About Writing and How to Publish

About Writing and How to Publish Cathy Glass Drawing on years of experience, and thousands of readers comments and reviews of her writing, internationally bestselling author Cathy Glass provides a clear and concise, practical guide on writing and the best ways to get published.Bestselling author Cathy Glass has written and published 18 books, sold over 1.5 million copies worldwide, and had no 1 bestsellers in both the UK and the US.In that time she has received thousands of emails from readers asking for her help and advice on writing and being published. This book details how to achieve both.Divided into four sections, Cathy guides you through the entire process, from composing your first paragraph to seeing your book in print.Topics include:• Making the time to write• Planning, revising and editing your writing• Different types of writing and genres• Finding an agent and publisher• How to self-publish• Promoting your work so it is a successClear, concise and packed full of practical tips, About Writing is an invaluable guide for all aspiring writers. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) (#ubc9fcbfb-bbbc-577b-a757-120075a347df) Damaged Hidden Cut The Saddest Girl in the World Happy Kids The Girl in the Mirror I Miss Mummy Mummy Told Me Not to Tell My Dad’s a Policeman (a Quick Reads novel) Run, Mummy, Run The Night the Angels Came Happy Adults A Baby’s Cry Happy Mealtimes for Kids Another Forgotten Child Please Don’t Take My Baby Will You Love Me? Cover (#u1f74a7af-c941-5ead-a072-3a9cbb14e045) Title Page (#ulink_ad39ee5e-a742-5d6c-8e06-5629b1b069b3) Acknowledgements (#ulink_17bcd7aa-0dac-5643-8a7b-ea341c02ffb9) Introduction (#ulink_39163fc0-1498-5450-8a2e-323a93efb18d) The Author (#ulink_c3368f53-ee40-505b-8c6f-7ab5e72a8d46) SECTION ONE: ABOUT WRITING Why Write? (#ulink_d7218390-0682-5f9b-af9c-7e09030c2f86) Writing Routine (#ulink_983e50d6-2290-5721-8524-4f1afd082e68) Revising Your Work (#ulink_2b87a39e-4657-57f9-9b1e-b43c3365f21c) Spelling, Punctuation and Grammar (#ulink_64f65127-bcf1-50f7-a194-5dbd314a4b6c) Computer Skills (#ulink_e9b1ac63-33bb-5b83-960b-b6004ca0cb3c) Layout and Structure (#ulink_5b3f27d7-c346-501a-a0d1-31d603a65ad0) Editing Agencies (#ulink_9bfb6afa-5cc9-5a51-a940-aea2f1401c18) Creative Writing Courses (#ulink_b2fa34ad-b5ad-52d4-89fd-5478b205f9ee) Writing Groups (#ulink_31bbe95d-ddb7-5bf6-b501-240247d10d44) SECTION TWO: WHAT TO WRITE? (#ulink_546c5c98-4a6d-5829-8354-b90f97d843ae) Articles (#ulink_432e1cf3-1168-5b9a-8831-28222300e011) Poetry (#litres_trial_promo) Short Stories (#litres_trial_promo) Diaries (#litres_trial_promo) Memoirs (#litres_trial_promo) Biography (#litres_trial_promo) Non-Fiction (#litres_trial_promo) Novels (#litres_trial_promo) Plays (#litres_trial_promo) Children’s Books (#litres_trial_promo) Ghostwriting (#litres_trial_promo) SECTION THREE: PUBLISHING (#litres_trial_promo) Agents and Publishers (#litres_trial_promo) Submission Guidelines: General (#litres_trial_promo) Submission Guidelines: Specific Genres (#litres_trial_promo) Promoting Your Book (#litres_trial_promo) SECTION FOUR: SELF-PUBLISHING (#litres_trial_promo) Independent Presses (#litres_trial_promo) Print on Demand (POD) (#litres_trial_promo) E-books (#litres_trial_promo) Distribution, Marketing and Promotion (#litres_trial_promo) SAMPLE PROPOSAL (#litres_trial_promo) Useful Resources (#litres_trial_promo) Cathy Glass (#litres_trial_promo) Copyright (#litres_trial_promo) About the Publisher (#litres_trial_promo) (#ubc9fcbfb-bbbc-577b-a757-120075a347df) A big thank-you to my readers for insisting that I write this book. It is one I have wanted to write for some years, but it took my readers’ encouragement to make me find the time. My thanks – as always – to my editor Holly, my literary agent Andrew and to Carole, Vicky, Laura, Hannah, Virginia and all the team at HarperCollins. I certainly couldn’t have done it without you! (#ubc9fcbfb-bbbc-577b-a757-120075a347df) I receive many emails asking for advice on writing, and many of those I’ve helped have gone on to publish their work. Unfortunately, I don’t have the time to help everyone who contacts me asking for advice, so I’ve written this book, which I think will help all you budding writers. But first, a few words about me – the author. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) I have been a writer for as long as I can remember. To begin with, I published poems and short articles in the school magazine, and also kept a detailed diary. In my teens I progressed to writing short stories, newspaper articles and a few radio plays, and began to enter writing competitions. Then, in my early twenties, I wrote a full-length book. So writing has always been there in my life. However, for me, as for many, it was initially a hobby; something I did in my spare time while I earned a living and then later fitted around being a mother and foster carer. It wasn’t until I wrote my first bestseller – an inspirational memoir – that I began to claim time for writing, although even now, seventeen books later, my writing time is still early in the morning so that it doesn’t impact on my family commitments. It is also the only time the house is quiet and my thoughts uncluttered. I have three grown-up children, and many of my books have become international bestsellers. For more about me and my work, please visit my website: www.cathyglass.co.uk (http://www.cathyglass.co.uk). (#ubc9fcbfb-bbbc-577b-a757-120075a347df) (#ubc9fcbfb-bbbc-577b-a757-120075a347df) The simple answer is that you write because you want to; because you have a compulsion, a desire – often a burning desire – to share your thoughts, ideas and experiences through writing. It’s like an itch that won’t go away and will only be relieved when you put pen to paper or start typing. If you are thinking of writing to make a fortune, forget it. While top journalists and a few bestselling authors make a good living – with a lot of hard graft – from their writing, the majority do not. Less than 1 per cent of published authors earn the minimum wage; that is, enough to live on. Most authors, therefore, write for reasons other than money – although of course it’s nice to be paid, and if you have a piece of work published then you should be paid. With so little chance of receiving reasonable remuneration for their work, why do people write? Depending on the genre you choose (genre meaning the category your writing fits into; for example, a memoir or novel), the reasons for writing vary. These may include: A wish to share experience; for example, by writing a true-life story. To entertain others with novels, plays, sketches and short stories. To educate, warn or inform others through writing general non-fiction. To raise public awareness; for example, by writing articles on subjects you feel strongly about. To promote a good cause; for example, by writing and producing campaign literature. To heal yourself through diary or memoir writing. To share and preserve a person’s history through biographical writing. To express deep feelings and emotions through poetry. Regardless of which genre you are writing in, you will find the creative process truly amazing as notions, thoughts, settings, characters and descriptions miraculously rise from your subconscious and materialize into words. I am still amazed by the creative process, even after thirty years of writing. It’s as though someone else takes over and guides my hand, which in a way they do – that someone is my subconscious. But more on that later. Let’s get started with that important first step and start writing. First step Many of the emails I receive from those seeking help and advice about writing ask: ‘How do I begin?’ The person has the desire to write, they have done any necessary research and their ideas have reached fruition, but they just can’t seem to get started. The spirit is willing, but the flesh is weak. As writers, we’ve all been there. You can think of any number of reasons why you shouldn’t start writing, from changing a light bulb to washing the car or clearing out the cellar. Everything seems more urgent than sitting down to write. This is largely due to being afraid of writing and failing. While your thoughts are safely in your head they are marvellous, original and like nothing else anyone has ever written before, but as you set them down on paper they become less wonderful. Maybe even insipid and uninspiring. Surely everyone else’s writing is better than yours? Do you really have a story to tell? Who would want to read this? You lose faith in your ability to write and tear up your work, or press the delete key and start all over again, often with the same result. Sometimes, overwhelmed by the enormity of the task, we don’t start at all and our masterpieces remain firmly in our heads. As Steven Wright, the American comic and writer, said: ‘I’m writing a book. I’ve got the page numbers done.’ All writers have experienced ‘writer’s block’, as it’s referred to. Don’t worry; it can be unblocked. This is what you do: choose a quiet place where you intend to write. It’s a good idea to use the same place (and time) each day for your writing so that you fall into a writing routine. I’ll explain more about that shortly. Now, pick up your pen or switch on your computer and, thinking of the story you want to write, start writing down the words that come into your head. Don’t worry if what you have written doesn’t make much sense, seems irrelevant or contains poor grammar; you’ll sort all that out later when you rewrite. The main objective has been achieved – you are writing. Let the words flow however they care to, just as they come. Then give yourself a pat on the back – the creative writing process has begun. If nothing comes into your head then try one of the following exercises to kick-start your subconscious into action: Think back to your earliest memory and describe the scene in a small paragraph (about six sentences). When you have finished that scene, add a ‘what if’. What if I had done or said this instead of that? What if I had taken a different route? What if that person hadn’t been there? Now write another small paragraph describing the outcome. This is obviously pure fantasy, so you are writing creatively, imaginatively and from your subconscious. Once you’ve finished your ‘what if’, turn your thoughts to the story you want to write and construct a small paragraph applying the same ‘what if’ principle. The scene you choose doesn’t have to take place at the beginning of your book; just write whatever comes into your head. Well done, you are writing creatively. Describe an object you can see; for example, a table or an apple in the fruit bowl. Imagine the person who made that object or picked the apple and write a paragraph about him or her. Obviously you are unlikely to know anything about that person, so you are writing creatively. Once the words are flowing, turn your thoughts to your story and write a paragraph as above, applying this imaginative approach to your characters. Concentrating on one of your senses, describe what you can see, hear, smell, taste or touch. It can be just a short paragraph, and then, once you have written that, think of a scene in your story. What can your characters see, hear, smell, taste and touch? Well done, you are writing creatively. I’ve used these techniques in my own writing in the past and also in writing groups. They do work, whatever genre you are working in. You may not need to use them, but if you are struggling to write that opening paragraph then try the above. Once you have started writing, keep going until the words stop and then finish for the day. You can check your work, but don’t try to force any more words from your imagination. That rush of creativity is always limited and if you try and force it to go further you’ll achieve little and may lose faith in what you have written. Three hours a day is my maximum for writing creatively, after which I may check over another document, answer emails, etc., but I do not attempt any more of that creative first draft. I imagine the process of creative writing as having a basket full of words and once that basket is empty I have to wait until the following morning for it to be replenished. Ernest Hemingway, writer and journalist, described it as a ‘well’ that refills overnight from the spring that feeds it. The creative process needs to be respected for its limitations, as much as for what it gives us. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) The creative process is usually helped by having a writing routine: a place and time set aside for you to write and with a little ritual leading up to the writing. If you approach your writing in the same way every day, very soon you’ll find that by the time you sit down to write your subconscious will be fired up and ready to go. Your imagination will instantly start producing the words you need to write creatively. Like Pavlov’s dogs, which were trained to expect food and therefore salivate whenever they heard a bell ring, you can train your creative juices to start flowing on your command by following your writing routine. The process is called classical conditioning and is triggered by the ritual of your writing routine. I’ve had the same writing routine for the last fifteen years: I rise early (at approximately the same time each morning), put on my joggers and a comfortable top and creep downstairs so I don’t disturb my family. I make a large mug of coffee and then go through to the front room where I collect my paper, pen and the text I’ve written the day before. I then go into the living room and quietly close the door. I sit in the same chair and, with my coffee within reach, I begin by reading what I’ve written the day before, editing as necessary. By the time I come to the end of the previous day’s work, my new words are ready to flow. I still use pen and paper for the first draft. I write very quickly, often unaware of my surroundings as my pen dashes across the page. As the author Ray Bradbury said: ‘My stories run up and bite me on the leg – I respond by writing down everything that goes on during the bite. When I finish, the idea lets go and runs off.’ I know exactly what this author means. When ‘the idea has run away’ and my basket of words is empty I type what I’ve written into my computer – first the revised draft from the day before, and then my new work. I print out the new pages ready for revising the following morning. This is my writing routine and it works for me. Your routine is likely to be different to mine, to suit your work and family commitments, and will also take into account when you are at your most creative. Some writers are early birds, like me; some are night owls, while a few lucky writers can turn on their creative juices at any time of the day or night. However, most writers (although not all) need silence and no interruptions while they are writing that first creative draft. I certainly do. I can’t even have music playing softly in the background while I’m concentrating. Stephen King, the bestselling author, calls it ‘the door closed’; that is to say his study door has to be closed against interruptions while he is writing creatively. You’ll soon discover the situation and time that suits you best and, once you do, I recommend that you keep to your routine. It will act as a catalyst for your day’s creative writing. ‘What shall I use to write?’ … Some people ask. You can use whatever you like for that first draft, which only you will see: pen and paper, Dictaphone or you can type it straight into the computer. However, if you are intending to publish your work, at some point you will need to type it into a word-processing document (such as Microsoft Word) so that it can be sent electronically by email. I explain about publishing in the third section of this book. Whatever medium you use for your writing, make sure you have at least one copy of your work. If you are using only pen and paper then I suggest you photocopy your work each day. Once your work is on the computer, back it up by saving it on a ‘memory stick’, a CD or to a ‘cloud’ – where a third party stores your data on the internet. I can’t emphasize enough how important it is to back up your work. You’ve invested a lot of time and energy in your story and paper copies can become lost or accidently thrown away, and computers do fail. I always have three copies of my work: the paper copy, on computer hard drive and on ‘memory stick’. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) It has been said that writing is 1 per cent inspiration and 99 per cent perspiration. Although this is a misquote – Thomas Edison, the inventor, actually said, ‘Genius is 1 per cent inspiration and 99 per cent perspiration’ – the words still demonstrate the point admirably. Writing, as with most other creative endeavours, requires a lot of hard work, and what you achieve will be the result of your labour rather than any sudden insight – although inspiration will be your guide. That first creative draft will have been an adventure, as your story unfolds and your characters reveal themselves through various, often dramatic, situations. You will have been on an adrenalin-fuelled rollercoaster of emotion as you wrote that first draft. Now you will need to spend time revising and rewriting your work until it is as good as you can make it. Unless, of course, your writing is for your eyes only; then all that matters is that you are happy with what you have written. Most writers, however, want to share their work, and before you submit it to a literary agent or a publisher you will need to ensure your work is as clear of imperfections as possible. While an agent or publisher might overlook a few typing errors, he or she will not be impressed if your work is littered with irritating and basic grammatical errors, has a lack of or inappropriate use of punctuation or is poorly set out. Agents and publishers are far too busy with other writers’ work to spend time trying to decipher your illiterate text, and so what might have been a bestseller may never see the light of day. As the writer Isaac B. Singer said: ‘The waste-paper basket is the writer’s best friend.’ Or to bring this quote up to date, the delete key on your computer keyboard should be your best buddy. Like many writers, I probably throw away more words than I keep as I strive for perfection, finding a better word or phrase, restructuring a sentence, exchanging one idea for another or rewriting a paragraph, page, chapter or even the whole book. Revising and rewriting are just as important as that first creative draft. While rewriting is hard work, it is also marvellously satisfying as you hone and polish your work to as near perfection as you can make it. Time spent on revising your work can make the difference between it being accepted for publication or rejected. You can revise and edit on your computer or on a paper copy. I do both, as I find some errors and omissions easier to spot with print on paper than on screen. I revise a book at least six times before I send it to my agent. When I write an article – where the length of the piece is preset and words are therefore at a premium – I often revise it a dozen times or more. I also read the article out loud, as hearing it gives a new and more objective viewpoint. I ask myself: have I said everything I need to say clearly and concisely? Are any words superfluous and can they therefore be removed? Does the article flow easily from one point to the next? As Nathaniel Hawthorne, the nineteenth-century American novelist and short story writer, said: ‘Easy reading is damn hard writing.’ A revised page from this book In addition to checking your spelling, grammar, punctuation and layout (more on that later), ask yourself: does your story flow, and will others reading your work for the first time understand it? Have you given sufficient background information or far too much? I agree with Elmore Leonard, novelist and screenwriter, who said: ‘Leave out the parts that people skip.’ It’s very difficult to be objective about your own work; having invested so much time in it, you’re too involved. So if you have a family member or a close friend whose opinion you value, I suggest you ask them to read your work before you submit it to an agent or publisher. A fresh perspective is often invaluable for spotting inconsistencies or omissions, as well as seeing silly spelling and grammar mistakes that you have missed. I’m not suggesting you change your story purely as a result of your reader’s comments; only that you listen to what they say and give their opinions serious consideration. Don’t take their criticism personally; it is not you they are criticizing, but your work. So often we are overprotective of our writing – seeing it as an extension of ourselves, as our ‘baby’ – and thereby we miss out on an opportunity to improve it. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) I am not going to spend time writing a tome about spelling, punctuation and grammar. This book is not big enough for that and there are thousands of very good books on the subject already, as well as websites that give online advice and tutorials. In the UK, teaching grammar in schools went out of vogue for a whole generation as it was felt it stifled creativity. But, as with many trends in education, attitudes have come full circle and grammar is now being taught in schools again. Don’t worry if you missed out; you don’t need to know that you are writing in prose, as long as you are, or that an independent clause must contain a subject and predicate, as long as it does. If you read extensively you will absorb good grammar and sentence structure through example. But if you feel your written English isn’t up to the task of writing your story and you seriously want to write, then you will need to set about improving your core skills, as you would before undertaking any new task. All colleges of further education offer day and evening classes in English language, as do distance-learning courses (for example, the Open University). You don’t have to wait until you’ve finished the course to begin writing; you can hone your skills while you are writing your story. Reading I can’t emphasize enough the importance of reading, especially the genre in which you wish to write. Not only will reading improve your sentence structure, vocabulary, spelling and language skills, it will also show you what makes a good book – its structure, layout and pacing. If you find a word you don’t know the meaning of while you’re reading then look it up in a dictionary or online. I also suggest you make a note of any interesting or unusual words or phrases you come across to improve the richness of your vocabulary. I love words, so I have a small notepad in which I make a note of any new words or phrases I come across that appeal to me. I’ve had the same notebook for over twenty-five years and some of the early jottings include: ‘diversely opposed’, ‘pragmatism’, ‘a sense of entitlement’ and ‘youthful remembrance’. I may use a variation of these one day, so I keep my little book as an aide-m?moire. Now there’s a neat phrase. If you don’t know the meaning of aide-m?moire then look it up. Spellchecker Now a word about computer ‘spellcheckers’. Most computer software includes spelling and grammar checkers. Use them, but with caution. While they are usually good for picking up basic errors (silly spelling mistakes, typing errors, extra spaces, omissions of capital letters, etc.), they are far from foolproof and often make errors of judgement far worse than your own. Here are some examples taken from the first fifty pages of my book Damaged: ‘One of the couples were first-time carers and Jodie should never have been placed with them.’ The spellchecker, not recognizing that in this context the verb needs to be in the plural, not the singular, highlighted were as being incorrect and suggested was as the replacement. ‘Look who’s come to see you, Jodie!’ The spellchecker suggested whose, which is an entirely different word. Who’s is the shortened form of who is or who has, while whose is the possessive form of who. ‘The sound of Jodie talking to herself floated down …’ The spellchecker wanted to use her instead of the reflexive pronoun herself. ‘She dropped to her knees and started thumping her face and head viciously.’ The spellchecker wanted to replace face with the plural faces. Here are some further examples from my book Another Forgotten Child: ‘I was grateful my children were so understanding …’ The spellchecker, unable to recognize the past continuous verb tense, wanted to replace so understanding with understood. ‘“Come on, dry yourself,” I encouraged.’ The spellchecker, unable to see that yourself was being used as a reflexive pronoun, wanted to replace it with you. You don’t have to know the grammatical terms, just that what you have written sounds grammatically correct while the spellchecker’s suggestion sounds wrong. English is a very rich language and one of the upshots of this is that the same word or phrase can be used differently or have a nuanced meaning depending on its context. Computers are clever, but not so clever (yet) as to be able to recognize these subtle variations in language, so it highlights your word or phrase as being incorrect and then suggests an alternative based on a literal interpretation. If you have doubts about the accuracy of your spellchecker’s suggestion then err on the side of caution and don’t accept a suggested replacement until you have checked your word or phrase on one of the many English grammar websites or in a grammar book. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) Just as you will need to develop a reasonably good standard of English to be able to write your book, so you will also need to be computer literate, unless you are going to ask someone else to type up your work or pay an agency to do it, which is going to be expensive – probably more expensive than buying a personal computer. Although touch typing is a useful skill to have, as it allows you to type quickly, it isn’t essential, and many authors and business people get by with two-finger typing. I taught myself to touch type and I average about eighty words a minute, which is very useful for replying to the many emails I receive, as well as for writing my books. However, as long as your computer and typing skills are sufficient to allow you to produce a word-processing document (in a program such as Microsoft Word) and send it electronically, you don’t have to be a computer geek. Colleges of further education offer day and evening classes in typing and computer skills – for every stage, from absolute beginner to advanced programming. There are also private tutors who will teach you computer skills in your own home, although they don’t come cheap. Likewise, the company that sold you your computer may also offer a service whereby they set it up in your home, connect you to the internet and show you the basics. I suggest you buy a printer to go with your computer. They are relatively inexpensive and as well as giving you the chance to see your work in print – which can give you a new perspective, as the printed word looks different from the screen version – most printers are also scanners and photocopiers. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) The layout of your work is very important when you submit it to a literary agent or publisher, so you will need to follow their guidelines. These can be found on their website or in their entry in writers’ handbooks such as the Writers’ and Artists’ Yearbook. However, while your work is under composition, you can use whatever layout or font suits you. I use the font Arial, in size 12, which is also a standard format for submission. To adjust the font and font size go to the drop-down menu on your toolbar in your word-processing document. The number refers to the size of the characters – the higher the number, the larger the font size. I always work in double-spaced lines, which allows me room to annotate my work on the printed sheet and write in changes. Most agents and publishers will require you to submit your work in double-spaced lines too, even though you will be sending it electronically – by email. Line spacing can also be changed in the drop-down menu on the toolbar in your word-processing document. Use black print type (it will already be set as the default), not any other colour, and not bold, and remember to paginate your work (that is, insert page numbers). Pagination isn’t usually a default setting on word-processing programs, so you will need to select it from the drop-down menu on your toolbar. Generally, the width of the left- and right-hand margins, as well as the depth of the headers and footers (the spaces at the top and bottom of the page), are preset and standard on your word-processing software, so you don’t have to worry about them. The top and bottom spaces on a page are usually 1 inch and the side margins are 1? inches, which are acceptable to agents and publishers. Don’t align the right-hand margin (which is also known as justifying the margin) as it will create false spaces between the words. The left-hand margin is justified by default, but leave the right-hand one ‘ragged’; that is, free. Sentences, paragraphs and chapters need to be kept to similar lengths for ease of reading. You probably won’t have noticed this uniformity while you have been reading books, and that in itself is a good sign – it makes for a smooth and fluent read. There is obviously flexibility in the length of sentences, paragraphs and chapters, and while some genres (Mills & Boon romances and Quick Reads, for example) have more defined requirements, generally it is not a good idea to leap from a chapter of 5,000 words to a chapter of 15,000 words as the pacing will falter and may even be lost. If, while you are reading, you find yourself looking for the next chapter break then the chapter is very likely too long. You should find yourself suddenly at the end of a chapter, eager to turn the page for the start of the next and wanting to read on. Likewise if you have to read a sentence a second or third time to make sense of it then the likelihood is that the sentence is too long – possibly with too many clauses – or it may have failed grammatically. A paragraph should contain only one main idea and the sentences within that paragraph should expand, develop and explain that idea. Take a look at a book you have recently enjoyed and you consider a good read, and then spend some time analysing its sentence, paragraph and chapter structure. I think you will see what I mean. The first line of each new paragraph should be indented by one tab space (which will be preset on your word-processing package), and a reminder: a sentence starts with a capital letter and ends with a full stop. Do not use commas instead of full stops; they are different. Leave one character space between the end of a sentence and the start of the next. Chapter headings should be in bold, with a double-spaced line beneath, and before the start of the first sentence. Include a title page at the start of your work; an example of this is here (#ude5e4aa6-d0e8-510a-86be-f539ab06cf7c). (#ubc9fcbfb-bbbc-577b-a757-120075a347df) There are agencies that will edit, revise and proofread your work, either online or by working on a paper copy sent through the post. Their pricing structures vary, but they usually charge per hundred words, so if you have a full-length book of 80,000 words or more it can be very expensive. If you are considering using an editing agency, it may be worth sending a sample chapter to begin with. It will be much cheaper than having the whole book edited, and while the agency won’t be able to comment on your plot development and characterization, they will be able to offer you advice on your style and general language skills. But be wary of any agency that claims or implies in its advertising that they have connections with publishers and that you will therefore stand a much better chance of being published if you use their services. They may have connections, but ultimately whether your work is published or not will depend on the appeal and standard of your work, rather than ‘connections’. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) Many organizations offer creative writing courses, which you can attend in person or through distance learning: local colleges of further education, universities, private colleges and agencies and personal tutors. You will also, of course, find many online. If you attend a course in person, you will have the advantage of meeting your tutor and other budding writers regularly, which can be very morale-boosting. If you opt for an online or distance-learning course, be selective. There are many to choose from, and standards as well as what they offer can vary a great deal. Good online and distance-learning courses will assign you a tutor who will set you assignments and give you constructive feedback, and whom you can email and speak to on the phone, and possibly meet in person. Some well-established distance-learning courses – for example, the Open University – also give you the opportunity to attend a residential summer school, while The Arvon Foundation offers regular residential writing courses at beautiful locations around the country, where you are tutored in small groups by a published writer in your chosen genre. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) Most towns have at least one local writing group. They usually meet weekly in an informal setting, such as a room over a pub, a corner of a caf? or a member’s home. These groups are not usually tutor-led as writing courses are, but consist mainly of fledgling writers such as yourself, and offer the opportunity for members to read their work and receive feedback from the other members. Those attending are often unpublished authors, or have a little experience of being published or (increasingly) are self-published, which is worth remembering when you are considering their opinions on your work. Writing groups vary in their success. Some are well established and chaired effectively, and their members offer constructive criticism on work presented to the group, while others can be quite destructive, with opinions being egotistical and even vicious. If you feel uncomfortable in a group, or that the criticism offered on your work isn’t helpful, then leave the group and find another one. There are plenty. Writing groups advertise on the internet, on notice boards in local libraries, colleges and community centres, and in local magazines and newspapers. Online writing communities These are website-based and offer members the chance to post and share their work with other members online. There are many of these groups – thousands – large and small, with some more established and sophisticated than others. A few are hosted by publishing companies who also run writing competitions and will consider the work of some of the members. These chosen few are usually selected by other members through a voting system of positive reviews of the piece of work posted. Some of those selected are also published. Writing can be a very lonely experience, especially when you first start, and these online writing communities can be morale-boosting and supportive, as well as offering feedback on your work. As with any writing group, you should give your opinions on other members’ works kindly, politely and considerately, and receive their opinions on your work dispassionately, professionally and objectively. Because of the anonymity the internet allows, reviews online can sometimes become very personal and even vindictive. As with a local writing group, if you feel uncomfortable about the way you are treated in one of these online writing communities, or that the criticism posted about your work isn’t helpful, then leave by closing your account, and go elsewhere. Writing and sharing your work should be fun. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) When I receive an email asking for my advice on writing, the sender usually has a clear idea of what he or she wants to write and is looking for advice on how to begin, or is asking for some feedback on something they’ve already written, or wants advice on how to publish their work. However, some who email say they want to write but don’t know what to write. If you are a budding author with the burning desire to write, but are not sure what to write, then I suggest you start with something small – for example, an article, poem, short story or diary entry – rather than a full-length book. Writing something relatively short means that you are likely to complete the piece in a reasonable length of time and will gain confidence from watching your work take shape and reach fruition. This book is not long enough to explain in detail how to write in all the different genres, so I will give you a taste of each, hopefully with enough information to whet your appetite and make you want to find out more. (#ubc9fcbfb-bbbc-577b-a757-120075a347df) I began my writing career by writing short articles, first for the school magazine, and then freelance for local newspapers and national magazines. At that time there were only paper publications (there was no internet), but now, in addition to paper publications, there are thousands of interest-led websites and online magazines, which offer a wealth of opportunity to publish articles. Article writing can be very satisfying. I still write articles now. It allows you to write on a subject you feel passionate about, or learn about a topic you previously knew little of from researching it for your article. Editors of printed publications usually pay for the articles they publish, online publications not so much, but for a fledgling author, to see his or her work published is often reward in itself. I say more about how to publish articles in section three of this book, so now let us look at how to write an article. You have chosen the subject matter of your article, done your research and have all the material you need to hand, including any photographs or artwork, so you are ready to begin. Bear in mind your target audience – for example, are you writing for teenagers, gardeners, builders or parents? Knowing your audience is crucial, as the content of your article, its tone and style will vary to suit your intended reader. Writing for teenagers, for example, is clearly very different in subject matter and style to writing for parents, financiers or trainspotters. Choose a snappy, attention-grabbing heading to start your article. If you are not sure of the length or are short of ideas, look at some of the articles in the publications you are going to write for. Under your main heading write your opening paragraph. This will be a brief summary – an overview – of your article. Here is an example: Конец ознакомительного фрагмента. Текст предоставлен ООО «ЛитРес». Прочитайте эту книгу целиком, купив полную легальную версию (https://www.litres.ru/cathy-glass/about-writing-and-how-to-publish/?lfrom=688855901) на ЛитРес. Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.