How To Get Published in Just 50 Easy Steps

(Did you miss me? After the craziness of the Distress Signals month-long blogging bonanza, I decided to give you all a month off from me. Well, a month and a bit. Also, since I last blogged WordPress have hidden the ‘justify paragraph’ button from me and it is driving. Me. CUCKOO. I can’t even look at this left-aligned. Oh my God. Deep breaths. Wait! Keyboard shortcuts! YES. Okay. It’s all okay. Everything’s going to be okay. Breathe… Okay. Anyway.)

As of February 1, this little blog is a staggering SEVEN years old. One of the first posts I published on here was a tongue-in-cheek How To Write A Novel in 37 Easy Steps. So, seven years and a bit on, and to break my post-blogging-bonanza fast, I’ve decided to update that – or rather, continue it.

How To Get Published in Just 50 Easy Steps! 

  1. Decide, aged 8, that you are going to be a novelist.
  2. Ask Santa for a typewriter.
  3. Ask your parents for an electronic typewriter.
  4. Ask your parents for a PC.
  5. Spend much of your late teens carrying the first three chapters of your first attempt at a novel, a Formula 1-themed thriller named Chequered Flag, around on a floppy disk. By ‘novel’ read ‘excuse to daydream about Jacques Villeneuve’s abs on the cover of Jacques Villeneuve: A Champion in Pictures’…
  6. Sorry, drifted off there.
  7. Avoid studying for your own Leaving Cert, i.e. the final exams in Irish school, by writing a funny but quite pointless YA novel about avoiding studying for the Leaving Cert. Submit it to a publisher whose office is 5 minutes’ drive from your house, because you think geographical proximity will help seal the deal.
  8. Get rejected.
  9. Tell your parents you need a laptop ‘for college’.
  10. Go to college.
  11. Drop out of college.
  12. Go to NYC for a week’s holiday and think this qualifies you to write from the POV of a NYPD detective. Submit your (god awful) attempt at a detective novel via post to a top London agent and get so swiftly rejected that SAE arrives back at your house before you do.
  13. Stop writing. Pretend that reading books about writing will move you closer to your published novelist dreams in the meantime.
  14. Quit your crappy job working in a greeting card store.
  15. Quit your pleasantly boring job working in an auctioneer’s office.
  16. Take a job in the Netherlands.
  17. Take a job in France.
  18. Take a job in Walt Disney World in Orlando, Florida.
  19. Buy John Mayer’s Continuum album and put ‘Stop This Train’ on repeat for 36 days. (This is KEY.)
  20. Go backpacking in Central America.
  21. Start writing a book about number 18 after you return home to Cork.
  22. Find an agent who is interested in said book but cannot represent you on the strength of it due to there being only about 23 people in the whole world who’d be interested in reading it and even less in buying it (probably).
  23. Tell agent you are already writing a novel. (This is a big fat LIE.)
  24. Decide you can’t write the novel because your soul-destroying job is slowly but surely sucking all the life force out of your blackening soul and if you don’t do something about it soon your heart will be an empty abyss of abandoned dreams, bitterness and contempt.
  25. Quit your job – in the middle of a devastating economic recession, for maximum dramatic effect.
  26. Put a MacBook on your credit card, because you simply cannot work under these conditions.
  27. Use your savings to relocate to an isolated and slightly scary holiday home by the sea (in winter, in Ireland) with two coffee machines and your new computer.
  28. Write a comic, corporate satire, chick-litty novel. Describe it The Devil Wears Prada meets Weightwatchers.
  29. Start submitting the novel to agents and editors.
  30. Buy John Mayer’s new Battle Studies album and put the song Assassins on repeat for thirteen days. (No, really. This is KEY.)
  31. Self-publish the Disney book, i.e. Mousetrapped.
  32. Read an article about cruise ship disappearances in a magazine that someone left behind them in a café that your mum was in shortly before she picked it up and brought it home.
  33. Write a book about number 20.
  34. Self-publish that book, i.e. Backpacked.
  35. Get a meeting at a Major Publishing House by way of your friend Vanessa. The MPH don’t like the Weightwatchers Prada book, but they do like your writing. Tell them you’ll write something else.
  36. Writing something else (well, a synopsis and three chapters of it) and send it to the MPH.
  37. Writing something else else (well, a synopsis and three chapters of it) and send it to the MPH.
  38. Write something else else else (well, a synopsis and three chapters of it) and sent it to the MPH.
  39. Go for a meeting at the MPH and get offered freelance work using social media to promote their commercial fiction titles instead. Be very excited about this.
  40. Get an idea for a thriller from number 32. Write 30,000 words of it.
  41. Stop.
  42. Buy John Mayer’s Born and Raised and put the title track on repeat for the entire month of May.
  43. Let a year pass.
  44. Struggle to find anything to play on repeat on Mayer’s Paradise Valley. *tear*
  45. Decide to apply to return to university as a mature student to student English Literature.
  46. Panic when you actually get in, as this necessitates a move to Dublin. Use the panic to push past the 30,000 barrier and finish the thriller. Call it Dark Waters. Start submitting it to agents.
  47. Go to college. Stay this time. Use this as a distraction from the UTTER DEVASTATION OF REJECTION.
  48. Unexpectedly get offer of representation from dream agent while sitting in a coffee-shop near college waiting for your American Genres lecture and looking out at grey and gloomy rain. (Hooray!)
  49. Work with agent’s amazing in-house editor to write a second draft of the thriller. Change the name to Adrift.
  50. Get a 2-book deal. (Bigger hooray!) Change book’s name to Distress Signals. Start buying everything you see with an anchor on it and planning your book launch like it’s your wedding.

If you want to read Distress Signals, check it out here for Ireland/UK and here for the USA. Also if you’re in Dublin this Saturday, I’m chairing a panel on self-publishing at the Irish Writers’ Centre Women Aloud NI IWD event. Get more info on that here.

Also, on a more serious note, there’s an update on the Irish resident accused of murdering his wife on the MSC Magnifica. In a line that could’ve come from Distress Signals, his lawyer has said to reporters, ‘If this was murder, where is the body? Where are the witnesses?’ (There are neither because, of course, this is a cruise ship.) A working theory is that he allegedly stuffed her body into a suitcase and threw it from the balcony of their Deck 11 cabin. You can read more about this terrible case here.

Next time on Catherine’s blog: the Great Desk Redesign of 2017! It involves an actual pink typewriter. AN ACTUAL ONE. 

How Do You Write A Book?

Welcome to the Distress Signals Blogging Bonanza! What’s that, you’re wondering? Well, you can either go and read this post or read the next sentence. In a nutshell: Distress Signals was out in paperback in the UK and Ireland on January 5 and hits the U.S.A. on Thursday (February 2) and every day in between I’m going to blog as per the schedule at the bottom of this post. 

So Distress Signals is out and Book 2 is almost there. Although writing them were two very different experiences, without setting out to do it, I wrote both of them pretty much the same way (albeit in very different periods of time):

  1. Initial idea. Fun fact: both thrillers were sparked by magazine articles, although in very different ways. Percolation ensued, i.e. I didn’t immediately sit down and start writing.
  2. Post-It Plotting Party. I get a pen and a stack of Post-Its and I write down every idea I have about the book. This could be something big, like what it’s actually about, or something as small as a sentence a character may utter at some point. Then I take a chart of some kind – calendars are my new thing – and I arrange all these Post-Its on it in the order in which I think these events might appear in the book. This gives me some signposts to help lead the way.
  3. Vomit draft. A draft that doesn’t even deserve to be called the first one. A free-wheeling experiment. No editing as you go, no reading back if you can. This is where I figure out 70% of what happens in the book – the ideas come while I work through it. This is why Book 2 turned into a bit of a stressfest: because, drowning in self-doubt and distracted (oooh, shiny book launch stuff!), I pathologically procrastinated and didn’t leave myself enough time to do a truly vomit-y vomit draft. I had to go straight into a first draft, which proved to be a pressure cooker because I had to figure out if I could tell this story and how to tell it at the same time. Never again. Lesson learned.
  4. First draft. I give the book the break and then I go and re-do step 2. Except now that I have a vomit draft behind me, I know enough to plot out the whole book in more detail before I type ‘Chapter One’. This makes writing a first draft – the first one that could be read by someone else as a coherent book, realistically – much easier than writing the vomit one. Once this is done, my agent and editor come in and we start the editing process.

Here’s the thing though: there is no right way to write a book.

 

The ‘Getting Published’ Advice I Wish I’d Listened To

Welcome to the Distress Signals Blogging Bonanza! What’s that, you’re wondering? Well, you can either go and read this post or read the next sentence. In a nutshell: Distress Signals was out in paperback in the UK and Ireland on January 5 and hits the U.S.A. on February 2, and every day in between I’m going to blog as per the schedule at the bottom of this post. 

As you may know, I’ve led many a ‘how to self-publish your book’ seminar in my time. The first few times I did it, I’d sit down at my desk to start putting together my PowerPoint presentation and despair that I only had 90 minutes or however long to squeeze in everything I needed to tell the group about how to self-publish successfully. After I did a few of them, I realised that the best approach was not to aim to tell them everything about self-publishing, but to tell them everything they needed to know in order to start, and start off on the right foot. Those are two very different things.

So I stopped talking about making and selling print-on-demand paperbacks with the likes of CreateSpace and Lulu. Instead I advised that they treat the e-book like a hardback, releasing that first, testing the waters, adapting their plan if need be, and then – if it went well – reinvesting the profits in their print edition. After years of this self-publishing lark, both doing it myself and watching others at it, I think now that this is the best approach. It’s logical, it’s risk-averse and it keeps it simple. But during the Q&A, someone would always ask something like, ‘What about Lightning Source?’ And I’d groan inwardly, because I’d be thinking to myself, Go home, finish your book, self-publish it as best as you possibly can in e-book – and then start worrying about Lightning Source. But not before.

I wish someone had said something similar to me when I was traipsing into Waterstone’s Cork every Saturday afternoon in the early 2000s, systemically working my way through their How To Write Books books section. I hadn’t finished my book – I hadn’t even started it – but I felt like it was really important I know exactly how much an agent’s commission was on translation rights before I even thought about putting put pen to paper. The proliferation of blogs and the constant, never-ending, information tsunami that is Twitter only made things worse. Much, much worse. Years later, when I finally got a clue and concentrated solely on the things I should be concentrating on, I finally learned that getting published is all about the book. So I finished my book. I signed with an agent. And then I got published.

But, but, BUT.

It’s easy to forget that information you think is common knowledge is not actually so. It’s just that you’ve known it for so long, you’ve forgotten you didn’t once. And starting out, I think you do need to know some things. So here is my absolutely bare bones, rock-bottom minimum place to start if you’re aspiring to see a book you wrote on the shelf. This is what I wish someone had said to me five, ten, fifteen years ago.

(Well, someone no doubt did say this to me. But boy, I wish that I had listened.)

Step 1: Write the Book

If I could go back in time and talk to Me From 2009, this is what I would tell her: do nothing else except sit down and write, and keep doing that until your book is finished.

Now, there’s loads you can to delay this. You can read stacks of how to write books books, you can attend workshops, you can hang around the writers’ water cooler on Twitter, you can blog about all the writing you plan on doing, you can play with Post-Its. But honestly, I think there’s only two things you need to do: read as much and as widely as you can, and put your arse in the chair in front of your computer. Honestly, you will never learn as much about how to write a book as you will from the act of actually sitting down and writing one. So go do that. First.

Step 2: Pick a path

Now comes the decision: to self-publish or try to get published? Well, no one can answer this question but you, so there’s really no point in asking me or anyone else.

What you can do is:

  • Research, so you know exactly what you’re getting into (and you can make a plan)
  • Set yourself a deadline

It’s possible that your book will decide for you. It might be very short, too short for a traditional publishing house. Or it might be about something that means time is of the essence, and you need to publish it now. For instance, last year you might have written something about the centenary of the 1916 Easter Rising here in Ireland that really needed to be published in 2016 to take advantage of this increased awareness, public appetite, publicity opportunities, etc.

If this isn’t the case, I will say to you what I always say to writers who ask me this: set yourself a deadline. If you’re not sure, give yourself 12 months. Submit to agents, enter competitions, attend conferences, etc – basically, network – and do everything you can to try to find a traditionally published home for your book. Then, once the 12 months is up, if it seems like nothing is happening, perhaps self-publish instead.

Step 3: Don’t Rush Things

Here’s the thing I would love for you to take in: don’t rush. Don’t panic. Don’t feel like you’re missing out or that you need to get your book on Amazon yesterday. I completely understand the feeling you get in your gut when someone says, ‘When is your book out? I can’t wait to read it.’ It’s itchy. It’s panicky. It increases your heart rate. And suddenly all you can think about is getting the book up on Amazon so you can capture that one sale. And that’s a huge mistake.

Just on a practical level, self-publishing does not mean uploading your file to Amazon this weekend. Self-publishing means launching a product. You need to plan. You need to prepare. You need to build anticipation. Ideally, you need to have another book nearly ready to go. (I think, these days, the only way to succeed at self-publishing and to maintain your momentum once you do is by releasing more than one book.) All of this takes time. You can only launch your book once. Don’t diffuse your own momentum by doing it too soon, before you’ve done the work.

Similarly, don’t give yourself 6 weeks to get an agent. Leaving aside the fact that the top agencies get thousands of submissions a year and it would be nearly impossible for even one of them to get back to you in that space of time, that’s so little time that you’re guaranteeing failure before you’ve even begun trying. All this stuff, it takes AGES. Use it to start on your next book.

What I didn’t realise before I got my deal is that, you know what? It’s not the worst thing in the world to be waiting for your dream to arrive. It’s a nice bit. There’s no deadlines, no pressure, no contracts. You’re writing purely because you love to write. Forget about the destination for a second. Enjoy the journey.

Everything else – that can come later. Worry about it then. For now, just finish your book, pick a path and don’t rush.

In its own way, this is the good bit.

dsbb

Remember: there’s a super sexy hardcover edition of Distress Signals (the American one, out February 2) up for grabs, signed to you from me. To enter, simply leave a comment on this post or any post published here between January 5 and February 2. One entry per post, so comment on more than one and increase your chances. Open globally. Good luck!

The Irish Book Awards: A Debrief

One of the best things about writing for a living, in my opinion, is that you get to do it in your pyjamas. When I was sitting at home in them a few years back, writing the first draft of the book that would become Distress Signals, I wasn’t thinking about times like the past week, when Pyjamas Days were few and far between.

The week started with Vanessa O’Loughlin and I heading to RTE to be interviewed live on The Nicky Byrne Show on 2FM about the Amazon Independent Publishing Day. You should still be able to listen to it here, at around the 35 minute mark.

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Wednesday, the big day finally arrived: the Irish Book Awards ceremony! I’d been before, but never as a shortlisted author and I was a bit terrified. (Also, I’d never wanted to be a man more. By the time we left for the hotel I was SO sick of hair, make-up, tan, heels and clothing decisions. The stress!) My phone was buzzing all day with lovely good luck messages; I felt a bit like I was getting married or something. And then, to add to the already dangerous level of excitement, the buzzer went and the postman handed me an envelope containing this: the mass market paperback of Distress Signals, complete with IBAs shortlist sticker!

mass

The Irish Book Awards start really, really early – 6pm for the drinks reception this year. As you’ll know from previous posts, I was shortlisted alongside some lovely writer friends: Hazel Gaynor, Carmel Harrington and Elizabeth R Murray, and Hazel invited all of us (and our plus ones) to her hotel room for a nerves-calming glass of champagne. I really needed it, because the whole red carpet thing was absolutely terrifying. Huge thanks to Ger Holland for capturing these lovely pictures for me!

I really, really enjoyed my night – more so once my category was out of the way! As you’ll probably know by now, Tana French won the Crime Novel of the Year – and deservedly so, I think. I couldn’t even be disappointed because I never had any expectation of winning, because getting shortlisted was so amazing to me all by itself, and because if I could’ve picked one of the nominees to lose to (considering that Liz Nugent had already picked up some glassware in the Ryan Tubridy Listeners’ Choice Award category!) then I would’ve picked Tana French. I mean, how could you be sad that you lost to Tana French?! I was just delighted to be on a shortlist with her in the first place.

I was also delighted to see Mike McCormack win the final award of the evening, the Eason’s Book Club Novel of the Year, for Solar Bones. McCormack was the first writer I ever met in “real life” – he came to my school, Regina Mundi, back when I was in transition year and so aged about 16. (I still remember it vividly. We could ask questions and I asked “do you always know how it’s going to end when you start?” and he said that was a great question. Cue me walking on air for the rest of the day.) He made me think that “writer” could be an actual occupation, instead of just an impossible daydream. And on Wednesday night I was able to see him go up and collect his first Irish Book Award because I’d been shortlisted for my own. Magic!

Click on any of the images below to see some other shots from the night.

We didn’t leave the hotel until about 4:00am so Thursday was pretty much a lost cause, and I had to hand in a college essay on Friday. Then on Saturday, another big day: the Amazon Independent Publishing Conference at the Davenport here in Dublin. Honestly, I spent most of the day feeling jealous of the attendees because I would’ve killed for such an event back when I was starting out self-publishing. I did a few one-to-ones with some very impressive writers and sat on two panels, one about cover design and one about marketing.

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A great team from Amazon UK came over and the whole thing was streamed live online. Highlights will be made available to watch soon. #KDPDublin was trending in Dublin by the time the day was out. Huge thanks to superwoman Vanessa O’Loughlin for running another amazing event and for inviting me to it!

So that’s all the excitement. Now, back into the writing cave to work on Book 2 Draft 2. And after all this, I’m looking forward to it!

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There’s just one more bookish outing this side of Christmas: on Thursday I’m doing an event with Liz Nugent and Sam Blake at the Lexicon library in Dun Laoghaire, all about how to slay agents, editors and readers with a killer first chapter. Find out more information and/or book tickets here.

To see more red carpet pictures from the Irish Book Awards, click here. To see more pictures from the Amazon Independent Publishing Day, click here.  Irish Book Award photos credit: Iain Harris unless otherwise stated. Thanks to Ger Holland Photography for the official photos of both the IBAs and KDP Dublin. 

Distress Signals Shortlisted for Irish Crime Novel of the Year (Whaaa..??!)

If you missed my tweetgasm yesterday, I have news: Distress Signals has been shortlisted for Crime Novel of the Year in the Irish Book Awards!

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(One exclamation mark is really not enough for that but I’m trying to restrain myself here, okay?)

I’d love to be able to play it cool, but I can’t, I’m sorry. This is a really big deal to me. If you’ve been following my blog or me on Twitter for a while, you might know that for the last two years, I’ve attended the Irish Book Awards ceremony. The IBAs are a very unusual literary prize in that they highlight achievement in many different categories, with the winners are decided by a voting system that includes literary critics, booksellers and the public. In this way, you get a collection of books that the nation has actually been buying, reading and loving in the past year, as opposed to, say, a number of challenging literary fiction titles that hardly anyone has read and most people have never heard of. The ceremony itself is both the Irish Publishing Christmas Party (well, it is to me anyway!) and a warm and fuzzy celebration of all things books. It’s wonderful.

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The first year I went, I had only just signed with my agent a fortnight before and hadn’t yet started to edit the book that would become Distress Signals; I didn’t know it, but the realisation of my lifelong Get Published dream was five months away. The highlight of my night was getting to stand behind Tana French in the queue for the bathrooms. French to me was – and still is – a literary goddess among women. I’ve been reading her since I picked up In the Woods in the New Fiction section of what was then my local Barnes and Noble, back in Orlando in 2007. Just to be in the same room with her was thrilling – even if, yes, that room was a hotel bathroom!

This year my little book is nominated alongside Tana French’s latest, The Trespasser.

Isn’t that crazy?!

But it gets crazier. Better and crazier.

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L-R: Hazel Gaynor, Carmel Harrington, me (obvs) and Elizabeth R. Murray

At last year’s ceremony I was back at the Writing.ie table sitting with two lovely writing friends: Elizabeth R. Murray and Hazel Gaynor. Also present at the ceremony was another lovely writing friend, Carmel Harrington. We were all there because of Vanessa O’Loughlin, the founder of Writing.ie and a great friend and support to all of us, who writes crime fiction under the name Sam Blake.

All of us, I’m sure, harboured secret dreams of one day being more than a mere attendee, but getting shortlisted felt improbable. Just getting published had been a long, winding, difficult road. And only six books make the shortlist in each category, and there’s a whole year’s worth of publications to choose from.

But this year we will all attend the ceremony as shortlisted authors.

(I’m sorry, I’m breaking them out: !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!)

Between the five of us we have (at my count): five different agents, four different genres and four different publishers. One of us writes for children, one of us is on her third book. We all got published at different times after very different journeys. And yet all five of us have had this amazing, unlikely, thing happen to us, in the same year

Sam Blake/Vanessa O'Loughlin and me

Sam Blake/Vanessa O’Loughlin and me

What are the odds? When you consider the odds of just getting published in the first place,  I think they’re pretty damn astronomical.

So shoot for the moon. Don’t listen to anyone who tells you it’s unlikely you’ll get there. Someone has to. You might.

The Irish Book Awards are partly decided by a public vote. Choose your favourite reads of the year here.

Bord Gais Energy Irish Book Awards 2016 – Full Shortlist

bookclubnovel

  • All We Shall Know – Donal Ryan
  • Days Without End – Sebastian Barry
  • Solar Bones – Mike McCormack
  • The Lesser Bohemians – Eimear McBride
  • The Wonder – Emma Donoghue
  • This Must Be The Place – Maggie O’Farrell

irishpubbed

  • All Through the Night – Edited by Marie Heaney
  • Dublin since 1922 – Tim Carey
  • Looking Back: The Changing Faces of Ireland – Eric Luke
  • Modern Ireland in 100 Artworks – Edited by Fintan O’Toole
  • The Invisible Art: A Century of Music in Ireland 1916-2016 – Michael Dervan
  • The Glass Shore – Sinéad Gleeson

newcomer

  • Himself – Jess Kidd
  • Red Dirt – E.M. Reapy
  • The Last Days of Summer – Vanessa Ronan
  • The Maker of Swans – Paraic O’Donnell
  • The Things I Should Have Told You – Carmel Harrington
  • This Living and Immortal Thing – Austin Duffy

nonfiction

  • I Read The News Today, Oh Boy – Paul Howard
  • Ireland The Autobiography – John Bowman
  • The Hurley Maker’s Son – Patrick Deeley
  • The Supreme Court – Ruadhán Mac Cormaic
  • Time Pieces: A Dublin Memoir – John Banville & Paul Joyce
  • When Ideas Matter – Michael D. Higgins

tubs

  • Lying In Wait – Liz Nugent
  • Conclave – Robert Harris
  • Dictatorship: My Teenage War With OCD – Rebecca Ryan
  • All Through the Night – Edited by Marie Heaney
  • All We Shall Know – Donal Ryan
  • Victim Without A Face – Stefan Ahnhem

poem

  • In Glasnevin – Jane Clarke
  • Patagonia – Emma McKervey
  • Suppose I Lost – Andrew Soye
  • Love / Hotel / Love – Michael Naghtan Shanks

childrenjnr

  • A Child of Books – Sam Winston and Oliver Jeffers
  • Goodnight Everyone – Chris Haughton
  • Historopedia – Fatti and John Burke
  • Pigín of Howth – Kathleen Watkins
  • Rabbit and Bear: Rabbit’s Bad Habits – Julian Gough & Jim Field
  • Rover and the Big Fat Baby – Roddy Doyle

childrensenior

  • Knights of the Borrowed Dark – Dave Rudden (Puffin)
  • The Book of Shadows – E.R. Murray (Mercier Press)
  • The Making of Mollie – Anna Carey (The O’Brien Press)
  • Needlework – Deirdre Sullivan (Little Island Books)
  • Nothing Tastes As Good – Claire Hennessy (Hot Key Books)
  • Flawed – Cecelia Ahern (HarperCollins Children’s Books)

cookbook

  • Recipes For A Nervous Breakdown – Sophie White
  • The World of The Happy Pear – Stephen and David Flynn
  • Natural Born Feeder – Roz Purcell
  • The Little Green Spoon – Indy Power
  • Neven Maguire’s Complete Family Cookbook – Neven Maguire
  • The Brother Hubbard – Garrett Fitzgerald

popularfiction

 

  • Game of Throw-Ins – Ross O’Carroll-Kelly
  • Lyrebird – Cecelia Ahern
  • Rebel Sisters – Marita Conlon-McKenna
  • The Girl From The Savoy – Hazel Gaynor
  • The Privileged – Emily Hourican
  • Holding – Graham Norton

popnonfict

  • Adventures of a Wonky-Eyed Boy – Jason Byrne
  • Fat Chance – Louise McSharry
  • Making It Up As I Go Along – Marian Keyes
  • Pippa – Pippa O’Connor
  • Talking to Strangers – Michael Harding
  • Pussy: Before I Forget to Remember – Alan Amsby/David Kenny

sports

  • Blood, Sweat & McAteer – Jason McAteer
  • Coolmore Stud, Ireland’s Greatest Sporting Success Story – Alan Conway
  • My Life in Rugby – Donal Lenihan
  • Out of Control – Cathal Mc Carron
  • The Battle – Paul O’Connell
  • Win or Learn – John Kavanagh

shortstory

[You can read all the shortlisted stories here.]

  • Here We Are – Lucy Caldwell (Faber&Faber)
  • K-K-K – Lauren Foley (OL Society – Australia)
  • The Visit – Orla McAlinden (Sowilo Press)
  • Green, Amber, Red – Jane Casey (New Island)
  • The Birds of June – John Connell (Granta Magazine)
  • What a River Remembers of its Course – Gerard Beirne (Numero Cinq Magazine)

bgacrime

  • Distress Signals – Catherine Ryan Howard
  • Little Bones – Sam Blake
  • Lying In Wait – Liz Nugent
  • The Constant Soldier – William Ryan
  • The Drowning Child – Alex Barclay
  • The Trespasser – Tana French

HUGE congratulations to all my fellow shortlisted authors!

Voting is now open. Cast yours here. The ceremony takes place in Dublin on November 16th. Follow @BGEIBAS on Twitter to find out more. 

How To Write a Novel (When You Think You’ve Forgotten How)

As regular readers of this blog will know, I am a pathological procrastinator. I don’t know why, but I do know that I have never been able to delay gratification. So instead of rewarding myself with 7 hours of OJ: Made in America when the first draft of Book 2 is done and dusted and I can relax and enjoy it guilt-free, I watch it now and tell myself I will write after. I mean, I’d just be distracted by my wanting to watch it otherwise, right?

(Side note: OJ: Made in America is truly incredible TV.)

I joke that I’d call my would be productivity guide Don’t Start Until It’s Already Too Late – and that’s pretty much what I do. I can only work under pressure, while panicking. I read somewhere that the procrastinator’s sweet spot is the exact moment when the fear of creating something crap is overtaken by the fear of not having enough time to create anything at all. That’s almost always when I start work – and not a moment before.

This past year or so, my procrastination problem has got worse. This is the first time I’ve ever had to write a book under contract, and I’ve had to do it in a period of time that’s, at most, half as long as the time I spent writing the first one. So for starters, you’ve got pressure. I believe procrastination is something like 30% laziness and 70% fear. Distress Signals has been incredibly well received by critics, book bloggers and readers. It’s wonderful but it’s also terrifying. Can I do this again? How did I do it the first time? So, we’ve got plenty of fear in the mix too. I’m a binger, in that I do my best work when I can clear my schedule, lock myself away and write from dawn to dusk – or maybe through the night – without stopping, hopped up on caffeine and sugar. A slow and steady 1,000 words every day just doesn’t work for me.

But now, I’m much busier than I was when I was writing most of Distress Signals that way. Being in university full-time means essay deadlines and exams and more reading than any person who sleeps could possibly do (I maintain). Then there’s everything Distress Signals demands as a book that’s out in there in the world. Online promotion, U.S. edits, a one-day 10-stop bookshop road trip, a signing, an interview for a newspaper and preparation for a literary festival in a couple of weeks are just some of the things I’ve had to do in the last two weeks. So most days I just can’t binge-write any more. The schedule is too busy to clear.

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Last Friday I visited ten bookstores in Limerick, Shannon, Ennis, Newcastle West and Tralee. The Eason’s on O’Connell Street in Limerick had a side entrance onto Cruises Street – perfect! (Distress Signals is about a murder on a cruise ship.) 

So we’ve got more fear, more pressure and then more things to do/less time in the mix too. It’s the perfect storm. It’s the reason why the first draft of Book 2 still isn’t finished, even though my original goal – back in the rose-tinted days of last summer when the world was all rainbows, puppies and unrealistic plans – was to have a vomit draft by last Christmas and a first draft by the end of April, just before Distress Signals came out.

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(I really want to go back to Summer 2015 Catherine and slap her in the face. Hard.)

The good news is we’re almost there. I’m almost there. This is the last week I’ll work on this draft of the book. But I’ve had to sort of trick myself into writing it.I’ve had to hunt down procrastination, sedate it, bound and gag it and lock it in a basement room. (Hey, I’m a crime writer, okay?) In the process, I’ve been reminded of things – tips and tricks and truths – that I’d forgotten. In case you’re struggling with your project, here they are.

Build Write It and They Will Come

I’m a big plotter, so the first thing I have to do in order to write a book is sort mine out. I don’t plan everything out in advance, but I like to have some signposts along the way. I open a Word document and create a simple outline using numbering. It’ll be a longer version of this (the notes in square brackets pertain to my specific plot):

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Then what I’ll do is I’ll take my ideas for scenes, plot developments, etc. and fill as much of this in as I can. The problem was that when I sat down to do this for Book 2, I ended up with mostly blank space. Erm… Hang on a second. Do I even have a plot for this book?! I started to panic. Yep, totally screwed. I’m just an impostor. I knew I’d be found out. But because I was contracted to write this book, I had to sit down and write it anyway, which is when I realised/remembered:

The ideas come while you’re writing.

I’ve put that in bold and italics because it’s the most important point of this whole blog post. You can sit in all the cafes you want with your notebook, chewing on a pen, dreaming up plot lines and characters and killer twists. But – at least in my writing life – I will never come up with stuff that way that’s half as good as what I come up with while I’m actually in the midst of writing the book.

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This is what the plot of Distress Signals looked like by the third and final draft (the one with my editor at Corvus). But this is the end game. It’s okay to start with mostly blank space on your plot charts. You probably should. 

So don’t panic. You may have no idea what goes in Part 3 right now, or you may not even be sure you have an ending. Your plot plan may be mostly blank space. But don’t wait until you have a plot to start writing. A few signposts will do. The ideas will come. Until then, just concentrate on writing this chapter.

Early, First, Focused

There’s a difference between saying ‘I’m going to spend all tomorrow writing’ and ‘I will write for no fewer than six hours tomorrow’. I turned 34 yesterday, you’d think I’d have discovered this before now. But that’s one lesson that has really been driven home to me recently, because so many hours and days seem to disappear into time-sucking, pointless tasks, and I end up with nothing to show for them. It’s not enough to intend to write tomorrow or this week. When you’re a procrastinator, you need to plan exactly how, when and where you’re going to.

I get the most out of my writing days when I:

  • Start early. This is allowing for the fact that even though you may have eight hours free in which to write, you’ll be lucky if you spend half of them actually typing words into your manuscript. The other thing is that you don’t know what’s going to happen during the day. You could get an exciting e-mail or an unexpected invitation or a toothache. Best to start now, as early as you can, before real life wakes up and starts distracting you.
  • Do the writing first. It’s the only way. Otherwise you end up watching OJ: Made in America before noon. (Trust me on this.) Also, the best thing about doing the writing first is that it’s done, it’s out of the way, and you can spend the rest of your time not feeling guilty or anxious, but smug and overly pleased with yourself that you got it done.
  • Focus. Seems obvious, doesn’t it? But as I said at the top, these were things I’d forgotten. I’d forgotten that the internet is like a fibre optic cable plugged directly into my brain – I can’t work with it. Blocking apps don’t work for me; I can’t bring myself to turn them on and whenever I do, I pick up my phone before they’ve timed out. The best thing for me to do is go to a cafe or a library, not connect to the wifi and leave my phone in my bag at my feet. I can get as much done in an hour without the internet as I can in a whole day with it, and I write much better when I’m deep in my fictional world as opposed to being yanked out of it every five minutes, distracted by shiny things.

Change of Scenery

When writers moan about how lonely a profession this is, I roll my eyes. To me, that’s like saying ‘I love being hairdresser but – ew! – touching people’s hair. Yuck.’ I love the solitude. I need it. But I work from home, and my home is very small (I’m a writer and I live in Dublin city centre, so I’m essentially in a telephone box), and lately I’ve been experiencing cabin fever. So now I get out.

I’m surrounded by coffee shops and live only 15 minutes walk or so from my university, where there’s a whole library I can work in during office hours that’s comfortable, quiet and even has plug sockets. I’ve been making the most of this. The best things about writing somewhere else are that (a) you have almost none of the distractions you have at home and (b) when you do come home, you can enjoy it. There’s a separation between work and play.

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Think outside the box. One day last week I was really, really fed up. The weather was terrible, I was struggling to write and I honestly could not look at these four walls for a moment longer. So I did something drastic: I went on Booking.com and looked for cheap hotel rooms available for that evening within walking distance of my home. If a hotel has availability and it uses a third-party site like that, it might drop its rates during the day to try and fill empty rooms that night. I got a bargain, threw my toothbrush and my laptop in a bag and walked 30 minutes down the road to the hotel. I refused the receptionist’s offer of the wifi password and brought enough milk and coffee with me to see me through the night. Then I wrote 6,000 words, falling asleep as the sun came up. It was ridiculous, but it was just what I needed.

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So there you go. I also recommend (i) whingeing and moaning to your writer friends over gin-based cocktails, (ii) re-reading Rachel Aaron’s From 2K to 10K on a regular basis and (iii) investing in a Nespresso machine. And reminding yourself that, hey, this is your dream job. Jobs are hard and sometimes they suck and you’re not going to love every single day, and some days will be more productive than others. But don’t forget about the “dream” part. These are all good problems to have. I mean, I used to have a job where I spent my days stapling things together for Satan himself, and my nights crying about my blackening soul in the shower.

This writing gig? It’s not all that bad…

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Distress Signals has a new cover! And it’s still only 99p! More exclamation marks! 

How’s your writing going? Do you suffer from procrastination? What do you do to help overcome it? Let us know in the comments below…