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.
It’s amazing how much your mental state can influence every element of your being. People can convince themselves of almost anything, can think themselves into having heart attacks – their thoughts manifesting themselves in physical form. I’ve seen people held totally captive by their own thoughts, crippled with fear and anxiety and absolutely unable to see things any other way. Their minds have been made up, and once that happens, it can be a very hard thing to change.
I read an article about something similar recently, about how our minds can be tricked into seeing one thing or another in an optical illusion – but once our mind is made up on what we see, it’s almost impossible to change it back and see it another way. It highlights how easy it is for our brains to get locked onto one path and how hard it can be for people to break from that and change their perspective. We always see the worst of ourselves, we always see weaknesses and flaws and imperfections that might be totally oblivious to anyone else. Skin care company Dove ran an advertising campaign based around this very notion, that what we see is not how we’re seen by others. This is never more clearly evident than seeing someone in the midst of depression. The way they see life, the hopelessness they feel, it’s an all encompassing thing. They can’t see out of that tunnel they’re in, can’t see anything there for them to cling to. No matter how you try to tell them otherwise, their minds are locked. It’s scary to see, a heartbreaking thing to witness, and I feel for anyone whose ever been afflicted by such all encompassing sadness.
This is something that affects many writers. We can easily get locked into the idea that we’re no good, that our writing will never be good enough. We’ll read work by other authors and just feel so small, so distant from that level of quality that it can seem like all hope is lost. But what you’re seeing in your work is not necessarily what everyone else reads. Just like an optical illusion, there’s another side that you’re tricking yourself out of, another way of seeing it that you just can’t get your head around. But if you try, if you push yourself, there might be a way. If your brain is strong enough to totally convince you of one thing, why can’t it be trained to also convince you of the opposite?
This is a great challenge for anyone, to convince your brain to look at things from another perspective. Very few people are able to see things from other vantage points, but that’s something we, as fiction writers, do all the time. We see stories from the perspective of other characters, you just need to do that in real life, with your own work, from time to time. Definitely, you need to be objective – writing is a solitary pursuit and most of the time you’re your number one critic, so you need to keep that edge, you can’t go too easy on yourself. But just ask yourself ‘why not?’ Why can’t you do this? Make your brain see it differently and think ‘why can’t I write great literature?’ If you can convince yourself that you can, it makes it easier to commit yourself to the necessary work you’ll need to do to make it happen.
Writing takes self-motivation, you need a level of positivity and belief to push yourself. But you also need to get your work out there, you need to take the feedback you get – some of it won’t be good, but you need to push through and take in the benefits of negative feedback also. It’s not to say you should convince yourself that you’re always right, it’s that you need to take it easy on yourself, don’t see things from the negative point of view all the time, take on any notes and feedback and keep pushing on. Because why can’t you do it? Why not you?
The human brain is a powerful thing, if you can keep it from getting locked into any one way of thinking, you can remain open to all possibilities. And in that state, anything can happen, even things you’ve convinced yourself will only ever be in dream.
Here’s a important fact: The publishing industry is changing. What started with Amazon selling books at increasingly lower prices has now extended with e-books – Kindle sales in 2013 were up 26% on the previous year, eBook sales, which accounted for 0.1% of total book sales in 2006, now make up more than 20%. The change in consumer behaviour has lead to the demise of many booksellers, and I’m sure everyone’s felt that glint of sadness at seeing your local bookshop gutted , the words ‘Closing Down’ plastered across the front window. The industry’s making less money than it once was, and the difficult thing for writers is, less money in the industry means less money to put into projects, making it even harder to get your book published by any of the major players.
You can see a similar impact in the film industry – the squeeze on revenue leads to more producers looking to safer bets. In the 90s, there were more arthouse films, more opportunities for up-and-coming film makers. But as tickets sales have declined – whether due to advances in home theatre or the rise in movie piracy – those investing in films have become cautious. That’s why you see so many sequels and big budget remakes being made – they’re safe bets, they know there’s an audience for them. It doesn’t matter if you think Transformers is total crap, it makes the studios alot of money. We’re seeing this happening in publishing also – while there are still great, exciting and fresh new works being produced, the reduction in retail outlets has seen more emphasis on commercial thrillers and romance books, safe bets that make the publishers money. This atmosphere makes it increasingly difficult for unknown writers to cut through and get the majors to take a risk on your work. On one hand, it’s a sad thought, it was hard enough to get attention before, but there is another aspect in the shift in media consumption that can help, a way authors can help themselves, make themselves more enticing and even build an audience all on their own. Social media has changed the way people communicate, changed the approach to marketing and publication. While opportunities in traditional publishing are getting tougher to come by, the opportunity to build your own brand is greater than ever.
Utilising social media is a must for would be authors – here’s a few notes on the why and how of social for writers.
* You need to get yourself a blog. Obviously I’ve got an inclination towards WordPress, but there are a heap of options out there, and a heap of ways to leverage a blog to build your own audience. Writing is what you do, so you should be sharing it, and a blog is a quick, simple way to build awareness of your work and establish a digital showcase for all your projects.
* Join online writers’ communities. As social media facilitates greater connection throughout the world, it also allows every individual to have a voice. As a writer, this means you have more opportunity than ever to get involved in writers’ groups and communities and build a following that’s interested in what you have to say and what you produce. At the very least, being involved in the various social media communities will give you free education on writing and what’s happening in the industry. The amount of insight and info available is staggering, if you know the right places to look.
* All writers should sign up to Google+. Google+ has a heap of highly active communities, particularly for writers. The learning curve can be steep – G+ is different to other social networks – but the platform’s biggest strength is it’s communities. That’s where you can make connections and find like-minded people to learn from and share ideas with. Being on Google+ also allows you to sign up for Google Authorship, which has it’s own benefits for writers of all types.
* Twitter is an amazingly powerful tool. I know a lot of people are not sold on Twitter, not convinced that you can make much of an impact with 140 characters, but Twitter is the best tool for making connections and sharing your content. Use Twitter’s search function to find other authors and writer-types and follow them, as well as literary publications and organisations that hold writing competitions. Use applications like Hashtagify to locate relevant hashtags which you can use to find active literary conversations, as well as using them to gain exposure for your posts (the tags #writing and #amwriting are very popular and will help others locate your content). Find out what sources publishing industry folk are reading and see if you can get content published on the blogs they’re looking at to raise your profile (there’s an application called Twiangulate which can help you locate the main sources that specific users are looking at). Find Twitter chats on writing and take part if you can (great list of Twitter chats here). Twitter is also great for sharing your content – every time you publish a new blog post or announce that you’ve had something published, post it to Twitter, use relevant hashtags, and track any shares of your content with a management tool like HootSuite. From here, you can thank people for sharing your stuff, start conversations, and make connections that will help build your profile and establish your position. Writing the content is only one part of the equation – you need to actively promote and engage with your audience to build your presence.
* Share content on Tumblr, Pinterest and Facebook. Some people have a heavy reliance on Facebook, but I generally only use it for personal purposes these days, so my view on it may differ from yours, but you should always share your blog posts and updates on all these channels. Tumblr provides an opportunity to reach a new audience, with effective and engaging presentation options to use. Pinterest, while it is a visual-based platform, also gives you a way to reach a whole new group of people. Post interesting images and link them back to your blog, pin new blog posts with relevant hashtags (most of the major networks facilitate hashtag use, except LinkedIn). There are unique audiences on each platform, it’s in your interests to maximise opportunities by sharing to more networks, but research what’s working and where to find your target audience on each. All social platforms have different best preactises, best to learn and utilise these as you go.
* Investigate other platforms. Medium is a publishing platform which is focussed on writing over all else – the design is simple, the process is easy, the visual focus is the words. The groups for fiction work are very specific and there’s a lot of writing discussion being had, so long as you can find the right categories for your work. Definitely worth checking out.
These are just a few notes on the possible options for authors, and the ways in which writers can build their brand through social media. Taking these steps can open doors you never thought possible, and at worst, it can’t hurt to build a following. If you can establish a group of engaged followers who’ll share and amplify your message, it can only assist in building your status as a writer. Some people don’t think they have the time, some feel the learning curve is too steep, but as more people conduct an increasing amount of their daily interactions online, having a presence on social media is only going to become more important. Social gives everyone the opportunity to establish their skills and expertise, ways for writers, in particular, to showcase their talents and marketability. It’s worth investing the time to raise your profile and build connections – those actions could help you find new avenues to publishing success – and as the publishing industry evolves, you might just find yourself at the forefront of the next literary frontier.
I was once asked for my thoughts on writing controversial content, where you balance between ‘confronting’ and ‘gratuitous’. My novel ‘Rohypnol’ has a lot of graphic scenes, and it’s something I was criticised for in a few reviews, that it was gratuitous, violent for the sake of it. Some felt there was no need to go into that level of detail, that much of the horror could’ve been implied and left to the imagination. But I disagree. There was a definitive purpose to what I wrote, and there is, I believe, a reason why people need to include such detail, where warranted, within the context of their work.
One of the inspirations behind ‘Rohypnol’ was a French film called ‘Irreversible’, directed by Gaspar Noe. Noe is well-known for his controversial films and has received much the same criticism, that he glorifies violence, rather than exposes us to it. This is most evident in the extreme violence of ‘Irreversible’. In the opening scenes, there are two guys looking for another man, called La Tenia. They’re in a nightclub, looking for Le Tenia and (if you ever want to watch the film, stop reading now) when they do locate him, they get into a fight and kill him. More specifically, they kill him by beating his head in with a fire extinguisher. And you see every single hit, every detail. You feel everything in this scene. There is no escaping the violence – it’s sickening, it’s so bad you have to look away. It’s horrific and it just gets worse and worse. The viewer has no context for this scene, it’s two guys getting in a fight with another. There’s no lead-up or backstory, you’re just thrown in. The violence is the most extreme you’ll ever see on film, everything about the scene is horrific – the camera moves and swirls round amidst strobing nightclub lights and grinding bass music. The whole sequence is designed to make you sick. Not a great way to start a film, right? Why would a director want to make the audience ill, especially so early in the film?
There is method to Noe’s madness. The film is called ‘Irreversible’ because the storyline moves in reverse – we start with the horrific ending to tragic story. The point Noe’s making is that violence cannot be justified. Responding to violence with violence is not an answer, in any context – but that is exactly what Hollywood films glorify. We’ve grown up seeing revenge films, feeling for the wronged man, siding with him and hoping he’ll make the bad guys pay in the end. That’s justice, that’s what we want to see – that’s what we want to do when we’re wronged. And that’s wrong. That shouldn’t be the way violence is presented. It’s not an answer, it doesn’t solve problems. Noe’s mission with ‘Irreversible’ was to display, in graphic form, what’s wrong with Hollywood action films. Had the movie played in chronological order, you’d have seen that La Tenia had brutally raped and murdered the wife of one of the men. You’d see this, and you’d side with the man, then when they did finally catch up with La Tenia in the nightclub, you’d want him to get killed. You’d want to see him pay. But there’s no right in responding with further violence.
Noe set out to make the film as uncomfortable and violent as he could to show what violence is really like – in that scene, where you want to look away, where many people walked out of the cinema – that’s how you would feel if that situation where to happen in real life. Violence is not ‘cool’, there’s no shotgun-like sound when someone punches someone in the face. There’s no good guys and bad guys in real life. Violence is horrific and frightening – it’s something everyone wants to avoid at all costs. That’s the point of the scene. You don’t want to see this. You don’t want to condone this. We should do all we can to avoid this sort of thing happening. Seeing someone get their head beat in would affect you in ways you can’t even imagine, it would traumatise you for life – yet in most films, people get revenge, blow people up, shoot them in the head and we get nothing. It’s left to our imaginations, and we don’t picture the extreme violence that actually occurred. We just note that the bad guy got killed. Case closed. Hollywood films should not portray violence as a light, humourous, nothing event that just happens. Because that, by extension, is what we’re teaching kids. If more films portrayed violence as Noe does in ‘Irreversible’, I’ll bet you see such acts of violence reduce. Everytime I see another report of violence in nightclubs, of stabbings and glassings and beating. When I read reports of attacks getting more brutal, kids more devoid of consequence, I always think of ‘Irreversible’. Honestly, it should be on the high school curriculum.
‘Irreversible’ played a big part in the way I portrayed violence in my book. My intent was not to be gratuitous – and I absolutely don’t believe it ever crosses over that line – my goal was to be honest to the story and scenes within it. If you would feel horror, dread, happiness, joy – your responsibility as the author is to communicate that, translate those emotions into the body of the reader. Definitely, I could have left the action out, left the violence implied, but that’s not the point. If monsters like the characters I’d created actually did exist, if they committed horrendous acts like the ones presented, then feeling the detail is important. Yes, it’s confronting, yes it’s shocking, but we need to be confronted and shocked sometimes, we need to face the reality of violence as it is. This is the only way people will ever understand the impacts, the horrific nature of such crimes. And by making people aware, hopefully that inspires more people to avoid it in real life. We shouldn’t, as writers, play down violence, leave it as something that just happens, then move on with the rest of the story. If something terrible occurs, it’s important to be honest, show the necessary detail in order to make the reader feel what you felt when you wrote it. This remains true in all writing – be honest to the story you’ve created, express the reality of your world. What’s happening needs to be real – so be real, be honest with the detail, and never shy away from saying what needs to be said. Don’t be constrained by how people might respond, how people might feel, just get it down, write fuelled by your emotion, and let the story dictate the detail necessary to communicate each scene.
One thing that all writers need to be aware of is that writing is work. No one has ever sat down, typed up their piece, sent it off, then rode the serpent of success all the way to the bank. You get better at writing by writing, everyday. You achieve success by reading as much as you can, researching, taking on criticism – always learning and improving. Every rejection is part of the work. Every failure is part of the work. All of these things are part of the journey towards improvement and success – you can’t achieve what you want from your writing without failing every now and then. Your best work is driven by emotion, so you’re going to make mistakes as you rush to get your ideas out – and it’s often when you’re riding the edge of your comfort zone that you really hit the right notes, so you need to push yourself, you need to make mistakes and get criticised for it, you need to cop a rejection letter every now and then. It should drive you on, not knock you down.
Don’t ever be afraid to send your stuff out or refrain because of what someone else might think – everyone mis-steps, everyone makes a fool of themselves every now and then – this is part of the work also. Whenever I get rejected, my internal response is to make them regret it. I’ll succeed and show them that they were wrong. And it’s often not your writing that has been rejected anyway, it just didn’t fit what that editor wanted for that publication at that time. So take it in – no problem, wasn’t for them – show them what they missed out on by succeeding elsewhere.
The one thing you need to dedicate yourself to is becoming the best writer you can be. I’m always committed to being better, to reading more, to finding out what works and what doesn’t, and improving myself. I don’t want to be another good writer, I want to be the best writer there is. I want people to know my work, relate to it, to feel what I felt when I wrote it. To do that, I need to keep improving, keep working. The more you write, the easier the sentences flow.
Now I’m never going to be the best writer there is, but that’s not the point. If you don’t aim to be the best, what are you aiming for? If you aren’t aiming to maximise your abilities to their best potential, then what’s the plan? Just try your best and see what happens? Having a high expectation of your work is what will push you on and drive you to improve – I may not be the best, but the more I work towards that goal, the closer I can get to it, and the closer I get to it, the better I become. Maybe I’m not the best, but I’ll be better than I was yesterday, and I’ll be better again tomorrow, and the next day, and every day for as long as I can put words to paper. And that’s the goal, to always be improving. The goal needs to be unattainable, it needs to be too high to ever meet, like a rabbit skimming out ahead of the greyhounds. I aim to be the best, I intend to be the best writer you’ll ever meet. Maybe I won’t be, but I’ll keep working anyway.
Writing is work, it’s constant – like anything, it’s about practice, passion and persistence. Ultimate success won’t come easy, but it shouldn’t. Otherwise it wouldn’t be an achievement, right?
I read this excellent article by author Christopher Currie recently. It raises many of the issues and observations that I’ve found since becoming a published author, and those issues are part of the reason my second novel has been de-railed so many times. Chris is an excellent writer, and he has succinctly put into words many of the downsides of being published in a way that’s not complaining about success, which is one of the things that I’ve been most fearful of when discussing the same things.
I met Chris at the National Young Writers’ Festival in Newcastle several years ago, though Chris, I’m sure, either thinks I’m a total douche or an incoherent idiot – I treated Newcastle like a weekend off and was several beers into the night when we met. I’ve always felt bad about this, because I really like Chris’ work and his observations on writing – but this article in particular stands out to me because it’s talking of the negatives of the other side of publishing, of being an actual, published author.
As Chris notes, he is not complaining about success – and I too would never complain about being published. It’s a massive achievement and the people I’ve come into contact with have been amazing, and it’s the only thing I’ve ever really wanted to do. Writing, also, is almost an instinctive process for writers, it’s something we have to do. I can ignore it for periods, but it’s always there, stories being written in the back of my mind. Being published has opened up a heap of opportunities and it remains my dream to be a full-time author. But that’s where things get a little more complicated, and this is what Chris discusses in his article.
I guess the first, and main, point, is that becoming a published author will not necessarily change your life. When I first signed a book contract, the company I was working for was undergoing a takeover. People all about the place were stressing about losing their jobs, doing all they could to make good with the incoming managers. It was a pretty sad situation, a lot of good people, good employees, stressed because of something beyond their control. Me, I had a publishing contract. I thought I was going to have to leave work soon either way, heading off on book tours, doing talks. I was about to become a full-time author, so losing my job didn’t really matter to me too much. The idea in my head was ‘book gets published, you become full-time author’ – that becomes your job, your career. But I never really thought through how that might work.
The reality is not much changed. I was lucky enough to be retained at work and when the book was released I did a few launches and talks and interviews and then, about a month later, all was quiet again. It was back to normal life. The amount of money I made from my book was actually pretty good – I won $15,000 in the Victorian Premier’s Literary Awards on top of my book contract – but it was not enough to quit my job. I then sold the film rights, and that was massively exciting, and they signed up a director and we had meetings, wrote a screenplay, all was moving along. Then that production company folded. And by now it was several months after the book’s release so the ‘hype’ around it was gone and no other film companies were looking to pick it up (several have been interested ever since but it’s never been picked up). And life was back to normal. I wasn’t a full-time writer. Chris notes this, that you’ve only got a limited shelf life, and it’s totally true, then you’re back to where you were. I’ve seen lots of discussions and articles on this, and it’s hard to know if there is a way to fix it, but for me, I just couldn’t see how I was going to generate enough money from writing alone to be a full-time author, which was difficult to take, but that’s how it is.
The second down side, I found, was the publicity. Most of it was great, great people, good to get your name out there, have people discuss your work. But the negative reviews hurt. Bad. I only had a few, but they were in major publications. I’m pretty thick skinned with my writing, I can take people having a go at me and my work, no problem. But this was something I was immensely proud of, that not only me, but my editor, my publisher, other people had believed in and put their own hard work into. And then someone can totally trash it with a few paragraphs. It hurts, but again, that’s how it is. Not everyone’s going to like your stuff, you can’t write for every person. I’m much more comfortable with that now, but it was a learning curve.
The third issue I had was with the next book. For months after the book came out people always asked what I was working on next, and it was great, people were interested. Then the second novel got bogged down and it wasn’t working and people kept asking and in my head I was like ‘stop asking about it, it’s killing me’. This is no-one’s fault but my own, but Chris made an interesting note in his article – that he, in some ways, liked it more when he was unpublished. When there was no expectation. I can totally see where he’s coming from. I had an okay manuscript on the way by the time my first book was published. I signed a new contract as soon as it was offered, with the publication date set for a year or so later. This was what I’d always wanted, I was on my way, I could do this. I completed a first draft, had it all down, the story, everything was there. But it wasn’t great. I knew it. My publisher knew it. I went back to it, tried to fix it, but started getting myself in knots. Nothing was coming together, nothing was flowing, it wasn’t what I wanted it to be. And the most frustrating part – I knew exactly what I wanted it to be, I just couldn’t get it to work. I am still working on it, still writing that second book (among other projects), and I remain absolutely confident it’s going to be great, it’s getting closer each day. But the pressure I put on myself is what has blocked me up. I was no longer just writing something that maybe someone might read some day, maybe my friends would read – I was writing something that would be seen by a publisher. This had to be amazing. Not good, this had to be great. That expectation, my own expectation, has set such a high bar that it’s made it much more difficult to be free and flow with the story.
As I say, these are not complaints or not negative enough to ever want me to stop writing. They are more observations from the other side, which I don’t see a heap of. I can’t help but love writing. I do it every day, and I love getting that flow right, having a story form in my head, the sentences stringing together. I love having to get up and scratch around to find a pen in the middle of the night to get down some crucial sentence or note. I love everything about being a writer. And yeah, it’s hard, these points just attest to the fact that it remains hard as you go. I have no doubt that big name authors have the same challenges and issues. But it’s worth it. Nothing’s better than when everything feels right with a piece and you can’t wait for someone, anyone, to read it. When you know that you’ve been able to re-create the feeling you had when writing it in the body of another person. That communication is amazing. Nothing else comes close, for me.
And nothing beats the smell as you flick the pages of your own book.
As I work my way back into writing, getting more ideas and notes down, trying different ways to remain creative and create better work, this is what I keep in my mind. It’s tough, but you’ll get it right, it’s hard, but it’s always close to that perfect stream of a story.