This month’s special guest Tracy Buchanan reveals how her dog inspires her creativity…
TRANSCRIPT:
MARK: What small thing has made a big difference to your creative process?
TRACY: Oh, having a dog in my office. A small thing: it’s walks. I know that sounds really… Going out for walks when I get stuck on something or trying to come up with ideas. And that’s what my dog — my dog assistant is snoring at the moment — comes in. So that’s that is a small thing for me, because if I’m sat there and I cannot figure out this plot hole, if I go out into nature, walk around… It untangles. So I’d always recommend that to anyone: going out for walks.
Join me with bestselling author Sarah Pinborough on the livestream that looks at the little things that make a big difference to the creative process.
Sarah Pinborough is an award-winning and New York Times, Sunday Times, and internationally bestselling author and screenwriter who is published in over 30 territories worldwide. Having published more than 25 novels across various genres, her recent books include Behind Her Eyes, now a smash-hit Netflix limited series; 13 Minutes that’s she’s developing with Carnival/NBC, The Death House that she’s adapted herself for Compelling Pictures, and her most recent book Insomnia which she adapted herself and is now streaming on Paramount+ And she’s hilarious, wise and has a lovely dog called Ted. Do please join us live as you’ll have the opportunity to ask Sarah questions on the night (and just before her big America tour!).
It’s going to be so much fun. Put that date in your diaries now…
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?
Mark Stay Writes 