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Creative Writing: DIY MFA with Gabriela Pereira

November 21, 2016 by Joanna Penn 6 Comments

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You don't need a degree in writing to make a living as a writer. I know because my degrees are in Theology and Psychology, not writing, and I'm doing alright 🙂 Today I talk to Gabriela Pereira about the pros and cons of an MFA.

DIY MFAIn the intro I mention: Amazon opening up its Ad platform to authors outside of KDP Select, KU launches in Australia and my thoughts on 35% royalties.

Book recommendations: Closing the Deal on Your Terms… Agents, Contracts and Other Considerations by Kristine Kathryn Rusch; and Six Figure Author: Using Data to Sell Books by Chris Fox.

Plus Kevin Kelly talking about the upside of the future as well on Chase Jarvis Creative Live podcast; Scientific American on the first steps in thought control and some light relief: The Secret Life of Pets. Plus, A Walk Around the Old City of Jerusalem with Thriller Author J.F.Penn. A short video taking you through the Arab souk into the Church of the Holy Sepulchre and on to the Western Wall.

webinar seriesThis podcast is sponsored by my new series of free webinars for authors. Join me for live presentations and Q&A. Starting with How to Write a Novel, How to Make Money with Books and Planning your Production and Marketing Schedule for 2017. Click here for more details and to book your free place.

gabrielapereiraGabriela Pereira is a writer, entrepreneur, podcaster and author of The DIY MFA: Write with Focus, Read with Purpose and Build Your Community.

You can listen above or on iTunes or Stitcher or watch the video here, read the notes and links below. Here are the highlights and full transcript below.

  • What an MFA is and why people choose to do one.
  • diymfa The writers' need for validation and how to develop the confidence to let that go.
  • What an angst jar is and how creatives can use it.
  • What the 3 pillars of the DIY MFA are.
  • Visual methods for outlining and organizing.
  • On the revision pyramid; what it is and how it works.
  • Creating your own MFA reading list.
  • What author identity is and how to use it.

You can find Gabriela at www.DIYMFA.com and on twitter @diymfa.

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Writing Tips: Outlining For Genre And Literary Fiction With Libbie Hawker

May 23, 2016 by Joanna Penn 3 Comments

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Today I talk about outlining, writing literary fiction fast and ambition with Libbie Hawker.

outliningIn the intro I mention my own writing update and how CrimeFest literary festival has changed so much for indies over the last few years, plus, Goodreads expansion into ebook giveaways and email marketing for books on sale, which will see them up against promotional platforms like BookBub.

This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets kobo writing lifethrough the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors.

Libbie Hawkerlibbiehawker writes historical and literary fiction featuring complex characters and rich details of time and place, including an awesome series about ancient Egypt, one of my own obsessions. Libbie is well known in the author community for her books for authors, Gotta Read It, about book descriptions, Take Off Your Pants, about outlining, and Making it in Historical Fiction.

You can listen above or on iTunes or Stitcher or watch the video here, read the notes and links below. Here are the highlights and full transcript below.

  • How long it took Libbie to become a full-time author.
  • takeoffyourpantsWhy deadlines and accountability matter when setting large goals like becoming a full-time author.
  • The difference between plotting and pantsing and what the three-legged outline is.
  • On whether outlining makes stories formulaic.
  • How outlining plays a role in prolific output and where research falls in Libbie's writing schedule.
  • Are speed and quality mutually exclusive?
  • How Libbie plans her writing schedule for the year and decides which projects are indie and which are traditionally published.
  • Balancing earning a living versus literary work.
  • On the change in attitude toward an author's work once decades have passed.

You can find Libbie at www.LibbieHawker.com and on twitter @LibHawker

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Pitching Literary Festivals, Genre Boundaries And Crime Fiction. With Clare Mackintosh

November 5, 2014 by Joanna Penn 12 Comments

I attend quite a few literary festivals and I always come away having learned something.

I definitely think they are worth going to for the new perspectives as well as the networking opportunities.

literary festivalToday on the blog, I interview crime author Clare Mackintosh, who also runs a literary festival in Chipping Norton in the UK.

She answers some of my burning questions about literary fiction and genre boundaries, running literary festivals and how authors can maximize their chances of being involved. You can leave Clare any questions about these topics in the comments at the bottom of the post.

Where does literary fiction cross over into crime?

The term ‘literary fiction’ makes me roll my eyes a bit! More and more it seems to be used by authors who think they’re a cut above the rest, but I think the distinction between literary and commercial fiction is becoming very blurred. Crime novels in particular often offer commentary on social or political issues: take Eva Dolan’s excellent Long Way Home, in which she tackles the issues of immigration and migrant workers.

What do you think about genre boundaries in a world where readers increasingly shop online even for print books?

In principle I really dislike the idea of genre boundaries, which trap books in pigeonholes. Readers can be very quick to say that they ‘never read chick lit’ or ‘don’t like historical fiction’, when it’s very possible they would really enjoy the very book they are dismissing as ‘not for them’.

That said, I’m not sure what the alternative is. Genre categories provide signposts for readers, and when so much of our browsing is done online, such signposts are crucial. Personally I find myself relying more on lists of ‘popular books’, than on restrictive genre lists, and I’ve discovered some real gems that way.

You also run a literary festival – why did you start that and what are some aspects about it that you love?

chip lit festI started Chipping Norton Literary Festival in 2011, and it ran for the first time in April 2012. I started it because I wanted to put authors into intimate venues in the heart of a town, instead of in enormous marquees. The experience is quite different.

ChipLitFest is a huge project, with thousands of pounds to raise every year, but its been very successful, thanks to the hard work of all the volunteers I work with.

We produce around 50 events, as well as an extensive schools’ programme, and receive fantastic feedback from our visitors. I love meeting authors, and reading outside my comfort zone (I try to read a book from every author who appears at the festival), and I like the challenge of running such a big project on a budget.

If authors want to pitch literary festivals, what are some of the things they should consider?

Don’t just send details of your book!

Literary festivals are about events, not just authors, so think about the sort of event you could provide. Craft a pitch of no more than a couple of paragraphs, telling the organiser what the event would look like, who it would appeal to, and what your credentials are for appearing in it. If you want to appear on a panel, suggest other authors you could appear with: make it easy for the organiser to say yes.

Finally, take the time to find out who to pitch to. I receive around 300 pitches, and the vast majority are addressed ‘dear festival organiser’. It’s impolite, and it’s counter-productive – I’m far more likely to read one addressed to me.

Switching your head from festival organizer back to author speaking at festivals 🙂

The author often has to pay to appear at these events – what are the benefits for authors in speaking at events, and when is it best to do other forms of marketing?

I don’t believe authors should pay to appear at literary festivals. Events at festivals should be programmed for the benefit of the (usually paying) audience, with carefully chosen topics that will sell well. Authors should then receive some sort of fee (ChipLitFest works on a profit-share basis, other festivals pay flat fees) and have their books made available for sale.

There are, of course, huge benefits as an author to speaking at festivals and other events, but it’s important to choose carefully.

Make sure the festival has a good online presence, and that their off-line marketing strategy is solid. Even if your own event is small – perhaps you’ve been asked to run a workshop for 20 people – find out what the total anticipated visitor numbers are, as these are the people who will see your name on the programme and your books in the festival shop.

You won’t sell lots of books at a festival.

At an event of, say, 100 people, less than 10% will buy books. But appearing at a festival helps to cement your brand and build loyalty, and you may well find that your book sales improve immediately following the event. Success tends to breed success, so a few events at small festivals can lead to speaking gigs at larger ones, where book sales may be better and promotion more wide-spread.

You've been wonderfully supportive to many indie authors, myself included, as well as Dan Holloway, a friend of the blog!

But most literary festivals still exclude indie authors and self-published books. How can we go about changing the culture to include indies at lit festivals?

Yes, they do, and I think that’s a really hard issue to tackle. Ultimately events have to sell, which means programming either a well known author, or a really enticing topic (or both!). We include a self-publishing event every year, but I confess I haven’t yet had a self-published author in a headline slot. Yet…

I’d like to see more indie authors pitching lit fests, but pitching well!

I’ve just glanced at the pitches I’ve had from indie authors for ChipLitFest this year and – sadly – I haven’t pursued any of them. Without exception the emails tell me how many books they’ve sold, how long they were in various online charts, and what the reviews say. That would be great: if I were a bookshop!

I let you goTell us about your book and who might enjoy it in particular.

I Let You Go is a psychological thriller about the consequences of a terrible accident. The story is split between the police investigation, and Jenna Gray’s decision to walk away from her life in Bristol. She tries to leave the past behind, but – as we all know – that’s easier said than done…

It’s an uncomfortable story, described by Elizabeth Haynes as ‘absorbing, authentic and deeply unsettling’, and I’ve been delighted by feedback from crime writers I really admire. Mark Billingham said the twist made him ‘green with envy’, which is as big a compliment as I could have hoped for!

If you liked Apple Tree Yard, Gone Girl, Into The Darkest Corner, or Close My Eyes, I think you’ll like I Let You Go. Let me know if I’m right!

How much of you is there in your characters and in the book? How much does it relate to your own background?

I was a police officer for twelve years, so in choosing to write crime I am undoubtedly writing what I know! I think it’s inevitable that a writer creeps in to their own books a little, but my characters aren’t based on me or anyone I know. DI Ray Stevens is a family man, who becomes so engrossed in a hit-and-run case that he loses sight of what is happening at home. He’s a fictional character, but the essence of his issue – that confusion of priorities – is something very common to police officers, and indeed to anyone with a demanding job.

clare mackintoshI Let You Go, by Clare Mackintosh, is published by Sphere. It is available in ebook and trade paperback from 6 November 2014, and in paperback in April 2015. Follow Clare on Twitter @ClareMackint0sh or via her website www.claremackintosh.com.

For information on Chipping Norton Literary Festival, visit www.chiplitfest.com or email info@chiplitfest.com.

Top image: Flickr Creative Commons Alexandre Dulaunoy

Writing, Creativity And The Empowerment Of The Author In Publishing With Orna Ross

October 7, 2012 by Joanna Penn 5 Comments

OLD POST ALERT! This is an older post and although you might find some useful tips, any technical or publishing information is likely to be out of date. Please click on Start Here on the menu bar above to find links to my most useful articles, videos and podcast. Thanks and happy writing! – Joanna Penn

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Podcast: Download (Duration: 46:48 — 29.8MB)

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There are a few people who I consider mentors for my own writing and creative life, and Orna Ross is one of them so I am delighted to interview her for you. Today we talk about the importance of writing, creativity and the empowerment of the author in this new age of publishing and how you need to take creative control of your work. This is also episode #139 of The Creative Penn podcast – you can download the backlist here.

In the intro I talk about what I am working on writing-wise, including a course coming soon on how to create multimedia products. I also mention the success of Hugh Howey's Wool novellas, as well as the importance of creating your own email list.

orna rossOrna Ross is the author of 7 literary novels as well as creative non-fiction and poetry, and she has experienced every side of publishing. alliance independent authorsShe is also the founder of the Alliance of Independent Authors.

You can watch the interview on YouTube – on writing here and on publishing here, or listen in audio above or read the notes below.

On literary fiction and labeling

  • On writing literary fiction and the issue of labeling books and genres. Categories are for bookstores and necessary for buyers to know where to buy and sellers to know where to sell. One of the joys of indie is being able to write whatever you like and not fit into a box. Literary doesn't mean without story – it's more an aspirational thing. It's the category that doesn't have a container like genre writing. Literary doesn't necessarily mean better writing – there is great and crap writing in all categories – the story is in charge. The second dimension is taking care of with the language and the form. All Orna's books need plotting but she also loves the language. Browning ‘the aim makes great the intent'. Try to at least aim to unleash your inner Shakespeare.
  • On the importance of setting. Orna uses Ireland and also San Francisco and places that are important to her. Story can be told in so many ways but the novel, as the pinnacle of human achievement, contains the best of the writer in terms of what they know and their imagination. The container for that is the place where it happens so we are, in some sense, the place that surrounds us. The texture of the experience. If the setting is right, the story comes alive. Place also gives a sense of the metaphor of place. Ireland is full of storytellers and stories, with the Bardic Celtic tradition. Orna loves San Francisco as a place, but also more as a concept. It was a city that grew around the gold rush, with diverse multiculturalism, forward thinking politics with gay liberation. It was mythical for a girl growing up in an Irish village. Orna's latest novel Blue Mercy is partially set in Santa Cruz.

The elemental truth of fiction

  • Writing about the truth in relationships – how fiction helps us deal with elemental truths. We discuss the mother-daughter relationship and the ideation of the concept of motherhood. It is a feminist archetype story, the woman breaking away from the mother with rebellion. Orna turns this around in Blue Mercy and has a sexually liberated mother with a daughter who is more repressed. Fiction is a lot of lies but good fiction has truth at the heart of it. Everyone is always asking writers what part of the book is biographical but by the time it is finished, you don't really know yourself. The strangest things happen when you write fiction – it is interwoven with our lives. Don't be too analytical about it.
  • How writing helps us cope with life events. Orna had breast cancer and she feels that writing saved her life. She doesn't know how to live without it. She has to write to stay sane and during the cancer time, it helped but it also helped all the other times as well. It's for the good times and the bad. Orna writes in two ways – the published work but she also free writes daily for 20 minutes or so. That is private. Yeats – Words alone are certain good.

On Creativity

  • We are all creative but we have to find practices to open ourselves to it. This process is ours for everything – not just for writing – for everything in our lives. It's about being awake and losing the staleness of old mental patterns. Good writing brings us alive. Orna writes a lot about creativity. This is so important to me because I never believed I was creative – I had an affirmation ‘I am creative, I am an author‘. It all begins in your mind and with what you believe about yourself. It's not about striving or working really hard at the early stages, it's more about allowing creativity to arise. It's not about adding – it's about taking away and clearing space for creativity.

Traditional/ trade publishing, indie publishing and the hybrid option

  • Orna's own publishing journey. Orna has been in media and publishing/ journalism for over 20 years. She has also been a novelist published by big name publishers and even sold mass-market in supermarkets. Blogging changed Orna's writing life when she realized that when you write for traditional media, you self-censor and shape material for the market, for retailers. She started blogging about the creative process on the launch of her second book when her hair had just fallen out with cancer. That moment was transformative because it led her down the path to self-publishing.
  • Self-publishing represents an important part of the history of publishing. There are 3 key moments in the history of the written word: From bard to scribe, then scribe to print and self-publishing is the next leap – being able to reach readers directly. Orna has got the her rights back for all her books and she is republishing them on her own terms, even though she had what most people dream of having in terms of a publishing deal. It was a mixed blessing and there was a lot of frustration to be part of the publishing commercial machine. In self-publishing, we're intending to break through and change that, but Orna is absolutely a believer in the co-existence of trade/traditional publishers with the author deciding per book which is appropriate.
  • Blending traditional publishing with self-publishing in the hybrid model. Indie vs trad is a phoney war and it's only a war because of the way self-publishing has emerged. They are both ways to meet readers and each can be suited to different books and different stages of an author's life. Writers need to claim their power and focus on the writer-reader connection. Writers need to see self-pub as an empowering tool. It should change their relationship to trade because there is choice and the risk is lessened as authors have their own audience.
  • On the definition of an independent author. An indie is someone in service to the book, the creative director of the book from the start to the reaching of the reader and that connection. They may work with a trade publisher, or a paid publisher or do it DIY – it can be any of those things but it is key to see yourself as the creative director and partners must buy into the way you see the book. It is not just a way to get into the way things have always been done. It is more about writers realizing that we know best, contrary to received publishing wisdom. We have a global market now and there are enough readers to sustain each writer who takes the trouble to go out and reach people with their work.

On the Alliance of Independent Authors

  • Orna went looking for a non-profit association of independent writers who could help each other, and because she didn't find one, she started the Alliance of Independent Authors.. People are suffering from too much advice and too little time. It's about making a life for yourself in this indie world and there are lots of different people doing this right now, and people need help as well as connection with each other. There is no need for anyone else to be between the author and the reader, unless the author chooses it. So the Alliance exists to help people self-publish well, responsibly and ethically as well as learn from each other. It's about collaboration, connection, cross-promotion and being a bridge between the self-published writer and the literary community. Here's the video we did at the launch of the Alliance at the London Book Fair 2012. The stigma has really changed now around self-publishing, especially in the UK which has lagged behind the US. But the good work does the education – our great books will speak louder than self-praise. Indies are producing amazing work, and being pioneering around reaching readers.

You can find Orna's novels and creativity blog at OrnaRoss.com or on twitter @OrnaRoss

You can find the Alliance at AllianceIndependentAuthors.org or on twitter @IndieAuthorAlli

blue mercy orna rossOrna's latest novel is Blue Mercy. I gave it 5 stars on Amazon with this review:

This is literary fiction with a mystery at its heart. Mercy Mulcahy's father asks her to help him die when he is already dying a painful death … In Ireland, as in the rest of the world, this is considered murder and she is accused of it, standing trial and watched by her daughter and lover.

But this is not the main thrust of the book, and Ross doesn't make this easy reading. For this is a tale of family dysfunction, of men and women, of mothers and daughters, love, hate and duty. You will find yourself examining your own relationships, and questioning what you would do, what you would give up for the ones you love. Highly recommended.

Award Winning Literary Fiction And Transmedia With Kate Pullinger

February 14, 2012 by Joanna Penn 11 Comments

OLD POST ALERT! This is an older post and although you might find some useful tips, any technical or publishing information is likely to be out of date. Please click on Start Here on the menu bar above to find links to my most useful articles, videos and podcast. Thanks and happy writing! – Joanna Penn

https://media.blubrry.com/thecreativepenn/p/s3.amazonaws.com/CreativePennPodcasts/Podcast_KatePullinger.mp3

Podcast: Download (Duration: 26:03 — 14.9MB)

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I love to learn from pro-writers who have been deep in the industry and Kate Pullinger is a master of literary fiction as well as transmedia, so she spans technology and beautiful writing, which we discuss in today's interview.

Kate Pullinger is the award-winning author of 7 novels as well as short story collections. Her novel The Mistress of Nothing won the Governor General's Literary Award for Fiction in 2009. She's also created prize-winning digital projects including networked novels, games and software.

  • How Kate's writing career has progressed. Kate's first book came out more than 20 years ago and she has been writing ever since. In 2001, she started to teach creative writing online and through that process she discovered an affinity with the online world in terms of teaching but also expression. This led to a Fellowship at Nottingham Trent University and Trace, the intersection of creative writing and technology. New ways of telling stories using new technologies. Since then, Kate has continued to write novels and short stories but also collaborations with digital media, images, games, animation, videos and more.
  • Her award winning novel, The Mistress of Nothing is a historical novel. It was Kate's first purely historical fiction piece but it's also a literary novel. It was published as a literary novel in Canada and UK, but as historical fiction in the US. It took Kate 12 years to write and she wrote 2 other books in that period as well as other digital fiction projects. Part of this was research. Egypt in the 1860s needed a lot of research, she even took Arabic lessons. Then not all of the research needs to go into the book. Assimilating research without overdosing on it.
  • On the difference between literary and historical as genres. It's frustrating and baffling in terms of perception between commercial and literary. Historical particularly can be both. But in the US, they targeted the historical fiction readers so the marketing was ‘easier' than literary fiction. Because the novel was a prize-winner it's hard to tell whether the labeling of the genre affected sales.
  • On the time it takes to write books. During the 12 years Kate was doing lots of other things and kept returning to the book. Time in writing differs between writers but speed is not a virtue and things generally do improve if you put them to one side and then return to them. You have more objectivity over time. But it is possible to write too slowly.
  • On transmedia projects. There are vast opportunities for writers in this space and it's puzzling why more established writers aren't moving into it. New technologies give us new ways to connect with readers, new ways to tell stories and find audiences. What happens when you add media to text on a screen? What is lost and what is gained? It doesn't have to be either-or. There's room in the world for different kinds of stories. Kate also enjoys collaboration as well as the solitude of her own fiction.
  • In transmedia, the technology is definitely a barrier for some people. Kate can do the technical stuff but she isn't interested in it so she collaborates on the hardcore technical side of this. Writers are used to working by themselves so this can be difficult. Think about collaboration if you're interested in this space. It's not just about apps either which seems to be the focus of traditional publishing so far. The most interesting projects are coming out of web design, gaming and individual creative projects. It's not coming from traditional publishing.
  • The traditional publishing challenges in 2012. Publishers have looked at social media so may move into interactive fiction. It will be interesting to observe whether this happens. It's an overheated world and the whole business around Amazon and who owns what space will continue to play out. The US is obviously a bigger market and is slightly ahead of the UK in terms of digital. What's happening with libraries is an interesting one, specifically in the digital world. What is a library in the 21st century?
  • Tips on getting into traditional publishing. It's all more difficult these days. If you are indie, one of your primary concerns has to be professionalism of your product. It has to be well edited and formatted. If you haven't got that right, you're doing your work a dis-service. The most important thing is for your writing to be as good as possible and interesting to readers. That is impossible to predict, which is why publishing is so hard. It's about taking a risk on books that may or may not sell. Clearly people are still making money in publishing though. They aren't going away anytime soon.
  • Do you need an MFA to be a proper literary writer? It's definitely not a requirement but the advantage of a good one is that you spend 1-2 years being serious about your writing. They will also have industry links so you can meet and talk to people. However, it all comes down to whether the writing is good enough and appeals to people. The best way to improve your writing is by writing, trying new things and putting the time in. Reading is critical especially in genre writing. Know what is currently interesting readers. Find a source of constructive criticism to improve your work. A mentor or a freelance editor or a good writer's group who are serious about good writing.
  • On being a professional writer. It's not really a career as each new book has a new set of problems. Writing doesn't get easier. You learn more about your own strengths and weaknesses and each book is different. Dedication and putting in the hours is critical to becoming professional. It's very easy to not write. You can want to write and think about writing but doing it isn't easy. It requires fortitude. All writers have setbacks and books that go wrong, that don't sell or are sold in the wrong way. There are bad times as well as good times. You have to be so self-motivated

You can find Kate at her website KatePullinger.com and on twitter @katepullinger

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Most of the information on this site is free for you to read, watch or listen to, but The Creative Penn is also a business and my livelihood. So please expect hyperlinks to be affiliate links in many cases, when I receive a small percentage of sales if you wish to purchase. I only recommend tools, books and services that I either use or people I know personally. Integrity and authenticity continue to be of the highest importance to me. Read the privacy policy here. Read the Cookie policy here. I hope you find the site useful! Thanks - Joanna

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