and this was the first book I found that dug deep into what producers and development executives are looking for when a writer pitches their work. Even if you’re not a screenwriter this will sharpen your pitching skills. I have a permanent bookmark on page 73 for the PFC: the Pitch Format Card, their essential ticklist for any pitch document.
How Not To Write A Novel by Sandra Newman & Howard Mittelmark
Yes, yes, Howard is a bloke, but this also should have been on my blog the first time round, because this is essential reading. It covers the perspective of both the author and editor when it comes to novel writing and the most common mistakes that authors make and it’s very, very funny and frank and for the first time I felt like I was reading a book by people who had sat in publishing meeting rooms and had heard the kind of despairing comments that publishers might make about some of the submissions they get. Don’t make it easy for a publisher to reject you. Buy this book.
A Feast of French and Saunders.
Barmy by Victoria Wood
I’m going to do these together as I bought these when I was in my late teens and was writing comedy sketches with friends after school. These books were some of the first sketch comedy books I ever got and I can’t begin to tell you how much learned about comedy dialogue, timing, pace and character from these. Both have moments of surrealist humour, but it’s the back and forth of dialogue that has filtered into my work. Like the Pythons, Victoria Wood and French & Saunders rarely had punchlines in their sketches, but unlike the Pythons their characters were recognisably human and incredibly funny for it.
Monkeys with Typewriters by Scarlett Thomas
Okay, I confess I haven’t read this one yet, because after this morning’s Tweets I figured I owed it to my sisters in words to go and bloody well buy a book on writing by a woman. There were a number to choose from, but I went for this because it covers everything from Plato and Aristotle to fairy tales and tragedies, and because the bookseller raved about her writing, and she lives up the road from me in Canterbury, so once I’ve read it I will do my darnedest to get Scarlett on the podcast to talk stories.
I hope that goes some little way to redressing the balance and I shall definitely look into the recommendations from Margaret and Julie as should your good selves!
Back to Reality, the novel I co-wrote with Mark Desvaux for the Bestseller Experiment podcast, has been having a good run with reviews since its publication in 2017. Folks have liked it a lot and the feedback has been overwhelmingly positive. To meet our rather ambitious self-imposed target of ten thousand copies sold by the end of the Glastonbury Festival (our book climaxes at Glastonbury) we’ve been dialling up the advertising and asking anyone who’s read the book to leave a review. That means I’ve been checking the Amazon customer reviews fairly regularly, and that’s when I noticed that we received our first ever one-star review for the book. At first, my heart sank a little, but then I clicked on the review and had a read and this is what I found…
For context, here’s the part of the book that the reviewer objected to. Our hero, Jo, has travelled back in time from contemporary England to ‘90s Hollywood. She finds herself on a late night chat show where she reveals that she’s a time traveller…
There are two things going on with this review. First is an inability to make a distinction between the protagonist and the authors.
This still manages to surprise some readers. To write crime thrillers, you don’t need to be a cop or a murderer, to write science fiction you don’t need to explore deep space, and you, dear writer, can write repulsive characters and not agree with their world view.
But this is what writers do: we put ourselves in the shoes of these characters and try to imagine would those people might be like — and very often it can be based on personal experience — and we try to convey that in words.
As an aside, I think this is why there is such a liberal bias in the entertainment industry. Creators will try and see both sides of the argument in a story, character or situation and present them in a compelling way. That sense of fairness is very much a characteristic of liberals, especially in contrast to the meritocratic views of the right.
The second aspect of the review is the disappointment in the reader that we’ve dragged the messy world of politics into their reading. This prompts the much bigger question: should writers get political? Sure, if you’re writing a political thriller it’s expected, but when you’re writing in an escapist genre like comedy, romance, science fiction or fantasy should the poor reader be inflicted with soap box politics? And is it worth it for the writer? Think back to The Dixie Chicks when they made disparaging comments about George W Bush and the effect that had on their sales. Isn’t it just safer to avoid any political content altogether?
Here’s the thing: all writing is political… if it’s any good.
Fiction isn’t like a family gathering where you avoid religion and politics. It should be a truthful reflection of what the creator believes, otherwise what is the point?
I’m not saying that our joke where Jo compares Trump to Hitler is some kind of profound insight into the human condition. Far from it. It’s simply the thing that stuck out for the reviewer. What that reviewer missed was the masses of other political content in the book. The themes of family, compassion, sexism, work, money and greed are threaded throughout the story, and if you don’t think those are political then you’ve not been paying attention to the world around you.
So, will we lose sales because we’ve upset some fans of Trump? Possibly. We’re hardly the Dixie Chicks, but to be honest if you’re a Trump supporter I don’t want your money. You’re going to need it when you realise you’re on the wrong side of history and need to pay for therapy.
In the meantime, I shall continue to write about the world through the eyes of characters that both attract and repulse me. It’s pretty much the only way I can make any sense of the chaos around me, especially that Trump fella…
PS. To be clear, there are my opinions and not those of The Bestseller Experiment or my co-presenter -author Mark Desvaux…
How the hell is it February already? As you may know, I left my day job just before Christmas and am now unemployed/a freelance writer, depending on your definition… I mean, technically I’m unemployed as I haven’t actually earned any money this month, but I have been working my buns off putting stuff in place that should payoff further down the line. Here are five things I’ve learned about the freelance life in the last few weeks…
Get Up, Get Dressed
The temptation to stay in bed, especially at this most miserable time of the year, is overwhelming. But I have a son that needs to get to school and we live in the middle of nowhere, so I’m usually up at six am to get him to his bus stop and I’m home, showered, breakfasted and ready to work by seven thirty. A lot of people joked about me working in sweatshirts and jogging bottoms before I left Orion, but while I don’t go as far as wearing a suit and tie I make sure I’m fairly presentable just in case the postman arrives early. I wouldn’t want him seeing me in my nightie and curlers.
The routine I’ve fallen into is writing all morning with social media turned off (except for tea breaks where I have a sneaky peek at Twitter and FB) and then other admin stuff in the afternoon. It works pretty well so far and has proven to be fairly productive. I thought I would have plenty of spare time, but the days are very, very full.
To Do Or Not To Do
I’ve always been good with “to do” lists and planning my day, and this is a skill that’s served me well working from home. I have a daily list, which I hardly ever get through (and that’s fine, anything not done just gets carried over) and I have a big whiteboard with what I want to achieve during the month. Again, I missed the target on a couple of those, but I was being a tad overambitious anyway. But you can’t beat the satisfaction of drawing a line through them when you’re done. NEXT!
Get Off Your Butt
I was fairly sedentary at Orion, but I did have to walk from the station to the office and I would take an hour-long walk around London on my lunch break. I have an app on my phone that tells me how many steps I’ve taken and how far I’ve walked during the day and if I’m at home writing I can walk less than a mile! Not good.
Luckily for me there is an excellent coffee place a couple of miles away with a walk that takes me across some beautiful farmland, so I try and walk there after lunch each day to save my expanding backside. I think I’ve actually lost a bit of weight, but that might have more to do with the fact that I’m no longer sitting next to where everyone used to leave the snacks in the Orion office.
This is the bit I need to get better at. I’m currently following an online course on digital marketing, I’m writing and prepping stuff for the podcast and that is taking up a ton of my time. What I’m not doing is looking for work opportunities. I’ve never had to do that before and it’s becoming very clear that the world will not beat a path to my door. What is pleasing is that when I’ve carved out the time to do shake the tree for work, it’s always been a positive experience. More on this next time…
Know When To Stop
There is an anxiety when you don’t achieve everything you set out to do during a working day and the temptation is to keep working until it’s done. I had a little moment last night when a couple of emails pinged in and I knew I could get these things done in about twenty minutes… but it was the evening, I was with my family and one of the joys of working from home is that we all eat dinner together and have a lot more time with each other. I marked the emails as “to do” and left them till this morning. Got them done first thing and no one died. Knowing when to stop is the biggest lesson I’ve learned this month.
Oh, and I’ve got a book out…
The other thing that’s taking up my time is the imminent release of The End of Magic! I’m planning a launch, I’m hustling for publicity and reviews and I’m driving to book stores, handing out samples and posting reviews copies… It’s all go. Which reminds me – a huge thank you to everyone who supported the book by pledging at Unbound and then posted their photos online. It’s been quite overwhelming…