If you want a sell-out event at a literary festival, call it something like ‘How To Get Published’. I’ve been to numerous of these types of talk and panel discussion over the years, and they’re always well attended.

In my experience, there are four main types of people who attend these events:

  1. Those who’ve spent years honing their craft and writing their manuscript, who want to start querying to agents, but find the publishing industry a bit tricky to understand, and want to get to grips with how it all works.
  2. Those who don’t have anything publishable at the moment, but also want to understand the industry they’re aiming to be a part of, and also to meet other writers / network with industry professionals.
  3. Those who are starting out (or have started fairly recently) and want to get a sense of what’s involved in seeing this whole writing thing through.
  4. And, inevitably, those who just want a quick fix to make them a published writer.

If you’re the fourth kind of person, then sorry, but the road to publication is long and hard, and there are so many steps before you even get that far. If you’re one of the first three, then you’re probably already aware of this, and will therefore probably get a lot more out of this kind of event.

But I’ve also been to events where an audience member has asked ‘how do you get a book published’ and the panellist has, slightly sniffily, said that you need to write the book first – as if everyone who might be interested in how to get published is Person 4, not Person 1-3. Sure, Person 4 exists (and I’m sure we’ve all met one or two of them in our time), but they’re not the only type of unpublished writer out there.

Thankfully, not all panel events are like this. The other week, I went to a refreshingly honest event at the Bronte Festival of Women’s Writing, with hugely useful advice and experience sharing from all sectors of the book industry – from writers all the way through to booksellers. If you can find events like this, they’re a great way of learning how the industry operates.

Because let’s be honest, the publishing industry can be incredibly confusing.

Like any industry, publishing comes toting its own bag of jargon: advance, acquisitions, UKCW, ARCs, earning out… And even if you sit down with some sort of bilingual publishing/standard English dictionary, the process can still seem somewhat mysterious. After all, what does an editor actually do? How does a commissioning editor differ from an editorial assistant, or a proofreader, for that matter? How does it all work?

There’s no quick answer to all of this. Partly because, like any industry, publishing has far too many layers to unpick in a single blog post, and partly because every publishing house operates slightly differently.

Usually, it operates a bit like a flow chart: the author writes the book (or pitches it if you’re writing non-fiction), and then submits to agents; once accepted by the agent (‘representation’), the writer will usually work with the agent on the manuscript, before the agent then tries to sell the rights to publishers; once a publisher has agreed to publish the book (‘acquisitions’), the writer then works directly with the editor at the publishing house towards a final version of the book, which is then published.

Of course, there are many more steps within that – and even these steps are subject to variation. For instance, some publishing houses don’t require you to have an agent, and if you’re writing non-fiction, you’ll often pitch the book to agencies and publishers before you’ve finished writing it. There is no single path to getting published.

I repeat: THERE IS NO SINGLE PATH TO GETTING PUBLISHED.

So if there is no single path through the publishing process, how do you go about figuring out what any of those paths look like, and how do you know which one might be right for you?

the writing desk

Author Events:

I’ve already mentioned this, but it’s worth mentioning again. A lot of literary festivals will have events specifically geared towards people who are looking to publish a book. Often this will take the form of a panel discussion, featuring a writer or two, and a couple of people who work in publishing (maybe an editor and an agent). They tend to being with each person describing something about their role in the publishing process, and then open up to a Q&A. Of course, there are other formats, too, but this one is fairly common.

These events can be incredibly useful for helping writers to get a grip on how the whole thing works, but also for making the whole thing seem more human. After all, although from afar the publishing industry might seem like a great big faceless machine, it’s really all about individual people, who all have individual tastes.

They’re also a good way of networking with other writers who are probably in a similar position to you, and at a similar stage of their development as writers. After all, you’re all trying to figure out how it works together, right?

However: while these events can be incredibly useful, be aware that they come in all shapes and sizes – and at all kinds of cost. The biggest, most expensive event isn’t always the best. In fact, it’s often the smaller, more personal event that can be the most useful for something like this.

Also beware of blanket statements. As I said, there’s no single path through the publishing industry, so what is true for one person (even if they’re a commissioning editor at a massive publishing house) might not be true for another. I’m obviously not saying to ignore professional advice, because if you’re going to do that, then there’s no point going to these things in the first place – but just take things with a pinch of salt. Ask yourself if it rings true to your own experience. For instance, I’ve heard of events where writers have been told things like ‘nobody’s publishing young adult fiction any more’ and ‘you can’t be a writer if you live somewhere rural’. If there’s anything like this which strikes you as untrue, don’t be afraid to get a second opinion.

Google:

And where to get that second opinion? If the in-person events don’t help, or if you’ve got points that need clarifying, then don’t be afraid to google it.

I know that sounds obvious, but you’d be surprised how often I speak to people who don’t understand how the publishing industry works, and have never even thought of using the internet to help them find out. Granted, it isn’t the be-all-and-end-all, and like anything online, you have to take it with a pinch of salt. But it’s a free way of getting your head around how it all works – ideally with a glass of wine or two.

And if you’re not sure where to start with your googling, here are a few online resources to set you off on your search:

WAY:

I’ve already mentioned Writers & Artists above, but as well as having a plethora of online resources, they also publish the annual Writers & Artists Yearbook. This is a hugely useful resource for anyone who’s on the brink of looking at publication, with listings of agents and publishers, what sort of thing they’re look for, and details on how to submit to them.

If you’ve done all your writing bits, and your editing bits, etc etc, and you’re looking at securing an agent, or publication through a house that accepts unsolicited submissions, then sit down with a copy of the Writers & Artists Yearbook. I’d also recommend using it in conjunction with agencies’ own websites, and combining book research with online research. (If you don’t want to buy a copy of the Writers’ & Artists Yearbook, then check your local library to see if they have it in stock.)

Acknowledgements:

If you’re looking for representation or publication, then try making a pile of books that have something in common with yours. Are there books written in a similar style and genre, which you think would complement your own? Books that deal with similar themes? Books aimed at a similar audience?

Agencies and publishing imprints tend to have specialities. So, if there’s a book that you think might sit well alongside your own, do some digging on it. See who it’s published by. See who the writers’ agent is. (This is something you can google, or just look in the acknowledgements at the back of the book. If an agent is any good, the writer should have thanked them there.)

I’m not saying that this agent will therefore definitely want to represent your book as well. For a start off, most agents probably won’t want writers on their list who are too similar, as they’ll end up in competition with one another. But it’s a good guess that your book might well be their sort of thing. It’s a place to start.

Mentoring Programmes:

I’ve already said that there’s no single path towards getting published. One alternative to traditional methods (or working alongside traditional methods) can be mentoring.

Mentoring programmes for writers seem to be on the rise, which can only be a good thing. They vary massively in terms of what they offer – from a promise of publication at the end of them, to financial assistance, to developmental support, to editorial guidane. They also have varying criteria for applicants.

I’ve benefited from a couple of mentoring programmes over my career so far. One of these (through the Wordsworth Trust) helped me get my first poetry pamphlet ready to submit to publishers. The second (WriteNow, run by Penguin Random House) helped me to write my first novel, and to get an agent.

From Idea to Book: My Journey to Publication

When you’re trying to get your foot through the publishing door, it can be helpful to have somebody pulling it open from the other side.

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Next week: The Writer’s Apprenticeship 3: Building a Profile

 

If you want to be a writer, you have to learn to write. Obvious, right? Right. I mean, if you wanted to be a concert pianist you’d expect to have to learn to play the piano first.

But there’s this weird thing that happens with writing, where some people think that, because they can write words down (a shopping list? An email? A letter to a friend?) they can write a story or a poem or a play, or whatever it may be. After all, they use words every day – surely it’s just a matter of choosing the right ones?

If you’re reading this, then you’re probably already well aware that it doesn’t work like this. You have to understand the craft of your writing – to learn about narrative arc, voice, dialogue, sentence structure, point of view, figurative language, rhythm and meter, pacing, imagery…

Sure, you can write without understanding any of this, and if you’re writing solely for the pleasure of it and it isn’t about writing well, then fine. Just because we enjoy something doesn’t mean we have to monetise it – whatever capitalism has to say about it. After all, I’m a far cry from selling out a solo gig at the Royal Albert Hall, but I take huge enjoyment from singing in the shower now and again.

But if you want your writing to be good, as judged by industry expectations, then you’re going to have to learn it, just like any other craft.

So how do you learn to write?

Books at Allan Bank, Grasmere (National Trust)
Allan Bank, Grasmere (National Trust)

Read.

Before you even pick up a pen, you need to read as widely and as deeply as you can. You don’t have to be a particularly fast reader, but you have to read well. By that, I mean you have to read with a critical eye. You’re not just reading for the story any more, to find out what happens. Instead, approach each book as a training exercise.

  • How is this author creating suspense?
  • How do they make you like their protagonist?
  • If the book feels a bit slow or you lose interest at some point, why is that?
  • How could you avoid making the same mistakes?

If you don’t like to read (and, believe it or not, I have actually met people who write, who say that they hate books), then you need to question whether you really do want to be a writer. If it’s just because you like the sound of your own voice, then record yourself reading the phone book or something instead. Writers need to read, the same way that painters need to look at other paintings.

I’ve also met people who say they don’t read because it’ll influence what they write.

Good.

Let yourself be influenced by others. That doesn’t mean you have to copy their ideas or steal their characters (in fact, there are laws against that sort of thing). But if a writer has a particularly engaging way of writing dialogue, so that you can actually hear the characters coming off the page, then absolutely study their technique and let it influence yours. If you’re an aviation engineer, you need to study the concept of how an aeroplane wing works or the plane will fall out of the sky. If you’re a writer, you need to study how to string a sentence together, or construct a plot, or develop a character, or your book will never get off the ground.

writing prompt - Katie Hale

Read widely.

Reading in your own genre is great. If you write crime fiction then sure, read crime fiction. Figure out what other crime writers are doing, what they have done in the past. Where do you fit within the genre? How can you do something different?

But read other stuff as well. Let yourself be influenced by writers of all kinds. Read thrillers and romance. Read literary fiction. Read poetry and play scripts. Read classics. Read YA. Read non-fiction. Heck, read a picture book. As long as you read critically, you’re growing your craft. And the variety of your influences may just give you your distinctive voice.

As well as reading other types of fiction, and poetry, and scripts, and creative non-fiction, try reading books about writing. Study what other writers do, and study what other writers are telling you to do.

There are literally hundreds of ‘how to’ books out there. (Ok, probably there are thousands, but obviously I haven’t counted. I’m too busy reading and writing.) So how do you choose which ones are worth your time?

Honestly, it’s probably going to be trial and error. Recommendations are great, but what works for your friend might leave you high and dry, whereas something another writer has found completely useless might be like gold dust for you. We’re all different writers and, crucially, we’re all at different stages of development in our writing. So we’re all going to be looking for something different. If you want to try a few without a big price tag, see what you can get from your local library. You can then dip into a number of options, and if you find one you like, potentially buy a copy afterwards.

In the meantime, here are a few books on writing that I would recommend:

  • Julia Cameron’s The Artist’s Way
  • Louise Doughty’s A Novel in a Year
  • Renni Browne & Dave King’s Self-Editing for Fiction Writers
  • Will Storr’s The Science of Storytelling
  • Peter Sansom’s Writing Poems
  • Glyn Maxwell’s On Poetry

new year writing resolutions: Katie Hale

Write.

Reading is all very well, but of course you also need to write. Just as a concert pianist learns to play sonatas by practising scales, so you can learn to write by writing. You can write exercises, or you can write that epic novel that you’ve had in the back of your brain for ages. It doesn’t really matter, so long as you’re writing, and you’re working out at all times how you can improve.

Try different voices. Try different forms. Try using techniques you’ve observed in your reading – how do they work for you?

Practice makes perfect – and although I’m not entirely sure I believe in ‘the perfect novel’, at least practising can help to get you closer.

Social media addiction - Katie Hale, Cumbrian poet, writer and artist

Join a writing group.

Once you’re on the way with your writing, you’re going to realise what a solitary process it can be, if you haven’t already. I guess it’s a bit like parenting – sometimes you just need to talk to other people who are going through the same thing.

Writing groups can take any form. They can be workshopping groups, where you get together to comment on each others’ works in progress. They can be support groups, where you share opportunities and talk about the problems you may be facing. They can be physical groups (at someone’s house, in the pub, in a specially booked room somewhere), or they can be online groups. They can be mixed ability, or grouped so that everyone has similar levels of experience.

I’m in a number of writing groups, each with its own focus:

  • A poetry group that meets once a month, where we each bring in a poem to workshop as a group.
  • A group that focuses more on fiction (and scripts), which also meets once a month, and for a full day. In the mornings, we do a number of writing exercises, usually with a specific theme or focus, and in the afternoons we workshop bits of our works in progress, which we circulate about a month in advance.
  • A WhatsApp group of other debut writers, which we use as a support group for sharing experiences / successes / difficulties etc, rather than for sharing actual work.
  • I also have a number of friends who are writers, who I often share things with individually.

I’ve also been in a number of other groups over the years, as I’ve moved around geographically, and as my focuses have changed. For me, the groups that seem to work best are the ones where everyone is at a similar level – if not of experience or knowledge, then at least of commitment. As with many things, it helps if everyone is coming from a place of similar understanding.

If you’re looking for a writing group in your local area, and you’re not sure where to start, try by googling, or by asking at your local library, arts organisation or community centre. Talk to other writers in your area – particularly ones who write something similar to what you write. If you’re not sure who these might be, try asking at any local bookshops.

Still can’t find anything? Start one yourself!

script writing for theatre - Katie Hale

Look at writing courses.

This one isn’t essential. You can absolutely become a good writer without ever going on a writing course. After all, most of the hard work is done between you and the notebook, and it takes time. It isn’t something someone can teach you in a week, a month, or even a year.

That isn’t to say that writing can’t be taught. Writing is a craft, and any craft is teachable, as long as the student has the willingness, passion and skill to learn. But it takes time. You might learn to play the odd tune on the piano in a year, but you won’t yet be a concert pianist.

But, with that caveat made, there are still a number of really good reasons to explore courses as a means of improving your writing.

  • You can learn from experienced tutors.
  • They’re often a good way of meeting other writers, who’ll have similar writing interests to yourself – and whom you may also be able to learn from.
  • If you’re stuck in a rut with your writing, a course can help you to see things from a new perspective.
  • A course can give you confidence as a writer, and goodness knows we all need that from time to time.
  • Particularly with residential courses, or longer courses such as an MA, they can be a good way of forcing yourself to carve out writing time from your daily life.
  • They’re also incredibly fun!

As with writing groups, there are all kinds of different courses available, depending on the needs, experience level and budget of the writer.

  • Arvon and Ty Newydd are well-known as centres for tutored residential courses, usually over a weekend or a week.
  • Online courses such as the Poetry School.
  • One-day workshops, as well as longer evening / afternoon courses run by adult education providers.
  • One-off workshops through libraries, arts organisations, bookshops and book festivals.
  • I’ve also heard great things about Sophie Hannah’s Dream Author coaching programme for writers.

If you want to go down the university route, there are undergraduate courses (usually 3 years full-time or 6 years part-time), or Masters level courses (1-2 years full-time and 2-3 years part-time). Beyond that there are PhDs, if you’re more advanced.

These courses vary hugely in terms of cost, and of course we know that even well-established writers are rarely rolling in it, let alone writers who are just starting out. But many of them will offer bursary schemes for writers on low incomes, so they’re still worth exploring, even if your budget isn’t huge.

*

And there are my thoughts on learning to write!

Next week: The Writer’s Apprenticeship 2: Learning the Ropes of the Industry

 

Autumn is very definitely here. I’m getting used to waking up in the dark again, and to lighting the fire in the evenings. I always like autumn – I like the chance to unearth all my warm woolly jumpers and rug up against the long nights. And I like the fact that the early dark means cosying up with book to read – or to write.

That said, I haven’t actually written that much this month. I’ve drafted the odd poem, but really, October has been a month of sorting things out, in between a writing-filled September, and my residency in Brussels next month.

Sometimes, I think it can be good to take time away from the rigorous writing – partly for the sake of giving yourself some breathing space (I’ve written a bit about this here), but also because sometimes you just need to do a lot of life admin. And I’ve got a hectic six months coming up, with very little time for taking stock and getting organised within that time. Want proof of how much I’ve had to get organised this month? I’ve already started planning workshops for 2020, because this was my only opportunity. Hence easing up on the writing a bit.

The flip side of this, of course, is that I’m currently chomping at the bit, and desperate to get some more words on the paper. Bring on Brussels!

A Few Good Things:

Borderlines Festival

Borderlines is Carlisle’s book festival, and has fast become a key event in Cumbria’s literary calendar. This year, I took part in a number of ways: from performing at a poetry evening, to talking about My Name is Monster, to running a workshop & leading an open mic at the University of Cumbria.

And, like so many festivals, it was also a great way to catch up with friends and get to see some other great writers talking about and reading from their work.

Cheltenham Festival

And speaking of festivals…

Earlier this month, I was invited to Cheltenham Festival, to talk about My Name is Monster, alongside Sara Collins, whose excellent novel, The Confessions of Frannie Langton, is as gripping and tense as it is beautiful and heart-wrenching.

The festival was of course excellent (and the green room was outstanding!) but what really topped off the trip for me was the hotel. Huge shoutout to my publicist Anna for booking it – it was a beautiful Art Deco room in a stunning building. And what’s more, there was a free G&T on arrival, and complimentary sloe gin on the bedside table. I’m not ashamed to say that I deliberately woke up two hours earlier than necessary, so that I could lounge around in the fancy bath robe and drink the posh teas and write poetry in my room.

Workshops

I’ve also done a few schools workshops this month – including working with around 160 children & young people over the course of 2 days! Fortunately, all of them were lovely and keen, and wrote some absolutely jaw-dropping poetry.

The Month in Books:

This month has been a bit of a mix, books-wise. Some things that have been on my to-read list for a while. Some completely new books. And some that I’ve been dipping in and out of for months and have finally finished. And (for once) a nice mix of prose and poetry:

  • The Confessions of Frannie Langton, by Sara Collins
  • Typhoid August, by Sarah Fletcher
  • Writing Poems, by Peter Sansom
  • The Complete Middle School Study Guide: American History, by Philip Bigler
  • The Testaments, by Margaret Atwood
  • The Little Snake, by A L Kennedy
  • Joy, by Sasha Dugdale
  • Mrs Sartoris, by Elke Schmitter

The Month in Pictures:

There are a number of questions I get asked about being a writer. Inevitably, these include: Have you written anything I’ve heard of? Are you going to be the next J.K.Rowling?

And, sometimes, What do you do all day?

I can’t really answer the first two questions, but I can definitely have a crack at the last one. This question usually comes from people of a generation where working from home is still a largely recent possibility (though not always), and is often asked with a look of concern that I don’t have a ‘proper job’. It’s also quite frequently followed by: But how do you earn a living?

The other way I get asked about my daily routine is more along the lines of, How do you stay motivated? If you don’t have a boss telling you to be at your work station at a certain time, then how do you make yourself get out of bed and do the work?

These are both huge topics in their own right: what constitues the job of being a writer, and how writers can earn a living. I can’t tackle the here; they both deserve their own blog posts.

(I’ve talked a bit about motivation & celebrating success as a writer here, and about a writers’ income here.)

But for now, let’s focus on our initial question: what on earth do I do all day?

the writing desk

Morning:

I like to start the day with the most important bits of being a writer: the writing. (Actually, I like to start the day with coffee, but maybe that is the most important bit of being a writer? Then once the coffee’s made and is slowly waking up my brain, I can move onto the actual writerly bits.)

I’m sure many of us have seen that inspirational message that does the rounds on social media from time to time, about how we should fill our time with the important things first and foremost, rather than cluttering it up with the little things that don’t matter. Just in case you haven’t, I’ll paraphrase:

If you take a glass jar and fill it with ping pong balls, the jar will appear full. But then if you take a handful of beads you’ll find that you can still fit them in the jar, because they’ll filter down the gaps. Once the beads are added, the jar will appear full again. But you can still add sand to the jar, as this will trickle between the beads and fill up all the really tiny gaps. But if you’d started with the sand, and then added the beads, you’d find that you wouldn’t have enough room for all the ping pong balls. The message is this: that we should make room for the big things first – in life as well as in jars.

Ok, so I admit it’s fairly corny, but it’s also true. Make room for the important things, and all the little bits and bobs will fill up around them. But if you fill up your time with all the little things, you’ll soon find you run out of time for the important stuff.

Which is why I reserve the mornings for reading, writing and editing. Sometimes I’ll do some of each ot these in a morning, and sometimes I’ll stick to just one. It depends where I am in a project.

What’s really important is that I leave all the admin bits to the…

Afternoon:

The afternoon is sort of a free-for-all. Sometimes I’ll carry on with whatever I’ve been doing in the morning. Sometimes I’ll switch to all the other stuff that makes the one-woman writing business tick (and if you’re doing it professionally, then it is a business).

What does this include? Everything from emails (don’t we all have to do these?) to submissions to competitions and magazines, to residency or funding applications. Sometimes, I try to get outside to go for a walk or something during the afternoons, to get some fresh air and get my sedentary self moving – but I’ll be honest, this happens far less than I’d like it to.

(Residencies are another matter – when I’m lucky enough to be on a residency, I can step away from all the admin bits, which means the freedom to spend some time thinking / walking / exploring my new surroundings.)

And in the evenings?

My evenings are technically non-work time, where I can read or watch Netflix or whatever, but this rarely actually happens. Often the emails and/or the admin bits drag over, and I find myself switching off my laptop much later than I’d like. This is less than ideal for a number of reasons, but especially because it means that, when I go to bed, my brain is still whirring with everything on my to-do list, and so I don’t sleep as well. So, when I have to get up and write the next day, it isn’t from quite as good a place as I would necessarily like it to be.

One of my new year’s resolutions for 2019 was to keep my evenings work-free. Like most resolutions, I did pretty well in January. But of course, it started to slip. I guess it’s one I need to reinstate.


Caveat: like most day-in-the-life pieces, this is an idealised version of my writing day, and is often discarded in favour of an all-day workshop and / or a frantic rush to meet deadlines. But this is the template I try to fit my other days around, and sometimes – just sometimes – I manage to make it happen.

 

Imagine. Your best friend has just published their eighth novel. It’s nominated for the Man Booker Prize, which they’ve won before. They’re also an award-winning poet with two Forward Prize-winning poems, and a T S Eliot Prize-winning collection. They get flown all over the world and put up in 5* hotels so they can speak their great wisdom at international literary festivals. Their events sell out within minutes, and their signing queue stretches for a mile and a half. Every time you walk past a bookshop, their covers wink at you from the windows. They’re also the nicest person in the world, and have just been nominated as most beautiful writer of all time. They’ve just been nominated for a Nobel Prize. The village book club thinks your books are kind of interesting, but nobody writes quite like your best friend.

Don’t worry, I’m not having an emotional crisis. This best friend is fictional.

But we all know what it’s like to see other people having more success than ourselves. Even the most famous writers know what this is like. It can just be a bit difficult to remember that when you’re wallowing in the depths of your own rejections.

So how do you keep your spirits up, when it feels like everyone around you is way more successful than you are?

the writing desk - February 2018

Redefine your idea of success.

We’re so used to talking about success as the opposite of rejection. Did your poem get rejected from that magazine, or was it successful? I know – I do this as well. In all honesty, I’m going to keep doing it here.

But let’s start reshaping our idea of what ‘rejection’ means. I’ve talked a bit about this before, but rejection doesn’t have to be a negative thing. After all, with every ‘thanks but no thanks’ that comes back, you free up your poem / story / whatever to send it out to a different journal or competition. In some ways, every rejection increases your chance of acceptance somewhere else.

But rejection can also help you grow as a writer. It can sometimes take months for that rejection to come through – months in which you’ve been reading, writing, honing your craft. So when the poem comes back with a ‘no thanks’ letter, it’s a chance to take another look at it, and see whether you could improve it. After all, your poetic eye could easily be sharper than it was a couple of months ago.

Even if you look at your original submission and decide it doesn’t need another edit, it can be useful to make some sort of ritual out of receiving a rejection. For instance, I have a spreadsheet where I document all my submissions. When I get a response, I get to colour in the corresponding box in the spreadsheet. It’s a small thing, but it carries the same sense of satisfaction as crossing something off a list.

writing prompt - Katie Hale

Watch what you submit to.

Quite often we talk about submissions in terms of numbers. I know; I’ve done this as well. Last year, I aimed to submit to 100 things over the course of the year. I didn’t quite make it, but that wasn’t really the point; the point was to force myself to put my work out there, and to submit to things I might not otherwise go for. And it worked – last year was hugely successful in terms of my writing career.

But as an approach, it doesn’t work for everyone. If you find you’re getting down about the number of rejections you’re receiving, or if you’re short on time to submit to things, then absolutely narrow your focus. Submit to fewer things, but make them the ones that really fit your work. Make each submission as good as it can possibly be. Submit to things where you have a higher chance of success (so if you’ve only been writing a couple of months, maybe go for the local poetry competition rather than the National Poetry Prize).

I’m not saying you won’t still get rejections if you do this, but it might decrease the ratio slightly. After all, we’re all human. We all need a confidence boost from time to time.

And speaking of confidence boosts…

Celebrate the little things.

This is particularly important for novelists, but it also applies to other kinds of writers as well.

As a novelist, you tend not to get to submit your novel to people till pretty late on in the game. As in, you’ll usually have written a full first draft, and then edited it as much as you can, maybe have workshopped bits of it with your writing group, and then edited it some more. All this before you start querying it with agents, or sending to presses that accept unsolicited submissions, or whatever route you decide to go down.

This can take years. That’s a long time without a confidence boost. Find smaller milestones.

I recently went to the Bronte Festival of Women’s Writing in Haworth, and the excellent Claire Malcolm from New Writing North was there, talking about identifying creative milestones.

I knew what mine was. ‘To finish my second novel,’ I thought smugly.

Reader, I haven’t even started writing my second novel yet. It took me a moment before I realised what a stupidly big milestone that is. It’s like learning to read, and your first milestone being to read Ulysses. It’s too big. There are way too many other steps to get through first.

So I’ve come up with new milestones. They may change along the way, but for now they’re:

  • Start drafting. (I spend a lot of time in the planning & note-making stages of writing, so the day I actually sit down to start drafting the book is an important milestone.)
  • 10,000 words of a rough draft.
  • 20,000 words of a rough draft.
  • 30,000 words of a rough draft.
  • 40,000 words of a rough draft.
  • 50,000 words of a rough draft.
  • Finishing a rough first draft, and writing ‘THE END’ in big smug letters on the last page.
  • Completing a workable second draft.
  • Sending off the manuscript to my agent.

Instead of one big goal, these are the smaller milestones I’m going to celebrate along the way.

Writing poetry in a cafe in Grasmere

No really. Actually celebrate.

It’s all very well knowing what your personal goals are, and feeling that small sense of satisfaction when you achieve them, but why not actively celebrate them?

One technique I’ve seen a few writers sharing on twitter is the gift-to-self technique. This involves buying yourself a bunch of treats before you start writing, and wrapping them up with labels on the front, telling you when you get to open them.

For example: at 10k words you get a bar of chocolate. At 40k you might get a new pen. When you finish the first draft it could be a bottle of bubbly.

It’s up to you what these gifts are – whatever you think is going to motivate you. It doesn’t even have to be a physical gift. Maybe you’re going to go for a walk somewhere you love after you’ve reached 30k. Or you’ll booked a spa day for the day after you submit to your agent. (Or send it off for querying – whatever stage you’re at.)

I’m planning to be away for most of my milestones, at writing residencies, so I’m going to have to be a bit creative with my rewards. I might not even plan them in advance – just promise myself that I’ll physically celebrate each milestone when it comes around, in whatever way feels right for wherever I am at the time.

Share your successes.

When you celebrate, you don’t have to celebrate alone. I live on my own. I don’t have someone to announce my news to when they get home from work, and to share a glass of bubbly with. If I want to tell people, sometimes it has to be on social media. Sometimes telling someone else about something is the only way to make it feel real. Being proud of your achievements is not the same as boasting.

I repeat: being proud of your achievements is not the same as boasting.

One of my constant sayings, that sums up a lot of my creative ethos, is that as writers, we’re colleagues, not competitors. We should be proud of one another’s achievements. Congratulate other writers on their successes. Give them the opportunity to congratulate you on yours.

If you want to tweet about it, tweet about it. If you want to share it on facebook, or instagram, or snapchat, do. If you want to put it in big fancy letters on your website, go for it. By all means include it in your bio.

Even aside from wanting to celebrate (which is enough of a reason for sharing on its own), sharing your good news gets you onto the radar of other people in the writing community / book industry / arts world etc. And who knows? It may even lead to future opportunities.

writing prompt - Katie Hale

Celebrate the down times too.

For a long time, I didn’t like talking about success on social media. I thought it made me sound big-headed. ‘Oh, look at me, I’ve had a poem accepted into a magazine, aren’t I clever?’ And sure, there’s definitely a way that constantly talking about your own successes can get on people’s nerves. If all anyone ever hears from you is how well you’ve done, then soon you’re going to feel like that fictional best friend at the start of this post.

But social media (and life in general) is multi-faceted and complex. If we only talk about one thing, it gets boring. So we also use it to share opportunities for other writers, to talk about books we like, to engage with politics.

And we can use it to be honest about our rejections.

(Side note: there are ways of talking about rejection without tweeting ‘X magazine rejected my poem and now I feel bitter about it’, and essentially encouraging all your friends in a pile-on against said magazine. A good start is not to name the publication / organisation / whatever that rejected to. After all, they’ll have their reasons, and naming in this context can often sound a bit like shaming, even if that isn’t the way it’s intended.)

Talking publicly about rejection might feel counter-intuitive. After all, isn’t this just another way of announcing to the world that someone somewhere thought your work wasn’t good enough? But honestly, everyone gets rejections. The most famous writers in the world get rejections. Talking about it is just a way to share the truth about what it’s like to be a writer.

If I see a writer I admire talking about their experiences of being rejected, or struggling to meet a deadline, or finding a scene particularly difficult to write, I actually find it heartening. Not in some cruel schadenfreude way, but in the sense of solidarity. Writing can be incredibly solitary, and it can be good to be reminded that I’m not the only one finding it hard.

This beautiful tricksy obsessive mess called creativity? We’re in it together. Let’s celebrate that.

Writing can be a solitary business. As writers, we spend a lot of time inside our own heads, working. But if we’re stuck in our garrets all day long, scribbling away at our latest manuscript, how do we find out what’s going on?

Last week, I created a twitter thread of resources for writers. Most of these are organisations and resources that I wish I’d known about when I started out writing – though some are things we may already know about, but perhaps just need a bit of a reminder.

I thought it might be useful to share those resources as a blog post.

Made yourself a cuppa? Cut yourself that slice of cake? Ok then. Here we go:

  • The Society of Authors is a must-join for all writers. They’re your union, and as such they are great at advocating for writers’ rights. With your membership comes access to a whole bunch of PDF guides (such as a guide for going into schools, or a guide to royaties). If you want specific advice, such as for them to check over your contract with your agent for you, then they can do that. They also offer public liability insurance at a reduced rate for members, and the opportunity to apply for grants to help you complete work in progress.They also run a series of annual awards.
  • For similar reasons, check out The Writers’ Guild of Great Britain.
  • The Arts Council is England’s national funding body (there are equivalents in Scotland, Wales & Northern Ireland), and they give out grants. The main options for writers are the Developing Your Creative Practice grant (DYCP) and Project Grants.
  • Run by Arts Council England, Arts Jobs & Arts News are free e-newsletters for anyone in the arts. They’re sent out every Sunday, and are a great way to find out what’s going on in the arts world, and what opportunities are out there.
  • Similarly, Arts Professional covers this sort of content from a position external to the Arts Council, which means they’re not bound by anything to be complimentary about the Arts Council, if necessary. They also have a weekly mailing list, including job opportunities.
  • Have you looked at your regional writing organisation? For me this is New Writing North, who offer support and opportunities for writers all across the north of England – including funding through the Northern Writers’ Awards. (Elsewhere in the country, check out Writing West Midlands, Writing East Midlands, Commonword, Literature Works, New Writing South, Spread the Word & the National Writers’ Centre.) It’s also worth following organisations for regions other than your own. For instance, the National Writers’ Centre in Norwich sometimes has opportunities that are open to writers from anywhere within the UK.
  • If you’re based in Scotland, make sure you’re aware of the Scottish Book Trust, for support for both readers and writers.
  • The Writers’ & Artists’ Yearbook is released annually, and is a highly useful resource, particularly if you’re at a stage in your career where you’ve developed your craft and are querying a manuscript with agents / editors. I’d recommend using it in conjunction with the internet, and the publishers’ / agencies’ own websites. And if you don’t want to buy a copy, then you can often get hold of a copy through your local library.
  • NAWE (or, the National Association of Writers in Education) is another membership scheme, for – you guessed it – writers in education. They offer advice as well as free public liability insurance if you’re a member. But it’s also useful to check out even if you aren’t involved in education in any sort of way, as they often post opportunities and information about funding on their website.
  • If you write (or illustrate) children’s books or YA, then it’s worth getting to know about the Society of Children’s Book Writers and Illustrators (SCBWI), who support writers of work for younger readers.
  • If you’re looking to sharpen your creative craft, then check out Arvon. Arvon courses run for a week (or sometimes a long weekend), and are led by professional writers. They can be a great way to engage with some incredible tutors, and to meet new writers among your peers on the course. Arvon sometimes have bursary places, either means tested or for young people (or both). Other places that offer short-term writing courses are Ty Newydd in Wales, and Moniack Mhor in Scotland.
  • For poets, check out the Poetry Foundation, for their online collection of poems and articles about poetry. They also have a newsletter you can sign up to.
  • Poets should also check out The Poetry School, for blog posts, courses & tutorials.
  • And writers of all kinds can find coaching courses, and help with beating procrastination, on Prolifiko.
  • On a local level, seek out local writing groups that you can join to workshop your writing, and hunt for open mic nights where you can share your work. Library noticeboards & regional writing organisations are good places to find these. And if there isn’t one already, start one!
  • If you’re a young poet (or even if you’re a not-so-young poet), sign up to the Young Poets’ Network mailing list. They run opportunities for young writers, and publish poems and articles that are worth reading whatever your age.
  • I highly recommend that anyone who’s even remotely interested in writing follows Joanne Harris (@Joannechocolat) on twitter. As well as being an excellent voice for authors’ rights, her #TenTweets threads are always good advice for writers.
  • One mainly (although not solely) for female writers: Mslexia publishes and supports writing by women, as well as running annual competitions for female writers in various genres. They also share advice on writing, which is applicable to writers of any gender.
  • If you write musical theatre, then you ought to be aware of Mercury Musical Development and Musical Theatre Network, for support of new writing – including pitching opportunities & resource sharing.
  • Another one for poets: check out the National Poetry Library – in person if you can get to London, or even just the competitions and journals listings pages of their website, if you can’t make it there geographically.
  • Speaking of libraries, don’t neglect your public library. I repeat: DON’T NEGLECT YOUR PUBLIC LIBRARY. Whether for author events, or workshops, or access to the internet, or a warm place to work away from the distractions of being at home, or just, you know, for the old-fashioned resource of BOOKS – don’t forget what you can access with a simple library card.
  • And did you know you can get a Reader Pass for the British Library? Here’s how. And the Library also offers free Discovery & one-to-one sessions. All highly useful if you need to do some research for your creative project.
  • You don’t always have to go to a physical library to use their collections. New York Public Library, for example, has digital collections that can be accessed from anywhere on the planet. Useful for research, or just for general inspiration. (Their image archive is particularly good.)
  • Every writer loves free money. If your work is published, then make sure you’re registered for ALCS and PLR payments, when your work is copied or broadcast, or borrowed from a library.
  • If you want feedback on a work-in-progress, then The Literary Consultancy offers a well-respected manuscript assessment service. (There are a lot of organisations that offer this service, but it can be difficult to judge the standard of them. TLC is respected across the industry.) They also offer Free Reads for writers from low income backgrounds, and for LGBTQ+ writers.
  • If you’re looking to do a residency somewhere, then ResArtis isn’t a bad place to start searching. The database is massive, and caters for all artforms, so it takes some time to trawl through. The residencies listed are also pretty varied in terms of what they offer – from those that offer full board + travel + stipend, to those where the writer is expected to pay (which feel a bit more like a glorified hotel). Make yourself a big pot of coffee and give yourself a couple of hours to search through for the ones that might suit you.
  • Or, if you’re looking for funding, Jerwood Arts funding opportunities are highly competitive, but potentially life-changing if you can get them.
  • For opportunities abroad, keep an eye on the British Council. We live in an increasingly global world, and if you’re interested in sharing cultural ideas & creative practice across national borders, then there could be opportunities here for you. Sometimes these are aimed at organisations, sometimes at individuals.
  • Check out Angela T. Carr’s blog: adreamingskin.com. She publishes the most comprehensive monthly list of poetry opportunities I’ve ever come across. It’s always worth perusing to see which journals and competitions have open submission windows during that month.
  • There are also numerous writers with great blogs, sharing poems and prose, and talking about various aspects of life as a writer. As well as this one (obviously – but if you’re reading this they you’re already here), I’d recommend Stella Duffy’s and Kim Moore’s.

I hope you found this list useful. There will, of course, be things I’ve left off, and I can only apologise for that. Just goes to show how many resources for writers there are out there!

And lastly, as I said on the twitter thread: if you’ve found this list at all helpful, please do consider showing your thanks by voting for me in the Edinburgh First Book Awards. It’d mean a lot to me, and it’s so simple that you can do it while you’re waiting for the kettle to boil.

Thank you!

Eleven years since I left school, and September still feels like back-to-school month. I feel as though I should be out buying new pens and novelty rubbers and things. I guess I did start a new notebook this month, so maybe that counts?

After festival-season in August, September has been a month of quiet work. I quite like months like this from time to time: a chance to get back on top of the admin, and quietly work away at the writing. Not too many events. The odd workshop. A chance to think.

That said, this month hasn’t been entirely without festivals. Last week I went to the Bronte Festival of Women’s Writing in Haworth, with three other Cumbrian writers. It was a lovely festival: big enough that there was a really interesting range of speakers, but small enough that it was possible to go to everything. It also felt incredibly honest, with writers, editors, agents and booksellers sharing their experiences in a way that felt generous and encouraging.

One thing I took away from the weekend (other than a horrid cold – I guess that’s what happens when you visit the 19th century?) was to remember all the things I used to know. When you’re starting out as a writer, people will often tell you that you need to practise self-care, that you need to spend time focusing on craft and not to rush, that you need to celebrate smaller milestones along the way. But I’d forgotten a lot of that. My next milestone was ‘finish writing the second novel’. (Side-note: I haven’t even started writing the second novel yet.) That’s too much. A novel’s big; if I don’t get to celebrate success until I’ve finished the thing, then that’s a long time to wait. A person can get pretty down in that time. My decision? To set myself some markers in the interim. When I get to 10k words, for example, I’ll take a moment to be proud of that achievement. It’s about motivation. I may write a blog post about this in the future.

And speaking of successes, I haven’t been taking enough time to celebrate them lately, so here are a few that have happened over the past couple of months:

KSP residency: The Katharine Susannah Prichard Writers’ Centre is in Perth. Perth Australia, that is. And I’ve been invited to be their Emerging Writer in Residency in April 2020. Going to pack my strappy tops and flip flops! (Sorry, singlets & thongs.)

Gladstone’s Library Writer in Residence: Next May, I’m heading over the border into Wales, to spend a month writing at Gladstone’s Library. This is something I’m particularly excited about – partly because I’ve looked at pictures of the library, and it looks like the dream place to sit and draft a novel. But also because I’ve heard glowing recommendations, both for the library itself, and for their scones! Expect me to be significantly larger by next summer…

University of Canberra Poetry Prize longlisting: Another one with an Australian theme – I recently learned that I’ve been longlisted for the University of Canberra Vice Chancellor’s Poetry Prize, which is announced at the end of October. Last year I managed to make the shortlist, so keeping my fingers crossed for this year. Either way, though, it’s a huge prize, so just to make the longlist is a fantastic affirmation.

Mslexia: And finally, this month I achieved a decade-long ambition, and got a poem into the most recent issue of Mslexia. It’s always lovely when a publication likes your work enough to print it, but there’s something particularly special about it when it’s a publication you’ve been aiming towards ever since you start to write poetry.

In the interest of balance, I should also say that I’ve received 17 rejections so far this year, out of 22 things I’ve heard back from. It isn’t all cause for celebration – which of course makes it doubly important to celebrate the good news when it does come along.

And, last but not least, the next couple of weeks are your last chance to vote for My Name is Monster in the Edinburgh First Book Award. It’s run on public vote, and voting only takes a moment, so please do click through and support!

The Month in Books:

It’s been a slightly slower reading month than last month. I sometimes find it works like that, at least for me: that reading, like writing, comes in waves. Perhaps that means that next month I’ll read absolutely loads? Still, if you’re only going to read four books in a month, these are a pretty good four to choose:

  • Walt Whitman Poems (Everyman’s Library Pocket Poets)
  • The Amber Spyglass, by Philip Pullman
  • The Island Child, by Molly Aitken
  • Black Car Burning, by Helen Mort

The Month in Pictures: