How to Write a Book and get PublishedWriting and publishing a book
Writing a novel
The best piece of counsel was five words from Tom Clancy - how do you spell a text? But what I didn't find among these results was an accurate report on the grueling realities of publishing a novel - the obsession it evokes, the obsessions you want to toss your notebook on the walls, the night you spend writing until 4 a.m., and the month you spend exploring the crazy asylum of the 1960s - and the minute your agents tell you to erase the whole story of crazy asylum.
Here is the story I would have liked - the real world of creating and printing a novel. I' m an English at Warwick University, desperately trying to compose a novel - but I have no idea and, well, nothing to say. So, I am written to 30 writers and boldly ask where they get their idea from.
I try to merge contrasting story line notions - and it works; the rubbing between two makes for a much more potent, multi-layered story. I' m graduating, starting as a journalist at a paper with little free lye - but I have an original novel I' m writing.
I' m doing this for eight of them. After that I hurry to end the story and mail the opening to 10 frahlings. It is not a wastage, I choose; it teaches me how to type and what NOT to do. Don't put it at the cost of your careers and your wellbeing. I' m leaving my work to freelancers, spending a whole year in India, signing up for a course in typing - and I'm willing to try again.
I begin without a plan to report about a broken relation between two opposites: the woman whose lives were affected by the scandal, the chance that the man never took care of her, the exciting "what if" he did. Because of the plot's genuineness, the fact that it means so much to me, I am able to type before.
When my friend comes home, I'll have 8,000 words. First of all I would like to summarize the script - what do I want to say? The next step is to summarize the story. Then, I type a page of A4 over each sign. I' m trying to put 20 dots, but I`m feeling like a straitjacket, so I put them in the trash.
Instead, I am writing a check list. I' ll stop making journalistic thoughts and redundancy schemes. I' ll just take the liberty of writing for the next six of these. I sometimes go for a swim to solve an action issue in my mind. With my girlfriend I go to Waitrose and clatter through the action, from beginning to end, until we get to the till, then I let her squeeze me out about mismatches.
Otherwise my only excursions to my Faber Academy course are. I' m becoming a little agorophobic and the outside worid becomes more realistic than the outside one. When my course is over, I have a first outline of 120,000 words. I' m doing a general editing and put the script in a box, washing my head (which I've often overlooked for six months) and forcing myself to go back to work.
I' m dying to work on more, but every author - even Zadie Smith - swear by the bottom shelf approach, so you can use it with a new look. The six month period is ideal. During these three month's I spent my free to work on a friend's novel, which is proving useful.
To identify his clumsy storylines and the disparities in his personalities makes it easy to recognize these problems in my own letter when the moment comes. It' also the largest leg - it lasts 18 month. I' m working on it to verify the overall image. I' m reworking it to make sure the character feels consistently.
I' ll put it to four first-timers, then I' ll go back and review it in front of me with their comment. I' m buying a notebook and working on it on my way to work. I' ll have it printed out and put it on a workbench at noon. In Andalusia I go on a write retreat for a last slow reading - then I realize that the killer's ID is false and requires a complete overhaul.
Work on more. Divide a section in an open literature evening (and I am almost mentally ill). Perform line editing (checking every single words and phrases). Process another last line. It'?s done then. I' m researching frahlings on-line; what kind of authors do they represents? What kind of representatives do my favorite authors have?
I' ll make a listing of my 30 favorite frahlings in the order of their preferences. Included in each is: a) my professional qualifications and my professional literacy skills (i.e. my journalistic backgrounds and Faber Academy course), b) the reasons why I particularly close to this spy (i.e., I think my novel could taunt a similar audience to one of the novel writers they represent), c) an essay from my novel (i.e., The Unforgotten is a shadowy novel that plays in the 1950' s about a student who fell in love wlong with a much older man.
10 of the 12 operatives want to see the whole novel. She won't know if it's appropriate to mail it to publishing houses until I do this job. and I' m willing to work really harder. She will take two rewards, one rewrite, and another nine month before she is willing to do it.
And then, month later, when I've almost given up hoping, I get the call that's all about it. "We have found you a publishing house.