Geri Schear's Blog, page 8

How to Motivate Your Inner Writer

With the possible exception of indominable writers like Stephen King, most of us hit the doldrums from time to time. We find our words flat, our story ideas cliched, and our enthusiasm for writing turning into vapor and disappearing up the chimney. So, how do you keep going when you just don’t want to write, not forever, just for now?

Before I share some things that have helped me from time to time, I would suggest you try to figure out why you’re feeling ambivalent about your writing. Note that any one or any combination of these may be factors.

You don’t know where to go with your work in progressYou have received several rejections and no acceptances, and are feeling like a fakeYou’re overwhelmed with too many personal issuesYou finished one project and don’t know what to do nextYou have too much going on in your life and are just plain exhaustedAddress the problem

Most of the time you will find the reason is pretty clear, but if you’re really uncertain, you might want to talk to a friend or fellow-writers about it. If that’s not possible, or it makes you feel uncomfortable, you can try writing about it in your journal.

Once you’re fairly clear what your specific issue is, you need to address it. Take a break, get some help, talk to friends, and you may find that once you’ve dealt with the problem, your thirst for writing will return.

Take a break

If you have been working on a project flat out for months or even longer, you are probably pretty worn out. Take a break. Not too long, but one involving a complete change of pace — and scenery, if you can manage it. Creativity needs to be replenished from time to time. If you work flat out for long periods, you’re eventually going to find yourself running out of ideas, not to mention energy.

Ideally, your break shouldn’t involve staying at home and playing computer games, especially if you write at your computer. Go outside. Meet up with friends. If you live in the city, visit the countryside, and vice versa.

As much as possible, don’t think about writing. Yes, bring your journal and jot down any thoughts that come to you, but don’t feel guilty if find yourself engrossed in other things. That’s the whole point of taking a break, dude!

While we’re talking about breaks, I should add that though common wisdom says you should write every day, you may find you are more productive if you allow yourself one day off each week. Spend time with your family and friends. Get some exercise.

Or take a leaf out of my writer friend Una’s book and go for a one-hour walk every day, come rain, come shine. Okay, an hour might be too much, but even a short walk will force you away from your desk and, oh, the horror! into the fresh air.

Take a class

Ideally, take a class on writing. It’s a chance to open you up to new ways of doing things. It can offer you fresh insight into your work, and you may well find a mentor in your tutor. Two other things that really make classes worthwhile:

It helps you to think objectively about writing in general. From the teacher’s guidance to the other students’ questions, you can learn a great deal about what works and what doesn’t.

In addition, if you are able to attend a class in the real world, as opposed to online, you may find some friends in your area who share your interest, and may become a person with whom you can share your work, your questions, and your aspirations. Which brings me to my next solution.

Mix with other writers

Other writers, it must be said, can be a mixed blessing. You can find the arrogant, the jealous, and the acolyte, but you can also find friends, mentors, and kindred spirits. People who take their writing as seriously as you do. Being able to talk with them can really help you to keep going, even when the going is tough. If you share your works in progress, the viewpoint of another writer can open up all sorts of ideas for you. No matter how supportive your loved ones are, or how much you value your other friends, no one will ever understand your writing passion like another writer.

Use motivational mantras

The idea of the mantra is to let specific thoughts become second nature to you. If you’re one of the many writers in the world who constantly tell yourself that you’re a talentless hack and you’ll never make it as a professional writer, the mantra allows you to replace these negative thoughts with something positive.

You can find these motivational quotes all over the internet. If one particularly speaks to you, print it off and post it by your computer, or put it at the beginning of your journal. You don’t need a huge number, although some people like a different one every day. I prefer to go back to may top twenty or some and select whatever fits my mood at the time. Here are some of my current favourites:

“You fail only if you stop writing.” — Ray Bradbury“Start writing, no matter what. The water does not flow until the faucet is turned on.” ―Louis L’Amour“Your intuition knows what to write, so get out of the way.” —Ray Bradbury“We write to taste life twice, in the moment and in retrospect.” ―Anaïs Nin“You may not always write well, but you can edit a bad page. You can’t edit a blank page.” — Jodi Picoult“The purpose of a writer is to keep civilization from destroying itself.” ―Albert Camus“The first draft is just you telling yourself the story.” — Terry Pratchett“If a story is in you, it has to come out.” —William FaulknerTry visual stimulation

During the 1980s and ’90s, motivational posters were all the rage. Generally, these came with beautiful photographs of a lighthouse with a crashing wave, or sunset over a field of corn. You know the sort of thing. At the bottom of the image with a slogan such as, “If you want something you never had, you have to do something you’ve never done.”

It may seem counterintuitive for a writer to find stimulation in the visual, but you’d be surprised how often it works, John Fowles, for instance, was inspired to write The French Lieutenant’s Woman by the image of a woman standing by the sea. I often design covers for my books or short stories in order to keep myself focused. I know other writers who keep photos of perfect strangers to serve as the models for his characters. My current novel, Great Warrior, was inspired, in part, by some photographs of nurses serving in the Second Boer War.

Browse through old photographs or visit an art gallery. You may be surprised by the power of images to move and inspire you.

Reward yourself for your accomplishments

Set realistic goals for yourself. I don’t mean they shouldn’t be challenging, but they shouldn’t be completely beyond your ability either. If you have just started walking up steep hills, you’re not going to decide that next week you’ll tackle Everest. By the same token, if you’re having trouble writing 1000 words per day, maybe try 500 words, or one page. Then, when you achieve that, give yourself a small reward. A half-hour to play with the cat, or reading a chapter of whatever book you’re enjoying. For bigger accomplishments, award yourself bigger rewards.

One writing friend used to write rewards on a piece of paper and put them into a tub. Then, when she was ready for a reward, she’d select one at random. She found not knowing fun. We’re all kids at heart, and a little fun can really keep you going.

Keep your deadlines

I know this doesn’t sound like a motivation, but think of it as the stick that goes with carrots. As I have said many times before, you need to approach your writing as a job. Most of us have experienced those days where we don’t feel like going into work, but we put on our big girl pants and get on with it. This is the difference between a job and a hobby. If you don’t feel like knitting or going for a hike, that’s fine. But a job isn’t negotiable, whatever some people may think.

If treating your writing with the seriousness a job requires is too much, perhaps being a professional writer isn’t what you really want. Perhaps you’re just in love with the fantasy, where the writing magically appears on the page, where the publishers are lined up throwing bundles of cash in your direction, and where the fans hang on your every word. There’s no shame in admitting that to yourself. Maybe you should be an artist or a guitar-maker instead. But if you know in your soul that a writer is what you are, embrace it. After all, there’s nothing like it when it goes well.

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The Reality of Being a Writer

All of us who have ever dreamed of being a full-time, professional writer, have always had an idealised vision of what that life would look like. We imagined limos and autographs, dining in Michelin-starred restaurants, and living in a luxury apartment in Manhattan, or in a windswept cottage with a sea view.

There’s nothing wrong with having fantasies about your writer’s life. Dreams are essential to both the creative process and to setting goals, albeit unrealistic ones. Most of us when we were starting out never met a ‘real’ writer. We based our image of the writer’s life on TV or movie characters. Sometimes, we’d go by writer’s biographies.

The problem is that these images are a filtered response to one person’s reality. When we watch a TV series like ‘Castle’ featuring extremely successful author Richard Castle, we see the screenwriter’s fantasy of what the creative novelist’s life is like.

In my own case, the reality is very different. And the truth is that there are far more writers like me than those who resemble Stephen King or JK Rowling. We have had some success, published a book or two, a few articles, and some short stories, but we’re far from rich or famous.

If you started writing because all those things — gushing fans and unlimited wealth — were the most important to you, you may well feel let down by reality. I have mentioned before about the man who attended my writers’ group for a few weeks. He was unquestionably talented, if unwilling to accept the need to edit anything. The big break came when he asked how much he could expect to earn as a novelist. I recited the most recent, and disappointing, statistics. I never saw him again. I could only conclude that he saw writing as nothing more than a means to a (rich) end, rather than being an end in itself.

Somewhere between our first success and the passage of time, we start to see what our career will really look like. That doesn’t mean a sudden success cannot shoot a typical genre writer into the stratosphere, but it does make it less likely. For myself, I like being anonymous. I wouldn’t mind being rich, but you can’t miss what you never had. I like walking down the street unrecognised except by my neighbours. All of which brings me to my point:

If you are a writer from the soles of your feet to the spray on your hair, your goal is to write. It may take you some time to figure that out. That’s okay. Perhaps you will be one of the lucky few to see your dreams come true, as well as knowing the fulfillment of writing every day.

The important thing to remember about writing, the single truth that is the same for all of us: writing is work. Yes, it may be easier for some people than others, but it remains work. And it’s the work that matters. Everything else is frippery.

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Beating the Second Book Blues: Part 2

Last week we looked at come reasons why writing your second book can prove so daunting. Today we’re going to look at some ways to move forward with that writing. All the rules that applied to your first novel still hold, and since you have already succeeded in writing one book, you should have no difficulty producing a second.

Theoretically.

That said, there are any number of famous writers who never managed more than one novel: William Goldman, Emily Brontë, Boris Pasternak, Margaret Mitchell, and many more. If you decide to be one and done, then that’s fine. There’s no law that says you have to write a river of novels. If you’ve said all you wanted in novel one, then move on, I can only admire your self-awareness.

For those who want a dazzling career littered with literary prizes, fame, fortune, and carpal tunnel from signing all those autographs, here are some suggestions.

Start as early as possible

If you’re still working your way through your first novel, don’t try to write book two at the same time. That way lies madness, not to mention frustration. However, if, while writing book one, something sparks an idea for your second book, there’s no reason you can’t note it in your journal. You can add ideas to your notebook as they occur to you, just don’t succumb to the temptation to start writing a draft. Finish book one first.

Allow yourself time to just think

It’s easy in a panic to just start writing in the hope that something will emerge, but it seldom works out that way. Once you have finished book one and you’re in the submission phase, you can start thinking about that second novel. Think about it last thing at night so it will steal into your dreams. Think about it when you’re exercising or travelling. Make notes, but don’t start any real writing. Though, I should add, if a fabulous line or two pops into your head, make sure to include them in your notebook. Give yourself a few weeks. Remember, you’re not just trying to plan a new book, you also have to let your first one go, and that can be fairly traumatic.

Know your characters

If you are writing a series, make a point to know as much about the arc of your characters even before you start to write book one. JK Rowling says of the Harry Potter series,

From the start I knew there would be seven books and I had the whole story plotted out early on. It took me five years to write the first book in the series, Harry Potter and the Philosopher’s Stone. 

JK Rowling

To outline or not to outline

Even if it’s not your normal way of working, start with an outline. Some agents or editors will be happy to look at that and offer suggestions. If that’s not an option, then see if a friend or a beta-reader might offer feedback. Not to scare you, but if you have a plan for a long book series — think John Connolly’s Charlie Parker books — remember that book two is just a step along the way. It has to set up book three as well as stand alone.

If you’re feeling adventurous, you can outline several books at the same time. They don’t have to be in close detail, just a sense of what is likely to happen. There are two advantages to this:

It gives you an idea of where each story should start and end, andIf you do get a nibble from an agent or a publisher, you can tell them about the arc you have planned for the next few books. This will be a big plus in your column.Start where you feel comfortable

I know this may shock some of you, but you don’t have to write a novel in chronological order. If you aren’t sure about how the story will go, focus on the scenes you have figured out. Perhaps it’s the end, or a pivotal moment. Very often, ideas will emerge from those pages. For instance, you might write a scene that’s full of tension, an argument or a fight of some sort. Listen to what the characters are saying. If Danny tells Steve that he wants to quit his job because he finds Steve impossible to work for, that suggests another scene that leads Danny to that conclusion. This approach can help you move backwards and forwards through the story, until the plot comes together.

A similar approach is to start at the end and work your way backwards. Other than this helps you to know where the story ends, I can’t say it’s ever worked for me, but some writers swear by it.

Write the blurb first. As I’m sure you’ll recall, this is the brief description on the back of the book and on websites telling potential readers what to expect. It can remind you what the key moments in the story should be.

You’ve got this

Remember, you’ve already done this once. You’ve wrestled the dragons, fought the demons, and emerged victorious. No, this book won’t present the same challenges as the first one did. Each book is a learning experience, that’s why some of us enjoy it so much. But you have learned creative ways of coping with those various problems, and you can this time too.

Have you written more than one book? Let me know in the comments what challenges you faced, and how you overcame them.

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Beating the Second Book Blues: Part 1

There are two trains of thought regarding the second novel. First from the author whose thinking is along the lines of ‘Hey, I’ve done this once. How hard can the second novel be?’ And the general writing community who collectively shudder at the thought of facing that notoriously difficult second novel.

Depending on the contract you sign with your publisher for your debut novel, your second masterpiece — researched, written, and perfected — may well be expected one year after the first. Yes, I understand the panic. This is one of the reasons why the second novel is viewed with such alarm by writers.

Several years ago, thanks to being a winner of the Irish Writers’ Centre Novel Fair, I was privileged to spend the day with a group of agents and publishers. Almost all of them asked me what the sequel to my novel was about. As I hadn’t given this subject a moment’s thought, I was, unsurprisingly, unable to answer. Ah, if I’d only known then what I know now.

This pressure for a sequel is noticeable if you are writing a series, but even a stand-alone novel will make the publisher and agent ask what’s next. Here’s the important point: your focus is on selling your first novel, but the agent’s priority is on building a career. Yours. If you don’t already think of writing as your job, you’d better start.

Coming up with a story idea may prove a challenge, especially if you aren’t expecting to produce a new novel quite so quickly. After all, the only clock you had to worry about while writing your first novel was your own. And you’d probably been mulling over that tale for months if not years before you began writing. Now, you’re under a deadline, with tasks for your first novel still demanding your attention, plus the needs of your day job and family responsibilities haven’t vanished just because you’re now a ‘serious writer.’ This never happened to Jessica Fletcher, I’ll bet.

One other thing that makes writing Book Two so difficult is the ghost of Book One. She’s a noisy creature. She flits about, waving her hands, trying to get your attention. Letting go of those characters, the story that you’ve loved and lived with perhaps for years and then focus on a new work is incredibly difficult. Writing something that’s at least as good, if not better than, your first and in half the time, is nothing to sniff at.

So much for the difficulties. Next week, we’ll look at some techniques to help you overcome these problems.

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Reviewing the Reviews

As I mentioned last week, I had planned to look at the issues surrounding the writing of the second blog. However, it occurred to me during the week that I was doing a disserves to you all by forgetting to talk about reviews and reviewers. We’ll talk about the second book next week.

Let me start with a question: What’s worse than a bad review? Answer: No reviews at all.

One of the greatest gifts a reader can give an author is an honest review. It takes time, intent, and skill to analyse and critique a novel. Even if you don’t have time to write a full review, you can award the book as many stars as you think it deserves. Trust me: we authors really appreciate that.

Of course, there are always those authors who think if a review is less than five-stars, it’s worthless. That’s such a silly attitude. All reviews are valuable. Yes, those that come with masses of praise and a galaxy of stars are delightful to have, but even less effusive reviews can prove valuable. Indeed, you could argue that they are even more important to the author because they (generally) offer an unbiased summary of things the author needs to work on. If more than one of the reviews makes the same observation — the hero is manipulative, the plot is thin, the author overuses the word ‘amber’ — you, the author, should take these criticisms seriously, and fix those issues in your next book.

Watch out for poor reviews that use words like ‘rubbish’, ‘stupid’, or ‘boring’. While there may be exceptions, for the most part, these are written by trolls. One of my books earned a 1-star review with this pithy comment: “This is supposed to be s Sherlock Holmes book, but it isn’t written by Arthur Conan Doyle.” I admit I was rather nonplused by that. Didn’t the reviewer look at the name on the cover? I suspect troll, but that’s just part of the scenery for a writer.

There’s no rule that says you have to read your reviews. A lot of writers claim they never look at them. That may be true for some, but I suspect it’s the minority. Most of us are too curious not to want to know what people think of our writing. It’s one of those itches that demands a scratch.

If you have been lucky enough to have a book published, encourage everyone you know to read it and then write a review. Even one sentence is something. The more reviews you have, the better for your sales. There’s an algorithm that determines these things. Please don’t ask me to explain it.

Finally, speaking of reviews, if you’ve read my latest novel, Great Warrior: The Sherlock Holmes Diaries 1901, please consider leaving a review on any of the usual sites. You can order a copy from MX Publishing, Amazon UK, or Amazon US if you haven’t read it already. And thank you.

Next Week: we’ll talk about that second book. Honest!

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Launching Your Book

Some publishers will handle the launch, or even a series of launches. However, if you self-publish, or if, like me, your books are published by a small independent company, you may well have to set this up for yourself.

I usually feel very anxious about the event in advance, but once the reading begins I relax. I’m not naturally gregarious, but I am good at playing the part of the writer. I’ve done a lot of teaching over the years, and that’s helped me to overcome my nerves.

If you suffer from nerves, you can tell yourself that you are just playing the part of the writer. It won’t work for everyone, but it can help some people quite a lot. Alternatively, ask someone you trust to be your emcee (Master of Ceremonies). They can do the hosting part, welcoming guests, making sure everyone has a drink and snack, and somewhere to sit. Then they can introduce you and you can read from your book. Another advantage of having someone run the event is that they can interview you. Obviously, you’ll have decided on these questions together, so you can be well prepared.

How you handle your anxiety is up to you, but I would caution against alcohol. You might manage with just a small amount, but nerves can make you drink more than you had planned. Slurring your words, falling asleep, or being argumentative, are not good ways to promote your work. Tread carefully.

When should you launch your book?

I usually aim for the day the book is released, but that’s not always possible. Perhaps the venue you want isn’t available that day, or you have something else going on. Also, if the book is released midweek, you may want to wait until the weekend. A Sunday afternoon event is more likely to draw a crowd than a Wednesday evening.

Where

The glib answer is somewhere that makes you feel comfortable and that can accommodate a crowd. However, some places are more appropriate than others. My back garden would be fine; I’m comfortable there, and it’s big enough to host a small football match. However, I don’t want strangers traipsing through my house to get to the back, or to use the facilities. Plus, living as I do in Ireland, weather is a definite concern.

If possible, try to find a place that connects with your book. If, for instance, your story takes place near a well-known seashore, you might arrange to have your launch in that area.

As you know, I write the Sherlock Holmes diaries. In nearby Dublin, there’s Doyle’s Corner, thanks primarily to a pub apparently named for Sir Arthur Conan Doyle. This would seem like a great venue for me, but book launches and pubs are not the best match. I’m not a fan of restaurants as venues either, unless the proprietor is willing to give you a room specifically for your event. Bookshops and libraries are good, and feel like a natural habitat for a writer.

What to read

Usually, people will read the opening few pages of the novel. Depending on the story, you might want to start with the opening scene, and then perhaps another contrasting scene later on. For instance, in my current novel, Great Warrior, the opening is dark and features the discovery of a murdered woman. It is clear from the start that the victim is Mrs Hudson’s niece. I follow that scene with another from later in the same chapter in which Holmes interviews a witness, a man and his mother who are huge, and unembarrassed, Holmes fans. The lightness of tone in this segment serves as a contrast with the darkness of the opening.

The choice is, of course yours. I do think, however, that unless your opening is funny, you should read a couple of contrasting excerpts. Very few people want to trudge through an unrelentingly bleak story. Letting them know that the tone lightens in places can move you from the avoid to the must-read category and that, after all, is the point. The same is true of the contrast between an action sequence and something more introspective.

Who to invite

Yes, friends and family because they will want to support you. Also, if you have friends who work in bookshops or the media, even humble bloggers, they can help spread the word about your event.

You don’t have to know everyone who attends your launch. Strangers can surprise you. They can become supporters of your work and open doors you never even thought about. Just don’t invite too many or too few. Keep in mind the capacity of the venue and invite accordingly.

Letting people know

Emails to your contact list is the first and easiest way to start. If you can afford it, send printed invites to special guests. Mention that wine and snacks will be served and, of course, serve them! Next, if space allows, encourage your guests to bring other guests.

Use publicity items like bookmarks or leaflets to advertise your book. Give them to friends to share.

If possible, try to get an article in the local newspaper or on a local radio station.

Good luck with setting up your event. I hope it’s a great hit. I’d love to hear from you about your experiences.

Next week: we’ll look at the trials and tribulations of the second novel.

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My Book was Accepted: Now What?

First, you dance. Have a party, Celebrate, you deserve it. And, as you will find, once the book is accepted, a lot of things will shift into high gear.

While different publishers may progress slightly differently, in general terms this is what you can expect:

First, the contract. Read it carefully and ask questions if anything strikes you as odd or untenable. Just because it’s in the contract, it doesn’t mean you have to agree to it.

Most countries have a writers’ union who will review a contract for you and offer advice. In Ireland, this is free, and I suspect the same is true of similar organisations elsewhere. You may want to consider becoming a member of the union, if you agree with its principles, and can afford the fees.

Editing. Once you sign and return the contract — make sure you keep a copy — the publisher will assign an editor to work with you on getting the novel ready to print. A word of warning:

Don’t agree to changes that fundamentally alter your work, unless you have agreed to that in advance with the publisher. On the other hand, this is no time to be a diva. I’ve been blessed to have worked with several editors over the years. No, I didn’t agree with all of them about everything, but I never doubted they wanted the best for my work. Sometimes I was presented with changes that I didn’t agree with but as they had no major impact on the story, I let them go. Only once have I regretted it.

Many years ago, I submitted a short story to a now-defunct literary magazine. They rejected the tale, and life went on. But about a month later, they phoned me asking if the story was still available. Despite rejecting it, it had wriggled under their skin and they decided that with a few little tweaks it would be perfect. As I was still a pretty new writer, I agreed. Most of the changes were fine. I cringed at the loss of some jokes I liked, but they did not harm the story. But the ending…

As the story involved a man who appeared to have been resurrected from the dead. His irked wife eventually starts to make money by selling off his ‘miraculous’ clothes, and charging neighbours an ‘entrance fee’ to visit the man (who suffered a stroke on waking in a a coffin). Then, just as the coffers are filling, the selfish man inconveniently dies. For real, this time. The story ends with him being buried again but this time with a bell so he can let the cemetery workers know if he’s come back. My last line was, “they’ve heard nothing yet.” This was a tongue-in-cheek way of implying that the situation could still change. The editor, alas, wanted it cut. We debated a few times, but in the end, I surrendered. I still regret it.

As to your own editing, I can’t tell you what changes are good and what are not. I would suggest that you listen carefully to what’s being said. If you have misused a word, then of course you should change it. However, if the word in question has a different connotation wherever (or whenever) your story takes place, you should keep it.

You and your editor should have a mutually respectful relationship. Take your time in addressing the changes.

The cover. In many cases, the publisher will contact you re the cover. My own publisher, MX Publishing, assigned a cover artist to me and he was kind enough to ask for my input. With each book since, I’ve tried to have an idea for how the cover should look, ensuring the font and basic format remain similar so the reader can see they are all part of a series.

Once the draft cover is done, you will need to sign off on it. Be honest. Try to appreciate the designer’s work, and be gentle if you have any criticisms. I know people who have self-published and they tell me finding a decent cover can be a nightmare, so be glad if you have a designer who will work with you.

Final Draft. After you have reviewed the the edits and made the changes, you will send it back to the publisher. You may then receive an author’s copy in print format or a PDF of the finished article. You need to review this and make sure it’s correct. For me, this is probably the hardest part of the process. By this point, I’ve written, rewritten, and edited the novel so many times that I can probably quote chunks of it off the top of my head. That makes it a challenge to focus on each word, comma, and apostrophe in the final text. And even then, I promise you, once the book is published you, or someone you know, will still discover at least one typo.

I know.

Other possibilities:

A photo. If your publisher wants to include a picture for you for their publicity, or to put on the back cover of your book, you may be asked for a recent photograph. Depending on the type of book you have written, you want a basic image of you looking friendly, wearing something comfortable and not too revealing. Unless it’s that type of book, an image of you skinny-dipping in Cancun is probably not the vibe you’re going for. Make sure you know what size image the publisher wants, and if it should be in colour, or black-and-white. If possible, have it taken by a professional photographer.

Contact Sheet: This is a list of all the people who can be relied upon to buy copies of your book, write reviews, or recommend it to others. So it’s a good idea to get to know your local bookshop owners, library staff, members of your writing group or other writing organisations. Obviously, if you have any friends or acquaintances in the media: DJs, TV personalities, other writers your publisher will be thrilled, not only because these people might help you to market your book, but also because a celebrity endorsement on your cover can be worth its weight in gold.

Also, if your book features a specific place or a type of industry or profession, you may want to include people who pertain to either or both, especially if they have helped you research your story. If, for instance, your novel tells the adventures of a vet, you might want to let some veterinary associations know about your book.

Next week, we’ll look at setting up your book launch.

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Today’s the Day

By the time you read this my new novel, Great Warrior: The Sherlock Holmes Diaries 1901, will be out. Sorry if I’m a bit distracted, not to mention fixated. I really like this book and I hope it does well. If you can’t wait until Wednesday, you can get it now on Kindle. Of course, it’ll be Wednesday by the time you read this so… never mind!

Did I mention I’m a little distracted?

If you want to order the book or know about the three other novels in the series of Sherlock Holmes diaries, you can do so at the MX Publishing site. All my books, including the anthologies, are available both from MX and from all the usual outlets.

Here’s the link to the promo video from my publisher.

Those of you who are following my series on making an idea into a book, and then trying to market it, don’t fear. Normal service will resume next week. Appropriately, I’ll be looking at what happens after your novel is accepted.

One Week Until ‘Great Warrior’ is Released

Great Warrior: The Sherlock Holmes Diaries 1901 is due to be released on 15 May 2024. This is the fourth in the Sherlock Holmes and Lady Beatrice series. This series is written in the form of Holmes’s own diaries, giving us a new insight into the character.

Sherlock Holmes has seen more violent death than most men, but this time it’s different. This time the victim is Meg, Mrs Hudson’s beloved niece.
Soon the detective discovers that Meg isn’t the only woman to die by this killer’s hand. There are others. All, like Meg, nurses recently home from South Africa where they served in the Second Boer War.
The investigation leads Holmes down many unexpected paths, from the streets of the most vulnerable to the halls of royalty and, ultimately, to a killer beyond reason or compassion.

Although the novel has not yet been released, it already has a five-star review. From Vincent G. at Reedsy:

Must read

The author parses out the action in a way that seems at first plain, however many readers might say it is highly descriptive clarity.

SYNOPSIS

Sherlock Holmes has seen more violent death than most men, but this time it’s different. This time the victim is Meg. Mrs Hudson’s beloved niece.

Soon the detective discovers that Meg isn’t the only woman to die by this killer’s hand. There are others. All, like Meg, nurses recently home from South Africa where they served in the Second Boer War.

The investigation leads Holmes down many unexpected paths, from the streets of the most vulnerable to the halls of royalty and, ultimately, to a killer beyond reason or compassion.

This is the fourth in the Sherlock Holmes and Lady Beatrice series. Taken from Holmes’s diaries they reveal secrets Dr Watson was never permitted to share.

Of the several MX Publishing anthologies and novels I reviewed, Great Warrior: The Sherlock Holmes Diaries, is the first to offer me a hero and cast of supporting characters I did not expect. Geri Schear, the author, moves away from Dr. Watson as narrator, women are more powerful and key to the plots. Most surprising of all, Holmes is married.

Beyond those matters, Schear’s narrative style comes across as fresh and more personable than in adventures told by Watson. She does not try to mimic Sir Arthur Conan Doyle’s voice. Instead, there Sherlock parses out the action in a way that seems at first plain, however many readers might say it is highly descriptive clarity:

I retired early, but found my sleep troubled by peculiar dreams. I do not recall many of the details now, but in one, I swam in a vividly blue sea. At some point I realised that it was not a sea at all, but methylene blue dye. Next came a waterfall of red water which, strangely, did not blend with the blue, but formed pools of red within the sea. Somewhere, I heard Mycroft’s voice saying, “That’s your problem, Sherlock. You are far too concerned with how things look, rather than how they are.” At that, I woke up, tired and perplexed, to see I had retired no more than thirty minutes earlier.

Women tend to be ancillary in most Holmes stories. They are villains or ingenue, and the closest Holmes ever came to affection for one was the former actress Irene Adler, introduced in Doyle’s 1891 novel, A Scandal in Bohemia. However, Great Warrior chronicles 1901, and the key female figure in the saga is Bea, chief aide to Mycroft Holmes. The character softens and opens Sherlock to social convention that culminates in an Easter “family dinner.” More than that, Mycroft credits her with easing his tensions.

After a tenuous beginning when the men in the office seemed unwilling to take her seriously, she has become their de facto leader. Not only does she serve as my primary assistant and takes many of the meetings that were eating into my time, but she serves as a stabilising force for the younger men.

Great Warrior: The Sherlock Holmes Diaries’ plot is woven in the solutions of two great mysteries that fans of the consulting detective will welcome. Watson is minimized. Lestrade is sidelined. Holmes is more humanized. 

Great Warrior: The Sherlock Holmes Diaries 1901 will be available on 15 May 2024 from MX Publishing and all the usual outlets.

How to Handle with Rejection

There may, perhaps, have been one author in history whose first novel was accepted by the first agent or publisher he sent it to, but if so, I’ve never heard of it.

What I have heard of is the (now) big name authors whose bestsellers were rejected hundreds of times before being accepted. At the time of writing, Robert M. Pirsig’s Zen and the Art of Motorcycling Maintenance was rejected 121 times before becoming the cult hit of the 1970s. And Jack London, you know, from The Call of the Wild, received more than 600 rejection slips before earning a single acceptance. James Joyce, Frank Herbert, and James Patterson were all rejected multiple times before going on to achieve their success. I’m not telling you this to depress you, but so you’ll know that if you start to receive ‘NO’s, you’ll know you’re not alone.

Even in this age of electronic communication, a large number of agents and publishers don’t bother replying when you send a manuscript or a query. Have a look at their website and see how long they say they reply. It’s not rude to send them a reminder once their deadline has passed, but if another two weeks or a month passes and you hear nothing, cross them off your list. You may yet hear from them, but odds are you won’t.

If you do receive a response, even if it’s a rejection, consider it a gift. At least now you know. The fact that your correspondent has taken the trouble to reply is a positive thing, though I realise it won’t feel that way to you.

Other than an acceptance, or a request for the rest of the manuscript, the best reply you can receive is one in which the publisher or agent explains why they’re passing. These letters are free education. Take them seriously, and be grateful for them. Of course, gratitude is unlikely to be your initial reaction. So here’s some ways you can avoid being completely sidelined or depressed by a ‘no’.

Vent. Yell, get mad, complain bitterly. Just don’t hurt yourself or anyone else. Try to channel those emotions into some physical activity like running or swimming. Don’t get mad at your spouse, or the cat, or some innocent stranger. Even getting upset at the person sending the rejection is a waste of energy. Over your career, unless you become one of the elite authors, you will probably receive more rejections than acceptances. It’s frustrating, but it’s the way things go.

Set it aside. Just put that rejection aside for a few days and try to think of something else. The idea is to be able to face the rejection calmly and perhaps learn from it. I am, of course, here assuming that the rejection in question has come with some sort of a positive. “Try us again,” is one of the best. Take that advice seriously. You think an editor says that to everyone? Of course not. This may be a rejection, but there’s hope at the heart of it.

Study it. I’m assuming here that you’ve received the sort of rejection that comes with some words of advice or specific comments about your story. “The protagonist is too goody-goody.” “The plot is a mess in the second half.” “This type of novel is out of fashion.”

Take your time thinking over the comments. Depending on your degree of experience, you may know in your gut if the comments are correct. In my experience, sadly, they usually are right. I say usually because agents and editors are as fallible as the rest of us, which is why so many great novels were passed in the, ah, past. My own personal experience, which I have shared previously, is when I sent my first novel, A Biased Judgement, to a certain UK agent. She sent back a letter, very kind, praising my writing. But, she said, “No one is reading Sherlock Holmes novels any more.” At that very moment, Anthony Horowitz’s The House of Silk , was number one in the bestsellers’ chart. It is a Sherlock Holmes novel.

My point is just because someone has a fancy title, ‘Literary Agent’, or ‘Publishing Editor’, or what have you, doesn’t mean that they’re infallible. Of course, it doesn’t necessarily mean they’re wrong, either. Let your disappointment settle and then try to examine your manuscript with a clear eye. If you don’t agree with the comments, by all means disregard them. But be honest with yourself. Don’t discount comments simply because it will mean a lot of work.

Don’t let your emotions lead you. I’ve heard horror stories of agents receiving hate mail, nasty phone calls, and even death threats as a result of rejecting someone’s work. You want to be known for your work and for being easy to get along with. You don’t want your name to be the one agents talk about with a shudder. Being upset is understandable. Being abusive is not.

Keep writing. Once you have written your novel and submitted it, start planning your next one. Even if you never find anyone to accept your first work, it wasn’t a waste of time. You will have learned so much from the writing, and the next novel will come together much more easily.

Keep submitting. Keep sending your novel out. All you need is one agent and / or one publisher. Finding him or her may take time, but keep trying. Remember, Stephen King’s first novel, Salem’s Lot, was published after his second, Carrie.

In future weeks, we will examine what happens when your novel is accepted, and how to approach your second novel. However, my own next novel, Great Warrior, is being released on May 15th, so I want to tell you some more about that, including my 5-star review, next week.

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