Showing posts with label Write every day. Show all posts
Showing posts with label Write every day. Show all posts

Sunday, 6 October 2013

Results for Kindle Nation Daily Ad

So having recently spent $99 on a Kindle Daily Deal ad on Kindle Nation Daily, I thought I'd report back my results from it.

I must say that my book only had five reviews on Amazon.com when I placed the ad, and three of them were two stars, so I'm sure if it was reviewed better then it would have sold more.

The picture below is from Amazon.com - The spike in sales is due to the ad. I was averaging 3 sales a week on the .com site, and because of the ad, that went up to 34. The profit on $0.99 is about $0.35 per book.

The next picture is for Amazon.co.uk (where my reviews are much stronger) - I sold less on the UK site the week the ad was out than I had the previous week - 88 sales as opposed to 113. Having been in the top 10 for post-apocalyptic on the UK site, I was getting good sales anyway. Is it fair to assume it had no impact? I'm not sure, but it certainly didn't seem to.
I appreciate that many factors impact the sales of a book and I'm sure my reviews on the .com site didn't help. However, all I can do is present the information as I've experienced it.

Wednesday, 21 August 2013

My Second Month as a Self-published Author - Sales Figures Included


It’s been two months since I released my first novella, Crash, as an ebook. Here is my experience so far. 

Obsessed!
So I’m still checking my sales figures more frequently than is healthy. I wonder if that will ever change. 

Reviews
I’ve only had one one-star review still but I have had three two-star reviews on Amazon.com My most recent two-star review came a week or so back and that’s really affected my sales on Amazon.com. Fortunately my novella is doing much better on the other side of the pond. I currently have thirteen reviews and ten of them are five-star. As a result, my book is selling much better in the UK. 

Amazon Top One Hundred Charts
Since its release, Crash has consistently been in the top one hundred post-apocalyptic novels. It has fallen out on a couple of occasions but it hit an all time high at number twenty today. 



Sales
I was happy with my sales for about the first six weeks and then they started to slip. It’s hard to know why, but the most recent negative review seems to have had an impact in the US. So what I decided to do was drop the price to $.99 to see if it affected sales. Yesterday I sold twelve copies in one day. Most of those were in the UK. The sale price is until the beginning of September, although if it goes really well I may extend that. I’m not aiming to make money on my first book, I just want to get it in the hands of readers and remain visible on Amazon. When my second and third books in the series come out, I intend to make this book permanently free. 

Figures
While I like Kobo’s ethos and a great review came from a Kobo reader, I have only had three sales on Kobo in six weeks. I’ve had one hundred and fifty-three sales on Amazon. I’ve had nothing on Smashwords and they were a pain to get the formatting correct for. 

Overall
So since the first month I’ve hit the milestones of one hundred and one hundred and fifty copies sold. I’ve experimented with price and seen a marked difference when I drop it. I’ve had Amazon’s dominance confirmed to me, and I’ve developed a thicker skin while learning how I can become a better writer. I’m pleased with my sales so far, although I’ve been warned that books fall off a cliff at some point. 

Thursday, 4 July 2013

Crash - A Sample (Chapter One)

This is a sample chapter (chapter one) of my debut novella - CRASH - I hope you like it.


And Finally, It Begins…

No matter how old Michael got, when he cried in Chris’ arms, he became that red-faced screaming baby in the delivery ward again, and Chris’ instinct to protect him burned as brightly as it ever had.
Shivering by the slightly ajar window, the heating having been cut off months before, the eight-year-old boy looked at his father. He wore a mask of grief that twisted his dirty face. “Why, Dad?” He mewled. “Why did they do it? Why did they leave us?”
After running a hand through his thick and, at forty-two, prematurely white hair, Chris pulled his son closer, not only to comfort Michael but also himself. “I don’t know why your mum chose to leave with your sister. Things are quite a mess at the moment, and maybe she was worried that they wouldn’t get any better.”
Big innocent blue eyes stared up at Chris, searching for the truth as the boy asked, “But things will get better, won’t they? They have to.”
Chris swallowed and looked around the room. They were in the guest bedroom. They’d chosen it because it was small and therefore easier to keep warm. With no gas and electricity, they had to resort to smothering themselves with as much bedding and blankets as they could find. They had so many dirty sheets on the floor that it was impossible to see the blue carpet beneath. The thick red velvet curtains were permanently drawn to combat the chill emanating from the windows, but they blocked out most of the light, making the gloomy room a breeding ground for depression. The entire wardrobe of each family member sat in the corner in one huge pile like a compost heap. When Chris drew a deep breath that reeked of mildew, he told his son what he believed to be a lie. “Yes, Michael, they will.”
“What if they don’t?”
Chris knew that Michael could see straight through him. He’d have given every drop of blood and his final breath to give his son a guarantee that things would get better. But he couldn’t. They currently existed in a world without precedent. Life was now a desperate struggle. Looking at the small, dirty boy in his arms, he had to swallow the lump rising in his throat and blink away his tears. “All I can really promise you…” he coughed to clear his throat, “…is that I will do my best to look after you. I will do everything in my power to…” Before he could finish, a loud crash exploded outside.
In the past, Chris would have rushed to the window if he’d heard such a disturbance. Now he was much more cautious because ‘get off my land’ didn’t quite cut it anymore. He pulled the curtain back slightly and peered out.
The cold breeze hit him, and he flinched. Although it was winter, they left the window slightly ajar to try and let the smell of four dirty bodies out of their living space. As a result, there was more ice on the inside of the glass than the outside.
Their home was one of six large and detached red brick houses in a gated community. The houses horseshoed around a road that was wide enough to u-turn a bus in. Even looking at it now, with the overturned bins and abandoned toys, Chris could still see Michael and Matilda playing outside with their friends. The gates were made of iron, painted black, and did an effective job of keeping people out when everyone was living under the previous, if tenuously balanced, capitalist society. Back then, a gate meant keep out and was effective at enforcing its will. Things were different now. All that was left of the old social structures were memories. New rules were being established, and to survive you had to evolve. Failure to do so invariably resulted in death. With this in mind, Chris’ plan to hide away like a scared fox in a hole didn’t seem like such a good idea. Especially now the hounds had arrived.
“What is it?” Michael asked as he stood on tiptoes to peer through a gap in the heavy curtain.
A black and battered Ford F-150 had rolled through the gates. In spite of the superficial damage, it still looked relatively new. Chris assumed the huge truck must have been taken from the forecourt no more than six months ago because the angry and pockmarked paintwork showed no signs of rust. It didn’t have licence plates, so he couldn’t be one hundred percent sure of its age, but he felt like it was a good hunch. He wondered for a moment where in London one would get such a car until he remembered the American car importer a few miles south. He assumed the driver was local.
A huge battering ram protruded from the front that looked like a steel pillar of about six feet long by four feet in diameter. It gave the truck a fierce nose that looked like it had been utilised many times. Its effectiveness was clear to see because the black gate that had once provided the family with such a strong sense of security had been cast aside like it was made out of cardboard. It now lay useless and mangled like a barely identifiable body part of someone who’d stepped on a landmine.
There were seven men in the back of the truck. They were filthy and bulked up with layers of clothes to combat the January chill. The youngest, Chris guessed, was in his mid-twenties, the oldest no older than fifty.
Chris looked at their weapons and saw steel bars with spikes, baseball bats wrapped in razor wire, long knives and swords, and even a tennis racket that looked like the edges had been sharpened to be as keen as the deadliest blade. Each weapon, without exception, looked like they could end a life with great efficiency. From looking at the fierce men with their deep frowns and blood-splattered clothes, Chris had no doubt that they already had.
He finally replied to his son in hushed tones, the fear of these men discovering them clinging to him like frostbite. “They look like looters.”
After weaving into the middle of the cul-de-sac, the truck finally came to a halt, and the men on the back vaulted off, weapons raised and ready for action. While grinding his jaw, a habit Chris was only ever aware of when a headache kicked in, he said, “We need to be very careful around these men. They’re dangerous. Very fucking dangerous.”
The childish innocence in Michael’s wide blue eyes showed how he was more shocked by his dad swearing than the fact that looters were outside their house. He then said, “What do we do, Dad?”
After a pause, Chris said, “We wait, son.”
The cab door opened and out stepped a slim man with black hair and a red face. He looked like he was in his mid to late thirties. His angry skin appeared to writhe like his body was a prison of rage—a prison where the ratio of guards to inmates was stretched so thin that chaos could erupt at any moment. The blue suit he wore had crusty patches of what Chris could only assume was dried blood. It was as stiff as wood. In his hand was a sawn-off shotgun. It was clear to see that he was the leader. Chris could only see dark shadows where his eyes should be, and the man reminded Chris of a shark.
One of the men from the back of the truck, a short and lithe, red-haired weasel of a man who had the razor sharp tennis racket, called to the leader, “Dean, which house first?”
It seemed that even this question annoyed the tetchy man, who, without saying a word, pointed the barrel of his gun at number one in the close.
Chris only remembered that Michael was watching too when he said, “That’s Tommy’s house.”
Gathering his son in his arms, Chris told his next lie. “Don’t worry, Michael, Tommy will be okay.” What else could he tell him?
The roar of another diesel engine hailed the arrival of a second Ford F-150. This one was blue and had a cage on the back that was full to bursting with enough food to feed a small army, which is exactly what they were. It was mostly packets of dried food and tins, but there was a live pig tied up and stacked like all of the other objects in the congested cage. It looked exhausted, and even if it wasn’t bound as tightly as it was, Chris thought that it would have still been as inactive. It stared ahead with its tongue lolling from its mouth like it was dying of thirst.
When the truck stopped, two more men emerged. One was a slight, dark-skinned man in a trench coat that looked like he should be on the early train to the city rather than with this collection of thieves and murderers. The driver was a huge black man who was at least six feet and four inches and was dressed in blue jeans, thick boots and a heavy sheepskin jacket. He was built like a heavyweight boxer and dressed like he was delivering a skip. He walked around the truck, his breath visible in the cold January air, and shook the cage at random points.
The leader, who seemed to respect this man more than the last one he’d spoken to, asked, “Everything okay, George?”
Chris thought he saw disdain in the hulking man’s eyes when he looked over, but it was hard to tell from this distance. He didn’t seem to share the other’s excitement for what they were about to do. His large face had soft features that suggested he had a compassion that was contrary to the hive mind.
“Everything’s fine,” he called back. “I just wanted to check that nothing’s worked its way free on the journey.” His kind eyes gazed at the pig while he stroked it, and his mouth moved as he spoke to the animal. Chris couldn’t hear what he was saying. Raising his voice, he then said, “We hit a few potholes on the way in. You know what these fucking roads are like now.” He then pulled his coat tight against himself and shivered.
Michael looked up and whispered, “They have a lot of food.”
Chris nodded. “They do, son.”
“Do you think they’ll leave us some if they come into our house?”
He put his hand on Michael’s little head and said, “I hope so.”
Wishing he’d made his son come away from the window before the third truck pulled in, Chris nearly vomited from what he saw.
Staring at a blue truck, identical to the second, Michael’s innocent face fell slack. Pulling his blonde fringe from his eyes as if un-obscuring his view would show him a different reality to the one unfolding outside, he said, “What’s that truck for, Dad?”
Like the second truck, this one also had a cage welded to the back. The cage was about the same size as the other one, but instead of being loaded with food, it was full to bursting with women. They were pressed against the bars like battery hens, and they shuffled in the cramped space like veal in crates. Deciding it was time to be more honest with his son because their survival would likely hinge on his cooperation, Chris said, “It’s for keeping women.”
“Their women?”
Finding the scene outside too upsetting, Chris looked at his son and brushed his fine hair from his wide eyes. “I don’t think so; I think they’ve stolen them and taken them as slaves. It would appear that they’re looting for women and girls as well as food.”
Although Michael only said, “Oh,” his little face looked like he was trying to comprehend the fact. “Why would they steal women?”
“Because they’re bad men.”
Sounding hopeful, Michael said, “Do you think Mum and Matilda are in there? Maybe we could steal them back?”
Another truth that Chris had chosen to withhold from his son was the whereabouts of his mother and sister, but now wasn’t the time to reveal it. Looking out of the window again, pretending to scan the dirty and broken faces in the cage on the back of the third truck, Chris said, “I can’t see them.”
“Hmmm,” Michael said thoughtfully, and then added, “Do you think they’ll leave my chocolate? I’ve been careful to make that lasts as long as possible. I’ve sucked just one square every night.”
Blinking the tears from his eyes, Chris pulled his son’s ration-emaciated body tightly to him. Like everything else in the house, Michael smelt of mould. Chris shivered as he said, “Maybe.” Clearing his throat quietly, he repeated, “Maybe. What we need to accept is that they will take whatever they want, and there are too many of them for us to argue.”
Michael said another, “Hmmm.”
Chris scanned the room again. With no television, no electricity, no gas and no physical energy because of their poor diet, the life they’d chosen beneath the bedclothes had seemed to be the most sensible option at the time. Chris didn’t see what moving would achieve, especially as the open road stank of human waste because of overflowing sewers. The life he’d chosen for them had seemed sustainable. Or rather, it had until now.
Looking again at the truck with the women, Michael said, “What do you think they do with the little boys? Will they take Tommy prisoner? Will they take me prisoner?”
Looking at the leader and his blood-encrusted suit, Chris swallowed back the bilious burn rising in his throat and tried to speak, but his face buckled out of control.
Michael, who was staring at what was happening outside with his jaw hanging limp, didn’t notice.
Drawing a thick and stuttered breath, Chris said. “I don’t think they will. I don’t think they make little boys prisoners.”
“Thank God,” Michael said with relief.
Looking away again, Chris blinked as a solitary tear ran down his cheek. He felt like a fool for not seeing this coming from a mile off because the signs had been there months before. He thought about the conversation he’d had with his boss just over a year ago.

Tuesday, 26 February 2013

7 Things to Know About Vocatives

1) A vocative refers to a person or persons to whom a sentence is addressed.

2) They could be used to call someone to get their attention. For example
John, your dinner's ready. 
Guys, it's poker time.

3) They can be used to address someone. For example:
Teacher, please tell me that one again. 
Are you sure that you want to do that, love?
Stop it, idiot. 

4) Vocatives are optional in a sentence. They can be added or removed without affecting the rest of the sentence. 

5) They can appear at the beginning, middle, or end of a sentence. In this way they convey different kinds of nuance. For example:
Mary, I'd like my boy to walk here. 
I'd like my boy, Mary, to walk here.
I'd like my boy to walk here, Mary.

6) Vocatives can be:
a) Names.
b) Family.
c) Markers of status or respect - lord, sir...
d) Labels for occupations - doctor, teacher...
e) Evaluative - darling, love, fool...
f) General labels - guys, gals, boys...
g) The pronoun you - Although this can be very impolite - You, pass me that.
h) Occasionally, certain kinds of clause - Whatever your name is, don't touch it.

7) There is normally only one vocative per sentence because there is no need to keep addressing the same person or group of people. 

Saturday, 16 February 2013

Verbs

The verb has a central role in the clause and it is rare to omit it from a clause. 

The fish (subject) eats (verb) fish food (object) by the handful (adverbial).

We can remove the adverbial: The fish eats fish food.
The object: The fish eats by the handful.
The subject, in casual style: Eats fish food by the handful. (Pointing at the tank).

But we cannot omit the verb: The fish fish food by the handful. 

However, there are such things as 'verbless' clauses, which I will look at later on. 


Verb Element

Only one verb element is allowed per clause. Sometimes that will just be one verb:

John (subject) went (verb) home (adverbial).


Or multiple verbs working together to form one meaning:

John (subject) has gone (verb) home (adverbial).


Although 'has gone' is two verbs, they work together to express one thing, so they count as one verb element. 


Intransitive Verbs

These are verbs that can be written without an object:

The builder's going. 

Some common intransitive verbs are:

appear
die
digress
fall
go
happen 
lie
matter
rise
wait


Transitive Verbs

Verbs which require an object are traditionally known as transitive verbs. Enjoying is an example:

The builder's enjoying his lunch. 

Some common transitive verbs are:

bring
carry
desire
find
get
keep
like
make
need
use


Some verbs can be used intransitively or transitively. For example:

She's expecting a reply. She's expecting. 
He worked wonders. He worked.

As you can see from the example, what often happens is that the verb changes meaning when used in these different ways. 

Friday, 15 February 2013

Echo Utterances

An echo utterance is a sentence that is used only in dialogue and confirms what a speaker has just said. 

All kinds of sentences can be echoed:

Statements

1) Will didn't like the meal.
2) He didn't what?

Questions

1) Did you just save my life?
2) Did I just save your wife?

Directives

1) Walk over there.
2) Over there?

Exclamations

1) What a beautiful dog!
2) What a beautiful dog, indeed! 

Friday, 8 February 2013

Statements

A statement is a sentence whose purpose is primarily to convey information. It usually has two criteria:

1) The clause contains a subject. 

2) The subject precedes the verb. 

These sentences are said to have a declarative structure. 


In conversation, the subject is often omitted from a declarative sentence:

Looks like snow. Told you so. Beg pardon. 


There are a very few cases where the subject follows a verb. This happens when the clause begins with words like 'hardly' and 'scarcely', which express a negative meaning. 

Hardly had he left, when the heavens opened.    

Thursday, 7 February 2013

The Seven Basic Clause Types

Most sentences can be analysed into one of only seven basic clause types

Key - S: Subject, V: Verb, O: Object, C: Complement, A: Adverbial.

1) S + V - Jason sneezed.

2) S + V + O - Jason kicked a ball.

3) S + V + C - Jason is ready.

4) S + V + A - Jason walks to Manchester.

5) S + V + O + O - Jason took money from me.

6) S + V + O + C - Jason got a shoe wet.

7) S + V + O + A - Jason put his shoe in a box.


Sometimes the clause elements are used in a different sequence. This especially happens with questions, but can also happen with statements. 

Jonah Hex / his name / is! - C + S + V


The adverbial is different to the other elements as it can be used often in a clause. For example:

Jake / leaned / on the stick / again / happily - S + V + A + A + A

Wednesday, 6 February 2013

Clause Elements

All clauses are made up of elements. 

There are five types of clause element:

This sentence has all five - John / has called / me / a fool / twice 

Subject 

This usually identifies the theme or topic of the clause. (John)

Verb 

This has a wide range of meanings, such as actions, sensations, or states of being. (has called).

Object  

Who or what is directly affected by the action. (me)  

Complement  

These add information to another clause element. (a fool) - Which adds to the meaning of (me)

Adverbial 

These usually add information to a situation, such as the time or frequency of an action. (twice)


In 90% of clauses containing a subject, verb, and object, the subject precedes the verb, and the verb precedes the object.

A clause element doesn't mean it is only one word. Here are some examples:

I / planted / a flower - Subject / Verb / Object.
All the kids / have eaten / chocolate - Subject / Verb / Object.

Monday, 4 February 2013

Defining a Sentence

Defining a sentence can be a hard thing to do.


Sometimes people say it is 'A complete expression of a single thought', but this can be too vague.


There are sentences that express a single thought but are not complete:

- Nice one, Fred! 
- Horrible Night! 
- Taxi! 

Some sentences are complete and express more than one thought:

- Because it's Sunday, James wants to walk in the park, play on the swings, eat ice cream, and fish in the river.


The formal approach to english grammar looks at the way sentences are constructed - The pattern of the words they contain.

Three things apply to any English sentence:

- It is constructed according to a system of rules known by all the adult mother-tongue speakers of the language. A sentence formed in this way is said to be grammatical. 

- It can stand on its own without feeling incomplete.

- It is the largest construction to which the rules of grammar apply.   

Saturday, 2 February 2013

When to Use a Dash

A dash is a mark of separation. It is stronger than a comma, less formal than a colon, and more relaxed than a parenthesis. 

When he looked at the drink-that was bubbling and churning-he wondered if he should drink it at all.

The parrot made a noise-a wheezing, choking, exasperated cough. 

The bald spot that caught the sun, the hunch in his shoulders, the limp in his walk-all the signs of old age catching up with him. 


Only use a dash when a more common mark of punctuation seems inadequate. 


Friday, 1 February 2013

Using Colons

A colon should be used after an independent clause to introduce a list of particulars, an appositive, an amplification, or an illustrative quotation. 

A colon tells the reader that what follows is closely related to the preceding clause. It has more effect than the comma, less power to separate than the semicolon, and it is more formal than the dash. For example:

A keen footballer requires three props: boots, a ball, and his favourite team's shirt. 


If the second independent clause interprets or amplifies the first, then a colon should be used to join them.  


A colon can be used to introduce a quotation that supports or contributes to the preceding clause. For example:

When I dwell on the past, it helps me to think of Oasis singing: "Don't look back in anger."


A colon can also be used to:
1) Follow the salutation of a formal letter. Dear Mr. Robertson:
2) To separate the hours and minutes in time. 11:22
3) To separate the title of a work from the subtitle. Super Noodles: A guide to terrible meals.
4) To separate a bible chapter from the verse. Genesis 10:14

Thursday, 31 January 2013

Do Not Break Sentences in Two

Try to avoid inserting a period where a comma is needed. For example:

I met him on the train six months ago. Coming from Manchester to London. 
She was an great speaker. A woman who had hunted with Lions and lived with Chimpanzees. 

In both of these examples, the period should be replaced with a comma. 


Sometimes, if dramatic effect is needed, inserting a period can work. For example:

He stood in the darkness screaming her name. No reply.


This needs to be executed well, otherwise it comes across as an error. The place for broken sentences is generally in dialogue, when a character seems to speak in a particularly clipped way. 

Wednesday, 30 January 2013

The Use of Semicolons

A semicolon should be used when writing two independent clauses as one sentence. For example:

Stephen King's books are horrific; they are so well written. 
It is nearly half past five; we cannot reach town before dark.


These sentences can also be written as two separate sentences:

Stephen King's books are horrific. They are so well written.
It is nearly half past five. We cannot reach town before dark. 


If a conjunction is inserted, then the proper mark is a comma:

Stephen King's books are horrific, for they are so well written. 
It is nearly half past five, and we cannot reach town before dark.

Tuesday, 29 January 2013

Parenthetic Expressions

A parenthetic expression is an expression that could be placed in parentheses. When using these expressions, a comma should be used.

It is great, when it's windy, to fly a kite up here. 
On a tuesday, when they cook fish, I love the smell.


A name or title when addressing someone directly is parenthetic.

Oh my, Jane, how did you get that?
If you go out looking like that, My Lady, I can't be held responsible. 



Monday, 28 January 2013

Comma Placement

When there are three or more terms in a single conjunction, use a comma after each term except the last. For example:

pears, oranges, and apples

blue, purple, and gold


The only time when this rule isn't followed, is when companies choose to omit it themselves. For example:

Wiseman, Wiseman and Wiseman
Jones, Brown and Deloitte

In this case, see how the company has chosen to write it and follow their lead. 



Saturday, 26 January 2013

Authonomy - A Great Resource for Writers

Authonomy is a website run by HarperCollins - http://authonomy.com - You can upload part, or all of your novel on here. You have to upload at least ten thousand words to make your work 'go live'. Once it's live, it is available for everyone to see and comment on. 

A new book will start at the bottom of the rankings and will climb depending on how many users back it, comment on it, and rate it. If, by the end of the month, your book has made it into the top five, HarperCollins promise to read the first ten thousand words and offer a critque, and possibly, publication. A free professional review!

To get into the top five takes a lot of hard work. Some users try the approach of messaging everyone to ask for backing. This method, surprisingly, does see them climb up the table, but it seems that to get into the top five, you have to offer to review the work of others to get the same in return.   

However, while a HarperCollins review is nothing to be sniffed at, there is a huge amount of value in joining a reading group on this site. There are plenty of active users on the forums that are more than happy to critque your work for the same in return. As a writer, this is what I want. I would hate to get to the editor's desk before my work's ready, and the community are helping me improve my work every day. To have a place where I can get honest and constructive criticism for free is amazing. All of the people I have met so far have been wonderful, and very kind with their criticism, while offering something useful for me to work with. My book is so much better for it.  

Again, there are people who seem to want to progress up the charts and will praise your work to receive the same in return, but if you find a good group, you will meet a great collection of people that will help you improve as a writer. Here is my novella - http://authonomy.com/books/49125/back-to-basics/ - and here is a link to the group that I am a member of - http://authonomy.com/forums/threads/105135/cool-writers-only-group-cwog-/

I hope to see you on the site. 

Thursday, 20 December 2012


Putting a Lemming on it


Whenever Im asked where my writing ideas come from, I often say that I dont know. This response tends to be unsatisfactory, so the only thing I can offer is that I put a lemming on it.

My girlfriend introduced me to this phrase. Whenever she has to do something that involves brainpower, but doesnt need doing immediately, she puts a lemming on it. The phrase is based on the once massively popular computer game where you have to prevent lemmings from stepping off the edges of cliffs or walking into sharp objects. She imagines one of the little fellows taking her thoughts and disappearing off into her subconscious mind. Then when she needs the information, its waiting for her, gathered and collated by a rather industrious lemming.

So, when someone now asks me where my ideas come from, I imagine an army of lemmings wondering around in my head, bumping into one another and occasionally falling into the abyss. When theyre done, they present me with a fully formed story. When I tell people that I put a lemming on it, Im not sure that the answer is any more satisfactory than I dont know, but it tends to stop any more questions.

Monday, 17 December 2012

15 Things to Think About When Editing

Because I find it so easy to get lost in my writing, especially when I'm editing it for the seventeenth time and the meaning of the words don't even make sense any more (time to put it to one side I think), I like to use a checklist of the fifteen things that can often escape my attention. It offers me a modicum of objectivity about my work when I need it most.  

My checklist changes as I get more comfortable with each point on the list. However, as of today, this is my list: 


Writing Checklist

1) Are the five senses included in the descriptions?
Touch:
            Sight:
            Smell:
            Taste:
            Sound:
2) Am I showing the reader the story rather than telling them it?
3) Character development - How has the character been changed by the story?
4) Is there enough description of both the physical environment and the characters?
5) Unique character traits - What traits are unique to each character and how do I show this in their behaviour / speech?
6) Is there enough conflict? Is the main character being challenged enough?
7) Are there enough moments in the story? (Character interaction and events).
8) Is it too verbose? Only leave what's necessary.
9) Avoid passive voice where possible.
10) Keep the tense consistent.
11) Keep POV character consistent - If it changes, make sure it's signposted.
12) Is the back story necessary, and if so, only do as much as is needed.
13) Does the theme need to be stronger? Do I need more symbolism?
14) Is the main character being challenged?
15) Am I clearly showing my character's motivation? What do they want?


I have pieced this list together from all of the information I have read or heard about writing. This list is very specific to me, so I'm sure that some of the points on here happen naturally for many writers, but i like to remind myself of these in particular. 

I try to keep the list to no more than fifteen items because otherwise it can be too overwhelming and it loses it's effectiveness. Fifteen works for me.


Sunday, 9 December 2012


The Benefits of Writing Every Day

If there's one piece of advice that I've heard from professional writers, it's 'write every day'. Even if it's just a small amount, the practice of flexing your writing muscles each and every day is much more beneficial than writing for a big chunk once a week. As an aspiring professional author, I have lived by this piece of advice, sometimes to the detriment of every other aspect of my life.

So, with my girlfriend's birthday recently, we decided to spend a night in a hotel and I accepted that I would miss a day of writing as a result of the night out. I've been feeling quite burned out lately, so the chance to take a day off wasn't a bad thing. 

What I discovered however, was that because of my writing discipline, my brain didn't want to shut down for a day. This worked out really well, because instead of having something pre-planned to work on, my brain simply wandered wherever it chose to. As a result I felt super excited and refreshed to get back to my writing the next day and have plenty of new ideas for more writing. I have always understood that rest periods are really important, but I forget sometimes. It was nice to get that reminder.  

I suppose it's about learning when to take time off and how much, which is an individual choice. What I will say for the practice of writing every day is that my brain expects to write each morning much like my stomach expects breakfast, and it often seems like it's ready and waiting for me. The practise of writing every day seems like it's paying off. 

“You must write every single day of your life... You must lurk in libraries and climb the stacks like ladders to sniff books like perfumes and wear books like hats upon your crazy heads... may you be in love every day for the next 20,000 days. And out of that love, remake a world.” Ray Bradbury