In honor of NaNoWriMo (National Novel Writing Month), Payhip is providing our current and prospective writers with valuable advice, insight, and resources. This week, we were lucky enough to steal a few minutes with one of our most accomplished members to talk about what writers should focus on most, publishing as an indie author vs. using a publishing house, the value of a designated workspace, and more.<\/i><\/p>\n
With over 30 years of experience in the publishing industry, editor, writer, speaker and podcaster Louise Harnby knows a good story when she sees one. Her extensive portfolio includes over 600 edited and proofread books from independent authors and publishing companies, including Pulitzer Prize winner, <\/i>A Visit from the Goon Squad.<\/i>\u00a0<\/i><\/p>\n
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Firstly, thank you for taking time out of your busy schedule to chat with us. As a writer and editor who\u2019s helped hundreds of authors, what\u2019s the number-one piece of advice you\u2019d give to someone who\u2019s at the beginning of their writer\u2019s journey?\u00a0<\/b><\/p>\n
Regardless of whether an author\u2019s doing their own editing or working with someone like me, I always advise them to make sure they understand the different levels of editing and the order of play.<\/p>\n
The first draft of a book is unlikely to be ready for proofreading. Instead, focus on structure first \u2013 so how the story hangs together as a whole.<\/p>\n
Next comes stylistic line work that focuses on the flow and rhythm of prose.<\/p>\n
Copyediting comes after that. This is the more technical side of the work that looks at consistency and clarity.<\/p>\n
Only then is it time for the quality-control stage: proofreading.<\/p>\n
Writers who want to know more can watch a video, listen to a podcast episode or download a booklet on my website<\/a>.<\/p>\n <\/p>\n Many aspiring writers lack the resources and know-how needed to succeed in the publishing world. Which top tools and methods would you recommend to those on a budget?<\/b><\/p>\n In a nutshell, the five Cs: community, content, craft books, courses and conscious language.<\/p>\n Community<\/span><\/p>\n Take a look at the Alliance of Independent Authors (ALLi)<\/a> and the Society of Authors<\/a>. They\u2019re two fine examples of organizations who are dedicated to supporting writers at different stages of their journey.<\/p>\n Membership includes access to free and affordable paid-for events and resources. But they offer something else that\u2019s incredibly valuable too \u2013 a network of like-minded people. Trying to make your mark in the publishing world can feel overwhelming, so being able to get advice and inspiration from others on the same journey is priceless.<\/p>\n Content<\/span><\/p>\n There\u2019s a ton of useful \u2013 and free \u2013 guidance about the craft of writing online, so it\u2019s worth budget-sensitive writers spending time digging around in the search engines. However, those interested in sentence-level guidance can visit my resource library<\/a> as a first port of call.<\/p>\n I also recommend The Creative Penn<\/a>, a superb knowledge bank through which Joanna Penn guides aspiring authors on how to write, how to get their books published and how to make their work visible. I love Joanna\u2019s genuine and approachable teaching style, and how she makes self-publishing accessible to everyone.<\/p>\n Craft books<\/span><\/p>\n Books are the most affordable way I know of accessing high-quality guidance. There are lots \u2013 too many to mention here \u2013 but I recommend fiction writers start with The Magic of Fiction<\/a> by Beth Hill because it pays attention to structure and helps writers create a great first draft.<\/p>\n My own Editing Fiction at Sentence Level<\/a> focuses on line craft that helps writers refine the flow, rhythm, mood, voice and style of their prose.<\/p>\n For non-fiction writers, Andy Maslen\u2019s Write to Sell<\/a> is an excellent tool for any content creator who wants to craft a compelling message, something that\u2019s critical for authors when they\u2019re promoting their books.<\/p>\n And Joanna Penn\u2019s How to Write Non-Fiction<\/a> takes authors step by step through the whole book-creation process \u2013 from mindset to marketing and everything else in between.<\/p>\n Courses<\/span><\/p>\n I love learning at my own pace, and online courses are an affordable and convenient way to study in a multimedia environment.<\/p>\n There are lots to choose from. For starters, take a look at Joanna Penn\u2019s business-focused author courses<\/a>, and for craft-based tuition try Narrative Distance: A Toolbox for Writers and Editors<\/a> and Preparing Your Book for Submission<\/a>, two courses from my own training stable.<\/p>\n The National Writing Centre<\/a> also offers online training that aims to build authors\u2019 confidence. Some of their courses are even free. The NWC also partners with the University of East Anglia to provide more in-depth premium creative-writing courses<\/a> that come with tutor support.<\/p>\n Conscious language<\/span><\/p>\n Anyone who\u2019s aware of the events surrounding Kate Clanchy\u2019s Some Kids I Taught and What They Taught Me will understand the importance of reviewing their work through the lens of representation.<\/p>\n I\u2019m not for a minute suggesting that a work of fiction or non-fiction has to follow a set of prescribed \u2018rules\u2019 about what can or can\u2019t be written, but rather that writing means applying the same mindfulness to the words we put on a page as those that come out of our mouths.<\/p>\n When we write, we\u2019re building a relationship with our readers, even though we don\u2019t know who most of them are. And so consciously considering whether our words are helping or harming is just good human practice \u2013 one that means our books function as we intend them to, whether that\u2019s to teach or to entertain.<\/p>\n For authors who want a little more guidance on this, I have a free booklet on inclusive and respectful writing<\/a>. It doesn\u2019t prescribe, just helps writers make informed decisions.<\/p>\n <\/p>\n As someone who\u2019s edited hundreds of manuscripts, what should writers keep in mind as they write in order to avoid getting back a \u2018bleeding first draft\u2019 from the editor?<\/b><\/p>\n So I\u2019d say that the first draft isn\u2019t usually something that should be sent to an editor. More often, the first draft is where the author lays down the story just as it comes.<\/p>\n Once that\u2019s done, put the book away \u2013 just let it sit for a while \u2013 then revisit it and decide what\u2019s working and what isn\u2019t, what needs refining, amplifying or deleting.<\/p>\n