"How do you get a novel published?"

Wowzers! 

Next month, (June 7th to be exact), I have a novel coming out. It's called Brick Mother and it is being released by an independent press called Dead Ink. 

This is the realisation of a lifelong dream for me. Ever since being a little girl, I've always dreamed of being a writer. And now, at last I am! (Although I never make any money from it - but that's another story.) 

Here's a Fun Fact for you: Brick Mother is not the first novel I have ever written. Prior to writing it, I had written two other novels, one of which is literally Not Very Good, and another which Could Be Good If I Spent About Another Two Years Working On It. 

Because, here's the thing about getting a novel published. It is hard - very, very hard. Publishers - even the small independent ones, like Dead Ink - have slush piles numbering into the hundreds. It's hard to stand out amongst that kind of competition. Agents and editors get hundreds of queries a week, and most don't read their slush piles during work hours - they don't have time. Reading the slush is what they do in their free time. 

Given that the competition to get noticed amongst the slush is so hard, what do you do? 

Well, I'll tell you what worked for me, and it is this. (Brace yourselves.) I worked like a mountain donkey. When I realised my second novel probably wasn't good enough to get published, I started work on a third - Brick Mother. I started declining overtime and extra hours at work, so that I could have more time to concentrate on writing. I stopped going out; didn't see friends, didn't go to parties - hell, there were some weeks when I ate cereal for dinner every night, just because it saved time on cooking. It was hard, and not much fun for quite a long time. It might be that other, more talented writers, would be able to achieve more than I did without having to work so hard. For me, that wasn't the case - what I found, eventually, was that I had to work roughly two or three times harder than I had initially thought, to write stories good enough to make it into print. 

So, not only did I start work on Brick Mother, but in between drafts of that, short stories too. I read contemporary anthologies to see what other writers were up to, and how high the standards were. That was another difficult moment. Realising my work wasn't up to scratch, and that I needed to work harder still. I don't mind telling you that I had a few little cries at that point. Then after having a bit of a cry, I started working a bit harder. Because - and this is not much fun either, so I apologise - the standard in published anthologies and debut novels is ridiculously high, and if you want to get published you have to make your work be at least as good or preferably even better, than those currently appearing in print. 

Short story writing was a way of improving my own practise, and also a way of trying to get things published. 

Publications came slowly. I had one or two every year from 2010 onwards, and these little moments of encouragement were enough to persuade me to keep on going with the novel, even when things were difficult. 

So, in about 2011, I started sending Brick Mother out to agents and publishers. Following the best advice, I thought about what kind of places might be interested in my writing - which, should you be interested, scores the amazing hat trick of being slightly unsettling, somewhat left-field, and not terribly commercially viable. (If that's not enough to get the big publishers falling all over each other to get to me with their cheque books, I don't know what is.) 

After giving it a bit of thought, I realised the people most likely to be sympathetic to the left field, the slightly odd, and not particularly commercially viable, HURRAH! - were small, 'artistic' independent presses. I put 'artistic' in quotes because I don't know exactly how best to describe the sensibility of these places, other than that I know it when I see it. 

Rejection from these places (and I had a lot of rejection for Brick Mother, especially given that I was sending it twice a month for several months, in my drive to get it published) came hard. What you have to realise about independent presses is that they're run by small groups of people, usually on a shoestring, and most often by people driven by the love of a particular kind of writing. If we didn't have presses like this, the literature world would be a very sad, and homogenous world indeed; it would be a place full of Jeremy Clarkson biographies, and not very much else.

So, when you as a writer find places like this, you sort of punch the air and go YESSS, THESE ARE MY PEOPLE, and you thank Thor (or whatever god you happen to worship) that people like this (odd, strange, driven by the desire to print weird and probably rather unpopular books) exist. 

Only often, because these independent presses are so small, and so shoestringy, that they can only publish two books a year. And when you hold such high hopes that they will love your novel, and want to publish it, it really comes like a punch in the gut that they don't, and they won't. Maybe there are only two people working at the press, both volunteers, and their list is already full for the next two years. Maybe they're so busy they didn't have time to read all of the submissions. Or maybe they just didn't like your book very much, for whatever reason. It just wasn't completely their thing. It didn't light their candle, it didn't chime their bell, it didn't make them want to give up even more of their evenings and weekends in the pursuit of putting out another book, because they just didn't love it enough. And that's fine, because independent publishing is driven by passion, not by duty - and that's how it should be. But it also meant that my poor little book kept on not getting accepted for publication, over and over again. 

All the same, I kept on looking for places, and competitions, and I kept on sending it out. I should mention, as well, that by the time it was finally accepted for publication - in July 2013 - I had redrafted it 5 times, sent it around a couple of trusted writer-friends for critique, and all in all likelihood spent well over 2000+ hours on it in total. 

In December 2012, after several years of spending hundreds of unpaid hours writing in all of my free time, having spent a lot of money on submission fees and postage, and still with no publisher interested in my book, I was pretty fed up, and close to stopping. But I still had two unpublished short stories on my hard drive, and I thought I should try to get them published before I stopped altogether. 

In February 2013, my story "Dance Class" (one of the unpublished short stories) was shortlisted for the Willesden Herald Short Story Prize. 

The month after that, encouraged by having been shortlisted, I wrote another short story, and sent it off to Wes Brown for consideration in an anthology he was putting together. Luckily, he liked it - and in June the same year, an editor called Nathan Connolly got in touch to say that he had read the story, and liked it so much, did I have a novel that I could send him? 

Reader, I was of course punching the air. I was at home by myself, dancing around the living room even though there was no music on. The cat looked at me askance; he was not impressed, even less so when I tried to get him to join in. Bradley, I said to myself, don't get carried away. You know the last time you got solicited for a story it turned out to be a scam. (That, too, is a story for another day.) My excitement was tempered by many months of disappointment, you could say.

I sent the novel off anyway, and not too long afterwards got another email back. They liked it! They loved it! They thought there were some serious problems in the third act of the book (er, what? More rewriting? Don't you know how much of that I've done already?!) - but these minor problems were not enough to stop me from doing a victory dance around the office at work (that's right, I was at work this time; good job there was nobody else around) and inventing a song called "Having a novel published, having a novel published" which works quite well if you sing it along to the tune of Let's All Do The Conga. 

The moment when Nathan wrote to say that he liked Brick Mother enough to want to publish it was one of the highest points of my writing career. There have been other points that have come near it, but nothing has beaten it yet.

There's been a lot of hard work since. Close edits, structural edits, drafts passing back and forth - I've done probably a hundred more hours on it since it was accepted for publication, or maybe more. But who's counting, right? When it comes out, I want it to be right - I want it to be the best beast it possibly can be - and by this point, I am certainly not shy of a bit of hard work. 

So my journey to publication has not been an easy one. It's been draining, exhausting, expensive, dreary at times, sometimes even depressing, but now that I'm on the eve of holding my novel in my hands for the first time, I consider every single minute of it worth it. Totally worth it. 

Currently reading

Lazy Eye Donna Daley-Clarke

The waiting never stops, and: We Are All In This Together

AL Kennedy is Living Proof that the trauma of being a writer never quite ends. By whichever measure you gauge success, the job of being a writer comes with its very own set of particularly distressing pay and conditions. Even Stephen King - yes, STEPHEN KING - sometimes wistfully thinks about getting a job in a garden centre. In today's Guardian, AL Kennedy is articulate on the matter of waiting during the Christmas holidays, hoping to hear back from her editor over a book which took her three years to write.

"This is only the 13th time that I have footled about, gone for walks, tried to start other things, sketched hollow-sounding plans for the coming months, stared blackly at the ceiling and generally failed to avoid the constant, low-level nausea generated by waiting to hear.... try to imagine one of those insultingly-lengthy TV elimination round pauses which somehow elongates over days or weeks, blends with your driving test outcome, the announcements of every important exam result upon which you have ever relied, every time you've asked someone lovely to have a coffee, or hold your hand, or subject you to intimate forms of relaxation and every naked-on-the-roof-of-Sydney-Opera-House-while-your-parents-and-in-laws-and-primary-school-teachers-render-you-in-watercolours anxiety dream you've ever had. Only it's less pleasant than that."

Published writers are often heard to pipe up that "being published isn't all it's cracked up to be". Here, in the full article, AL Kennedy explains exactly why.. You're still skint all the time. You're still in the waiting game. And you still can't get anybody to return any of your phone calls.

Facebook quote of the week:

"SYSTEMATIC DESTRUCTION OF SOCIETY COURTESY OF PRIVATELY EDUCATED MILLIONAIRES, COME ON 2011, LET'S HAVE YA." - Noah Brown.

Noah is making an appearance at Fictions of Every Kind: Cuts on Tuesday March 22nd. Looks like he's getting his teeth into the theme already! Good work, Noah.

Fictions of Every Kind on Facebook
Fictions of Every Kind: Cuts Event Page

MATHS and LITERATURE.

Friends, what is the author's best friend? The dictionary? No, friends, not the dictionary. The notebook? No, friends, not the notebook. The long-suffering other half who respectfully stays away while we stare furiously at the empty Word document in front of us, patiently paying the rent while we wait for our writing career to generate those millions of dollars we foolishly hoped for? No, friends, it isn't the long suffering other half. (Sorry, boyfriend.) No, friends, the author's best friend is the calculator, whether it be real, virtual, or internal. Why the calculator? I'll tell you why the calculator.

In days of slow progress, when developments can be measured in millimetres rather than miles, our internal calculator can be the agent of movement. See, today, I got started on the extremely complicated and lengthy Big Project that I have now been procrastinating over for several weeks. In my head, this morning, I heard the once-feared voice of my old University tutor, intoning: "That dissertation won't write itself, you know," and "Believe me, you just need to get started. After that, everything is simple".

I sat down and got to work. Keeping at bay the dark thoughts about the long and arduous task that lies ahead, I got writing. What do you know? Ol' Dr. Fox was right! Once I'd got started, the narrative came pouring out like a lovely, tinkling little stream, only where I say "lovely tinkling little stream", substitute "dark, harrowing, over-emotionally involved narrative that is mediated only by substantial gallows humour".

This is only the beginning, and there's a long way to go. I'm under no illusions whatsoever about how difficult the rest of the project is going to be to write. But I was encouraged by my word count: almost 2,000 words, when I expect the finished book to land at around 100,000. I did myself a small bit of mental arithmetic and worked out, "2,000 words a day? Writing every day? I can get this thing written in 50 days, EASY." (Heh.) It's not true. I most certainly won't get the first draft finished in 50 days. Maybe a hundred... but being able to make a start, and to see the word count creeping steadily up in front of me: that was a big booster, when as recently as only yesterday all I had was fear and paralysing inadequacy. Let this be a lesson to you all, or something.

PS. I have got a "book" coming out soon. (and when I say "book", I mean "short story").

FICTIONWATCH: Day 236

Reading Col Bury's post on writing time got me thinking about the extraordinary coalition of good circumstance one needs to write a novel. Seeing as nobody is ever going to come up to you randomly in the supermarket and go, "Hey, here's ten grand, why don't you take a year off to go and get that novel written", CURSE IT, you've gotta do the best you can in the circumstances you've got.

I've been writing my second novel since summer last year, and am now into my favourite part of the process, the rewriting and editing. Do not ask me why I like this part so much. I can only tell you that it somehow appeals to my inner pernickety.

Over the course of the past year, I've realised that being a hobbyist as regards writing is a hiding to nothing. You've got to be serious about it, and you've got to have an understanding and supportive partner (oh, such an understanding and supportive partner). So, with the knowledge gained from my extensive work on the Big Project over the last 9 months or so, here are my findings so far about what you need to write a book.

Time. It's going to weigh heavy on your hours, this writing a novel business. Bank on 1000 hours at least. WHERE ARE YOU GOING TO GET THEM? Maybe they could come out of your social life, or the time your employer is underpaying you to sell your soul to him, or the hours you'd normally spend sleeping. I can't decide this shit for you.

Discipline. To get in front of the laptop when you'd rather be watching Come Dine With Me.

Complete lack of interest in maintaining a social life. People will forget what you look like. People will begin to suspect that you hate them. Get used to it: you're a writer now.

Extremely nice, but long-suffering, boyfriend / girlfriend / wife / husband / partner. Get this: my LSB built me a desk (built me a desk) in the alcove of our living room, so that I'd have somewhere to work, and I spurned it in favour of sitting on the bed upstairs. I've now even spurned that in favour of the newly-spare room. My LSB is not allowed to listen to music, or talk to me, or approach me, while I am busy ignoring him in favour of a bunch of imaginary people. Readers, I do not know why he puts up with it. I can only say that I think he deserves to be canonised. Thanks, boyfriend.

A wordprocessor. Fairly self-explanatory, this.

Notebooks Regular readers of my blog will know that I am (a) a compulsive notebook hoarder and (b) that I'm not in favour of overly-prescriptive writing advice. But my opinion on (b), I think, is changing a bit. I'm coming to the opinion that authors skip researching, character work, and outlining, at their peril. If you don't have a good outline, or strong character sketches at the start of your book, you'll end up with a load of unreadable tosh that no amount of editing is going to put right. Just sayin'.

A kettle. Yeah, even if you don't drink tea or coffee.

Good writing advice

The internet is full of writing advice. Much of it is nonsensical, overly-opinionated, and overly-prescriptive bollocks, live, "always use active verbs" and "never begin a sentence with a gerund". So how about some writing advice from, you know, actual writers as opposed to some twat with a computer, an opinion, and an internet connection?

Thankyou, The Guardian, for bringing us Ten Rules for Writing Fiction, a collection of words of wisdom from people who actually write for a living.

Personal favourites:

"Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page." (Margaret Attwood)

"Finish the day's writing when you still want to continue." (Helen Dunmore)

"The way to write a book is to actually write a book. A pen is useful, typing is also good. Keep putting words on the page." (Anne Enright)

"Don't be one of those writers who sentence themselves to a lifetime of sucking up to Nabokov." (Geoff Dyer)

And, truest of all...

"Only bad writers think that their work is really good." (Anne Enright).

I Don't Hate You, It's Just That I'm Writing A Novel

This post first appeared on my Red Room profile

Writers notoriously have a reputation for eccentricity and bizarre, anti-social behaviour. The late Harold Pinter was notoriously bad-tempered, and how many of us, whose hours are spent in quiet darkened rooms inventing imaginary people, imaginary places, can honestly say we feel completely comfortable when required to socialise with actual people? When I'm dragged out, against my will, of a weekend, I may stand at the party with a drink in my hand, but inside I'm glowering. All I can think is, "You bastards, you took me away from my project." Don't get me wrong, I love it when people desire my company, and I'd hate for my friends to stop inviting me to things. [Please, don't stop inviting me to things]. It's just that my mind is often on the Project: how soon can I decently make my getaway, and get back behind the laptop?

For those of us whose writing does not currently pay, weekends are inevitably the finest opportunity we get for hours of quiet, uninterrupted work. During the week, it's a couple of hours a night at best. At best, and often not that. For there are Crap Tasks to be done, and it is wrong to neglect the other half in favour of a bunch of imaginary people.

So in view of that, I would like to publicly apologise for my behaviour, and explain myself to everybody. I've been acting a bit weird lately, and I think it's only fair that I explain myself, and apologise to everybody affected. I don't doubt that there a lot of people in my life wondering what the hell is going on. Why I've developed all these strange tics, why I barely speak, and why I never go out any more. Wonder no more, friends, for I do not hate you: it's just that I'm writing a novel.

Housemate: I am sorry I disappear upstairs with the laptop every time you want to watch TV in the living room. It's not that I can't bear your company, or that I despair of your choice of TV programme. It's just that I'm writing a novel.

Friend: I am sorry that I didn't come to your gig last night. I know there were bands playing that I won't get chance to watch again in a hurry, and I know it was a once in a lifetime opportunity. And I'm sorry that we haven't had chance to talk in months. It's not that I hate you, it's just that I'm writing a novel.

Long-suffering boyfriend: I'm sorry that I get all twitchy when I go for too many days without writing, and that I act a bit weird when we spent the evening on the sofa together watching TV. I'm sorry that I've annexed your computer for my own use. I'm sorry for refusing to talk back to you when I'm working. I'm sorry that sometimes I go a bit quiet when I'm in the supermarket sometimes. I'm sorry that sometimes, I go into these long protracted silences when my eyes glaze over, and I appear to be in another world. It's not that I hate you.... it's just that I'm writing a novel.

In New News (obtained from the Tonto Books blog), the new news is that the Tonto Short Stories anthology will be available in shops from May 2010. In between now and then, it will be available in e-book format (What's best? Amazon Kindle or Borders E-Reader? I'm still very much in the Technologically Backward Granddad Category: "Is that the same as a Tamagotchi?"). It's currently being sold into bookstores, which is good news for readers an' writers alike. The book's more widely available, and it gets picked up by more readers on the strength of the cover. Everyone's a winner.

In my own personal news, I've been working hard on my current big project. I've been pullin' the typewriter up close and personal when I get home from work of an evening, the result of which being that I'm a long way into it. The first draft should be finished by the New Year. (Am I jinxing myself with those very words? - no, I don't think I am).

Boyfriend commented recently, "You're very disciplined". [Also commented, "Do you really need more notebooks?" when I stocked up on travel-journal notebooks in the Paperchase / Borders closing down sale. I will always need more notebooks. Please, send notebooks. Always send notebooks]. "Of course," I answered, primly. "Do you know that Murakami wrote his first novel in the early hours of the morning after coming home from work every night?" Actually, if I'm honest, this was not my first answer. My first answer was, "No talking while I'm busy."

So, the Christmas chunk of time off will be spent with my head anti-socially buried in my laptop (but don't worry, I'll be wearing a seasonal party hat while I do it), knocking off the last 15,000 words before I get to the editing and rewriting part, which I'm am slightly embarrassed to admit, is my favourite part of the process. I'm embarrassingly nerdy about rewriting and editing. It's one of the great joys of my sheltered little life. Other people get drunk, take drugs, and indulge in high-octane, adrenaline junkie life-threatening extreme sports. Me... I rewrite.

In the course of writing this novel, I have so far drunk 137 cups of tea, lost one pair of fingerless gloves (where can they go in a 2-bedroom terraced house?!), used one notebook, worked about 300 hours, invented a whole fictional world of people, surreptitiously asked my friends about their day-jobs in the way of research, and given my boyfriend at least 52 dirty looks for trying to converse with me while I am working. I don't deserve him, really. (somebody is in line for a really smashing new pair of slippers when this is finished).