Auntie Deborah’s New Writing Advice

 It’s a new year, and aspiring writers have questions!


Q: Dear Auntie Deborah, I just got the rights for my novel back from my now-defunct publisher. Will I be able to sell it to another publisher?
 
A: It’s a wretched situation and I’m so sorry you find yourself in it. If it helps, you’re not alone. Not only are publishers going under but mergers are resulting in the cancellation of contracts for not-yet-delivered books, even for long-running series by established authors.

The short but brutal answer is, probably not. The exception might be if your book sold brilliantly, as in NYTimes Bestseller List, but even then it’s unlikely to attract interest because it’s “old news.” Publishers today are extremely conservative in the books they acquire; editors are reluctant to take chances; alas, your book now falls into the category of out-of-print/poor sales figures, regardless of whether it’s the fault of the book or not. The sales numbers might be low because the book was only available for two days, but that doesn’t matter. The other possibility is the few specialty small presses that occasionally acquire previously published books by authors with huge readerships, books that for one reason or another got dropped (as in your case, where the publisher ceased business). Your agent should be able to advise you whether this is a possibility for you.

Your best bet is to get a new, professionally designed cover and ISBN and self-publish the novel yourself. If you do this, I encourage you to go “wide,” that is, hit multiple vendors, not just Amazon Kindle. Draft 2 Digital will allow you to place a book in many markets, including those providing library loans, or you could do it individually. You could also put out an audio version of your book.
Q: Is it better to use names or numbers for chapter titles?
 
A: There is no “better.” There are conventions that change with time. Do what you love. Just as titles vs numbers cannot sell a book, neither will they sink a sale. If your editor or publisher has a house style, they’ll tell you and then you can argue with them.

That said, as a reader I love chapter titles. As an author, I sometimes come up with brilliant titles but I haven’t managed to do so for an entire novel, so I default to numbers. One of these years, I’ll ditch consistency and mix and match them. Won’t that be fun!

 

Q: Can I make changes to my self-published book once it’s released?

A: Of course, you can. If they’re minor changes, like fixing typos, just upload the corrected file. If the changes are more substantial, like a revision, it’s best to indicate that so your readers don’t think it’s a different book. “Author’s Revised Edition” is one way of indicating this.

The same goes for changing cover art. Traditional publishers and indie authors do this all the time, as styles in cover art and design evolve. Just make it clear it’s a new cover, not a new book. Otoh, fanatical collectors of your work will grab the new-cover edition just to be complete.

 

Q: What’s the best way to collaborate on a novel?

A: There is no best way, there’s only what works for you and your partner. One can draft and the other revise; you can alternate scenes or even chapters; one can dictate and the other edit while transcribing. Or whatever.

The hard and fast rule is: GET YOUR AGREEMENT IN WRITING, including how you will handle a break-up. Consider it an ironclad literary pre-nup. You will save yourselves a world of hurt if you rely on your memory of an oral agreement once money is involved.

Auntie Deborah Answers Your Writing Questions

Dear Auntie Deborah, How do I stick with my story idea and finish writing it?

Some writers can take an idea and launch it into a story while writing, but most of us can’t — or else end up revising many times to whip that shapeless manuscript into something that resembles a true story. Your description of losing motivation suggests that you, like me, need to have more structure in place before beginning.

What do I mean by structure? I need to have a hook or inciting incident — the action, situation, crisis, or decision that fuels the first part of the story. Then something goes wrong (or right, or unexpected) and spins the story in a new direction — that’s the first plot point. I need to know what it’s all building toward, and also the feeling or flavor I want to leave the reader with (sadness, triumph, satisfaction, chocolates on the pillow?). I need at least 2 or 3 characters I’m in love with, although I don’t necessarily need to know what happens to them. I write all this down, do flow charts and maybe a map or two. If I’m submitting on proposal, I’ll need to flesh it out into a proper synopsis plus the first 3 chapters, but for writing for myself on spec, that’s enough to get me going.

If these concepts are unfamiliar with you, I encourage you to learn more about storycraft and the journey from idea to plot/character/dramatic arc. Ideas aren’t a bad place to start, they’re just not enough.

Dear Auntie Deborah: My critique group keeps giving me contradictory advice. I’m at a loss as to which direction to take. Help!
 

Deborah: It is as important to know which advice to ignore as which to pay attention to! Without knowing the sources of your opinions, I can’t evaluate their validity, but — BUT — I am always leery of anyone who tells me how to fix problems in my own work. This was true when I began writing on a professional level 35 years ago, and it certainly is true now. What helps me are comments like, “I’m confused about x,” or “This didn’t work for me,” or “I don’t care what happens to this character.” In other words, careful readers marking where they had problems. Then it’s up to me, the author, to discern where I went wrong and how I want to remedy it. (This is how my publishing editor and I work together, by the way.)

My second point is that learning to write and working on a specific project are two different things. A project problem may highlight a skill you need to strengthen, but someone telling you how to improve it makes it their story, not yours, and isn’t likely to help you improve as a writer.

I wonder if you might fare better by not showing your work to anyone until it is completed to the best of your ability. Otherwise you run the risk of distorting your artistic vision to please others so much that you lose your authentic creative voice. When you are ready for feedback, seek out trusted readers (who need not be writers themselves but who have keen sensitivity to their own reactions) or writers a little ahead of you in their careers. Make it clear what kind of feedback you want: What worked for you? What didn’t? Where did you lose interest? Was the result satisfying? And leave the nuts and bolts of prose craft for a separate discussion.

Dear Auntie Deborah: I think my novel has way too much speech in it. What should I do?

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