My Day at The Writing Conference - Part 2...

Happy Easter to you all.

It's been a very busy week, which is why this post wasn't done on Thursday when it should have been.

It's hard to believe that a week has gone by since I attended the Conference.

So to part 2, the very interesting sessions after lunch...

I went along to The Nuts and Bolts of Earning a Living as a Writer. This was an intense session. It was chaired by Anne Caldwell who is the Deputy Director of the National Association of Writers in Education (NAWE), and alongside her was Maureen Duffy, Tim Leech and Emteaz Hussain.

They all shared their experiences- both good and bad of making a living as a writer, and very few of the audience were surprised at the statement that it was more difficult nowadays.

A couple phrases that really struck home were Ann Caldwell's "cast-iron railings around writing time", and Tim Leech who said you need to " structure life around writing, not writing around life." That latter phrase definitely struck home for me.

There was a brief section on the value of organisations like ALCS, the Society of Authors and The Writers Guild- the latter had a representative there who spoke for a few minutes on what they do.

Making a living as a writer can't be done half-heartedly, the writer needs to be pro-active...

After that 45 minutes the next session- in the same room - was The Publishing Process: Why is Having an Agent Important?

This was another well-attended session, with a brilliant panel. Most writers will have heard of Carole Blake of the Blake Friedmann Literary Agency (she was wearing purple shoes which looked very comfortable).

 Younger literary agent, Ben Clark from Lucas Alexander Whitely, who was actually looking to take on writers in science-fiction, fantasy, and as he described it, "anything geeky". I'm sure he would probably have received manuscripts this past week!

They were joined by Editor Jane Commane of Nine Arches Press, and the Chair was the very amusing and engaging author, Alison McQueen.

Carol Blake suggested that the writer should choose their agent with the same care they'd use in choosing a partner, which is a good suggestion as hopefully, the writer and agent will be together a long time. As she mentioned one book is no use, you need a career future...

There was advice for what to do: research the agent, look at their profiles, websites, social media, what they're acquiring; the do not's were the standard: sending something they don't deal with, hand written manuscripts, or use social media to ask about sending submissions and so on.

A well set out, good synopsis (not a blurb) was important- including the ending. She explained that her process was reading the chapters first and if they didn't make an impact she didn't read the synopsis. There was no point having a brilliant synopsis if the chapters weren't good. But other agents might do something different.

As the session progressed with the other members of the panel,  it became clear that the writer should not be afraid to ask questions of a potential agent, and if the writer had a choice of agents, then there was nothing wrong in comparing what they were offering, and accepting the best one for them, but obviously mentioning that other agents were being seen...

Approaching younger agents seemed to be a good route. Many will have broken away from an agency after many years, and will actively be looking to take on clients - there are more opportunities available than an agent who has been in the business for many years, and already has a lot of clients.

Someone asked about agents not being AAA listed (Association of Authors' Agents) and it was explained that newer agents couldn't join until they had been carrying out the job for a couple of years, so the fact an agent wasn't a member of the AAA wouldn't necessarily be an issue, but it was a good thing to have because they had a code of practice to abide by as a member.

The session would have gone on longer if it wasn't that the final part of the conference was due. I think everyone went away from the session much enlightened.

There was a fun ending to the day when poet in residence, Joel Stickley read the poem he'd created from the comments attendees had pinned to a board, 'things you shouldn't say', and a few other starting points; while cartoonist 'Brick' produced a caricature of what writers looked like- a woman at the keyboard with a dream bubble above her head showing her as a success.

There were lots of photos taken during the day and you can see a few of the panel speakers on the Writing East Midlands, Twitter account, here.

It was reassuring that I already knew quite a few of the things that were mentioned during the day, but there were items I'd not thought about before, or something that made me think in another way.

Between sessions and during breaks there was the constant bubble of conversation, and amidst that there would be others sat reading, engrossed in a book and oblivious to the noise around them.

In the sessions the conversations continued until the sessions started and the noise level quickly dropped to murmurs and then respectful silence.

No one wanted to miss a single word, and it was worth it...

It's Conference Saturday Soon...

This Saturday I'm off to The Writers' Conference in Nottingham. It's been held annually for quite a few years now, but this will be the first time I've attended. I leave the men of the family at home too.

The East Midlands has a strong writing community, so events like this conference are well attended and book up early.

As with other literary events there are one-to-ones - I'm not ready for that stage just yet. And the two workshops taking place booked up very quickly, and I missed out on the one I would have been interested in.

There are lots of informative panels too, so I'm going to be kept occupied...

The keynote speakers are Maureen Duffy and Kerry Young. While the Chair of the Conference is Stephen Booth, the successful crime fiction author of the Cooper and Fry series.

There are three panels running in each 45 minute slot, and it's a case of being there in good time to ensure you get in to the one you want.

Unfortunately it looks like there might be some disappointed writers for the seminar on the Importance of the Synopsis, as this does have a more limited capacity apparently - so fingers crossed.

There are other events and services running throughout the day. I won't be using the Poetry Surgery, but if I'm at a loose end I'll pop into the Blogging Booth.

I suspect the panel, 'Why is Having an Agent Important?' will be another popular event.

This year's conference is sold out, so make sure you're on the mailing list for notification next year if you're interested.

I'll tell you how the day went in my next post on Sunday...

Books

Sick Leave...

Having thought I'd managed to get through winter without any major health problems, the last bugs of winter have struck.

The nasty cold bugs that have been going round my family- and quite a few friends too- has finally overcome my defences, and I'm coughing and spluttering a lot- day and night; consequently my breathing is not as good as is desirable. So it's going to be a trip to the GP surgery to sort out my asthma...

Oh, and rearrange my dental appointments too. :(

So I'm sure you'll understand my brain is a bit hazy at the moment. But I do want to leave you with something to read about.

Last week a YouGov survey announced that 60% thought being an author was the most desirable job to have in Britain...

This announcement resulted in newspaper articles, that in turn got bloggers blogging.

Chas Newkey-Burden in the Telegraph books section gave '14 reasons why you shouldn't dream of being a full-time author', and while his reasons were all valid, most writers cannot afford to become full-time authors as they need their daytime job to pay the bills and eat- and if you're female there's often your family to factor into it all.

Tim Lott in the Guardian books section added his opinion too, including an obvious plug for his current writing related work with the newspaper.

These inspired Sally Quilford to write her response, '14 reasons I wouldn't want to be anything but an author'.

And another brilliant piece from Jane Lovering's 'From Behind the Keyboard'.

It's quite possible that within that 60% there were people who want to be authors, but haven't yet taken that first step on the very long and bumpy road; but sadly, I suspect many think that it is easy to write a book and be a JK Rowling, a Dan Brown or EL James, sell millions of books, make millions and get films made of your work, because the media makes so much of the breakthroughs.

If you want to write, you will do it, however long it may take you, and however much you need to learn.

We'll continue to write because we have to. Because we love doing what we do.

And honestly, you would not want to eavesdrop on my subconscious at any time- it would give you a severe headache. :)

Virtual Romance Festival Back...

Just seen the news that the HarperCollins Virtual Romance Festival is returning for a second year- save the weekend dates of the 7th and 8th February in your diary.

I've just registered for the event- it's free.

As last year, one day will be aimed at writers, and the other for readers.

Again events will take place on Facebook, Twitter, the Festival's Wordpress site, and Google Hangouts.

Last year the Wordpress site got temporarily shut down, so hopefully that won't happen this time, as it kept everyone up to the moment on who was where...

Most of the 2014 writers day I spent on Facebook; as there was a different person/subject every hour, and I found it very useful. Lots of writers asking questions and sharing their experiences and thoughts.

And experts generously sharing their expertise and answering the barrage of questions.

Twitter was a bit too fast paced for me to keep up with that as well, but I was able to access many of the other events I missed from the links in the emails sent, and the Wordpress site when it was back up and running.

This announcement on the Bookseller website will give you some general information, and includes the link to the Eventbrite page to register.

Bookseller article with Eventbrite link, here.

If you're on Facebook you can like their RomanceFestival page.

So often it can be difficult for writers to get to Festivals and Conferences in person, so this virtual event is a fantastic opportunity to take part without leaving home.

If you missed last year's festival in June, then here's my blog post from last year sharing my experience of the writers day.

If you go, enjoy every busy minute. :-)

Author Earnings Make the News...

As the headline results of the latest author income survey (done for the ALCS) has shown what we all suspected- writers are not earning as much money as they were during the first decade of the new century.

You'll find details and a few initial income breakdowns on the articles in the Guardian, and on the online version of The Bookseller.

The full details of the research will not be available until the autumn, and I'm sure there will be quite a few interesting facts revealed when various elements are looked at in more detail.

As you'll see from the pictorial charts in the Guardian article, only 11.5 % earn their income from full-time writing; this is a big drop from the 40% who did so in 2005.

Now we need to bear in mind that statistics can be read in a number of ways. Some of those who contributed to the stats in 2005 may no longer be alive, nor actively writing for any number of reasons, but I'm sure we've all heard of writers who have been getting smaller advances, or none at all, which can make a big dent in your finances, and could mean the difference between writing full-time, or having to go to part-time.

There was a good piece of news within the statistics. 69% said their contracts allowed them to retain their copyright all or most of the time. But that could mean 31% don't have that option.

So putting all writers together:  full-time, part-time and occasional, the typical income was £4,000. The median income for professional writers was £11,000. According to the Joseph Rowntree Foundation a single person needs to earn £16,850 before tax to achieve a "minimum acceptable standard of living", so it shows how poorly paid most writers are- little wonder the number writing full time has dropped...

The figures also show that a quarter of the 2,454 writers who filled in the survey, self published, and 86% of that quarter, would do it again.

Some critics claim that self-publishing has contributed to the downturn in incomes, but personally I don't believe that is a valid reason. It has enabled a lot of good writers to get their work out to readers and give them what they want, not just what the publishers decide readers can choose from.

Big name publishers want instant best-sellers (profits), so they pay big advances to celebrities who already have a following who will buy the book at whatever price- that's the readers choice.

Meanwhile the ordinary writer has to do all that work, publicise their book- get out and sell it to the reading public who may never have heard of them before, and write the next book too.

Too many magazines and newspapers want a writers' hard work for nothing, some will pay, but take all your rights for it. Others understand that without their writers they wouldn't have a product to sell and pay a reasonable amount.

Writers write because they have to; yes, they can give up, but it won't be for long.

Sadly unless there's a change in attitude toward fair remuneration of writers- and the important role they play in commerce and society- the world is going to become a much poorer place...

Billions contributed to the UK by
creatives, including writers

• Did you know that "the creative industries are now worth £71.4 billion per year" to the economy in the UK? 

Every writer is a part of those billions... 

Image from PinkBlue at www.freedigitalphotos.net

Asking Questions and Learning...

Asking questions and learning from the answers is fairly standard for writers at any level, but imagine that 10-20, 100 times over...

That was yesterday at the first day of the virtual Romance Festival (today-Sunday- concentrates on readers).

Everything kicked off at 2pm, and having checked out the programme first thing that morning, I'd decided to concentrate on the Facebook page- though I did pop in to have a quick look at the Twitter side #Romance14.

(At the time of writing this post, their blog has technical issues, so once it's back up and running you'll be able to access all the author Q&A blog posts at: romancefestival.wordpress.com so check it out later.)

Having the ability to ask questions of the guests, and at the same time discuss the subjects with fellow writers was good, as not all of those joining in were in the UK, so you got a different view. Add to that the guests were only there for 1 hour, you'll understand how active the page was- I had to refresh the page a few times to ensure I didn't miss anything.

The Facebook page started out with two novelists ( Anoushka Knight and Fionnuala Kearney) talking about their journey to publication.

3pm's book cover session was popular. This was with Mark Ecob, a cover designer, and there were discussion on fitting covers to genre,  typefaces that work, motifs and images, among the discussions.

All too soon it was over and another popular guest was introduced, agent Madeline Milburn. We all received answers to our questions, and there were useful tips on covering letters, and that she wanted to see a strong voice, and strong characters that hooked her into the story...

Probably the most valuable advice given was to research the agency's as much as possible, as she said there is a lot of information available on the web, especially with agent interviews and talks.

I liked the fact that she said she didn't represent specific genres, that she represented the author...

Moving on it was the turn of Mark Lefebvre from Kobo; he talked about Kobo Writing Life (the equivalent of Amazon's KDP) and you'll find links in some of his answers.

As you probably guessed Romance is one of their highest selling genres. I think we all wanted to know how others ranked. Well Erotica - "More Active Romance". :) was followed by Thriller/Mystery, then Fantasy and next, Sci-fi.

It was certainly an information filled session, so do have a look at it if you want to find out more.

The last couple of hours featured Harper Impulse authors chatting about 'What I've Learned In My First Year Of Being Published' and then author and journalist Tess Stimson who was talking about writing as a career.

I did pop over to Twitter to catch a few of agent Carole Blake's answers to questions, but by this time my head was buzzing and I needed food (amazing how using mental energy can make you hungry) so signed out.

Events like this enable writers and industry professionals to get-together without having to leave their desk (sofa, sun lounger or wherever they're accessing the web) and it benefits us all.

As great as it is to go to conferences and talks, it isn't always possible, or affordable when you add on transport and accommodation costs, so virtual events like this are fantastic.

Hope we can look forward to another weekend next year...

If you want to find out about today's programme, then look here.

Part 1- Friday in Bath...

After a slight delay on my train from Cheltenham Spa to Bath, I arrived mid-afternoon, but was at my hotel in Henrietta Street a little over 5 minutes later by taxi.

Bedtime Reading Available

I immediately recognised street names from Georgette Heyer and Jane Austen's books; Laura Place and Great Pultney Street...Tall many storied houses lined each side of the road in uniform precision, but gently curving into the distance.

Fountain in the Middle of the Road at Laura Place...

My visit coincided with the UK-wide Museums at Night festival, so I had plenty of options for entertainment that evening.

I chose the talk by writer Lindsey Davis  in The Pump Room (her books have been about a Roman Detective- Falco. The first book, 'The Silver Pigs' has been on BBC radio many times).

The audience, of about 40, learnt about Lindsey's early career in the civil service, her first novel attempt- a civil war romance-that didn't win the Georgette Heyer historical novel competition, but did get sold to Woman's Realm (a magazine no longer in existence).

We were read an extract from her new Albia book, and heard about her stand-alone on the Emperor Domitian, that was written between the Falco and Albia series.

At the Q&A,  I asked Lindsey if she plotted or wrote as she went along? (She'd already said she kept firm control of her characters.) Her reply surprised me a little- "If I plotted I would never get a book written."

The entry charge to the talk also allowed me to go around the Roman Baths museum afterwards- they were staying open later than usual.

The King's Bath viewed from The Pump Room

I knew I wasn't going to have time to do a proper tour, so I wandered through the first part of the exhibition fairly quickly, having been told the museum was shutting at 9; but as it was so busy it remained open for longer. There was a large party of Brownies attending...

There was music everywhere, inside the museum a man playing a lyre type instrument- a mini harp almost, and a little further on from him, a group with a device that had a simple keyboard, small hand pumped bellows, creating notes by metal tubes in water...I can't play a note but got a reasonable sound out of it!

The rooms off the main pool showed the structure and design of the steam room, warm room and so on; and there were projected images on the wall of semi-naked men in the cold water pool area.

Looking down from the walkway

Outside, around the big pool - that you see in photos- there was a small bar, and a trio (singer, double bass and guitar) providing entertainment- they were very good; while people sat on benches in alcoves, or at the edge of the pool, enjoying the warm evening air, and the torches burned brighter as the evening sky dimmed.

Usually visitors only get to experience the pool in the evening in June and July, so it was a fantastic bonus.
It really wasn't difficult to imagine the Romans of the past lounging around the pool...

As night draws in

My next posts: 3 Museums on Saturday...

TV and Film Adaptations of Novels- How Far Should They Stray?

Normality has just about returned to my writing schedule and I'm now on the last chapter of Draft 1.

I know a few writers who use well known actors and actresses as templates for what their fictional characters look like.

Sometimes an actor in a TV role will have the 'look' I envisage one of my characters as having.

And I'm sure we've all had moments when we've thought, who would we choose to play our characters if a film or TV adaptation was made of our book...?

But we all know the reality.

If the option has been bought, yes it means money for the author, but no guarantee it will ever reach the screen. And for the majority of those few that do, the writer has to accept that their characters and storyline may not fit exactly what is wanted, so will be changed.

We're realistic enough to understand that a lot of the story in a novel will have to go to slot it into a 90 minute film, or a short series. Perhaps characters have to be amalgamated into one to continue to fulfil their roles; or a character who didn't appear in the book is put in to take on those (combined) original parts.

Over the Christmas holidays Clark Gable and Vivien Leigh could be seen in Gone With The Wind. The film is over 3 hours long and doesn't stray too far from the book, even though the script went through various versions to get it to length.

The 2014 TV season is bringing versions of Daphne Du Maurier's 'Jamaica Inn', 'Jonathan Strange and Mr Norrell ' by Susana Clarke, and 'The Musketeers', from Alexander Dumas's 'The Three Musketeers'.

How far they stray from the original text to accommodate the needs of a television production, will be interesting to see.

Meanwhile there was an item in the Bookseller about the ending being changed for the film version of Gillian Flynn's 'Gone Girl'.

This film adaptations has been written by the author, who has apparently admitted writing a new final scene, a scene that was not in the book.

There is a spoiler in the original article from Variety magazine. So don't click on the link, if you want to wait to find out about the new ending. The film comes out in October this year.

So, do you think it is better to read the book first, then see the TV/film adaptation? Or the reverse, watching the adaptations then discovering how different the original story actually is?

Fun and Learning at The Festival of Romance...

I finally have time to share a few snippets from my visit to Bedford last weekend for The Festival of Romance.

I had to write a piece about my trip to the festival for the Nottingham Writers' Club magazine, with the deadline of yesterday (Thursday).

I also ended up writing a couple of other items for inclusion in the forthcoming issue, in between appointments.

Next time I go, I will keep the week following, clear...

So what did I learn?

So much. From being able to talk to other writers, listen to them reading their work aloud, and on the Sunday from the editors of the various romance publishers talking about what they're doing currently, to what they're looking for in submissions - and encouragement to submit.

There were one to ones available, but I wasn't ready for that this year, so didn't put in a request when the opportunity was offered a few weeks prior to the festival.

After an evening of readings, from authors in historical dress, set against a background of drawings and paintings by the pre-Raphaelite artists in the art gallery on the Friday night, I was glad of a good night's sleep before Saturday's events.

There was the Romance Fair where you could buy a wide selection of books by various authors attending the festival. I moved onto the Coffee and Cake to listen to more authors reading excerpts from their novels.

I did the 3 hour workshop in the library run by Sue Moorcroft and Christina Courtney on 'Irresistible Heroes'. I learnt a bit more about one of my heroes in waiting, Hugo, during the practical sessions.

And following that the talk, How to Stand Out, Get Published and Stay Published, given by author Miranda Dickinson and her HarperCollins editor, Sammia Rafique. Miranda described her journey to publication, while Sammia explained her role in the author’s books. 
There was a very useful question and answer session. I wanted to know the current length they required, and for their books it’s at least 90,000 up to 120,000. (Other publishers have their own specifications.)

I can actually be seen at the Ball (on Table 4 in purple and glasses) in the video of the after dinner entertainment- I'm in the background for a while; amazing I was still wide awake as that was at 11pm and I'd been up since 7am that morning...

http://vimeo.com/icundell/professorelemental

Sunday was conference day, with an early start of 9.30am.

Spread throughout the day there were author led panels, including one on building an author platform.

The presence of editors from the main romance publishers was keenly anticipated.

Mills and Boon covered the 5 UK acquired series they deal with: Modern/Presents, Cherish, Historical, and Medical. Guidelines can be found on their website.

I've read their historical novels on and off over the years, and they have changed a lot in that time- length has increased too, they're now at 70,000.

Piatkus Entice is a digital first imprint at Piatkus Fiction.

The important message that came over was that stories needed to be a commercial proposition. And like all the other publishers they wanted 'voices' - fresh, engaging and consistent.

Carina UK - this is an imprint of Harlequin UK. They are a digital first publisher, with their first print title due out early 2014. They talked about their interest in trans-media projects, a different method of reaching readers...

And the good news is that they don't just publish romance. They're seeking, women's fiction, new adult, contemporary young adult, and erotica. And if you happen to have a WW1 romance ( considering next year's anniversary of 100 years since the outbreak of war) it could find a home.

Mira publish Women's Fiction and Crime, aimed at the older reader. Heroines 40+, well written, a hook, and commercial were important words, and they will accept unagented submissions.

Harper Impulse, another digital first publisher. Again like other digital first publishers length is not an issue. You could send a 1,000 word short story that could be read on a phone. They like to get a full manuscript, covering letter and short synopsis.

Generally: They all had a presence on Twitter. Many of the editors can be followed on Twitter; and writers having a social media presence was very useful.

Just as with any publisher, they want good stories, and fresh voices, stories that will sell.

But again and again the editors kept saying submit it! Don't worry if it's not perfect, or you're not sure it's quite right for them, just submit it.

There was so much useful information, that it was hard to take it all in. That's why I made good use of my notebook.

I learnt a lot, and have started putting into action the elements that I was missing- in social media.

But most reassuring was that my writing seems to be going in the right direction...

Do You Ever Look At Early Writing and Think ?!!!

More e-books were read over the weekend...

It actually got me thinking whether it is good or bad for authors (who have been published for a long time) to re-release their backlists as e-books.

Obviously they have their older published titles from pre-digital days, which are sitting there not earning them any money, so they will have the freedom to re-issue them as e-books now, and I can see why they would do it- writers need to eat and pay bills too.

We probably all have favourite authors, so when their latest book is released we're likely to buy it fairly quickly- we know we can be guaranteed a satisfying read.

But will that always apply to back-list books written much earlier in a writing career?

Or will we be slightly disappointed because they aren't what we've come to expect from our favourite author?

And of course the style of the time may no longer work now, or elements of the story be as morally, or socially acceptable ...

The heroes of 1980's historical romances were out and out Alpha males, and seduction with a little force thrown in was part of the character... Easy to see why the horrible term 'bodice rippers' became associated with historical romances.

I gave up on reading one download at the weekend because I was mentally red-penning it as I was reading, and if I'm doing that in the first chapter then I'm never going to finish the story...

Now I'm going to try and remember that it was written in an earlier stage, and it can actually be interesting to notice subtle changes as the story develops.

I know that looking back at my writing- even from five years ago I would write very differently now, so it's likely that published writers continue to develop their writing style too...

The advantages of old books being re-released?

Stories you always wanted to read, but couldn't because the book was out of print and you couldn't find a second-hand copy- I may just find that elusive third book that makes up a trilogy I enjoyed, but couldn't finish because no one had the one I needed anymore...

Lots more stories to enjoy...

And when it comes to the basics, enjoying the read is important...

Any thoughts on the subject? Then do leave a comment, I'd like to hear your views...

Sock Puppetry - It's Bad...

I doubt there are many writers who haven't seen the news about fake reviews posted by authors to praise their latest book. Or others buying bulk reviews.

But the admission by crime writer RJ Ellory that he'd been posting fake reviews for his books, and making adverse comments on reviews of novels by fellow writers is unacceptable.

I don't think any of us are naive enough to believe that fake reviews don't exist. You only need to look at Amazon and after a while you can pick out the dubious reviews because they sound wrong.

Yes, your book might be brilliant, but there will still be readers who don't like it and will say so.

I try to be realistic about the business. But I can't help but be irritated that a writer, who has been fortunate enough to be taken on and published by a mainstream publisher, with the publicity advantages that brings, feels the need to big up their books by fake reviews.

If he had stopped at fake reviews, I could have understood; but to make adverse comments about fellow writers books is beyond the pale. Especially when there are enough readers around to say completely the opposite.

He's apologised and admitted that he's in the wrong straight away. (Always a good idea to admit you've made a mistake when it becomes open knowledge.)

Sadly there will be long term consequences on his reputation as a writer, and as a colleague of numerous other crime writers- what will be their attitude toward him next time they meet?

(See this piece on the Bookseller website.)

And the reading public? Will they now think they can't trust anyone's reviews, and will other writers suffer a drop in sales? (Especially those who have self-published and rely on good reviews and word of mouth recommendations.)

When I leave a review on Amazon, I have read the book, and if I've liked it, I'll say so-if I haven't I'll say why. Even if the book is by a friend, I won't give it a great review just because they are a friend.

Okay, I've not got a novel out vying for sales against numerous other competitors within my genre. But if I did, I wouldn't resort to buying reviews, or creating identities to review my own book. It's unethical and dishonest.

My work has to stand on it's own two feet and take the knocks that may come to it.

A writer once said at a talk I attended, if you can't take criticism then don't go into publishing.

It's a tough business...

Waterstones, Pocket Novels and Other News...

It's been a strange week, with the Olympics almost taking over the news, but don't worry writing news hasn't been forgotten.

So here's a round up of what's been happening.

There's been the sad news about the passing of two well known writers: Maeve Binchy and Gore Vidal. While I have to admit to never having read either author, I remember snippets of one of Maeve Binchy's stories on the radio, her words conjuring up the Dublin of her youth and the attitudes of society.

*    *    *

The My Weekly Pocket Novels are undergoing another change. Anyone buying copies recently will have noticed the more modern covers which are certainly more appealing to a potential reader.

This week Womag and Sally Quilford have been sent the new information on the major changes taking place.

Basically there's a name change to Easy Read, with 2 Romance genres: Caress and Liaison; and 2 Crime genres labelled Intrigue and Suspense.

You can read the explanations for each category over at Sally's blog- just download the flyer at the link on the page.

If you're unsure about some of the requirements Sally has a follow up post here, Maggie Seed has clarified a few aspects of the changes.

Like every magazine editor there comes a point when you have to modernise to reach a younger market but hopefully not change too much and lose your regular buyers.

They seem to be going for a Mills and Boon effect cover with elements of 50 Shades starkness. But I like the covers shown on the flyer, so it will be interesting to see w they look on the shelf.

(Meanwhile People's Friend isn't changing- see here.)

*    *    *

For those who have books to promote and have been fortunate enough to arrange book signings in Waterstones stores, you might like to follow this Bookseller report up.

"Waterstones has issued new advice to its bookstores on running author events, after concern that customers were being put off by writers handselling their own books, and that signings were lasting too long. One author was told that going forward author events should last no longer than 90 minutes, and be staffed by booksellers." (the bookseller.com)

Now I'd assume individual store managers will decide what happens, but one blogger reports cancellations of book signings already (link within the Bookseller article).

There's not enough staff in stores now, so I can't see branches wanting to provide an assistant for authors selling their books.

Authors with first books to promote don't naturally know best practise, or signing protocol. So perhaps Waterstones would be better having a standard sheet of what they do and don't expect of authors doing signings.

Waterstones need book buyers to keep them on the high street, that's a fact of life.

Yes, Waterstones is a business so it's understandable that they have concerns, and want people to buy books from them.

But you have to give people a reason to step inside the bookshop in the first place, and author signings do that.

If a 'handselling' author has promoted their book signing well then people may just go along, and once they're in the bookstore you might just find them buying other books from the shelves and display tables, or even deciding to come back again later.

It will be interesting to see what happens.

E-book Piracy and DRM (Digital Rights Management)

Writers are very aware of piracy.

We've seen what happened with the music industry and we want the publishing system to avoid the same thing occuring with e-books.

But the issue that divides many writers and readers is DRM- digital rights management.

Who hasn't borrowed a book from a friend, because they've suggested you'll like it?

With DRM on an e-book you can't do that, the system prevents you from loaning that e-book to your friend or friends. It also means you can't usually read it on any other device capable of reading the e-book- as you have actually bought it for your preferred reading system...

You can understand why the big six publishers chose to go with DRM. They are a business and you don't grow your business by neglecting the fine detail and allowing someone to steal from you.

In other words the publisher doesn't want to put a book out that can be ripped off within hours of it being released into the market and losing income.

Perhaps the important difference is whether you're talking DRM on fiction or not. Fiction books are going to make more money for the pirates than non-fiction.

This article by Rod Younger of  Books4Spain, suggests that reasonable pricing of e-books and accessibility would reduce piracy.

Now I agree e-book pricing (non-Kindle) is daft. But until the agency pricing issue is resolved once and for all, and a balance is found, cost will be an issue.

Sadly some Kindle authors have had their books pirated, but keeping a watch is important and helps.

I recommend you read this piece by Rosie Fiore freelance writer and author of the book 'Babies in Waiting', that I came across on Twitter today, 'dear stinkle01, you're a thief.'

We've all seen the 'reasons' given by those who download pirated e-books; look at any newspaper article online on the subject and you'll see those same excuses left by commenters.

Too many think that they have a right to get the books for free, like music. Well they don't.

We have to start educating children in primary school to understand that piracy is wrong, so they don't grow up thinking they can get everything for free.

Those who pirate will carry on doing so until they are caught. Those who knowingly download pirated e-books are not going to suddenly turn round and say 'ooops, I've been naughty, I promise I won't do it again.' and start buying the genuine article.

DRM has its drawbacks for the genuine e-book buyer, but it does help the author who has worked hard to get a publishing deal and is trying to earn a living from their work.

Take away DRM without a robust system of protection to replace it, and you're as good as saying to the pirates, take what you want...

What Published Writers Think About Their Publishers...

A survey was recently undertaken by The Writers Workshop that was only open to professional authors, and on Thursday Harry Bingham posted the results. You can read the piece here.

As a would-be novelist it's interesting to see how the 321 published respondents answered the questions set them.

After all they have agents and publishers already, so they should be relatively happy, right?

Well some don't seem to be when you look at the data closely- look here.

I think most of us know that writing books is not going to make us rich- though if your initials are JKR that won't apply- and any advance you are likely to get has got to go toward supporting you while you write the next book; as it can be quite a while before your latest manuscript reaches the shelves in its novel form, and starts earning back the advance, so you can then start getting royalties...

But £1,000-£5,000 seems to be the going advance rate for many authors- not much once you split it into three to reflect the different stages.

I know from discussions with other writers that marketing is very important if you want to get book sales, especially if you've self-published or have e-books for sale.

So I was quite surprised by the answer to the question on whether the authors were closely consulted on the publisher's marketing plan. 99 of those who answered opted for 'there was no attempt at consultation'.
And those who had consultation were not that impressed either (that's my interpretation).

The good news is that payments were clear and prompt, so that's good news among the less encouraging.


Nicola Morgan of Help! I Need A Publisher! has two valid points to add to the comments.


There are a lot more interesting responses to a variety of questions, so I recommend you take the time to read all the data.

Despite some of the negatives the data highlights, I doubt that many writers would turn down the opportunity to have a well-known publisher supporting them.

We just need to remember that when that happens, it's best to leave the rose-tinted glasses behind...