There’s a great new post over at The Creative Penn to help get you started.
There’s a great new post over at The Creative Penn to help get you started.
You’ll have to hurry – deadline is March 27th (2018)
One of the perks of being a writer is you get to choose your own name. However, out of the billions of combinations available, how do you pick the right one for you? Hopefully this post will provide a few helpful hints.
“What’s in a name? That which we call a rose by any other name would smell as sweet.”
Why choose a different name?
I’ve recently had to re-invent my author identity. Not because I’ve got mixed up in some international smuggling operation and need to drop off the grid, all Jason Bourne style. Regrettably, the reason is more mundane. I’ve chosen to publish my new novel, SNAP, under a different author name because I’ve advised me to by a literary agent. Her reasoning is that most of my work follows a very different aesthetic from this new series of books.
So why do writers choose to have their work published under a pseudonym?
The motives can be many and varied. The name printed on the front cover of your books is more than a simple identifier. It is an integral part of the writing persona your readers will come to know. In re-naming ourselves, we can capture those aspects of our personality which help shape the stories we write.
In the case of Lemony Snicket, for example, the author re-creates himself as an integral character in his own story.
What to look for in an author name?
So where should you start? One good place is to find authors who write in a similar genre and see what style of names are already in use. This can help fans of a particular genre identify you with the type of book they like to read.
J R Tolkien had some influence on both J K Rowling and George R R Martin as did Arthur C Clarke on Philip K Dick and Robert A Heinlein.
When making my own choice of an author name for SNAP I looked at writers such as Ally Carter, Sarah Sky and Robin Benway. One look at these authors tells you a lot about SNAP.
Also, in this modern age of social media, it’s helpful to select a name which is unique and as yet unused on Facebook, Twitter and the like. An easy to spell, easily searched for name is also good.
Not all of us have the benefit of Roald Dahl as a given name. Although you might choose to use your own name in a different way – Lorrie Porter, is a shortened version of my middle name together with my last name.
Where to find inspiration for the new you?
Finding your author name can be a similar process to finding a name for one of your characters, and all the usual methods apply:
However, I found with my own choice I wanted something more personal, a name which belonged to me. So I looked to my family tree.
I found I had a great-aunt who I’d never been told about. Her name was Lizzie. She was born in the Cardiff workhouse and adopted by an Italian ice-cream maker along with her two brothers. I felt a connection with her and chose Lizzie as my first name.
For my second name, I searched all the family surnames I could find, and finally picked Hexter, borrowed from a young man who married the daughter of another great-aunt.
And so I became Lizzie Hexter, author of SNAP. Now available as an e-book from Amazon, iTunes and Kobo at a very reasonable price. Want to know if I practice what I preach when it comes to writing craft? Read the book and find out. I hope you enjoy it.
Available from Amazon, iTunes and Kobo
Lizzie Hexter likes to spin a yarn in more ways than one. She has a passion for writing stories and also a love of all things crochet. She grew up in the north west of England with her two sisters, sharing life, laughter and the contents of their wardrobes.
At age twenty, she moved to London where she enjoyed browsing vintage clothes shops and spending her meagre earnings drinking tea in posh hotels.
Lizzie has since moved back to the north west and lives on a canal boat with her cat, her husband and a great number of books. Her motto is: “Wear what you want, be who you are.”
Snap is Lizzie’s first published novel. She hopes it’s an exciting read, what with the fashion shoots, supermodels, film stars, kidnapping, extortion, stealing huge diamonds and scary gangster overlords, not leaving out the sprinkle of romance and the odd sword fight, of course.
Today I’m celebrating my 100th post and, doing things in style, I’m extremely pleased to welcome Cathy Cassidy to the blog. Author of the Chocolate Box Girls series and three times winner of the Queen of Teen award, Cathy has kindly offered some valuable advice on how to keep your writing fresh when creating multiple-character books.
Saying Goodbye to the Chocolate Box Girls…
When I started writing the Chocolate Box Girls series a few years ago, I had no clue just how attached to those characters I would become. The bohemian blended family who were a kind of ideal ‘dream family’ for me became so real that I just didn’t want to let them go, but Fortune Cookie, book six, out June 3rd, will be the series finale… all good things come to an end, and it was time for me to step back, move on.
The Chocolate Box Girls series feels very personal to me; each of the sisters has a particular character trait of my own at the heart of their personalities. Cherry is the outsider, the story-maker who carries a lot of sadness from her past; Skye is a dreamer who loves vintage and history; Summer is a perfectionist who pushes herself hard – too hard, sometimes; Coco is eccentric, animal mad and wants to change the world; and Honey is a drama queen who feels things too strongly and often messes up.
I can see myself in each of those characters and I deliberately planned the series to give each girl a chance to tell her own story… that kept the whole thing fresh for me, as one of the things I love most about writing is being able to step into the shoes of a new character, a new narrator. I love that you can find a whole lot more about what makes each character tick by reading their book!
Of course, although the Tanberry-Costello girls may appear to be the perfect family, they’re a very long way from that. Each girl has her own worries, problems and challenges to face, and that makes their stories very real. Trying to find a satisfying ending to the series meant leaving each sister perhaps not with a happy ending as such, but certainly the possibility of one… and finding a way to pull them together at last into the unshakeable family unit they have worked so hard to be.
Right from the outset, I had planned the series and made a story arc to take the overall story forward; I had never written a big series before, and although I don’t normally plan too much on paper, I didn’t want to mess up or get things wrong. I had notebooks stuffed with sketches, character notes, background details; I had a moodboard crammed with pictures, postcards, clippings. I knew what was going to happen. And then, out of nowhere, in the middle of writing book five, something unexpected happened. The book that should have been the last in the series, Sweet Honey, turned out to be the penultimate one, because Honey unearths a huge family secret that has the power to change everything.
It wasn’t in my notebooks, it wasn’t on my moodboard… it wasn’t in any synopsis or plan, but once the idea surfaced I knew it was absolutely the only way to go, and the perfect way to end to the series. Fortune Cookie is told by a brand new character, a half-brother called Jake Cooke, and because he is part of the family and yet not part of it at all, he was the perfect character to tell the very last installment.
Along the way, I fell in love with the Tanberry-Costello family. I wrote a World Book Day short, Bittersweet, from the viewpoint of one of the boy characters, and then four e-book shorts also narrated by minor characters. I even put together a craft/style/recipe book called Chocolate Box Secrets, also out June 3rd,a non-fiction book to help arty, creative readers to grab themselves some Tanglewood cool… because I wanted to hang on a little longer to that magical fantasy world. But in the end, you have to let go, and when Fortune Cookie was finished I felt exhausted, sad, lost… but satisfied, too.
It was a little like seeing six of your children leave home to seek their fortunes, all on the same day. I will miss the Chocolate Box Girls, but I’m very glad to have known them.
About the Author
Cathy Cassidy is a British author of young adult fiction. She was born in Coventry, but now lives in London. She has written 23 books and been the agony aunt for Shout, a teen girl magazine. She has also written the Daisy Star series of books for younger readers.
I haven’t been very proactive on the blog lately, life has been getting in the way. It has a habit of getting in the way of my novel writing too. So I was very glad when Jennie Nash emailed me with some wonderful advice to help get me back on the Write path (excuse the pun). She’s also offering a free trial to This Craft Called Writing readers. Here’s what she has to say:
I’m a book coach who specializes is helping people who are serious about getting their books published, and one of the first things I do with new clients is ask them to fill out a Q&A. I ask, among other things, what is giving the writer joy and what is causing frustration. The answers about joy vary wildly from writer to writer. Some people love research and creating worlds, others love moving words around the page like a puzzle, and still others love the solitude of devoting themselves to their passion. What causes frustration, however, is almost always exactly the same two things: procrastination and doubt. As we head into the New Year, I thought I would share some strategies I’ve found that are effective for dealing with both.
The problem of procrastination.
One of the realities of being a writer is that writing is done alone in a room. There is no way to get around that fact – well, except for coffee shops, but even then, it is still you sitting there, alone with your thoughts. It is you, sitting there, knowing that there are dishes to be done, dinner to be made, the demands of a job, the responsibilities of a family, the stuff of life. Every moment you write is a moment you aren’t doing something you are “supposed to do.” It’s so easy to put off writing and chose more pressing concerns, because no asked you to write. And so you put off writing one day, then two, then a week, then a month until you are just someone who merely talks about wanting to write rather than someone who actually does it.
Accountability is a powerful antidote to procrastination.
One of the reasons writers under contract tend to finish their books is because they have an editor who is waiting for the manuscript, and deadlines are fantastic motivators. Until you get to that point in your career, it can be enormously helpful to develop some other method of accountability. This could be a friend, a writers’ group, a co-worker who is also secretly writing a novel, a paid editor, or a writing coach. Make a plan for when you will turn in your work, then put it in your calendar and consider it a binding a promise. Give the person permission to ask for your pages if you don’t turn them in – to nag you, to push you – and give yourself permission to take the work as seriously as anything else in your life. Accountability breeds action, and action defeats procrastination.
The problem of doubt.
Doubt eats at every writer, no matter how accomplished, no matter how seasoned, no matter how famous. It’s a central part of the creative process, and it’s not going to go away. It’s just not. You will wonder if your idea is any good, if you are worthy to speak your voice, if anyone will eventually care, and you will wonder if you should start your story on Page 9 or Page 39, if you should have gone with a first person narrator, if that scene you wrote packs the emotional punch you thought it did. Even if you hit the jackpot and write a book people adore, doubt will find you. You will wonder if it was a fluke and whether or not you can do it again.
Specific, detailed feedback is a powerful antidote to doubt.
Instead of free-form worry about your work, arm yourself with knowledge. You can start that process by simply reading the work of writers you admire, and studying how they did it. Are your scene endings that strong? Are your character descriptions that powerful? Are your character motivations that clear?
You can continue that discernment process by taking classes and workshop, or by following blogs that teach you how to build your writing muscle and your writing skills.
A big step for any writer is to seek feedback from the outside world. Try submitting work for review at writing conferences. It’s a one-off fairly low risk way to test your work. Make sure you really listen to what the editor is saying. If you get a lukewarm response, ask for one thing you can work on to improve your work. If you get an enthusiastic response, a bit of encouragement, or an invitation to submit, ask the editor to articulate exactly what they are responding to in your work.
I’m obviously biased, but I believe one of the best forms of feedback comes from a trained editor or book coach. Working with a coach for even a short period of time can help you learn exactly where your writing is strong, and where it is weak. You can gain a lot of knowledge in a short period of time – which not only improves your work, but helps to eradicate doubt. Instead of wondering about your work in vague and unproductive ways, you know. And if the news is not good, at least you know what to fix so you can get back to the joy of writing.
Jennie Nash is the creator of the Author Accelerator, a weekly accountability and feedback program designed to help writers complete a rough draft of their book in six months. She is offering a free weekly trial to all readers of This Craft Called Writing. Learn more at jennienash.com.
Livi Michael is an established writer of children’s fiction. I first came across her work when I read, Frank and the Black Hamster of Narkiz, which was on my reading list for Manchester Metropolitan University’s Writing for Children MA.
However, as her post below shows, being a children’s author wasn’t much help when it came to producing adult fiction. Here’s what she has to say about her writing experience:
What do you do when you’ve been out of one field of writing (adult fiction) for a long time and are trying to get back in? This was my situation, when starting to write Succession. For ten years I’d been publishing children’s books. I knew virtually no one in the field of adult fiction, and publishing categories are inflexible – it really isn’t easy to move from one to the other.
It felt a lot like starting again, from scratch.
I started to write Succession in April 2007.
I was full of doubts. Not just about the publishing world, but about myself as a writer. These doubts were so intense that at first I could only get myself to write a book at all by promising myself that no one would ever read it…
All I had in my favour was that I loved, genuinely and passionately loved the subject of my research; the period of bloody civil war now known as the Wars of the Roses. And Margaret Beaufort, mother of Henry VII. She had married three times by the age of 14, had her only child at the age of 13 and lived through the reigns of six kings. In her lifetime England moved from medieval feudalism to a recognisably modern society. So I had plenty to work on. And the famous advice of Dorothea Brande, which was to write first thing every morning as soon as I woke up.
I was so happy, every morning, to wake up and write some more of my book.
Gradually reality kicked in.
Three years into this project I realised I was going to have to do something about the mass of material. So I edited it down drastically, to just under 300,000 words.
Yes, I know.
But every time I’d thought ‘You’re mad – this is far too long!’ I reminded myself that I was not trying to please anyone else, I was writing this book just for me. And it felt good.
Still – far too long. But to be fair, it wasn’t much longer than Wolf Hall, say. And actually shorter than Eleanor Catton’s The Luminaries or Jonathan Strange and Mr Norell. So I sent it to my agent.
Who hated it.
Very hard phone call.
Had to lie down.
When I’d recovered sufficiently I read the whole thing again.
I still liked it.
So I sent it to the very first editor I ever had, on the grounds that he might remember me. He did and was good enough to read it. But not accept it. So I had to take this further rejection seriously. I was going to have to re-write my novel. This time bearing the reader in mind.
In the meantime I’d accepted a new job. I knew I would only have about three months before my new schedule kicked in and I would have no time at all.
I hit the keypad. Twelve to fourteen hours a day, seven days a week for fourteen weeks.
The new version was just under 100,000 words – actual novel length.
I sent it to a different agent. Two weeks into my new job I had a phone call. I had a new agent. Three weeks later I had a new publisher, Penguin. But the first thing my new editor said was that it was completely unpublishable as it was – I would have to re-write it!
Part of the problem was my use of extracts from actual medieval chronicles. I saw my text as illustrating or interpreting the originals – she saw it the other way round. She wanted more focus, whereas I had been aiming for a kind of tapestry effect.
Seven months later there was a new draft that made us both happy. Succession, the least likely of all my many literary projects to make it to publication, is out this month.
Now all I have to do is write the sequel…
About the Author
Livi Michael is the author of five novels for adults and eleven for children. These have won various awards including the Faber Prize and a Nestle Award. The Whispering Roadwas Book of the Month in Border’s, US, in May 2005. Her fifth novel for adults, Succession, will be published by Penguin in June 2014.
It’s always nice to see a writer breaking out of their usual genre. It gives readers a deeper insight into their talents. Marnie Riches is one such author. I first knew her as a children’s writer but she’s branched out from children’s fiction to take a much darker turn with her series of moody crime thrillers. She’s a recent winner at the Dead Good Reader Awards, receiving the Patricia Highsmith Award for most exotic location.
Here’s how she transformed from children’s author to crime writer.
The difficult birth of The Girl Who Wouldn’t Die by Marnie Riches
I had been writing for children for some years when I started work on The Girl Who Wouldn’t Die. Always a fan of crime fiction, particularly the Scandi-noir of Stieg Larsson and Jo Nesbo, it had been the pinnacle of my writing aspirations to pen a complex crime thriller. But what sort of a shape would an adult thriller penned by a children’s author take?
Back in 2010, when New Adult was a newly mooted age-banding, I realised I wanted to write about a girl on the cusp of adulthood. I wasn’t ready to leave my stories in the hands of a solely middle-aged cast of misanthropes, perverts and murderers (although the series is inevitably littered with those). My heroine, George McKenzie is therefore twenty in the first book and an Erasmus student studying at Amsterdam university. I think her youth brings a freshness and derring-do to the genre, in the same way Larsson’s Lisbeth Salander did to the Millennium Trilogy.
It took me two years to get The Girl Who Wouldn’t Die just right. Rewrite, after rewrite, after rewrite. It grew to 150K words. I cut it back to just over 100K. In the interim, I penned the first six books of the HarperCollins’ Time-Hunters series for 7+ children, under a pseudonym, Chris Blake. When The Girl was polished to perfection, after my second agent had sadly retired, I went on the hunt for a new agent, knowing that “clicking” would be essential for a long term commitment. Within a few weeks, I had two offers of representation, and though both were from reputable agencies, I followed my gut instincts when I made my choice. My judgement was spot on.
The Girl Who Wouldn’t Die took a year for my agent to place – the enthusiasm from my publisher Avon (HarperCollins’ commercial imprint) was there immediately following submission, but the imprint had to undergo a lengthy period of restructuring and was not initially in a position to offer. We waited for them, though, and with hindsight, Avon, which publishes great women’s fiction and crime, was always the right home for my series. Now, I’m beginning to see that patience and belief pay off. My debut made it to the top of the Kindle free chart within days and is now climbing quickly in Kindle paid. With The Girl Who Broke the Rules out in August 2015 and The Girl Who Walked in the Shadows coming in late November, I’m optimistic that the series will have won a loyal following by the end of 2015. But the buzz wouldn’t be there without the support of fellow authors, SCBWI, reviewers, book bloggers and friends. Building your supportive network is essential whether you self-publish or are traditionally published like me.
No doubt, being published can be a fraught and emotional rollercoaster ride, but it’s one worth taking. The highs are bloody awesome! It’s the best job in the world. So, if you’re an aspiring author, my advice is to keep writing, aim for the stars, surround yourself with supportive allies and never give up!
About the Author
Marnie Riches grew up on a rough estate in Manchester, aptly within sight of the dreaming spires of Strangeways prison. She swapped those for the spires of Cambridge University, gaining a Masters degree in Modern & Medieval Dutch and German. She has been a punk, a trainee rock star, a pretend artist, a property developer and professional fundraiser. In her spare time, she likes to run, renovate houses and paint. Oh, and drinking. She likes a drink. And eating. She likes that too. Especially in exotic destinations.
Having authored the first six books of HarperCollins Children’s Time-Hunters series, her George McKenzie crime thrillers for adults were inspired, in part, by her own youth and time spent in The Netherlands as a student. She also writes contemporary women’s fiction.