Your book has covered a lot of ground to reach Act 3. Now its time for reader payoff. If you’re a writer, these questions will help you ensure Act 3 is clear and rewarding for readers. If you’re a critical reader, responding to these questions will help you provide invaluable feedback to the writer. (Missed my previous checklists? You may like to start with Chapter 1 or Act 1.)
Some writers dread the middle of a novel. Its an easy place for characters, themes, plots and subplots to get stuck, lost, or to go on unnecessary tangents. The critical reader questions in this post are designed to help reader feedback to support the writer in keeping Act 2 on track, and ensuring it gives the reader a good experience.
Unlike social media posts, your author newsletter is a direct line to people interested in hearing from you, and receiving your content. It sits in an inbox where interested people can read it a their leisure, instead of on a social media feed where it may be drowned out by thousands of posts vying for attention. Newsletters effectively reach your people, but what you can offer in yours to make it worthwhile for your subscribers?
Deciding what to put on your author website can seem daunting, especially if you publish it before your first book. But your author bio and writing samples can go on your site, and you can start blogging at any time. I’ll suggest site content, and give tips on carefully selecting your theme in this post. I’ll also recommend pluggins for Wordpress (sorry, I don’t do Wix or Squarespace, though I hear good things). Ultimately, I’ll share what I’ve learnt tweaking my site and blog over the past ten months (yes, as an unpublished author 😉), to help you hit the ground running with yours.
What lies beyond querying, should we be fortunate enough to have a literary agent offer us representation? In this interview, Halla Williams describes how she came to write the #Pitmad pitch which in March 2020 led to signing with her literary agent, and what signing and the early stages of working with her agent have been like, over the course of a year like few others.
If you’re querying, you’re most likely hoping to snag a literary agent. But what about the other option -Small Presses? If you consider signing with one, how will you know you’ve found the right one for this particular project, or for you as an author? And what is signing and working with a Small Press like? In these interviews, I talk to Nikky Lee, C.G. Volgars and Alexandra Beaumont about their experience of querying, identifying the right Indie Publisher, and the early stages of working with their publisher.
Great, you’ve found a critical reader or a story to read! How can you ensure that working with the reader or the writer is a positive, productive experience? I’d like to say the hard part is finding each other and from now on it will all be sunshine and rainbows, but I’ve heard stories of critical reader feedback like, “This is wrong. That was poorly done. You’re such a bad writer.” Or maybe you agreed to read a novel, you get it and… it’s not your cup of tea, or so raw that just re-reading to figure out what’s happening will take more time than you want to give it. To help you avoid (or recognise and exit) these situations, and to create effective partnerships, here’s 6 tips for positive partnerships, and 6 tips for productive partnerships.
As a member of a querying writers group, I’ve watched writers wait 6 months to receive full manuscript rejections, or go months without receiving so much as a form rejection for queries. I’ve learned a lot about having realistic expectations and how to tackle the querying process. In this post, I interview some of those writers, with the aim of giving newly querying writers insights into what to expect on your journey, and advice. And to give those of you already on your querying journey a chance to reflect and possibly tweak your approach to querying.
You’ve written your novel. You’ve revised it multiple times. Now you know it so well that you can’t see the forest for the trees. Your mind can fill gaps, plot and character arc holes big enough to park cars (or at least bicycles) in. When you re-read your novel, your subconscious is re-wording convoluted sentences that could tie poor reader up in knots and your authorial bias is skipping over sentences/ paragraphs/ entire scenes which may put readers to sleep. Now you need critical reader feedback, ideally from writers with different strengths and experience to yours, to help develop your knowledge and hone your craft. If you can’t afford an editor, critical reader feedback is your best chance of avoiding premature querying/ publishing. So where do you find effective critical readers?