I had a great time talking to Tom Pepperdine about my writing process in great depth. This gets very nerdy, very quickly. This is an excellent podcast for writers, so do check out the backlist, too…
Join me with bestselling author Tracy Buchanan on the livestream that looks at the little things that make a big differences to writers.
Tracy writes gripping thrillers that delve into the darkest corners of family, psychology and forensic investigation. Her books explore secrets, lies and the dangerous choices people make when pushed to the edge.
And, as a child, she crafted stories using cut-outs from her mum’s Littlewoods catalogues! She also runs one of the best writers’ groups on Facebook and is a brilliant advocate for authors. It’s going to be a really lively one, so pop the date in your diaries now!
MARK: What small thing has made a big difference to your creative process?
NADINE: What I do now… Before I just used to write my first draft — and it sounds like a big thing, but it’s not, it’s a small thing — I write the first draft, and then after that, then do the rewrite, brief re-structure, whatever. That’s the second draft. But now I don’t. I write up to act two, and then once I finish act two in the first draft, that’s when I start doing the rewrite. Because now I’m doing the rewrite, I have a clearer idea of how… I’ve fixed everything now, so I know exactly how that last third is going to finish. And I started doing that. I think with… I think I did it with The Kill List, and I think it was just a timing issue I had. Like, a personal time finishing, I thought, I’m not going to get this done if I wait to finish it. I thought, let me just start rewriting it now. When I did that, I thought, this is a better way for me to work. So that’s what I do now.
MARK: And when you get to that two thirds point, you just plough on and get straight through to the end.
NADINE: Yeah, because I’m not thinking… When I’m writing that first draft, I’m already thinking, well, I already know I need to change this now. I need to change this character, put it in a different location, or I’m just going to get rid of that subplot. I just know these things aren’t going to work. And by the time I’ve done the second draft, I’ve already done that. And then I said, that last third is… I can’t say seamless, but it’s a lot smoother. I’m not fixing things.
MARK: Yeah, it’s so weird because I’ve just done that myself actually. You know, I’m talking about trilogies being hard. I got about I was 80,000 words on this, and the ending is there, and I’m kind of thinking, hmmm… And then I’m writing, I thought, ‘Oh, that’s what this is about!’ So I’ve realised, actually, what it’s about. So I’ve had to go back and sort of, you know, make changes. And now the ending just feels so much… Not, like you say, not easier, but I know where I’m going now. I know I’m going to do it. Yeah.
NADINE: You have a much clearer… There’s no debris in your path. That’s the best way.
MARK: Yeah, yeah, yeah, yeah, yeah. It’s a lot less cluttered, isn’t it?
This month’s special guest Gareth L Powell reveals the biggest mistake of his writing career, but how this particular disaster was a blessing in disguise…
MARK: What’s the biggest mistake you’ve ever made in your writing career?
GARETH: Oh, Lord. The worst thing — I don’t know if it’s a mistake, It could have been an Act of God — But was when the first half of the first draft of Descendant Machine vanished.
MARK: Oh, God, I remember this.Yeah, yeah, yeah.
GARETH: I’d been working on it for three months, I think. And then one day, it just wasn’t on my computer. It wasn’t in the recycle bin. It wasn’t, you know, anywhere. I used various kind of, programs to claw through the hard drive to try and find it. And… nothing. It just completely vanished. So if unless I just did something ridiculously stupid in my sleep or, you know… I don’t know what, I’ve no idea what happened to it. But this entire three months work just absolutely vanished. That was a big setback because, you know, that was when I, you know, you go in that feeling where you just go cold.
MARK: Yeah.
GARETH: You know in the, sort of Agatha Christie films from the 70s when there’s, like, a pistol blast or a scream, and then you’d get a shot of a load of crows flapping up from a tree. It’s kind of like that. I just uttered a curse. Venomous. It turned the air to glass and… And I lay on the sofa and thought, I’m never gonna write again. It’s all over.
MARK: And I remember talking to this, about this at the time, and it was just one of those complete mysteries. It wasn’t like you weren’t backing stuff up. It just absolutely vanished. Is it… because this happened to a friend of mine the other day, and I said, Oh, this happens to all sorts of writers, but every one of them tells me that when they go back and rewrite it, it’s so much better. Would you say that’s true, or am I just trying to make my friend feel good?
GARETH: No, that’s true, but the book I wrote was, substantially different from the first draft I had done, and much better for. So it was a blessing in a very, very heavy disguise.
Join me and Gareth L Powell for the next Creative Differences livestream on Tuesday 25th Feb, 8pm GMT.
Gareth L. Powell is an award-winning British author of science fiction and horror. He has written over twenty published books and has twice won the British Science Fiction Association Award for Best Novel. He’s also Managing Editor of Stars and Sabers Publishing, which has a brilliant new anthology out now! If you follow Gareth on social media you’ll know he’s incredibly generous with his writing advice and now you can join us live on the livestream to ask him that burning question you’ve always wanted an answer to!
This month’s special guest Nicola May reveals a tip for naming your characters that will save you time in the long run…
TRANSCRIPT
MARK: So, let’s start with what small thing has made a big difference to your creative process?
NICOLA: I mean, again, I found this quite hard, but what I do do is… all my heroines have very short names; four letters or three letters. Ruby, Avy, Rosa. Victoria’s Vic. Because if you think how many times you type that in a manuscript, it saves you so much time. I mean, if you have something like Everard or, I don’t know, Christopher, you don’t want to be writing that… all those times. Although it’s good for word count.
MARK: I’m writing something at moment that has a character called Michael, and I’m four chapters in and already I’m thinking, I just want to call him Mike.
NICOLA: Yeah. You know, and I bet you you’ll have to go back because you will have so many wrong spellings of that as well.
MARK: Exactly. Yeah.
NICOLA: But it’s a little point, but it’s a good point. And also don’t choose a name that people can’t understand like Niamh, or things like that because there is nothing worse… As a reader, I hate it when I don’t know how to say the name.
MARK: You have to go to one of those those YouTube channels where they tell you how to pronounce it. Yeah, yeah,
NICOLA: Because I’ve got I’ve got a Joti in my book, would you say Joti or Jotti? And my audiobook narrator… I didn’t think actually to brief her on that.
MARK: I was going to mention this later. I went to the audiobook recording for The Corn Bride yesterday. And once I was in the room with them, they had a list. You know, it’s how you pronounce that? How are you pronouncing that? I. And I was like… (makes a non-commital noise). I don’t have strong opinions either way.
NICOLA: I never want to meet my narrator, because I’ve got one character who has an accent of someone who’s traveled many places abroad. So you don’t know where she’s from. And I put that on the brief. I’m like, oh my God, the poor woman.
10 years ago today this baby was published, meaning I’ve been a published author for 10 years which is a bit of a pinch me moment… Yeah, amazing. I want to thank Jon Wright who asked me to co-write the film, but for the book I really want to thank Gillian Redfearn the editor at Gollancz who held my hand through the whole publishing process and editorial process, Lisa Rogers the amazing copy editor who I still beg to be my copy editor today because she’s just the best in the business, and also Genn McMenemy in marketing who uh still has lots of embarrassing outtakes of me floundering and trying to sell the book on on camera, and everyone who read it and said nice things about it. Thank you, everyone. Like I say I am really proud of it. The Authorized Podcast did a 10th anniversary special where they talked about the book and then I talk about how it was made and everything in a lot more detail… But there are things in here, you know, there’s uh there’s the short story in the back, The Mediator Prototype, I also have my shoot diaries about the making of the film and also put the name of every member of the cast and crew in the hope that they would all buy a copy which I’m sure they did. 10 years today, still in print, which probably says something… I don’t know what, but if you want a signed copy you can get one from my store, if not I think it’s ridiculously cheap on eBook as well the audiobook… Rupert Degas reads the audio! Terrific. Anyway 10 years. Wow. Gotta get a cup of tea.
I was thinking about Chappel Roan at the Grammies asking the record companies to pay their musicians a living wage and it got me thinking… if a publisher — one of the big five, say — started offering authors a monthly salary instead of an advance, would you take it?
A monthly salary, with a pension plan, health care (very important for our US cousins) paid holidays, maybe even expenses?
You could be on a fixed contract: 3 years or 5, but you have to deliver a book a year. Oh, and you have to write what the publisher wants (which, arguably, is happening more and more in traditional publishing), and you don’t retain copyright or get any royalties (which is kind of what happens in TV). Maybe you get a bonus for hitting sales targets? Would you do it?
Is anyone doing it already? I doubt it as the current system is very much weighed in the favour of the publishers… but if you’re an author, would you be tempted by a monthly salary with all the benefits and strings attached?
This month’s special guest Nicola May reveals the biggest mistakes (sorry… “learnings”!) of her writing career…
TRANSCRIPT
MARK: What’s the biggest mistake you’ve ever made in your writing career?
NICOLA: Now I like to call them learnings, Mark Stay, not mistakes.
MARK: Okay. Very good, very good. Yes, I like that. Yes. Good.
NICOLA: I’ve made many learnings. One of them, actually I went with W.H. Howes for the Corner Shop in Cockleberry Bay for my audiobook. There’s nothing wrong with W.H. Howes. I was jobbing at the time. I’d given up a big corporate job. I got offered 500 pounds advance. I was like, wow, I’ll take that. Thank you very much. Yeah, yeah, a big mistake because I now know how to create my own audiobooks. The other three, I’m making a very nice living, thank you very much. Because audiobooks really heightened in the last year. So again, I think the moral of this tale is if you’re just starting out and somebody does offer you something, don’t snap at the first thing because you know you’re good enough. But if somebody big like… or anyone offers you something, so take a step back and think, okay, maybe I should go and look at other avenues rather than jump at the first opportunity with anything, with an agent, with a publisher, because we all get so excited. But I think if someone thinks you’re good enough a lot of other people will. So that’s my little bit of advice on that one. My other mistake, and I shouldn’t really call it a learning, is not to go with one of the top five publishers and be traditionally published. It was something I always dreamt of. I thought, this will make me… I will be a world wide international superstar. I signed a three book deal for the Ferry books. Don’t get me wrong, I was… The advance was incredible, but the marketing wasn’t after, and I felt that I had… I was a million miles away from the people who I was dealing with at the publisher. And I think because I’m such a control freak, being an indie publisher, I didn’t like that lack of control. So it’s almost… I don’t think I actually marketed those books as well as I did in my other books, because I kind of lost a bit of heart, to be honest. So again… but it’s not for me… for somebody it would be the most amazing thing in the world to be with a trad pub, but it didn’t work for me.
This month’s special guest Nicola May reveals her tips for marketing romcom fiction…
TRANSCRIPT
MARK: (Reading a question from GB Ralph) “How do you reach your rom com readers and market to them? Romcoms can cross so many other genres: romance, comedy, women’s fiction, but don’t really fit into any one of them, which can make it tricky.” So yeah, the marketing of them. Have you identified who your readers are? Do you find that with your different series you’re marketing to slightly different people? Is there any kind of knack to this?
NICOLA: You know what, I’ve had the most scattergun approach to marketing my whole writing career. Sometimes I don’t actually know how I’ve been so successful (laughs), but I think is I just I talk a lot and I share a lot, and I think I’ve had such ground work from when I started out way back in like 2011, when the first one came out, that I’ve just created an audience by being repetitive, because I haven’t even got that many followers on any of my things. And but you know what I will say as well, Amazon is King. Once the algorithm hits, you get you over your 50 reviews once. And I think with KDP, they obviously want you to do well because they do well out of you as well. They will then give you the deals and throw you out there. I have got a mailing list and if I tell you how many are on my mailing list, people won’t believe it. They will gasp… 258!
MARK: (gasps!)
NICOLA: Because when I started out, when I started out with Cockleberry Bay, obviously Amazon just alert people when a new book comes out. So I’ve got a lot of followers on Amazon, but post and I didn’t think that. Now again, one of my mistakes… I should set up a mailing list. I never bothered. I don’t pay now for any Amazon advertising because I don’t know how to do it. I do think… now I don’t know if other authors find it more difficult now, but I could spend £100 and it’s gone within seconds.
MARK: I mean, it’s the thing we’ve shown the Cockleberry Bay, the Ferry Lane, How Do I Tell You? But how many books have you written in all? Was it 18?
NICOLA: I’ve written 18 now. Yeah, so I was writing two a year. Yeah, I’m lazy now. I’m writing one a year now.
MARK: I don’t think anyone’s going accuse you of being lazy. I’ve said this again and again. Resilience counts for a lot in this game. It really does. You’re going to have the ups and downs, the lows and highs. And it’s… you just got to hang in there haven’t you?
NICOLA: Well my motto is persistence over resistance. I’ve had so many no’s, I’ve made so many mistakes, but I think it is… just keep doing little things and keep… just every day and you will get results.
Mark Stay Writes 