How to survive rejection and uncertainty in Writers’ No-Man’s Land

I haven’t written my blog for a while because I’ve not had much to say – not in the way of exciting announcements anyway. On the contrary, I’m (still) in writers’ no-man’s land – of which there are many varying landscapes, all united by one coveted horizon – a glorious, glowing publishing deal, stretching its rosy tendrils across the sky.

But then I thought that writing about how it feels to be in this writers’ no-man’s land could be cathartic for me, and maybe helpful to others. So here goes.

I’m currently out on submission. What that means – if you’re not on a writing journey or perhaps in the early stages of one – is that I have an agent who is sending out my manuscript (MS) to publishers. It’s an exciting time, and certainly a brighter landscape than the writerly no-man’s lands where I’ve loitered in the past. I acknowledge that I’m extremely lucky to have an agent, especially one who is lovely and supportive, but I also know it’s still crucial to keep my expectations in check.

I wanted to write this post now, while I’m on tenterhooks, kept in a daily state of suspense, hopes rising one day, sinking the next, precisely because I need to make sure that if I get 25 rejections from 25 publishers, I won’t feel like I’ve been sucker-punched in the gut and drained of the strength to start over again. I need to maintain a balanced mind-set. In short, I need to be already immersing myself in the next project right now, regardless of the outcome of my current MS.

‘But JK Rowling got 27 rejections,’ I hear you say. ‘You can’t let this make or break you.’

So true. But actually JK Rowling was pretty lucky to only get 27 rejections. My tally (and I’m not alone) is somewhere in the hundreds, as this is my 8th MS, my 3rd agent and my 3rd entry into the submissions lottery – over a 20 year period. When I first started trying to get published I was 28, working as a magazine sub-editor, engaged and child-free. I’m now pushing 48, working from home as a copywriter, and married with 2 teenagers.

I feel very blessed in my life. I’m surrounded by a loving, supportive family and wonderful friends. I enjoy copywriting, too (well, most of the time). But the dream has always been to write fiction, be published and be widely read. And for some reason, no matter how many times I get rejected or find myself back at the drawing board, I can’t seem to give up trying. I might step out of the ring and take a break occasionally, but give up completely? I haven’t reached that point yet – and not because it hasn’t been painful enough.

I’ve had a few sucker-punch lows over the years: my 2nd agent letting me go; my foray into self-publishing starting off with an unexpected boom, then dwindling to a trickle and now the odd tumbleweed of a sale; and last year my previous MS, YA comedy The Reinvention of Rolo Rawlings, reaching an acquisitions meeting at a major publishing house before eventually being turned down.

But after this last blow, I knew I had to find a better way of coping. Hence tip no1: always have another project on the boil.

I noticed that some of my writing comrades had more than one idea in development at any one time. I was more of a one-idea-at-a-time person, but I could see that if one of their WIPs looked like it was hitting a dead-end, they could focus their hopes on the other one they had simmering away – while using what they’d learned from their rejected MS to strengthen the one in the pipeline. My problem was that I was waiting for the final verdict before beginning work on anything new.

However, when the tank is empty, it’s empty – as it was after submitting my MG comedy Clementine Florentine to my agent a few months ago. I knew I needed to start developing a new idea in order to distract myself from the submissions process, but I had nothing. NADA. The old noggin was well and truly empty. I felt like I’d exhausted every character, every plot and every punchline.

Fortunately, this next tip I learned from my husband, a graphic designer, artist and street photographer – and therefore thankfully someone I can talk creativity with on a daily basis! Tip no2: open yourself up and be receptive. Just switch off trying for a while. Give yourself a goddamn break. Take walks. Read books. Watch movies. Go to exhibitions. Watch paint dry, etc, etc.

Therefore it’s possibly not surprising that it was while on holiday in France that the seed of a new idea came to me. It seeped into my mind a couple of times before I realised this was it – the embryo of my next novel. I didn’t get my notebook out immediately. I just watched it for a few days before eventually scrawling down a few lines to officially earmark it. But what a flipping relief! That exciting feeling was back – I was not washed up, flat out of ideas, finished, as I used to believe. I was onto something new. And now I have to remind myself that I haven’t already done the best work I’m ever likely to produce – that there’s always a new idea waiting in the ether, and THAT is going to be an even stronger piece of work than the last one. Basically, no matter what happens, my best work is yet to come.

Anyway, the discovery of this new idea was over two months ago. I’m still mulling it around and jotting down notes, but overall a shape is emerging from the clay and I’m gearing up to write a first draft of the synopsis soon.

Meanwhile, Clementine Florentine is entering its 4th week of being on submission. I’ve had no responses yet (good or bad) and it’s Frankfurt Book Fair this week, so no doubt that will delay news even longer. I am, of course, getting my hopes up a little. But I know the odds are slim. I learned last week that only 10% of agents’ submissions to publishers make it to acquisitions meetings, so that was an eye-opener. Looks like Rolo did pretty well to get that far, hence there’s every reason to be hopeful with Clementine. But there’s also every reason to forget about it, move on and get busy with the next one.

That’s why I wanted to write this blogpost now, while I don’t know whether I’m about to achieve my life-long goal, or whether it’s back to the drawing board yet again. One other coping mechanism I’m relieved to have discovered: the Buddhist philosophy that all suffering comes from craving or aversion, and all feelings and experiences are impermanent (or something like that, I’m still learning…). So tip no3: acknowledge the craving, then look at it from a different perspective. For example, it could be a case of: get a publishing deal and it’s champagne and cartwheels for a few days and then it’s shit your pants trying to whip the book into the exact shape an editor wants, OR don’t get a publishing deal, slap your pillow about, have a hearty cry, shovel a few cakes down your pie-hole, pick yourself up, dust yourself off and move on to the next project.

Either way, whatever happens next on my writing journey, I’ll be sure to share my impermanent feelings of joy or misery about my impermanent situation of success or failure. In the meantime, best of luck to you, my fellow writers. As ever, keep on truckin’.

Rejection Sucks (a poem)

Sometimes I write poems and chicken out of sharing them online, but I’m pretty sure most of my writing comrades can relate to this one: Rejection Sucks. (Perhaps I’d better call it Rejection Sucks Part 1, as I have a LOT more to say on the subject that I couldn’t possibly squeeze into one poem…)

Rejection Sucks

 

You’ve written a novel and it’s taken you forever

It’s like you just climbed Everest – a momentous endeavour

You’ve researched agents and you’re ready to press send

Now here comes the bit that’ll drive you round the bend

“I just don’t love it enough” is what you’ll often hear

“There isn’t a market for this” – a legitimate fear

“It’s not the right fit for us” – bang – head – wall

No response, just SILENCE – the most torturous of all

The rejections sting, your confidence is sapped

Was your novel really such an utter load of crap?

Should you scrap that idea, start on something new?

Is repeating this experience what you really want to do?

OF COURSE IT IS! Because you bloody love writing

The rejections feel harsh, but they make you keep fighting

With every manuscript, your skills will grow stronger

So buckle up for the ride – cos it could take a bit longer

Good copywriting is important – here’s why.

Today I want to talk about copywriting, which is what I do for a living. It’s a different kind of challenge to writing fiction – I have to bear in mind clients’ requirements, but creatively it can be just as rewarding.

I work with my husband, a graphic designer, and over the years I’ve often noticed how people see the importance of good design, but sometimes text plays second fiddle. People often think that so long as there aren’t any typos, their copy is probably fine as it is.

Tut, tut! To this I say: never underestimate the power of words, in particular the tone of voice they’re written in, and the effect they can have on the reader.

The right words are key. The right amount. The right tone. The right message.

Good design with poor copy is like eating artisan bread with Happy Shopper marge.

So here are a few things I’ve learned about copywriting over the years, some of which can equally be applied to writing fiction.

1 • Don’t say what you think people want to hear.

Businesses want to sound professional, so they strive to use professional language. But language that sounds too professional and businessy, can often sound soulless and dull.

Thanks to this tendency, there are certain words and phrases today that have become a tad vacuous: ‘world-class’, ‘cutting-edge’, ‘highly regarded’ and ‘leaders in our field’ to name but a few.

Would you say to your friend/partner/kids, “Let’s go and visit that world-class museum with the cutting-edge displays that really add value to the unbeatable admission price!”?

Of course not.

Just speak normally. It’s allowed.

2 • Go easy on the war paint.

Vacuous words aside, messages drenched in adjectives don’t sound confident. You just sound like you’re trying to compensate for having a below-average product or service.

For example, ‘So-and-so stars in this side-splitting, laugh-out-loud, smash-hit comedy.’

Is this film going to make us wet ourselves with laughter? Probably not. The copy is trying too hard and we suspect it’s probably a mildly amusing film at best.

You might think your message looks a little bare or weak without a good dressing of adjectives, but don’t be fooled by the fear. Too much make-up never makes anyone look better.

Keep your message simple and honest.

3 • Frankie says relax.

Don’t go spewing all your key selling points into one piece of marketing.

If you’re trying to shoehorn a long list of benefits, accolades, praise and statistics into a paragraph, then take Frankie’s advice and for goodness sake, relax.

Less is more. Hold something back for later. Have a little mystique. Keep ‘em dangling.

After all – those three words ended up going viral for Frankie, decades before ‘viral’ was a thing.

4 • Forget your ‘target audience’.

You may well have worked out exactly who your target audience is, down to the most detailed demographics. But the person you’re really talking to, if the truth be known, is the one who gets it.

The more you try to widen your tone of voice to reach every potential customer, the weaker your message will be.

You’re talking to one person. The person who gets it.

This requires trust.

5 • Be true to yourself.

If you’re true to yourself, you’re much more likely to reach those who’ll get it.

Every time you get lost in a book or film, or laugh at a comedy or advert; every time you’re swallowed whole by a piece of music, or stop to stare at a piece of art – the creator, whoever they might be, was being true to themselves.

They didn’t create it with nothing but sales figures in mind. They wrote it/painted it/produced it for themselves. That’s why it touched you. It was fresh, honest and real – not contrived.

Find your true voice and don’t be afraid to use it.

6 • Show, don’t tell.

If you’ve ever gone to a creative writing class, you’ll no doubt have heard the expression ‘Show, don’t tell’. It’s one of the golden rules of storytelling.

But it’s just as relevant to copywriting as it is to writing fiction. To tell is to state the facts. To show is to paint a picture in the reader’s mind – to help them visualise what it is you’re talking about.

To tell: “That’s a very big shark.”

To show: “We’re gonna need a bigger boat.”

Don’t just state the facts. Paint the picture.

7 • Don’t undervalue the power of humour.

We all notice language that makes us laugh or smile. It brightens our day for a moment.

When companies take themselves a little less seriously, they start to sound less corporate and more human. The more human you sound, the more you’re likely to connect.

Inject some humour into your copy and it will start to sound more friendly and warm. If you think this doesn’t apply to you because you’re a firm of lawyers/accountants/other type of professional service, then I would challenge that perception. Too much serious-toned sales bluster on your About Us page can actually come across as intimidating and, in some cases, gives off a condescending air. Remind people you’re a bunch of humans, too.

ShitcoffeeAmazingcoffee

(I asked a group of friends which sign they preferred. ‘Shit coffee’ won hands down.)

8 • Don’t brag.

Saying you’re the market leader or the best in your field is all very well, but who cares? No one likes a big mouth.

By all means get the message across that you’re number one gun, but do it with some subtlety. It’s less off-putting and more believable. All companies have their flaws and weaknesses, so why claim to be perfect? Everyone knows it’s not the entire truth.

Be honest about who you are. And again, don’t just state the facts. Paint the picture.

9 • Don’t stack stats.

Never add up lots of statistics to make one big, fat, meaningless statistic, such as: ‘We have over 175 years’ experience between us.’

TV documentaries are particularly guilty of this insult to the nation’s intelligence. Ie: ‘These 40 dieters lost a whopping 150 stone between them.’ So what? It means nothing to anybody. How one dieter lost a few stone is what’s relevant and interesting.

Keep stats to a minimum and put them in context to make them meaningful.

10 • Ignore what everyone else is doing.

Don’t spend too much time looking at other people’s websites/brochures/adverts. You will definitely find someone whose work looks better than yours. And another person is likely to think your work looks better than theirs. And so on and so on…

So don’t waste time drooling over their awards/portfolio/market position.

Avert your eyes and ears from all the noise out there, find your true voice, write yourself a quick, uncensored pep talk and frame it. That voice in the pep talk – that’s the one.

You’re writing for the person who gets you. And as you’re the first person to get you, you’re basically writing for yourself.

Writing Process Blog Tour

I’ve been invited by This Thirty Something Life author Jon Rance to answer some questions about my writing as part of a writing process blog tour. You can read his answers to the questions below on his blog. Here are my responses:

What are you currently working on?

I’m actually taking a break from writing for a few months. I wrote two books last year – Blown-Away Man, a comedy drama about a successful ad man who returns to his village for a school reunion only to have a bombshell dropped on him, and The Adventures of Fartella Gasratilova, a collection of humorous short stories for children. While I thoroughly enjoyed writing both books, writing two books at the same time left me feeling a bit burnt out afterwards! For the first time in years, I have no idea what I’m going to write next – and I see that as a positive thing. Saying that, inspiration usually strikes whenever I travel, and I’m off to France soon…

How does your work differ from others of its genre?

All my books are comedy dramas – but they’re all different. Package Deal and Hot Property are set on Greek islands and are written from multi-viewpoints, so you get male as well as female perspectives. Hence those books seem to appeal to men as much as they do women. Pearls, however, is definitely more of a women’s read, and has slightly more depth with its underlying theme of self-love. Then, veering off in a completely different direction, Blown-Away Man is set in London and Lincolnshire and is written from a man’s perspective with a much more humorous tone of voice. To be honest, I don’t know if my books differ greatly from others of their genre. I don’t put pressure on myself to be unique. I can only write the stories that are in me.

Why do you write what you do?

Comedy comes naturally to me. I’ve kept a diary since I was 10. When I was 17 I wrote all about my aunt’s wedding in Dorset. My parents had just split up so it was an emotional time, which wasn’t helped by my mum being given a lot of responsibilities at her sister’s wedding. Everything that could go wrong, did go wrong – from traffic jams to forgotten bouquets to arsey friends of the bride. When we finally got back home, the washing machine had flooded the kitchen, creating a sea of soapy water surrounding a sort of St. Michael’s Mount-shaped object – a ‘welcome home’ turd generously left by our senile cat. By this point, my mother was a nervous wreck. After helping her clear up the mess, I scuttled off to my room to write up all the horrors of the weekend in my diary. As I wrote, the funny side emerged, and I wondered if it’d make her feel better to read what I’d written. To my delight and relief, it made her howl with laughter. It was a wonderful reaction and must have had a profound effect on me, because from that moment on I’ve been unable to write anything without injecting some humour into it.

How does your writing process work?

My novels begin life as an embryo, a single scene, for example. I let the embryo germinate in the back of my mind for a few months, visiting it every so often to find that it’s sprouted a few more scenes or characters, or even an ending. When it’s grown to a size that can no longer be ignored, I start to sketch it out very roughly. There are still lots of gaps at this point. You can’t necessarily wait for inspiration to fill all the gaps, so I start actively shaping it, plotting out where it’s going. When I start writing, however, things don’t always go as planned. Sometimes the story guides me, sometimes I guide the story. Ultimately – and I know this sounds wacky – I believe the story wants to come out. It wants to be told.

While I’m writing the first draft, I try not to edit. I make notes of issues that need addressing and then deal with them in the second draft. When I’ve done three or four drafts, I send it to my editor. She then makes a list of suggested changes and I then decide which ones I agree with and which I don’t. Then it’s a few more drafts of editing and polishing before reaching the proofreading stage, which I get someone else to do, as I can’t see the wood for the trees by then. As I self-publish, I have the ultimate say on everything, which is as daunting as it is liberating. I’ve had literary agents in the past so I know the book editing process, and I’m a sub-editor by trade, so I’ve got the necessary skills to edit a book myself. But that said, having an editor and proofreader are essential. A writer can’t produce a professional book on their own without some help from people with the right skills.

Many thanks to Jon Rance. I’m now passing these questions on to Starlings author Erinna Mettler who blogs at http://www.erinnamettler.com/ so look out for her answers soon.

Nudge, nudge, link, link…

I’d like to recommend a few links worth browsing. Firstly, Calling All Dentists author Tara Ford has kindly invited me to feature in her author showcase, alongside lots of other authors of all genres, both independently published and traditionally published. Take a look.

Secondly, you must definitely pay a visit to author Jill Rowan’s blog and check out her books. I’ve read two of Jill’s novels so far – The Legacy and The Dream – both of which I couldn’t put down. I’m also looking forward to reading her latest release, Angelica Died. If you like stories with a time travel or supernatural twist, you won’t be disappointed.

If you’ve got a short story in you, check out this fantastic Brighton-based competition with a cash prize, The Brighton Prize. And be sure to follow @rattletales on Twitter.

And last but not least (and I realise I should’ve posted about this weeks ago, but I’ve fallen a bit behind), something you can bookmark for next year: Hove Book Festival, a 3-day literary festival in Hove (actually), that will appeal to readers and writers alike.

 

 

Publish and be damned (sure you’re done)

Today JK Rowling admitted that, in retrospect, Hermione should’ve ended up with Harry Potter rather than Ron Weasley. Yesterday, author Khaled Hosseini said on Radio 4’s Book Club that he hadn’t re-read The Kite Runner since he wrote it because he’d only chastise himself for all the changes he should have made. Interesting, I thought. Just when is an author satisfied with their work and the decisions they make? And to what extent should authors be trying to please their audience?

I’m at the final stages of completing my novel Blown-Away Man. My editor has undoubtedly helped me shape it into a better novel. But, with a week or so to go before I press the publish button, should I give it to more people to read to offer me their opinion on it? Do I really want to start seasoning it to other people’s tastes at this stage in the process? Does Damien Hirst round up his family and mates and say, “What d’you think of my shark in a tank then? Does it work? Any suggestions for improvement?” (Maybe he does, I have no idea. But I’d be very surprised if he gave a shit what anyone else thought.)

Aside from my editor, my husband has already provided lots of feedback. And, a year ago, a few close friends and family members gave me their thoughts on the first three chapters. Some of their opinions about a few details were similar, but at the same time, everyone had something different to say. For a while my mind felt foggy with other people’s opinions. It actually wasn’t helpful. I started to doubt my protagonist. I started to doubt the whole story. It took me a while to frogmarch all those voices out of my head and get back on track to believing wholeheartedly in my original idea.

Each time I write a book I learn different things from the experience. This time I’ve learned that it’s not always helpful to show your work to lots of other people and ask for their feedback. My husband’s and editor’s thoughts are invaluable – whether I agree with them or not – but beyond that, if I start listening to too many opinions and doubting my original ideas, I might as well let the story be crowdsourced. (Which, who knows, could be a fun exercise.)

Should Hermione have ended up with Harry? Should Amir and Hassan’s story have turned out differently? That’s what book clubs and reviews are for – the joy of airing and debating what you loved or didn’t love about someone else’s book. If it’s your book though, there comes a time when you have to put your ear plugs in, finish the story and turn over a new chapter…