Could the expansion of creator tools online, and in particular via social media platforms, offer new publishing potential for a broader range of fiction authors?
I’ve had this question in mind for some time, in considering the ways in which literature is now accessed, and what might be the best way to connect with modern audiences in alignment with how they’re looking to read.
Because the truth is, readers have changed. People used to read books on trains and buses, and get through a few chapters in bed before turning in each night. But the arrival of smartphones has changed this, with everybody now glued to their devices for hours on end, which then reduces the time that they’re willing to spend with books, while concurrently increasing the value proposition that authors then need to communicate to get people to commit to engaging with longer form content.
You need to hook readers in, and the easiest way to do this is to take a topical angle, tying into a prominent discussion or trend. Then, through implicit virtue, you’re bound to get at least some readers to buy and mention your book. But without a topical hook, general fiction now struggles to gain attention, and sales traction as a result.
That’s why literary trends have changed so significantly, with thrillers and historical fiction dominating general reading trends, while literary fiction falls away. Lit fic takes more time and attention, while the faster pace of thrillers aligns better with shortening attention spans.
So what do authors do? If you don’t write within defined genre constraints, and don’t have a specific political angle for your story, how can you gain optimal attention for your work?
The truth may lie in re-imagining how you communicate, with newer, digital styles of publishing potentially providing a better fit with modern readers and their content engagement habits.
That’s why Salman Rushdie’s recent announcement that he’s publishing a new novella on Substack is interesting, with a traditional fiction superstar now looking to an alternative online publishing format to maximize his reach.
Rushdie’s planning to release his latest novella in instalments, via Substack’s newsletter platform. That could see Rushdie publishing a chapter a week, for example, which is not an entirely new concept in itself, but it is interesting given the profile that Rushdie already has, and the fact that even the big names in the field are now considering alternate pathways to audience reach.
As explained by Rushdie:
“I think that new technology always makes possible new art forms, and I think literature has not found its new form in this digital age… Whatever the new thing is that’s going to arise out of this new world, I don’t think we’ve seen it yet.
In some ways, that process is actually taking literature back to its early roots, with classic authors like Dickens and others originally publishing most of their works in serialised form, as a means to attract new readers. Now, it would be scaling things back to hold attention in the same way, with the hopes that these smaller samples of the broader work can attract new audiences – though even then, there is a question around holding reader attention, and whether such process can viably translate into a sustainable form of income through subscriber-based tools.
But I think that Rushdie’s right – literature hasn’t found its right form for modern consumers just yet.
Much of the online literary discussion these days is far less about the writing itself, and far more about the political considerations around such, leading to various debates, but too often the focus shifts away from the content itself, and onto the author and/or the topic, leaving the craft of writing, and actually creating the world of the work, as a side note. Which shouldn’t be the case, but as noted, getting people to actually engage with the work itself is more and more challenging, and in order to facilitate ongoing discussion around literature and writing, we need to find the best ways to connect with readers that will align with their behaviours, essentially making such as engaging as scrolling through non-stop social media feeds.
Nobody knows what that solution will be, but more authors are experimenting with shorter form, digitally accessible formats to maximize audience reach, while establishing community connection around your work can also facilitate more value and engagement.
These are elements that authors in times past have not had to contemplate in the same way, and it can be difficult to change your thinking around how things should work, and the importance of the relationships between publishers and authors in this respect.
But clearly, things are changing, and the authors that can change with those trends, rather than battling against them, are the only ones who stand a chance of winning out.
Otherwise, more and more debut fiction writers will simply fall away, and literary discussion will increasingly shift away from the work, and more towards tangential elements.
Because that’s what’s retaining attention, and while that’s not conducive to literary culture, habitual shifts are what they are. You either listen to that, or write for yourself, and hope that, one day, someone might, maybe, read your stuff.
As I’ve raved about many times, I love the work of Amy Hempel. I came to Amy Hempel via Chuck Palahniuk, which seems an odd connection, but a direct one, Palahniuk also cites Hempel as one of his major influences. If you’re a writer or aspiring writer and you’ve never read any of Hempel’s work, I can’t put enough emphasis on how much I think it’s worth seeking her out – the paperback of her collected stories is less than $13 on Amazon, which is criminally cheap.
Hempel is both entertainer and educator in her writing. You wanna’ learn what show don’t tell means, she’ll teach you. Her stories are stripped down, her sentences constructed carefully, every single word is another brick added to the whole. Even describing her work doesn’t do it justice, so here’s an example of Amy Hempel – this is a complete story, six paragraphs in total. I challenge you not to read it and feel caught up by the strength of it.
The Man in Bogota
The police and emergency service people fail to make a dent. The voice of the pleading spouse does not have the hoped-for effect. The woman remains on the ledge – though not, she threatens, for long.
I imagine that I am the one who must talk the woman down. I see it, and it happens like this.
I tell the woman about a man in Bogota. He was a wealthy man, an industrialist who was kidnapped and held for ransom. It was not a TV drama; his wife could not call the bank and, in twenty-four hours, have one million dollars. It took months. The man had a heart condition, and the kidnappers had to keep the man alive.
Listen to this, I tell the woman on the ledge. His captors made him quit smoking. They changed his diet and made him exercise every day. They held him that way for three months.
When the ransom was paid and the man was released, his doctor looked him over. He found the man to be in excellent health. I tell the woman what the doctor said then – that the kidnap was the best thing to happen to that man.
Maybe this is not a come-down-from-the-ledge story. But I tell it with the thought that the woman on the ledge will ask herself a question, the question that occurred to that man in Bogota. He wondered how we know that what happens to us isn’t good.
More information on Amy Hempel.
National Novel Writing Month – or NaNoWriMo – begins this weekend, spurring all those would-be authors willing to put themselves on the line to write 50,000 words in 30 days. It’s an excellent initiative, and has now become grown into a global event. For those of you who are considering joining in, or have heard about NaNoWriMo and thought ‘that sounds kinda’ cool, I really should look into that’, here’s the what and the why of how it works.
NaNoWriMo started in 1999 in San Francisco with 21 participants. It was originally held in July, but moved to November because the weather in the US is worse then, inspiring more people to stay indoors and write. The event was started (‘accidentally’) by freelance writer Chris Baty, who organised the event up till 2011, when he quit to write full-time, largely based on the works and contacts he’d made through his work with NaNoWriMo (Baty now teaches at Stanford University, amongst his various creative pursuits). The ethos of the event was not only to inspire those who’d always wanted to write a novel, but to also build communities of like-minded folk, to get writers to connect with one another.
The event has grown year-on-year and is now a truly international event. In 2013, 400, 000 people participated in NaNoWriMo – including 4, 400 from Australia. The collective word count from those 400k writers was close to 3 billion, a massive achievement. Many of these stories would’ve never seen the light of day, but they’re now out there, being worked on, being discussed and connecting people in a discussion about the written word.
The rules of NaNoWriMo are as follows:
- Starting at 12:00 am on November 1st, novels must reach a minimum of 50,000 words before 11:59:59 pm on November 30th, local time.
- Planning and extensive notes are permitted, but no earlier written material can go into the body of the novel, nor is one allowed to start early and then finish 30 days from that start point.
- Participants write either a complete novel of 50,000 words, or simply the first 50,000 words of a novel to be completed later.
To ‘win’ NaNoWriMo, participants need to write an average of approximately 1,667 words per day. Organizers say the aim of the event is simply to get people writing, using the deadline as an incentive to get the story going and to put words to paper. There is no fee to participate in NaNoWriMo, registration is only required for novel verification.
No official prizes are awarded – anyone who reaches the 50,000 word mark is declared a winner.
Do any of these books get published?
Yeah, they do. More than 100 NaNoWriMo novels have been published since 2006, including the New York Times Best Seller ‘Water for Elephants’ by Sara Gruen, which was later adapted into a Hollywood film. Many established novelists have used NaNoWriMo as an impetus to get their novels done, along with the thousands of first timers – just having it set aside as a time to write has kept many writers going.
How do you get involved?
You can visit the official NaNoWriMo website to register and put down details of your project and aim for the month. There are a heap of resources on the site, worth checking them out and reading through the various notes on inspirations and ideas. From the site, you can connect to the home for your region, where you can find info on events happening in your city and ways to connect with other NaNoWriMo folk – the Melbourne community page is here.
There are a heap of resources and posts online documenting people’s experiences and inspirations for NaNoWriMo, if you’re not sure about participating, have a look and you’ll be able to get a better idea of whether it’s for you.
Almost everyone has thought about writing a novel at some stage. Everyone has an idea in mind, a story they’d love to get down but they never have the time to actually do it. NaNoWriMo is a great initiative to help give people that push, that impetus they need to get it down – and it’s only for a month, you only have to make the commitment to write for 30 days. The bottom line is that a writer writes. That’s what you do – if you’re not writing, you’re not a writer. NaNoWriMo could be the first step towards getting your story together, to making something from nothing, creating a whole world of characters and happenings, right there on your screen. It all starts with you and the blank page.
If you’ve ever thought about it, maybe this year’s the one that you actually sign up.
(This is a short fiction piece I wrote a while back, part of a series of shorts I worked on – hope you like it. And warning, some bad language)
Of all of it, the months I spent in the beach town, right out at the edge of the Earth, those are the ones I remember. The memories I see when I close my eyes. The sun warming across the backs of the white sand grains. The desert weeds flickering in the gusts. Of all the times, those were the days I felt happiest about. The times that would return in dream.
I’d got in with this group of people who’d come to the beach and decided they never wanted to leave. Minds flooded with childhood memories and adulthood hurts. They’d created this community of deserters all living in this two storey house, growing their own vegetables, generating their own electricity. Re-using their waste. Jobs were hard to come by, so only a few of them worked and then I came in and I got a job at the service station just off the freeway. Every week we’d pool the money earned by the ones who worked and we’d buy essentials which were listed in order on a piece of paper in the kitchen. They sang songs, which I didn’t like, but I could sit and smile and pretend I didn’t know the words, my face burning from the camp fire blaze. It was simple, living with them. No one wanted to know who you were, what you’d done. Everyone just was. Everyone just wanted to enjoy life.
There were at least twenty people in that house. Drifters would come through town and sleep on floors – they always had odd names like Rex or Pardy or Jai. They were just wandering through life, these guys, hitch-hiking one town to the next. No pressure, no concerns. They just lived a day at a time. I thought, for a while, that this was how I should be. This was what I should be. I asked lots of questions about how they did it, how they went about life, but a lot of the time it sounded difficult and unpleasant and they never really wanted to say too much and I figured it was best to stay where I was. In the beach sun it was idealistic, but when the rain set in. Sickness is difficult with nowhere to rest.
They had an outdoor shower. What it was was a bucket that they’d fill with warm water, then, once it was full, they’d drag it up by rope over a tree branch and it had these tiny holes in the bottom that would leak the water out and you’d stand beneath it and wash yourself, right out in the open. Sometimes, I’d watch the women do it, I’d stand at a distance and watch the soap bubbles sliding over their nipples and their curves, gathering at the edges of their hair. It was amazing.
We were working on building another room, gathering wood and nails from building sites in the night and buying other parts as we could afford them, bit by bit. One of the men used to be a builder and he told us how to connect this to that and I listened to everything and tried to make sure I didn’t saw anything uneven or bend any nails. He said I was a good worker, put his arm around me at the end of the day. I couldn’t remember ever feeling so happy.
At nights we’d play board games and read stories from the newspaper and they’d talk about the latest news and politics and I had no idea what they were saying most of the time. Other nights we’d go to those big metal Salvation Army donation bins and we’d jump inside, sift through what was there. We’d push out bags of jumpers and pants and t-shirts and bring back what we needed. Sometimes, someone would sleep right up beside you, hug onto you, and you’d just go with it. That’s just how it was, it didn’t mean anything.
One time some drifter fucking yelled at me. He was tanned with this curly, long blonde hair and he was yelling about me working for a big oil company, saying they were responsible for some shit and I was responsible too because I took their money and I clenched my fist, ready to punch the fucking teeth out of his head and then the others yelled back at the blonde guy. They put their hands onto my shoulders and they pointed and yelled and then they kicked him out, that guy, pushed him out into the night. They patted me on the back and on the head and the girls kissed me on the cheek and I watched that guy leave from the window, dragging his backpack beneath the blue of the full moon. He kept stopping and turning round and yelling some more, then he was gone, drifted out into the darkness.
Lost beneath the sounds of the waves washing in.
There was one night when I was working and it was real quiet, no one was around – there never was late at night. Then these two guys came rushing through the electronic doors, both in balaclavas and singlets and shorts and the two men rushed to the counter and one of them pointed a hand gun right at my face and I stood up, put my hands in the air.
‘Don’t worry.’ The man with the gun said. His eyes poked through the woollen holes. ‘Just give us the money, it’s all good.’ And I knew the man’s voice. I stayed still.
‘C’mon man, it’s cool, it’s all under insurance, we worked it all out.’ He was one of the drifters, this guy, I couldn’t remember which one. ‘You just give us the money and we walk out, simple. We’ll give you a cut after.’
I shook my head slow.
‘C’mon man, you can talk. The cameras don’t record sound, it’s just video. You just have to make it look like you’re scared and take out the money.’
‘No, they do record sound.’ I told the drifter. ‘They showed me when they went through the training.’ The man looked to the other guy, then up at the camera.
‘You’ve fucked me.’ I told him. ‘I’ll have to leave now, because they’re gonna’ think I was in on it.’
The man lowered the gun, kept looking at the other guy.
‘Fuck.’ The man said, then he raised the gun again, poked it towards me. ‘Okay, well if we’re fucked anyway, we should just take the money, right? Just take it all out and we’ll just go.’
‘You fucking idiot.’ I said. I was furious, my fists shaking up by my head. ‘You’ve fucked everything up.’
‘Hey, don’t fucken yell at me, I’ve got a gun.’
‘You fucken idiot.’ I yelled. I could feel the warmth of tears bubbling round my eyes. ‘I’m gonna’ get you.’
‘Hey.’ The man yelled. ‘You ain’t gonna’ do shit. Now we are where we are, that’s how it is. Now, you need to get me the fucking money and hand it over, right?’
I stared him down. Those stupid eyes, poking out that black beanie. The man looked out to the road, like maybe someone was coming.
‘C’mon, c’mon, get the money.’ He roared, poked the gun towards me again, the barrel right up at my face now.
‘You pull the fucking trigger.’ I told him. The man hissed, looked away, then back at me.
‘C’mon man. Just give me the fucking money.’
‘You pull the trigger.’ Tears were sliding out now, dragging down my skin. ‘You’ve ruined me.’ I stared straight into the barrel, straight into the darkness of it.
‘Get the fucking money.’ He yelled, pushed the barrel into my cheek and I closed my eyes, held my breath.
Here are three of the questions the police asked me, in no particular order:
‘Did you know the men who robbed the service station?’
‘Did you assist the men in the planning and execution of the robbery?’
‘Did you know you’re wanted on burglary charges back in Melbourne?’
Here are my answers to those questions, also in no order:
Either way you look at it, I was fucked.
I lived in Canberra from 2006 to 2011 and while I was there I came across a story that absolutely intrigued me. I’m always fascinated by how people end up where they are, why they do what they do. When you read a story in the newspaper of how some guy, for example, murdered his wife, you’re only ever skimming the surface of the real details behind the story. But what motivates people to do such things? What could’ve happened in this person’s life to make him decide that this is the course of action he’s going to take? These questions are key to your character development efforts in your own writing – it can’t be that a person just does something, there has to be a reason why, an authenticity in their thought process.
This is how I approached the story of this NRL player that I heard about in Canberra. Being from Melbourne, I know hardly anything about NRL and have very little interest in it. I tried to go to a few games in Canberra, to experience the local culture, as it were, but it never caught on for me – I imagine people from northern states have a similar reaction to AFL. But while I was there, there was this one player who just kept doing really amazingly stupid things. This player was on $400k per season with the Canberra Raiders, had everything going for him, yet he just couldn’t stop himself from getting drunk on the weekend and punching people in the face or breaking things. I read each headline with amazement – Why was he doing this? What renders a person unable to follow basic societal norms for the sake of their livelihood, what they’d worked all their life to achieve?
The player I’m talking about is Todd Carney. You may or may not have heard of him, but he recently got sacked, again, from another NRL club. It makes no sense – he’s a great player, no one debates that, but he just can’t seem to stop himself from making dumb decisions.
For example, here’s a rundown of Carney’s career history:
2004 – Carney makes NRL debut at age 17, wins Raiders ‘Rookie of the Year’, plays for Australian junior side
2006 – Canberra Raiders leading try scorer, team finishes in top 8, selected as captain of Australian junior side. Charged with drink-driving and reckless driving, license suspended 5 years
2007 – Loses chance to play for State of Origin side due to another driving offence – refuses to stop for police, leads them on a chase through Canberra, hits a dead-end street, then flees the scene, leaving team-mate in car. Banned from driving till 2012, told he’ll go to jail if he offends again
2008 – Allegedly urinates on man at a Canberra nightclub. Gets suspended by club, whilst another investigation takes place into driving incident where he left his team-mate, with team-mate saying he was told to keep quiet about the incident. Carney suspended for season, told to accept strict management plan from Raiders – eventually sacked by club and de-listed from NRL for failing to agree to terms. Seeks contract from overseas club but can’t get a visa due to criminal history
2009 – Tries to get back in the NRL, but application denied – respond by smashing a shop window and jumping on cars in Goulburn. Receives 12-month suspended jail term. Released by Raiders to play in lower-level league in Cairns – gets in fights, sets some guy’s pants on fire, eventually signed by Sydney Roosters to new contract
2010 – Joins Sydney Roosters, has great season, wins game’s highest individual honour, the Dally M Medal – so he’s undeniably a great player, despite the off-field issues
2011 – After three separate alcohol-related incidents, Carney sacked from Sydney Roosters. After again trying to play overseas, and again being denied on visa grounds, Carney signs contract with Cronulla Sharks – estimated to be $350k per season for two years
2012 – Plays in State of Origin, has solid overall season, but sits out final games with injury
2013 – Signs on with Sharks for another five years
2014 – Sacked from Cronulla after pictures emerge of Carney seemingly urinating into his own mouth
It’s a pretty amazing record, not only for the indiscretions, but for the amount of opportunities he’s had to straighten up.
Of course, he’s not the first pro athlete to do things like this, things that frustrate us normal folk as we do whatever we can, day0-to-day, to keep our incomings higher than our outgoings. Did you know that 78% of NFL players go broke within five years of finishing their careers? The average NFL salary is $1.9 million p.a. Amazing, right? How do they do it, how can they throw such opportunity away?
Unfortunately, we’ll never be able to see things from their perspective to understand. Carney’s naturally gifted, a top-level athlete. He’s always been better than most at what he does. So while we can’t understand why he doesn’t seem to appreciate his unique position in life, he probably doesn’t understand why we can’t do what he does. Its stories like this that are the reason I write. Not Carney himself, but people, what makes people do the things they do. People will often say that there are really only a certain number of basic plots, and that all literature is just a variation on these outlines. I disagree. There’s so much complexity in people’s actions, so much opportunity, as a writer, to explore new things. Not every human has been born yet, so, to me, not every story has been told. Everyone has a totally unique perspective, different motivations for how they conduct themselves. Writing, for me, is about trying to understand those reasons, the things that cause people to respond the way they do. How people come to be who and where they are.
Cases like Todd Carney’s highlight that we don’t have – that we can’t ever know – all the answers. This is why, as writers, need to keep working to better interpret and understand the complexities of the world. Because things happen everyday that are fascinating, intriguing, amazing. By taking to time to understand them, to view things from a perspective other than your own, you’re stepping beyond the realms of what you, yourself, understand to be true and opening yourself to a wider experience of the human condition. That excites me about literature, that fires the synapses of my brain and gets me thinking, and after I get thinking, I get writing. And I love that plain, that hum you get into when your ideas expand and burst.
Whatever your opinion, whatever the real reason may be, stories like Todd Carney’s remind me of why I love to write.
In reading literary reviews, or writing reviews in general, one note that commonly comes up how the author has found his or her voice. ‘This writer has found his voice…’ ‘She’s established her own voice…’ ‘His unique voice comes through loud and clear in his writing’. The problem with this note, for prospective writers in particular, is that it can be a bit vague – what does that mean? How can someone find their literary ‘voice’? Your ‘voice’ is your distinctive presence, your way of communicating a story, and in that sense, there’s not really any way a person can say ‘here’s how you find your voice’, because it’s unique, it’s who you are – and not only that, it’s who your characters are, the authentic voices of your story. It’s the voice of the piece needs to be reflective of the story and true to the reality of the world that you’ve created.
While I can’t tell you how you can find your voice as a writer, what I can tell you are some of the things writers’ often do that are counter to finding their voice. We’re all trying to ‘be writers’, all trying to do what writers do, as opposed to what we, normal-folk, do, and inevitably, that leads to us adopting some practices which go totally against the mission of finding one’s own unique voice. Here’s a few things to avoid, or think about, as you go about your writing work.
Not every detail has to be painstakingly poetic
This is probably the most common mistake people make, they’ll try to create epic, poetic descriptions of even the most mundane and irrelevant details of the scene in order to conform to what they believe is a literary approach. It’s one of the easiest traps to fall into – you get self-conscious about your writing, you think you need to make everything more stylised, more beautiful, and you end up wasting paragraphs on details that serve no purpose to the wider piece. The greatest stories have a flow to them, an effortless beauty, a sense that every word, every description, is rested right there, in it’s correct place. That sense comes from knowing the story, from having every detail relate back to the core of the piece. Everything you describe, every element, should all be adding to the wider themes and ideas of the world of the story.
For instance, I read a piece recently where a writer had spent sentences describing the details of the way a room was set out. The story had nothing to do with room detail, and the characters didn’t have any psychological predispositions to noting down such elements. The description was purely there because the writer felt like they needed to include complex description. Now, if the character did have a leaning towards being caught up in intimate details – if, for instance, the character was having a life moment and such details reflected a wider sense of his/her own position at that time, those details would be relevant, but painting literary embellishments without direct story purpose is often jarring and representative of your own lack of confidence in your writing. Every detail you note should have a reason for being there. If it doesn’t, cut it out, it’s just weighing down your prose.
Trust what you know
A big part of establishing your own literary identity is trusting what you know. Your voice is exactly that – your voice. You have to know what you’re trying to achieve with your work. You know how people talk, you know what interactions feel genuine. You also know, in your own experience, what makes people do the things they do, what life events lead to people being how they are. Your experiences on this front are totally unique – you’ll have seen and heard of people doing things for different reasons, and you know those sequences as truths, as things that have happened. Those understandings are what you need to reflect in your work – if something happens, if someone does something, it’s not just a random event. What made that person do that thing? What compelled them to act in the way they did? You know what would most likely lead to a person being in the state of mind they’re in, and that is the truth that you need to reflect and tap into in your descriptions. That’s not to say you need to go into every detail of their life, but you need to know your characters, who they are, what they do, what their motivations are. If you know that detail, you can ensure their perspective is reflected in every action – how they react is how they would respond in real life. And that’s based on what you know – that’s where your own authenticity comes from, not from movies or books or what you think other people might think. You have to trust your own knowledge and understanding and ensure that that honesty is reflected in your work. If something happens that doesn’t feel true to you, it’ll likely feel totally fake to another reader.
Your only obligation is to the honesty of the story
This particularly relates to the voice of your work – the way the characters speak, the way the story is presented, these details need to reflect what’s best for your story. You know the characters, how they talk, how they act. The way it’s communicated, in your words, should reflect the voice of the piece. If you want it to be slow and dreamy, read other writers’ who’ve written in that way and study what they’ve done that works. Use thematic images in your writing area and music to inspire your thoughts and get the words flowing through your head. But above all, ensure that the voice you use for your work is true to the story you want to present. If it’s first person, get in the head of your character and describe the world as he/she would see it. If it’s third person, understand the flow you’re going for, how distant or intimate you need to be, and ensure that perspective is maintained – but always be true to the feel of the story, the characters, the drive. How do you want the reader to feel when reading it? What elements will keep them glued to your words as they flow through the piece? Don’t write in the voice that you think a ‘real writer’ might go for, write in the voice of the story, of the characters. Write as if they’re telling the story themselves, how they would describe it. You have to inhabit the story, be part of it, see things from the interior of the book. Once you get in there, in between the words, you’ll start to see your own voice shine through and move from being influenced by other works to being contained within your own piece.
As I’ve discussed before, there’s no sure fire way to be a successful writer – if there was, everyone would do it. It’s a lot of introspection, a lot of observation and a lot of daydreaming, allowing yourself to get caught up in your imagination. Finding your voice is difficult – it’s something that gets thrown about like it’s a goal to aspire to. But more often than not, you find your voice by not specifically looking for it. Be honest to your work, to the world’s you’re creating, to the characters you’re building, and through that honesty and focus, your voice and style will develop all on it’s own.
In my time at writing and literary events, I’ve had opportunity to meet a lot of authors. Most of them are pretty quiet, all of them have been pretty nice, normal people, but a couple have become genuine close friends. It’s great to have a few writer friends, some people who know what it’s like to commit yourself to such a solitary act. It’s also great to have them to bounce ideas off, talk about your frustrations or concerns, just share with folk who’ve gone through a lot of the same things.
One of those people, for me, is James Phelan. I met James at the Newcastle Writers Fesitval in 2006 and we hit it off straight away. What’s always been really interesting for me is James writes in a completely different style to what I do. James’ novels are action/thrillers, and I’ve never been able to get into them. But hearing such a difference perspective on writing and the writing/publishing process has always fascinated me. James is the guy I go to when I need to ramble about writing and the challenges I’m having, the guy I seek out if I don’t know how this or that works in the industry. He’s also a close friend whose always been willing to listen to my ramblings.
I asked James to answer a few questions on writing and his writing process:
When did you decide to pursue a career as a writer?
I was 15 when I knew I wanted to be a novelist but I thought you had to be an old dude to do it. So, I figured I’d give it a try when I retired from a “real job”. I studied architecture and worked for a couple of firms, and by 20 I knew that I had to give writing a serious try. I wrote my first novel by 21, got a job at a newspaper, did an MA and PhD in Lit, and had my first novel published published at 25.
What’s the most challenging aspect of being a full-time writer?
Deciding what to do next. I’ve written series for adults, young adults, and kids, and each has its pros and cons. The adult stuff has complete freedom, YA slightly less so, and the kids stuff has a whole bunch of things that the publishers tell me I can’t do or say on the page. The YA and kids stuff involves way more PR, on average a day per week, and while that’s great in terms of meeting enthusiastic readers, it sucks time away from writing. Publishing books for adults is more about Crystal, Maybachs, diamonds on your timepiece, jet planes… you know the rest. Publishing books for kids sells about 10x more.
What’s the key to ongoing success?
Working hard. It’s easy for a writer to procrastinate, and there’s creative merit in that, sure. I write every day, starting early in the cafe nearby. Depending on which stage of writing I’m at, I’ll be sitting with my notebook or laptop or print out. Every day. That’s the writing side. The business side – you need good agents (and an accountant) who you trust will give you good advice when you need it, look over your contracts, and support you through the process.
Best tip for keeping ideas flowing and avoiding/beating writers’ block?
It’s my belief that if you write every day you’ll keep things moving along. That, and knowing your ending. Whether I’m writing a short story or a 40,000 word novel for kids or 90,000 for adults, I always know how I want my ending to play out. Not so much beat for beat, but in my ending I need to know the feeling that I want to create in the reader, be it comedic, dramatic, tragic etc. Usually by the time I write the ending, it will play out different to how I envisaged, but that value will stay always the same, and by knowing where I was going I managed to get there. I’ve been a full-time novelist since 2007, and it’s all about working hard.
Best tip for writers starting out?
Don’t ever sign a 13 book deal. Only recently have I finished all my contracts, and the freedom is incredible. So, enjoy your freedom, while it lasts. Write what you want to write. Make it shine through revisions, then decide what you’re going to do with it. I still think that agents are worth their commission, so get one of those. How? By getting published. How do you get published? By having an agent, or already being published. I know, right? Oh, and don’t forget to read as much as you can and as broadly as you can. Good luck.
[Note: Not everyone’s as luck to be offered a 13 book deal, and I’m sure most would jump at the chance, but as noted by James, it can be double-edged]
Also, this punch really hurt him.
An aspect that you need to keep in mind when writing is what you want your readers to feel as they read each section. Fiction writing is, essentially, trying to re-create the emotion you feel for the scene within the body of the reader, and in that, you need to always be aware of how you’re communicating the details. Importantly, what you need to be careful of is what words you use. Sometimes an out of place word can ruin a perfectly good set up – you wouldn’t have the word ‘chook’ in the middle of a scene of romantic resonance, for example. Careful word placement, and even word themes, can help build scene depth, and characters individually.
Here’s something that’s worth trying – assign each character in your story with a colour, based on their personality and traits, what you know of them. Once you have the colours down, write down words you associate with those colours – make a word cloud of 10-20 words that you’d link to it. For example, red might be associated with fire, stop, heat, fast. Once you have your words down, as you write, try to use those words in your descriptions of those specific characters and their actions. What this does is it builds a theme around that specific person – you associate those words with that colour for a reason, and readers will to. With red, anytime those references come up, people will have an association with them, and thus, the character, which creates more of a theme or personality type for each. This can help develop a distinctive persona, making them identifiable in more than just physical attribution. Those words form part of who the person is, and this can help develop depth and definition in a character’s being.
This won’t work for all writers, some may even find it restrictive to their process, but it’s worth trying, even with just a short piece, just to help build more presence around each participant in the story. Even try it in real life – think of someone you know and what colour you would attribute to them. What words do you link to that colour? Do they relate to the person? Normally, you’ll find they do, and this adds to the emotional linkage between character and reader.
It’s worth trying out, just to see what comes of it – even if it’s not for you, it might help open your mind to another way of thinking and improving character depth.
Been a good week for getting my fiction out there – Tincture Journal have published one my short fiction pieces in their latest edition. The piece is called ‘Memory’ and is one I’m particularly proud of. You can get a copy for $8 here – get one and you’ll not only get some cool, new fiction to read, but you’ll also be supporting the Australian literary community.
There’s nothing better than having something you’ve written published. There’s no better feeling than to walk into a bookshop and see your words printed on the pages of a book or magazine. It’s surreal, you remember where you wrote them, how you started with that blank computer screen. And now your words are here, for everyone to see. It’s extremely gratifying to have your work out there – whatever comes next, be it criticism or praise, you’ve already reached a level of personal success.
On that note, I thought it would be worth noting a few places fiction writers can get their work published in Australia. I’ve had the opportunity to work with most of these publications at some stage, and have enjoyed being involved, and I highly encourage all writers to have a look at what they publish and submit your own work.
Voiceworks is produced by Victorian not-for-profit group Express Media and only publishes work by writers under the age of 25. It’s aim is to encourage new voices and provide publishing opportunities – not just for contributors, but for magazine staff also. Express Media has played a part in the development of many published authors and Voiceworks is a respected, quality publication. Writers under 25 should check out their submissions page and send something through – it could be a stepping stone to the next big break (I did a mentorship with Christos Tsiolkas via Express Media, which directly lead to the publication of my novel).
Tincture is a quarterly literary journal which is always on the lookout for new poetry and fiction. I’ve worked with the guys a couple of times and have thoroughly enjoyed the experience – they are knowledgeable, approachable and intelligent. They’ve also published some really great stuff and deserve more exposure – if you haven’t checked them out, go to their website and buy a copy – they’re priced between $5 and $8 and you can download and read them straight away (their Winter 2014 issue is also coming out very soon and features a new piece by me).
The Suburban Review
While still establishing itself somewhat, The Suburban Review is a quality publication. The artwork alone is worth checking out, but the content they’ve published so far has been high quality. Each publication is based on a theme, so you need to check out the submissions page to know what they’re after, but the guys are doing some great work and are gaining recognition for their quality and presentation. A group you want to be involved with.
And speaking of groups you want to get involved with, Stilts are a literary collective based in Melbourne. They produce an amazing looking themed journal, but they also have regular events, columns and themed writing opportunities to get involved with. I’ve had two pieces published as part of the Stilts Monthlies series, which is a micro-fiction series based around a theme, and my experience working with the guys has been excellent, I highly recommend you check out their website and subscribe to their social media channels to stay up to date with what’s happening. Amongst these guys and The Suburban Review team are the literary leaders of tomorrow, worth getting to know them, and getting them to know you.
The Canary Press
Canary Press is probably the best looking literary journal going around. The guys have a distinct flavour, their own way of seeing things, and that’s also reflected in their content selection, but they’ve definitely made a splash on the local literary scene, and it’s worth checking out their submission guidelines and getting involved if you can. They accept pieces through Submittable, which means it can all be done online – easy, no fuss, why wouldn’t you give them a read and see if your work fits?
The Lifted Brow
The guys from The Lifted Brow have established a pretty good profile in the local literary scene, underlined by them creating a whole issue, from scratch, during the ten days of the Melbourne Writers’ Festival last year. Like Canary Press, they go for a definitive style of work, so you need to grab a previous copy to know how, or if, your work fits, but worth checking out, and a great opportunity if you can get a piece accepted.
The annual ‘Sleepers Almanac’ is one of the most prestigious publications for new writers in Australia. I love what Louise and Zoe do, and I’d get involved with anything of theirs I could – they are both strong supporters of new writers and genuinely love to find new, great stuff. Given the Almanac’s status, it is hard to get in, but their distribution is great and it’ll put your work in front of some of the most influential literary identities in Australia, so worth the effort. I strongly encourage everyone to support Sleepers, not only for your own publishing opportunity, but to help them continue their work in finding and nurturing great local talent.
This is by no means a complete list of the literary opportunities available – there’s also Meanjin, Overland, Best Australian Short Stories – there’s a heap of places you can submit to. It always worth checking out what they publish – if it’s a guest editor, look them up and see what they write or what they’ve edited before to get an understanding of which of your pieces will be a good fit – and always follow the submission guidelines and ensure your work is error-free. It’s important that all writers get involved in their local literary communities and groups – obviously the main aim is to get your work out there, but above and beyond that, you’re contributing to your local literary scene and helping build that local culture. The more we can build it, the more writers will be willing to get involved and the more young writers will want to take up pens and put down their own stories. As a writer, you can play a significant part in the growth of your own local community by getting involved. And the connections you can make, the readers you can reach, these can all have long term benefits for your own writing career.