I've been editing my second thriller, Line of Sight, a work in progress. Perhaps because I know the characters better (from Standpoint), I find it easier to get swept along with the manuscript as a book and sometimes have to pull myself back to the editor's chair. One thing I have observed is the way in which small details illustrate character. The way Thomas irons his tie for a funeral or the way Karl cracks jokes when he's aware of tension. Or the way Miranda bursts the bubble of intimacy with a well aimed crude comment or two.
I've also turned that lens on people I met upon life's journey. Small details, and each one of them a billboard of the soul.
Mick, who worked for the same chemical manufacturers, with his key ring made from a dog's ear.
Michael - no connection - who spent a whole weekend turning my angst ridden teenage lyrics into songs and recorded them for me.
Another former nameless colleague who put on the lingerie that his wife refused to wear (once she'd gone out of the room).
The man who put a hammer cold against my head and demanded money.
The woman who thought it would be funny to share an intimate secret, just to see what would happen.
A landlady who lowered the rent just because we got on so well.
Maybe character is best revealed by those things we do when we have freedom of choice and there's no one else around.
Wednesday, 28 July 2010
Wednesday, 14 July 2010
Reflections from the freelancing front line - Pt 1
Although still a freelancer pup, in the great scheme of things, I've already picked up some useful insights along the way and this seems the perfect place to share them.
1. Have a starting rate.
When you get to the stage of freelancing to earn an income, you need to have a baseline. That can vary of course, depending on the client and what's required. But be very clear at the outset what you're prepared to work for - it makes negotiation a lot less painful because...
2. Almost everything is negotiable!
The timescale, the scope of the job and even the specifics of the requirements - all these are subject to change. This can work to your advantage as well. The ad may say 'local writers only,' but that doesn't stop you making a pitch if you really believe you can convince the client that you're the best person for the job. Although...
3. The client is ALWAYS right, even when it doesn't feel that way.
They can change their mind, cancel the project, dangle carrots in the far distance and promise you the moon. They can be frustrating, contradictory, flaky or never satisfied. But it helps to remember they are the client and you're being hired for a job. The professional thing to do is grin and bear it (even a tiny grin counts) until the project is completed, then collect your payment and politely walk away. Because...
4. You're only as good as your reputation.
Your CV (or resume) may show the bare bones of your credentials and experience, but personal recommendation will serve you well in the long run. Everyone remembers the plumber or carpenter who arrives on time, finishes the job to the agreed spec and tidied up after themselves. Who wouldn't want to recommend someone like that? You'd be doing other people a favour. So it is with freelancers - every client is a walking, talking advertisement. So be very sure that what's on the billboard is good for your business.
5. Practise good time management.
As a project manager, I - and you - know that projects are a balance between Time / Cost / Quality and Scope.
http://alongthewritelines.blogspot.com/2010/04/tcqs.html
If the price is fixed then your time needs to be fixed as well, or you very quickly start to see your hourly rate (and the viability of the project) eroded. When you're working on a client's project, don't answer personal emails or allow yourself to get distracted. It's a business so treat it like one. However...
6. Accept there will be unproductive time.
And a personal thanks to Geoff Thorndyke here. Geoff - a tutor on a business course I attended, taught that you should expect half an hour of unproductive time (i.e. unpaid) to every productive hour. Setting up, researching, clarifying by email or phone, those last minute revisions you hoped not to see. These are all nibblers of time and nibblers that expect to dine for free. It's part and parcel of freelancing so you may want to allow for that in your hourly rate.
7. Everything is more useful than you think it is.
Every piece of writing is a combination of facts, circumstance, imagination and creative ability. It'd be a shame to waste it on just one piece of work. Keep what you write and when you have some downtime, revisit it. Could you have written it more succinctly and perhaps more quickly? How could you reuse some of that information in a new format?
http://alongthewritelines.blogspot.com/2010/04/writing-environmentally.html
Perhaps most importantly of all, what can you learn from it, in the light of the above points?
8. Paypal is the freelancer's friend.
It's quick, convenient, secure and accepted around the globe. It's not perfect of course - the wait for eCheques can seem like forever. And don't not forget to factor in Paypal's commission when you work out your fees. Overall, it's a great way to do business.
9. Work is where you find it.
Be discerning. The $1 an article brigade seem to have taken over the Net, but that isn't the case. Move on and search more intelligently. Check out writing forums, online communities and magazines. There is work out there for the intrepid freelancer, although you may have to spend some of that unproductive time I mentioned.
10. Cultivate your successes.
Every time you complete a client's requirement successfully, you have made a valuable contact for future work - either for them or through their recommendation. And every success is another notch on your CV (or resume), increasing your repertoire, your confidence, your range of clients and, ultimately, your earning power.
1. Have a starting rate.
When you get to the stage of freelancing to earn an income, you need to have a baseline. That can vary of course, depending on the client and what's required. But be very clear at the outset what you're prepared to work for - it makes negotiation a lot less painful because...
2. Almost everything is negotiable!
The timescale, the scope of the job and even the specifics of the requirements - all these are subject to change. This can work to your advantage as well. The ad may say 'local writers only,' but that doesn't stop you making a pitch if you really believe you can convince the client that you're the best person for the job. Although...
3. The client is ALWAYS right, even when it doesn't feel that way.
They can change their mind, cancel the project, dangle carrots in the far distance and promise you the moon. They can be frustrating, contradictory, flaky or never satisfied. But it helps to remember they are the client and you're being hired for a job. The professional thing to do is grin and bear it (even a tiny grin counts) until the project is completed, then collect your payment and politely walk away. Because...
4. You're only as good as your reputation.
Your CV (or resume) may show the bare bones of your credentials and experience, but personal recommendation will serve you well in the long run. Everyone remembers the plumber or carpenter who arrives on time, finishes the job to the agreed spec and tidied up after themselves. Who wouldn't want to recommend someone like that? You'd be doing other people a favour. So it is with freelancers - every client is a walking, talking advertisement. So be very sure that what's on the billboard is good for your business.
5. Practise good time management.
As a project manager, I - and you - know that projects are a balance between Time / Cost / Quality and Scope.
http://alongthewritelines.blogspot.com/2010/04/tcqs.html
If the price is fixed then your time needs to be fixed as well, or you very quickly start to see your hourly rate (and the viability of the project) eroded. When you're working on a client's project, don't answer personal emails or allow yourself to get distracted. It's a business so treat it like one. However...
6. Accept there will be unproductive time.
And a personal thanks to Geoff Thorndyke here. Geoff - a tutor on a business course I attended, taught that you should expect half an hour of unproductive time (i.e. unpaid) to every productive hour. Setting up, researching, clarifying by email or phone, those last minute revisions you hoped not to see. These are all nibblers of time and nibblers that expect to dine for free. It's part and parcel of freelancing so you may want to allow for that in your hourly rate.
7. Everything is more useful than you think it is.
Every piece of writing is a combination of facts, circumstance, imagination and creative ability. It'd be a shame to waste it on just one piece of work. Keep what you write and when you have some downtime, revisit it. Could you have written it more succinctly and perhaps more quickly? How could you reuse some of that information in a new format?
http://alongthewritelines.blogspot.com/2010/04/writing-environmentally.html
Perhaps most importantly of all, what can you learn from it, in the light of the above points?
8. Paypal is the freelancer's friend.
It's quick, convenient, secure and accepted around the globe. It's not perfect of course - the wait for eCheques can seem like forever. And don't not forget to factor in Paypal's commission when you work out your fees. Overall, it's a great way to do business.
9. Work is where you find it.
Be discerning. The $1 an article brigade seem to have taken over the Net, but that isn't the case. Move on and search more intelligently. Check out writing forums, online communities and magazines. There is work out there for the intrepid freelancer, although you may have to spend some of that unproductive time I mentioned.
10. Cultivate your successes.
Every time you complete a client's requirement successfully, you have made a valuable contact for future work - either for them or through their recommendation. And every success is another notch on your CV (or resume), increasing your repertoire, your confidence, your range of clients and, ultimately, your earning power.
Thursday, 1 July 2010
Hogwarts Lives On thanks to Erkin Bekbolotov and his friends
First came the books.
Then came the film.
Then came the merchandising.
Then came the other films.
Then came more merchandising.
Then came the theme park.
And now there's... Mugglespace. http://www.mugglespace.com
I checked out a sample member - Erkin Bekbolotov is an MBA graduate with a self-confessed HP obsession. Then I remembered that I've still got all the books and - like Erkin - my favourite book is Chamber of Secrets.
In fairness to Erkin, he has a non-HP blog which can be found at http://erkinbekbolotov.wordpress.com/
Now if I could just drum up some publicity (and a publisher) for my own books, I'd be a happy man!
Then came the film.
Then came the merchandising.
Then came the other films.
Then came more merchandising.
Then came the theme park.
And now there's... Mugglespace. http://www.mugglespace.com
I checked out a sample member - Erkin Bekbolotov is an MBA graduate with a self-confessed HP obsession. Then I remembered that I've still got all the books and - like Erkin - my favourite book is Chamber of Secrets.
In fairness to Erkin, he has a non-HP blog which can be found at http://erkinbekbolotov.wordpress.com/
Now if I could just drum up some publicity (and a publisher) for my own books, I'd be a happy man!
Next!
Kipling may have written: ‘… If you can meet with triumph and disaster and treat those two imposters just the same…’ but I’ll bet his novel hasn’t just been declined by a major UK publishing house. Of the two imposters, I know which one I’d like to write to me!
There are several positives, despite their decision. The editor in question had generously allowed me to resubmit an excerpt from Standpoint after a full edit. And she'd passed it to one of their senior commissioning editors, who specialises in crime and thrillers. So I can’t say my manuscript hasn't been given a fair opportunity.
There was some useful feedback as well: ‘…although she thinks you write well and clearly have potential in this area, she did not think that the material was strong enough yet since it is extremely tough to break out a new author in the thriller market. She complimented the pace of your writing, but felt that the beginning of the novel was confusing and that Miranda’s role did not flow naturally.
Her advice would be that, rather than submitting direct to publishers, which is a notoriously difficult route, you should find an agent to represent you and to work with on your writing.’
Naturally, I'll heed the advice of the professionals. I'll take a fresh look at the opening scenes and ponder what could be done about Miranda, and what she'll let me do. And of course, I'll review my trusty spreadsheet of thriller literary agents; I might even chase up the one who's taken 5 months to not respond to me so far.
And I'll do all this with a clear sense of purpose, trying to ignore that inner critic's voice, which whispers, 'What if your novel just isn't good enough, whatever you do to it?'
Right this minute though, having waited six months for news, I can't help feeling like the contestants in Bullseye who lost out in the final round, when Jim Bowen puts a fatherly arm around them and says, "Come and have a lot at what you would have won."
Meantime, if you know of any literary agents looking for thrillers, point them in my direction.
There are several positives, despite their decision. The editor in question had generously allowed me to resubmit an excerpt from Standpoint after a full edit. And she'd passed it to one of their senior commissioning editors, who specialises in crime and thrillers. So I can’t say my manuscript hasn't been given a fair opportunity.
There was some useful feedback as well: ‘…although she thinks you write well and clearly have potential in this area, she did not think that the material was strong enough yet since it is extremely tough to break out a new author in the thriller market. She complimented the pace of your writing, but felt that the beginning of the novel was confusing and that Miranda’s role did not flow naturally.
Her advice would be that, rather than submitting direct to publishers, which is a notoriously difficult route, you should find an agent to represent you and to work with on your writing.’
Naturally, I'll heed the advice of the professionals. I'll take a fresh look at the opening scenes and ponder what could be done about Miranda, and what she'll let me do. And of course, I'll review my trusty spreadsheet of thriller literary agents; I might even chase up the one who's taken 5 months to not respond to me so far.
And I'll do all this with a clear sense of purpose, trying to ignore that inner critic's voice, which whispers, 'What if your novel just isn't good enough, whatever you do to it?'
Right this minute though, having waited six months for news, I can't help feeling like the contestants in Bullseye who lost out in the final round, when Jim Bowen puts a fatherly arm around them and says, "Come and have a lot at what you would have won."
Meantime, if you know of any literary agents looking for thrillers, point them in my direction.
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