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Advice for New Writers

8/31/2024

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I know what it’s like. You have a book inside you. It’s burning to get out. So, you write it. Your family and your best friend love it. It’s the best story ever written. It’ll be a best-seller and made into a film. A famous actor will play the lead and become your new best friend. You’ll buy a mansion and travel first class. The world will be your oyster…

If only publishers and agents would stop ignoring your emails.
If only publishers and agents would stop rejecting your 185,000-word manuscript.
If only you could afford another $5,000, so the hybrid publisher, who approached you, can publicise it.
If only someone would buy your self-published book with the home-made cover.
 
Where did it all go wrong? You cry.

Probably at the very beginning!
Here’s some lessons I've learned during my writing practice - some the hard way, others through the generous advice of fellow authors.
  1. Join an organisation dedicated to writers. It might be a regional or national group, like Writers Victoria in Australia or New Zealand’s Society of Authors (NZSA). Or maybe a specialised group like SpecFicNZ, for writers of speculative fiction, or HWA, for those who write horror. If that’s too much, see if you can find a local group of writers who meet in person. All of these will provide various levels of support, advice and training to assist you on your writing journey.
  2. Take advantage of in-person and online workshops and seminars to learn about craft and the publishing world. These are also opportunities to make connections with like-minded authors.
  3. Find a critique group. Friends and family don’t want to hurt your feelings or crush your dreams. Other writers will give you honest feedback on all aspects of your writing (grammar, plot, characters, voice etc). This should be a two-way exchange; you help them, they help you. Everyone learns and grows.
  4. Pay for a professional editor. Unless you have mad editing skills, it’s almost impossible to pick up your own mistakes. If you can’t afford to pay, then at the very least, buy a great self-editing guide and work your way through it with rigour. My suggestions are: Mark My Words by Lee Murray and Angela Yuriko Smith, and; Self-Editing For Fiction Writers by Browne and King.
  5. Do your research. This applies to every aspect of your writing life. Research your genre - understand the tropes, expected length, style of cover. Research your market - who’s your audience (age, sex), what makes your story stand out from the crowd. Research agents and publishers who might be interested in your work - read their requirements carefully and follow them to the letter.
 
If you can’t find answers or still have questions, then ask for help from the contacts you’ve made. But and this is important, be respectful of their time. If they say no, be gracious and move on. It’s hard when you don’t know what you don’t know, and we all make mistakes. The trick is to know when to take a pause, set your ego aside and learn.
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Oh to be Infamous!

4/28/2024

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The best way to sell books is to already be famous or famous adjacent.

That’s my takeaway from a recent article* discussing the state of the publishing industry. And, to an extent, that’s not even true but already being famous is the best way to make money as a writer. The bigger your name and fame, the bigger your advance. This tiny portion of the writing community command 6- to 7-figure advances and 5-figure marketing budgets. The chances of a writer like me making that kind of money are about the same as winning the lottery. Not impossible, but highly unlikely. Yet, despite the odds, I keep trying on both counts.

On a recent holiday with the extended family-in-law, my accountant nephew asked how many thousands of copies of ‘Letters From Elsewhere’ I’d sold. I laughed so hard, I almost cried. Then he complained about how expensive the book was and suggested that was why it wasn’t selling. I was confused because I deliberately kept the price low to maximise sales. When he said he’d looked at it on Mighty Ape, I was even more confused, as I don’t sell through them.

Of course, I looked myself up on MA, and sure enough both my books were listed, along with ‘Remains to be Told: Dark Tales of Aotearoa’, published by Clan Destine Press. Shockingly, ‘Letters From Elsewhere’ and ‘Rose Moon’ were listed at three times the price they sell for on all the usual platforms I list on.

So, just for fun, let’s imagine someone is stupid enough to buy ‘Letters From Elsewhere’ on MA. They pay $39, MA pays $10.99 probably to Amazon, and in turn Amazon pays $1.84 to me.

Even if I do manage to sell thousands of copies, I’m not the one making the money out of my writing.

Despite the odds, I live in hope. I also buy tickets in the lottery and look for ways to become famous – or, more likely in my case, infamous! So, if my name ever pops up in the headlines for the wrong reason...just know it's a publishing ploy.

 
 
* read the article on the state of the publishing industry HERE

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Growing My Tribe

12/21/2023

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Writing can seem a very solitary existence, but it shouldn’t be.

There’s nothing worse than struggling away on your own, with no idea whether your writing is great, good, OK, not so good, or bloody awful. We all need feedback and support. From the very start of my writing career, I actively searched for support.

The first critique group I joined was ERWA, an online forum for readers and writers of erotica (https://www.erotica-readers.com/). Through them, I was introduced to the craft of writing, how to critique other writers’ work, and, even more important, how to take criticism. Along the way, I made some good friends who continue to support me and my work (and vice versa!). I started to build my tribe.
​
My next experience of collaboration was with a group of writers publishing erotic novellas. Every two months we’d publish a themed collection of four novellas. I learned a great deal about self-publishing, writing fast, editing and the importance of a good contract! I never saw a single cent from that exercise but did add to my tribe.

The issue with building a tribe on social media is that when apps go out of fashion, or collapse under the weight of their own hubris, friends and contacts melt away or are lost overnight. Sometimes they turn up in new places, but not always.

Having gained some confidence on the internet, I ventured out into the real world of Melbourne and joined Writers Victoria. This is a large organisation, not designed to provide or set up individual critique or writing groups. What they do well, is offer superb workshops for their members. While in Melbourne, I did my best to enrol in two of their weekend workshops per year. Despite my best efforts, I was never able to convert great rapport with other participants into an ongoing mutual support group. I did follow the workshop presenters on various social media platforms though, and some of those have grown into friendships and opened doors to publishing possibilities. So yay, my tribe grew in an unexpected way.

I also started going to writers’ conferences and festivals to network in person. Friends I made at my first ever writers conference, have been of invaluable help in promoting my stories over the last few years. Sometimes, the reward takes years to arrive, but the effort is worth it.

When I left Melbourne in 2019, I had low expectations for literary support in my new home, Tauranga. I was very wrong! Tauranga Writers Group is the longest running writing group in Aotearoa / New Zealand, only a few years younger than me!

For the first time, I have an in-person critique group, and it’s made an enormous difference to my writing. I’ve had more stories published in the last four years than I had in all my time in Melbourne.

I’ve also joined SpecFicNZ and the NZ Society of Authors, both organisations offer support and learning opportunities.

Writing isn’t a competition. I’d be horrified if my success came at the expense of someone else’s career! Along our writing journey, we learn our craft, share our successes and our failures, we teach, we nurture talent, and we offer our advice. We should promote each other’s work, share opportunities, and offer relentless support to each other.

I’m grateful to my tribe and everything they’ve given to help me grow and improve. I do my best to pay forward what I learn and share my experiences.
​
If you’re feeling isolated – reach out. You’re not alone.
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AI and Publishing

6/5/2023

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​I want to state upfront that I’m no expert on the use of AI. My interest is borne from being a writer doing her best to write stories worth publishing in an already jammed market.
 
I’d vaguely heard of chatbots but had no real understanding of what they were or what they could do. Then, in February 2023 Neil Clarke, of Clarkesworld Magazine issued a statement that he was temporarily suspending submissions due to an unprecedented influx of AI generated stories. That got my attention.
 
Reactions of writers to the rising use of AI apps in writing fiction have been mixed. I’ve heard everything from “it’s the end of the world as we know it” to “cool, I can use this tool to churn out a book every month.”
 
The name on everyone’s lips seems to be ChatGPT (and that’s what I’ll mostly refer to), but there are many other AI apps targeted specifically at creative writing. For example: Sudowrite; Jasper; Rytr.AI; Quillbot; Sassbook; and Grammarly.
 
At the end of May 2023, a quick search of Amazon showed 225 books on ‘ChatGPT for Writers’, and over a 1000 published books with ChatGPT listed as an author. It’s impossible to know how many others have been produced using some form of AI.
 
What is very clear is that this genie cannot be stuffed back in its bottle.
 
Because I believe as writers and readers we need to inform ourselves, I spent two weeks doing research and having discussions with fellow authors. I presented what I found on the AI in Publishing Panel at the SFFANZ ReConnect2023 online conference held 3-4 June 2023. This post is based on the panel discussion.
 
What ChatGPT (et al) produces
Even though ChatGPT is referred to as an AI (artificial intelligence) it’s not at all intelligent. It doesn’t think or have emotions. Very simply, it uses algorithms to predict likely next words. These predictions are based on the material it’s been trained on, which is basically the internet. So, it’s not surprising that AI responses: fall into tropes and predictable phrases; show cultural bias; and can be based on lies and hallucinations. Uncritical use of AI produced text is very unwise!
 
Acquisition of data.
ChatGPT (et al) works by producing text that is statistically likely to follow the text that came before it. It’s been trained to do that by scraping the internet for material, with no consideration for copyright. In my view this is unethical and undermines the entire purpose of copyright.
 
New Zealand does not recognise the ‘Doctrine of Fair Use’ as a defence for copying copyrighted works. The Copyright Act 1994 permits certain activities in relation to copyright works, these include: incidental copying; fair dealing with a work for the purpose of criticism, review and news reporting; fair dealing with a work for the purpose of research or private study; and, where the copying is for educational purposes and follows the requirements of the Act.
 
Copyright protects the expression of ideas or information, not the underlying idea itself. It is likely that an infringement case in New Zealand would revolve around whether the use of copyright works by the AI amounted to copying a substantial part of the works – i.e., has the AI copied an important or distinctive part of an earlier copyright work to create something new?
 
It's possible ChatGPT could respond with ideas or even wholesale phrases provided by other writers, including writers who didn't consent to giving ChatGPT their data. At this time creatives have no ability to opt-out of having their products used to train ChatGPT.
 
There is at least one class action taking place in the US in the visual arts where artists are suing for breach of copyright. The outcome could have implications for writers.
 
Authors should be compensated when their works are used in training of generative AI, and AI developers should disclose what works they use to train their AI. Authors should have the right to opt out.
 
Use of AI needs to be transparent.
Unless an author using AI acknowledges they are doing so, there are limited ways to know a work is not entirely the product of human endeavour. Yes, for now, there are programmes to assess work, but they can throw up false positives, e.g., when authors are writing in a second language.
 
There are numerous ways in which AI can be used by authors, i.e., idea generation, plotting, writing chunks of text, character development, and grammar checking. Acknowledging the level of use would go a long way in retaining the trust of readers and publishers alike.
 
At the very least, authors, publishers, platforms, and marketplaces should be required to identify when a significant portion (e.g., more than 30%) of a written work has been generated by AI.
 
Copyright of creative works should be restricted to humans.
Wholly AI generated works can’t be copyrighted in the US, but in stark contrast, they’re automatically copyrighted in New Zealand (and the UK).
 
NZ copyright law expressly states that AI produced creations are covered by copyright. Originally, this was to protect computer generated models such as weather forecasts and the like.
 
But…for copyright to apply in New Zealand, there must be an original work and there must be an author. For work to be original, the author needs to demonstrate they've applied sufficient time, skill, and effort in creating it. Inputting a simple prompt is unlikely to be enough. No legal tests have been made in New Zealand, and it seems unlikely to happen any time soon.
 
Economics:
It’s already difficult to make money as a writer. Society doesn’t place much value on art. By devaluing writers and crowding the market, AI could further erode what little we earn.
 
Currently, there’s a free to use version of most AIs, but there are increasing scales of cost with added features. Companies are making money from data sets compiled through non-consensual scraping of the internet – writers who created the source material are not.
 
I’ve worked hard and spent a lot of time and money to develop my writing skills and create my brand. If someone uses the prompt, “Write a 1000-word fantasy story in the style of Jacqui Greaves” I think I should be compensated. Why should someone else be able to profit without consequence by using my voice (without my consent and potentially bringing harm my brand)?
 
There should be a requirement for permission and compensation for authors when their works are used in outputs, or when their names or identities or titles of their works are used in prompts.
 
Submissions:
When thinking about submitting stories written with the assistance of AI, writers need to be aware of the AI policies of publishers.
 
Some, have very clear policies:
Clarkesworld Magazine states;
“We will not consider any submissions written, developed, or assisted by these tools. Attempting to submit these works may result in being banned from submitting works in the future.”
QueerSciFi annual flash fiction contest rules say;
“We do not allow submission of work that is partially or entirely generated by Generated Artificial Intelligence (generative AI).”
Other publishers have statements along the lines of ‘we only accept submissions from humans made of meat.’
 
In contrast, Space and Time Magazine had a recent call for their Friend or Fiend? AI and Human Creators: Special Edition. They invited submissions demonstrating how AI can enhance human work, but not replace it. “To demonstrate that human creativity is vital and can not be replaced by AI, but it can free us from tedious tasks so we have more time to create.”
 
In the already murky world of self-publishing (a space I inhabit) it’s a bit of a free for all. I predict it will become even more difficult to rise above the dross. I’ll be adding an AI statement to my social media profiles and the metadata of my online publications, and hope I’ve built enough trust with my readers.
 
Readers:
Readers have a role to play. If readers want works created with heart and nuance, with original themes, characters, and settings, they need to insist that their bookstore (physical or virtual) has a clear AI disclosure policy.
 
If there’s no market for fiction largely or wholly produced by AI, then there’s no reason for a supply. This only works where authors and publishers disclose when AI has been used in the production of a creative piece of work. As stated above, this may be challenging in the self-publishing arena.
 
Readers may need to become more discerning in which authors they read and take it upon themselves to do their due diligence.
 
And, for those of you happy to read AI generated stories, you do you!
 
Environment: not directly related, but an interesting aside
Forbes reported that training a single AI model results in the emission of more than 283,000 kg of carbon equivalent (around the annual production of 5 cars).
There are also issues around the enormous quantities of water required to cool processing centres and the ongoing challenge of e-waste disposal.
 
 
Websites I visited while researching
http://neil-clarke.com/ai-statement/
 
https://blog.enterprisedna.co/what-is-chat-gpt-everything-you-need-to-know/
 
https://becominghuman.ai/ai-writing-tools-for-creative-writing-and-fiction-unleash-your-imagination-and-write-like-a-pro-4f098ccc7fce
 
https://renaissancerachel.com/best-ai-novel-writing-software/
 
https://www.euronews.com/next/2022/11/08/ai-writing-is-here-and-its-worryingly-good-can-writers-and-academia-adapt
 
https://prowritingaid.com/art/681/Why-AI-Will-Never-Replace-Writers.aspx?gclid=Cj0KCQjwsIejBhDOARIsANYqkD3foJNDryjEoyQ-pncvOyX-SZ3-PuKwuG_kA9eph3G9Zraxrz6g9KMaAlA6EALw_wcB
 
https://mythcreants.com/blog/questions/is-it-ethical-to-use-ai-in-fiction-writing/
 
https://www.psychologytoday.com/us/blog/apple-a-day/202303/how-will-ai-affect-the-future-of-fiction
 
https://www.lawfareblog.com/ai-generated-works-artists-and-intellectual-property
 
https://medium.com/@emilymenonbender/thought-experiment-in-the-national-library-of-thailand-f2bf761a8a83
 
https://authorsguild.org/advocacy/artificial-intelligence/
 
https://www.npr.org/2023/02/03/1154091957/artists-file-class-action-lawsuit-saying-ai-artwork-violates-copyright-laws
 
https://cointelegraph.com/news/environmental-impact-of-ai-pioneering-solutions-for-a-sustainable-future
 
https://builtin.com/artificial-intelligence/ai-copyright
 
https://www.lexology.com/library/detail.aspx?g=9ee46558-7233-4255-a56a-a895fabdf276#:~:text=This%20section%20confirms%20that%20the,of%20the%20work%20are%20undertaken'.&text=This%20means%20copyright%20can%20and%20will%20subsist%20in%20AI%20generated%20images.
 
https://www.equaljusticeproject.co.nz/articles/can-new-zealands-ip-and-copyright-law-keep-up-with-ai-advancements2023
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Publishing and me

12/14/2018

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Picture
​I can now report that pushing the ‘Publish’ button is both a terrifying and exhilarating experience for a first-time indie writer. It's an action I delayed through fear for such a long time. But now it’s done and I'm wondering why I was so hesitant.
I won't lie and say that Gods of Fire hit the market hot and flew off the e-shelves like a rocket. It didn't. For a solid 48 hours I sat at a single sale. I knew who bought it and I love her for it (and no, it wasn't my Mum). A week later, sales aren't meteoric, but a steady trickle of people have paid over their money and purchased my book.
MY BOOK.
​I still love those words. I love being able to tell people how they can buy my book. It's thrilling!
I know I haven't done the launch quite right. I didn't do a proper cover reveal, I didn't set up pre-orders, I didn't send out advance reader copies for reviews on launch, and my marketing plan consists of scribbled notes on a piece of paper that is drifting around my desk somewhere. To make matters more interesting, I launched in a week when my calendar was full of pre-Xmas social events, leaving me little time to write up material for my lovely author friends who'd offered to host me on their blogs.
I've tried not to become a one-dimensional social media publicity machine. Instead, I'm drip feeding my “buy my book" plugs in and around my usual tweets and updates, and advertising on promotional pages and feeds one at a time, rather than flooding them all at once.
I've ordered some postcards with the cover and buy link on one side and the blurb and my bio on the back. I intent to drop them around the cafes, restaurants and shops I frequent. I'm also planning to send press releases to a few of the local newspapers, not sure how successful that'll be, but no harm trying!
I'm not driven by best-seller lists, what I want is to find my readership and achieve steady sales to people who will come back for more.
I'm sure I've made some standard rookie mistakes, but I've published my book and am building my confidence and gaining experience, so I do it better for the next one. This is my marathon, not my sprint.
But...if like 1000 of you decide to buy Gods of Fire tomorrow, read it and leave a review, then I'll be delirious with joy!


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Leave it to the Professionals

10/29/2018

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Picture
I’m a very visual person and appreciate good art.
Famous artists feature in my ancestry and many of my immediate family paint and draw well. I don’t!
While I have some skill at technical drawing anything requiring a free hand and colour is beyond me. I can compose a visually attractive photo—but it has to stand on its own as, to my eternal chagrin, I’ve never mastered the art of Photoshop, Gimp or any other image manipulating software.
Anyone who follows me on social media knows that I have a particular eye for imagery. I know what works and what doesn’t and have ruffled feathers in the past when it came to the cover designs for a series of anthologies I was involved with.
With all that in mind, today I went ahead and tried to make a cover for my upcoming novel ‘Gods of Fire’. This was a bad, terrible, not at all good idea, because:
  • I have a VERY clear idea of what I want the cover to look like
  • I don’t have any images that are remotely close to what I want, nor can I find any
  • I thought I could learn Canva in a morning
  • I can’t even find a font I like
All I’ve managed to achieve is to make myself frustrated and grumpy.
This is clearly an aspect of self-publishing that I need to leave to the professionals, just like I did with the editing (shout out to Bowlerfern in that department). So, I’m now waiting for a few book cover artist/designers to get back to me.
Back to writing for me.

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