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Get your writing year off to a flying start with this FREE masterclass packed full of advice and inspiration from the authors of Written: How to Keep Writing and Build a Habit That Lasts.

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Join authors and writing productivity experts Bec Evans and Chris Smith of Prolifiko for this inspiring masterclass, and build a writing habit that will last.

Being productive is about more than New Year’s resolutions. To achieve your writing goals you need to find time, support and the systems that keep you writing long term. Bec Evans and Chris Smith of Prolifiko will guide you with tried and tested approaches that will help you create a writing habit in the busyness of your life.

Do you struggle to find time to write? Do you get distracted by important or urgent tasks, feel blocked, or fail to make progress with writing projects? Then stop worrying and sign up for support now that will help you long term.

What we will cover:

Prioritise your writing and make time for itSetting motivating and achievable writing goalsBeat distraction by understanding what stops you writingImprove your productivity and feel positive about your progressThe shift in mindset that will keep you going long term.

Workshop includes:

Valuable insights, practical tips and inspiring advice from Bec and ChrisYour chance to ask Bec and Chris anything about building a writing habitAccess to a video replay of the event.

This masterclass is FREE – but registration is required, and places are filling up fast. 

Book NowAbout Bec Evans and Chris Smith

Bec Evans and Chris Smith are the co-founders of Prolifiko, a coaching business that helps people build productive writing habits. They met while working together in a bookshop more than 20 years ago and have spent a lifetime writing and working with other writers. Their new book, Written: How to Keep Writing and Build a Habit That Lasts, published on 5th January 2023.

Prior to Prolifiko, Bec worked in publishing, led teams of writers and managed a writing centre for Arvon. She’s also the award-winning author of How to Have a Happy Hustle: The Complete Guide to Making Your Ideas Happen. Chris has a background as a ghostwriter and content consultant to global business brands, charities and the public sector. He has written for national newspapers, magazines and is an award-winning comedy scriptwriter.

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The post MASTERCLASS: How to Build a Writing Habit That Lasts – with Bec Evans and Chris Smith appeared first on Publishing Talk.

Feeling stuck? Think you’re just not creative? Think again. Here’s how to get those ideas flowing.

Are you feeling creative? May 30th is National Creativity Day – a day to celebrate and encourage creativity. You might want to use the day as a push to do something creative, recommit to your works in progress, learn something new that will help you develop your craft, or take part in an activity that will inspire you and boost your creative energy. But what if you’re just not feeling creative at the moment? Here are 7 ways to unleash your creativity – and get those ideas flowing.

How to be a more creative writer

Can creativity be learned? Or is it innate? As humans, we are all creative beings. We’re born with the desire to create. That doesn’t mean we all want to be writers: creativity comes in many guises. But if you do want to be a writer – or if you’re a writer who’s feeling stuck – you need a way to unlock that creativity within you.

Sometimes the ideas flow, and inspiration comes quicker than we can write it down. And sometimes it really doesn’t. Are you staring at a blank sheet of paper or an empty screen? Maybe your writing is just feeling flat and uninspired at the moment. You’re going through the motions, forcing yourself to write some words each day – but you’re just not feeling it. You need some tools to help unleash your creativity – not just on National Creativity Day, but every day.

7 ways to unleash your creativity

If you’re feeling stuck or uninspired, try these tips to get your creativity back on track.

1. Overcome self-doubt

Have the confidence to call yourself a writer. We all struggle with imposter syndrome from time to time. Many new writers feel intimidated, plagued by doubt, even embarrassed about their creative work. “Who am I to call myself a writer?” you may think. But if you write, you are a writer. You don’t have to be published yet.

And you don’t need to constantly compare yourself to others. Even if you’re a hugely successful author, there will always be other writers out there who are ‘better’ or more successful than you. That’s OK. There’s room for everyone. You don’t need to live up to other writers, or emulate them. Just focus on your own unique way of doing things and communicating your ideas – and you will find an audience who values your work.

You are a unique individual. Not just among a current world population of eight billion people, but in the entire history of the roughly 117 billion people who have ever lived. It took you billions of years of evolution for you to get here. No one has had your particular experiences or has your way of expressing yourself. But plenty of people will be able to relate to your work. Others might have written on the same subject or on the same theme as you. But not in your way, or with your unique voice. Have confidence in your creativity.

There’s no ‘right’ way to write, either. Lots of people, courses and books will tell you what to do. But approach the creative process in a way that works for you. That may include extensive plotting, or just sitting down and writing what comes into your head. You might use mind maps, spreadsheets, index cards, whiteboards – or just a sheet of paper. Or maybe dictating is the best way for you to get your ideas down? Speech recognition software is everywhere these days, and a useful tool. Because I teach as well as write, I sometimes speak my ideas – and edit them later.

2. Don’t wait for inspiration to strike. (It won’t.)

Many of us think of creative geniuses being struck by that ‘Eureka!’ moment, having a brilliant idea then racing to complete it. But it doesn’t really work that way – at least, not for most people, most of the time. And if you wait for the perfect idea to strike – or until you feel ‘ready’ – honestly, you’ll never get anything done. So what should you do instead?

The best advice is just to get on with it. Like a lot of good advice, this is simple – but not easy. To overcome that creative inertia, write something every day. Even if (you think) it’s rubbish. Your first draft is supposed to be terrible anyway. Just get it down, so that you can get onto something better. Churn out your ‘vomit draft’. Then you’ll have something to work with. Writing is rewriting.

If it helps, try a freewriting practice such as morning pages, or use creative writing exercises and writing prompts. But write something – and aim for consistency, Even if it’s just for a few minutes a day. Even if you don’t feel creative. You don’t have to feel creative to create. Force yourself to sit in front of a blank page or screen until boredom takes over and you write something down. Or maybe your mind will wander and land on a new idea.

“Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.” – E.L. Doctorow

Writing is something you get better at by doing. No one has to see all the stuff that didn’t work. But you may look back on it and find some gems that you can develop into something that does. Start before you feel ‘ready’. E.L. Doctorow said: “Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.” Creativity requires tenacity. Stick with it.

3. Always carry a notebook

Or don’t. Val McDermid says, in her interview for Publishing Talk, that if an idea is good enough it’ll come back to you. But for those of us who feel the urge to capture ideas before they drift away – possibly for ever – the smartphone is a marvellous invention. It’s a digital notebook that’s always with us – whether you use the Notes app, voice memos or Google Docs. I’ve become a fan of Google Docs in recent years, since whatever I write synchs everywhere, across all my devices. I write notes, ideas, to-do lists, chapters – and even these blog posts that way.

“I work on the principle that if it’s not interesting enough to remember, it’s not interesting enough for a reader to want to read about it.” – Val McDermid

Whether you use technology, or prefer an old-school physical notebook, it’s helpful to have some way to record those ideas, snippets of chapters, pleasing lines, jokes, bits of dialogue and so forth. I frequently find myself pausing at random moments during the day to jot down something that pops into my head. Maybe I’ll use it for something later. Maybe I won’t. But there’s more to note-taking than compensating for a poor memory.

A great benefit of notebook-carrying is the impact it has on your creativity. I find myself recording ideas more than writing whole paragraphs of prose on my phone. And it’s this collection – and generation – of ideas that’s key here. Creative people have a lot of ideas. Most don’t see the light of day. But if you want to unleash your creativity, you need a way of capturing them. If you’re feeling stuck, look back over your old notebooks or files. Some of the ideas you jotted down ages ago – and forgot about – may be just the inspiration you need.

4. Find your creative place

Set up your environment for success. Productivity expert Bec Evans talks about designing a distraction-free environment. Which is an excellent idea. But finding a space where you can be creative (and not just undistracted) is important too. And this may mean moving away from your desk. Here are some ideas to try:

Go for a walk. Walking is great for getting a break and coming back to your project refreshed. But do you find you do your best thinking and have your best ideas when out walking? If so, you’re not alone. Researchers at Stanford University found that walking boosts creativity. They examined the creativity levels of people while they walked versus while they sat. And discovered that a person’s creative output increased by an average of 60% when walking. And getting out into nature has multiple benefits for physical and mental health. Author Liz Fenwick is a great advocate of the ‘plot walk’ – particularly in Cornwall, where she sets most of her books. A walk can help you unravel tricky plot problems – and give you inspiration for creating a setting too.Visit a café. Do you need total silence to work – or does the buzz of a busy environment help the creative process? When Helen Macdonald won the Costa Prize for H is For Hawk in 2014, she mentioned in an interview how appropriate it was – since she wrote a lot of it in her local Costa! And all that caffeine can get the ideas fizzing too.Go to the office. Most authors work from home. But, whether it’s to get out of a noisy household, or for a change of scene after a confining pandemic, an office can be place of respite and creativity. It’s a rare author who can afford to rent an office and put in a 9-5 shift – though some do. Some are lucky enough to have a garden office or ‘writing shed’. But there are more affordable options. One is to use a co-working space – even if it’s on a few-days-per-month contract. Author Nicola May has lately taken to using one – and it inspired the plot of her new novel The Hub ! Or work at your local library for free. Many have workstations.Move around. Try a standing desk. Not only is this good for your back, the change of physical position can make a difference to your creativity. Or write in a different room for a bit. You don’t always need to leave your house or flat to get a new perspective.Take a break. If you’re a binge-writer, blocking out some time and getting away on a writing retreat can do wonders for your productivity and creativity. It could be an organised retreat with other people. Or just do a DIY retreat: book a place to stay somewhere that will inspire you (but not distract you too much!) You may be surprised by how much creative work you get done in a week or two away.

Not all of these options are practical – or even physically possible – for everyone. But it’s more about a mindset shift. Do what you can to change your environment from time to time. It’ll change your outlook too. Everyone’s different – so pay attention to where you feel most creative – and try to put yourself in those environments more often.

5. Listen to music

Does music help you concentrate? Or is it a terrible distraction? Writers seem divided on this. Some need total silence, others need the background noise. I find it helpful – though instrumental music often works best for me when I’m really focused on writing, so I’m not distracted by song lyrics. Anything from jazz to classical to ambient electronica.

But, concentration aside, I also find that music is great for sparking ideas – and getting immersed into the creative world of a project. I remember hearing Quentin Tarantino describe – in more than one interview – how the first thing he does when starting a new film project is to dive into his record collection. These days, we’re more likely to listen to a Spotify playlist – or create or own (other music streaming services are available). Which is something I always do, for every project.

“Part of my process when I’m making a movie is to just dive into my record collection. What I’m looking for is the rhythm of the movie or the beat of the movie. In the case of, say, “Jackie Brown,” that’s ‘70s soul. I’m finding pieces, and that keeps inspiring me to make the movie, actually.” – Quentin Tarantino

Music may help spark ideas, memories and emotions from a particular time period. Writing a memoir set in the 1980s? Create a playlist of 80s music that takes you back to that period. You don’t even have to have been alive at the time. Writing historical fiction set in the 18th Century? Listen to music that your characters would have heard. It’s also about setting the right tone for your project – and getting in the right creative mood. Writing science fiction? Listen to cinematic tracks that inspire you. Romantic fiction? Listen to love songs. Something niche, quirky and genre-defying? Create your own weird, eclectic playlist!

6. Feed your creativity

Music is just one form of non-written art that you can consume. And you do need to consume culture if you want to produce it. You need creative inputs in order to generate a creative output. Yes, all writers need to be readers. But go beyond reading to music, painting, film, theatre, photography… If you’re feeling uninspired, uncreative and stuck, creative stimulation will help you unleash your creativity – and it can come from all sorts of places.

Visit an art gallery, go to a lecture or author talk, listen to a podcast, watch a film (especially if you write for the screen!), read a book for pure pleasure (rather than because it’s research for your current project), go to a concert. Even scrolling through images on social media can help. One of Instagram’s original brand values was ‘Inspire Creativity’. Find something that inspires you.

You may also find it useful to create in one of these different modalities too. If you feel stuck in your writing, moving to a different type of creativity can unlock something in you. Whether that’s playing the piano, painting, sketching, tapestry, knitting, making short films on your phone – whatever. Don’t know how to do any of those things? Take a course and feel inspired! Move away from the writing for a bit, and create something else. You’ll come back creatively refreshed.

Or if you really want to stick with the writing but feel stuck, write something else for a while. Have more than one project on the go. Switch from your novel to a nonfiction project or a screenplay. Write a blog post. Write a poem. Don’t keep endlessly starting new things as a way to avoid the thing you’re supposed to be working on, though – make sure you go back to it after your creative detour! You’ll return with new enthusiasm, see it with fresh eyes – and you’ll have made progress on something else too in the meantime.

7. Meditate

Alice Walker once said: “If you’re silent for a long time, people just arrive in your mind.” Maybe you just need a bit of silence, to let the ideas – and the characters – come. Meditation has all sorts of benefits, from reducing anxiety to increasing focus. And it can also help you unleash your creativity.

“If you’re silent for a long time, people just arrive in your mind.” – Alice Walker

There are plenty of apps out there to help you meditate – including Calm and Headspace. Some include specific guided meditations on creativity. But the key thing is to take some time out for yourself, and focus on your breathing for a while. Nor is it about emptying your mind or silencing your internal chatter. It’s more about observing your thoughts, without judgement. Some of those thoughts could be the spark for a new idea, book or character. Take some time out so you can hear them – and give yourself the space to create.

Unleash your creativity on the world

You can, of course, combine these techniques. For example, get outside and listen to inspiring music on your walk – and jot down any ideas that occur to you. That’s something I do all the time.

Creativity is not only about your own unique self-expression – it’s also about having the courage to share it with an audience. So find what works for you, go and express yourself – and enjoy the process. Unleash your creativity – and share it. The world is waiting for it.

The post How to unleash your creativity: 7 ways to be a more creative writer appeared first on Publishing Talk.

Want to know how many words you should be aiming for? Here are the average word counts by genre.

How many words in a novel? And what about non-fiction? Size matters. You need to know the length of manuscript you should be working towards for your genre – whether fiction or nonfiction. It will help you set targets and plan your writing routine, be taken seriously by agents and publishers, help you secure a publishing deal – and meet the expectations of your readers. Here are the average word counts and page numbers by genre.

Reading time: 10 minutes

How many words in a novel – at a glanceA typical novel is about 80,000 words long – but may be anywhere between 60,000 to 100,000+ wordsKnow your target word length so you can pitch professionally and track your progressThe correct word count matters especially for first novelsTo work out your rough page length, divide your word count by 275Different genres have different conventions and length expectations – but there are always exceptions.How many pages?

Remember Dame Sally Markham from Little Britain? She was the prolific romantic novelist based on – well, you know who. Reclining on her chaise longue, eating truffles, she would dictate yet another novel to her long-suffering secretary Miss Grace – regularly punctuated by: “How many pages?”



While Dame Sally’s motives may have been lazily filling space with any old rubbish to meet a publishing deadline, as a writer you actually do need to know how many pages – or, rather, words – to aim for. (We’ll look at page numbers later too.) But where do you begin?

How many words in a novel?

You might think a novel can be any length you like: as long as it needs to be to tell the story. But size matters. Any author who has had their editor ask them to cut 20,000 words will tell you that there are rules and conventions around acceptable length. These depend on the type of novel, its genre – and even whether or not it’s your first novel.

But how long is too long? And when does your word length fall short?

A typical novel is about 80,000 words long – but may be anywhere between 60,000 to 100,000 words. As a general rule, you should stick well within these parameters for a first novel.

A typical novel is about 80,000 words long – but may be anywhere between 60,000 to 100,000 words.

Anything under 50,000 words is generally considered a novella. And anything over 110,000 words is usually considered too long – especially for a first novel. There are exceptions, of course. Fans of established, Booker Prize-winning novelists like Hilary Mantel will devour their latest enormous tomes. Here are some other outliers:

Edward St Aubin’s five Patrick Melrose novels average about 47,000 words each.Margaret Atwood’s The Blind Assassin is over 160,000 words: twice the length of the average novel.Lucy Ellmann’s Ducks, Newburyport , shortlisted for the Booker Prize in 2019, is pretty much a single sentence spanning nearly 400,000 words.

In addition, certain genres – notably fantasy, but also some crime fiction – may be 150,000 words or more.

If you’re absolutely convinced that you need at least 200,000 words to tell your story, consider splitting it into two or even three novels – a publisher may be more interested in taking it on as a two- or three-book deal. And if you’re struggling to get anywhere near 60,000 words, perhaps you’re writing a novella – or even a short story. Or maybe you need a new subplot, extra characters, locations or timelines to maintain novel-length interest from your reader.

Why you need to know your target word count

You need to know the word length you’re aiming for so that:

You write to the right length. It’s important to write a manuscript to the right length for your intended market. If you’re under contract to a publisher, you’ll have a word length specified in the contract, so this bit is easy. But if you’re self-publishing, or writing on spec to get an agent or publisher in the first place, you won’t. And that’s the position most of us find ourselves in.You can pitch professionally. If you’re pitching to an agent, it helps if you can sound like you know what you’re talking about, by understanding the word length that would be expected for the book you’re writing.You can track your progress. When you know the target length of the book you’re writing, you can plan your writing routine around it. If you can write 500 words a day – like Hemingway – you can write a novel in six months.  Write 1,000 words an hour, you can – in theory – write an 80,000 word first draft in just 80 hours! That’s equivalent to two working weeks. If you use Scrivener, enter your target word length and deadline, and it will set a daily goal and track it for you. It can be very motivating to see the progress bar move and change colour from red to orange to green as you accomplish your goal!

If you know the target length of the book you’re writing, you can plan your writing routine around it.

Why word counts matter for first novels

Sticking to an expected word count matters especially if you’re a début novelist looking for your first book deal, for the following reasons:

Shorter novels are easier to sell. If you want to get a literary agent, or a traditional publisher, you’ll have an easier time as a début novelist with a short novel. This is for the simple reason that readers – and therefore publishers and agents – are less likely to take a punt on a new author if it involves the time commitment of reading a massive tome. You may be able to write a longer novel, if you want, once you’re more established.Longer novels cost more to print. The simple, hard economics of book publishing mean that the more pages, the higher the printing costs. Every new book a publisher takes on has it’s own business plan or ‘profit and loss’ account (P&L) – and printing is the biggest single cost. This means that, as a business proposition, your massive novel is harder to make work financially – and more of a risk. Your second novel will, at least, have some sales figures attached to it. If it was a runaway success, your publisher will feel more secure about investing more in your next book.Excessive length is a red flag. If you’re a new novelist, your super-long novel is likely to raise concerns with an agent or publisher. It suggests your writing style is overly-wordy, you don’t know how to edit, or you don’t understand plot, pacing or structure. As a new writer, part of your job is to convince people in the industry that you know what you’re doing. Excessive length screams ‘rookie’.Readers have length expectations. Your target readership, within specific genres, is used to reading books of a certain length.

You’ll stand more chance of getting a publishing deal as a new author, get more readers – and sell more books – if you stick to these conventions.

How many pages in a novel?

What does 80,000 words look like in pages? Publishers calculate the extent (page length) of books based on the words per page that fit into the chosen format (book size – in height and width) and taking into account the font and text design used.

The traditional way to work out words per page – and pages per book – is to ‘cast off’. No, this is nothing to do with fishing or knitting. It’s about calculating the number of printed pages (pp) from a raw manuscript. My first publishing job, as an Editorial Assistant for an academic publisher, back in the last century, involved preparing final manuscripts for ‘handover’ to the production department. The first task was to cast off. It went something like this:

Count. Take the number of words in the manuscript.Divide. Divide it by the words-per-page of your chosen text design. This is the tricky bit – especially for textbooks, where the design can vary wildly. But it’s easier for novels.Add. Add about 24pp. This will cover both prelims (copyright page, table of contents etc.) and postlims (index, acknowledgements etc.)Round up. Due to the printing process, the final extent must always be divisible by four. Round up if necessary.

One way to get a feel for the sort of length in pages that you should be aiming for is simply to look on Amazon – or any other online bookstore that lists page numbers in its catalogue. Look up the top selling books in your genre, and note down their extents.

Other useful websites include:

Reading Length. This estimates the extents and word lengths of books based on audiobook length. Look up a book similar to the one you’re writing to get an idea of what sort of length you should be aiming for.Word Counters. This uses the Amazon data feed and an algorithm to estimate word length based on page numbers, genre and format.

To work back from that to calculate the number of words you should be writing, you need to know about words-per-page.

How many words per page in a novel?

Your words per page depend on format, text design, font, font size, ‘leading’ (gap between lines), how many textual features, illustrations, etc.

But let’s not worry about any of that. Here’s a quick rule of thumb: divide your word count by 275. That will give you a rough idea of the final number of pages you’ll end up with. (Though, in reality, it could be anywhere between 250 and 300.) So an 80,000-word manuscript will become a book of roughly 292pp.

Or do it the other way around, and multiply. If you think your book should be around 284pp – based on your Amazon research, or from browsing in your local bookshop – you know that you’ll need to write roughly 78,000 words.

Word count for books by genre

There’s no single answer to how many words in a novel. While 80,000 is an average word length for an average novel (is there such a thing?), when it comes to specific genres of fiction there is some variation. Certain genres – epic fantasy fiction such as Game of Thrones, for example – will be weightier than your average romcom.

So, what are you writing? Here are some examples of specific genres and a rough guide to their typical average word counts. I’ve also included some specific titles within each genre, with their extents and estimated word counts to the nearest 1,000 words. But please bear in mind that this is an indicative guide only. There will always be exceptions to the ‘rules’.

Début fiction: 80,000 words – for the reasons outlined above. Though there are outliers.Literary Fiction: 50,000–150,000 words. Because ‘literary fiction’ is used to describe any novel that doesn’t easily fit onto a specific genre, it’s hard to give a ‘typical’ word length – because it can be very wide ranging! It could be as short as The Great Gatsby by F. Scott Fitzgerald (177pp / 48,000 words) or as long as The Secret History by Donna Tartt (503pp / 140,000 words).Romantic Fiction: 70,000–90,000 words. Tends to be shorter than literary fiction, or other genre fiction. Examples include The Corner Shop in Cockleberry Bay by Nicola May (328pp / 83,000 words).Historical Fiction: 90,000–120,000+. Tends to be longer than average. Examples include: The River Between Us by Liz Fenwick (512pp / 130,000 words, The Sewing Machine by Natalie Fergie (368pp / 112,000 words). Outliers include Wolf Hall by Hilary Mantel (604pp / 166,000 words).Science Fiction: 70,000–120,000. Examples include Isaac Asimov’s Foundation (240pp / 70,000 words), and Station Eleven by Emily St John Mandel (352pp / 98,000 words).Fantasy: 100,000-150,000 words. Examples include The Hunger Games (384pp / 100,000). Outliers include Game of Thrones: A Song of Ice and Fire (912pp / 250,000 words).Thrillers: 80,000–100,000+ words. Examples include The Girl on the Train (416pp / 114,000 words)Crime Fiction: 80,000–150,000 words. Examples include His Bloody Project by Graeme Macrae Burnet (288pp / 80,000 words) and anything by Val McDermid, such as The Distant Echo (576pp / 150,000 words)Horror: 80,000–100,000 words. For example Misery by Stephen King (384pp / 105,000 words). His It is an outlier at 1,088 pp / 300,000 words). Shorter horror novels include We Have Always Lived in the Castle by Shirley Jackson (176pp / 50,000 words).Young Adult: 50,000–80,000 words. YA novels tend to be shorter than adult fiction. For example A Monster Calls by Patrick Ness is 240pp / 65,000 words. However, obvious exceptions include anything in the fantasy genre aimed at young people – such as the His Dark Materials trilogy by Philip Pullman (book 3, The Amber Spyglass , is 560pp / 150,000 words).How many words in a nonfiction book?

What if you’re writing nonfiction? Here are some guidelines.

Memoir: 70,000-100,000 words. This is one of the top selling nonfiction genres. Memoir is different to autobiography. Anyone can write a memoir – you don’t need to be famous. And a memoir tends to be shorter than an autobiography, because it’s usually a slice of life on a specific theme rather than a chronological account of everything that happened in a person’s life. Examples include Love Child by Allegra Huston (304pp / 83,000 words); Maggie and Me by Damian Barr (256pp / 70,000 words); and Cult Following by Bexy Cameron (400pp / 100,000 words).Business books:  70,000-80,000 words. Business books shouldn’t be longer than necessary. They’re aimed at busy people who want information without having to wade through a tome to get it. These readers are investing time as well as money in your book – and you’re competing for their attention. My traditionally-published business book Get Up to Speed with Online Marketing was 75,000 words (edited down from an 84,000-word first draft). And it came in at 276pp. This is fairly typical. Other examples include How to Have a Happy Hustle by Bec Evans (304pp / 80,000 words).Self-help: 50,000-100,000 words. Self-help books can be quite short. Again, these are books where people want results – and if a short book can give you the transformation you want in life, so much the better. But there are exceptions, for something more in-depth and comprehensive. Examples include Why Has Nobody Told Me This Before? by Dr Julie Smith (368pp / 100,000 words).Smart thinking: 80,000-100,000 words. A newer genre, which often overlaps with business books and self-help. The word length is more similar to novels or memoir, since these are books that are read to entertain as well as inform and educate. Examples include Four Thousand Weeks: Time Management for Mortals by Oliver Burkeman (288pp / 80,000 words).Travel writing: 70,000-100,000 words. Guidebooks need to be short and portable (on the whole). This is a genre where different travel publishers will have specific – and very strict – word length and formatting conventions that their authors will be briefed on. By contrast, travel writing is more like a memoir – and the same sort of length.Nature writing. 80,000-100,000 words. An increasingly popular genre, which has elements of travel writing, memoir and natural history. It’s usually a personal reflection on the natural world, rather than scientific writing. Examples include the award-winning books H is for Hawk by Helen Macdonald and I Belong Here by Anita Sethi (both 320pp / 88,000 words).Textbooks: Vary enormously, but are bigger the more comprehensive – and, usually, the lower the academic level. A first year nursing text might be a weighty tome. A monograph on the history of the Blair-era health service reforms might be a slim volume.

Bear in mind that any nonfiction may include figures, diagrams, tables and illustrations – which will need taking into account when calculating word length. If you plan a lot of these, you will have fewer words to fit into your desired page length.

There are always exceptions

While these are some rough guides to what is typical, you’ll notice that the ranges can be quite broad – and there are always outliers. If you’re writing your first novel, just write your first draft as you see fit. But, ideally, without wasting your time (and appearing inexperienced) by going massively overlength; or drafting something unpitchably short.

If you’re looking for an agent, your first 10 pages are probably the most important. So focus on them – but in the knowledge that you’ll be asked for a full manuscript if they like what they read. If you have an agent or publisher already, they’ll be able to advise you best on word length. Then make a plan, set yourself some targets – and write the thing!

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Writing can give your mental health a boost. Here’s how.

May is Mental Health Awareness Month; and this week (9-15 May) is Mental Health Awareness Week in the UK. So it’s a good time to look at the mental health benefits of writing (yes, there are some – it’s not all loneliness, frustration and crying!) From clearer thinking to the greater confidence that comes from mastering a skill to processing difficult life events, there are plenty of ways writing can give your mental health a boost. And you don’t have to be a professional writer or published author to experience them. Just crack open your notebook, laptop or phone – and enjoy the process.

Writing and mental health

Long hours spent in isolation, constant deadlines, repeated rejections, writers’ block, low pay… It’s fair to say that being a writer comes with its mental health challenges. The stereotype of an impoverished writer working alone for months on end in a freezing garret sounds a bit grim. Especially since the theme of this year’s Mental Health Awareness Week is ‘loneliness’. Writing can be a solitary profession. And, after the last couple of years, we all need to find a way to connect with the real world – not just the fictional ones in our heads.

But it’s not all bad. The upsides of writing include clearer thinking, a greater ability to process difficult life experiences, a sense of purpose, achievement and mastery – and the pure enjoyment of a creative pursuit. Writing can boost confidence and lower stress. It can even be social. The mental health benefits of writing are considerable. So get writing – and get happy!

8 psychological benefits of writing

Why do you write? I know a few writers who would answer this question with: “Because it keeps me sane!” But how does writing help our mental health? What are the psychological benefits of writing?

While all writing can be good for our mental health, there are particular types of writing that are often mentioned in this context: expressive writing, reflective writing and creative writing. All of which we will touch on in this list of 8 mental health benefits you may experience as you put pen to paper, or finger to keyboard.

1. Clearer thinking

Do you ever write to discover what you think about a particular subject, or to structure your thoughts and communicate them better? Writing can be a great tool for thinking. Bill Gates has described writing as a way to sit down and re-evaluate his thoughts during the day.

Whether you’re writing fiction or non-fiction, the process of writing can help you think more clearly about what you’re writing as you’re writing it. Which is a great argument for just getting started – and not waiting until you feel ‘ready’. (Spoiler alert: you never will.)

Writing can also help keep your mind sharp with age. It’s a form of cognitive exercise that helps keep the grey matter active. Flex your mental muscles and sort out what you want to say on the page – not just in your head.

2. Lifelong learning

Some authors take masters degrees in creative writing. Many don’t. Others read books about writing, go on short writing courses, take Zoom seminars or workshops, and generally take any opportunity to master their craft. While learning is, unequivocally, A Good Thing, one note of caution: make sure you’re not taking endless courses as a way of avoiding writing! There’s a balance to be struck here. Learn what you need to know about writing and the publishing industry – but make sure you’re finding time to write too.

But learning isn’t just confined to courses. Even if you never take a writing course, you will have to do research in order to write your book – whether it’s non-fiction or fiction.

Non-fiction writers don’t necessarily pour their innate expertise or years of teaching experience onto the page. Sometimes they write because they’re interested in a topic – and want to research it in order to write about it. Is there a topic that fascinates you? Do you enjoy the research process? Why not write about it – and educate yourself as you share that knowledge and passion with others.Fiction authors need to do research too. Whether you’re researching your settings, your characters’ motivations, or obscure technical aspects of 1980s dentistry in the English Midlands, there’s always something to find out about.

The research process can be fulfilling in itself, as you discover more about a topic that you love. Learning something new also helps keep the mind sharp – and keeps you interested and engaged with the world. If you write, you’re likely to be receptive to new ideas and information, and hungry for information and insight.

3. Master a skill

How do you feel when you achieve something? What happens to your mood? Mastery is when we accomplish something that makes us feel good about ourselves – usually a skill. It makes us feel competent, confident and in control. It’s one reason why learning isn’t just good for our cognitive abilities – it feeds our soul too.

It doesn’t have to be a big achievement like getting an agent, landing a publishing deal or becoming a bestselling author. Your achievement could be finishing that chapter or short story. Or writing another 1,000 words. It could even be spending 10 minutes of your day writing.

In fact, it should be something small. Mastery involves choosing a stretching but realistic goal. One where you can see your progress over time in small, achievable steps. Whether your goals are word length or time spent writing, your reward will be to see your novel taking shape over time.

Writing is a great skill to master. It takes time to become a good writer. It’s one of those things you learn by doing. To write better, write more. Write regularly. As you see your progress, you’ll feel good about yourself. Periodically pause, step back, and review your progress so far. You might be amazed at what you’ve achieved!

Building mastery in a skill you want to develop – such as writing – is a great mood-booster. It has great mental health benefits, including greater confidence, concentration and self-esteem – and lower stress. It’s incredibly rewarding to see your progress. You’re doing something you enjoy – and you’re getting better at it! It’s a win-win, and provides positive reinforcement to keep you going.

4. Process difficult events, experiences or emotions

Ernest Hemingway said that writers should “write hard and clear about what hurts”. And this is backed up by research that shows that writing about ‘what hurts’ can help improve our mental health. Bottling up emotions isn’t healthy – and writing is a way to express them.

“Write hard and clear about what hurts.” – Ernest Hemingway

This sort of writing is something that psychologists call expressive writing. It’s writing about traumatic, stressful or emotional events. Research shows that it has been found to improve both physical and psychological health. In a typical study, people are asked to write about traumatic life events for 15-20 minutes a day for four consecutive days – and their outcomes are compared with those who are asked to write about neutral topics.

In these studies, those who write about personal trauma had better outcomes – at least long-term. While the immediate effects often include a short-term increase in distress and negative mood, the longer term effects include improved immune system, lower blood pressure, improved mood and feeling of psychological well-being, fewer symptoms of depression, and fewer post-traumatic intrusion and avoidance symptoms.

Examples of expressive writing about traumatic events include memoirs – such as:

The Last Act of Love by Cathy Rentzenbrink H is for Hawk by Helen Macdonald I Belong Here by Anita Sethi (check out Anita’s nature-writing masterclass) Love Child by Allegra Huston (check out Allegra’s memoir-writing masterclass).

Is writing a substitute for therapy? Not really. But expressive writing may be used as a therapeutic tool. Writing a memoir may be cathartic, and help you to process difficult life events and emotions. Or it may not. Tread carefully, be kind to yourself, and do what feels right for you. But if you ‘write what hurts’, in addition to the psychological benefits of the process, you may get the beginning of a memoir out of it. Or something that you can use in your fiction.

5. Increase self-awareness

It’s not just about expressing your emotions. Studies also show that writing leads to increased self-awareness – and that this is good for your mental health. We’re not talking excessive rumination and over-thinking here – which can lead to anxiety. Self-awareness is an ability to turn your attention inwards, towards the self. Self-awareness is something we’re probably familiar with as introspective writers who can get lost in our own thoughts!

The mental health benefit is that we become more aware of our feelings, beliefs and values. If you’re familiar with mindfulness meditation, you’ll recognise some of these benefits. Research suggests that increased self-awareness can lead to greater job satisfaction, better decision-making, and improved professional and personal relationships. All of which are indicators of good mental health.

Expressive, reflective and creative writing can all lead to increased self-awareness. Any writing requires us to choose our words carefully, whether to conjure up fictional worlds or express clear meanings. But reflective writing is perhaps the most obvious. This is often used in work settings as a way to help professionals such as nurses, social workers or teachers become more effective at their jobs. It’s a way of reflecting on professional practice in a critical, analytical way, in order to learn from experience and do better.

While you may not regularly use this type of writing – unless you’re in one of those professions – you can still reflect on your experience and practice as a writer. Think about your experiences, progress, writing plans and aspirations, what you’ve achieved and where you’d like to improve – and write it all down.

Another way you can increase your self-awareness through writing is to adopt the practice of ‘Morning Pages’. This is a key concept from Julia Cameron’s The Artist’s Way, which you might be familiar with. Julia Cameron says:

Morning Pages are three pages of longhand, stream of consciousness writing,
done first thing in the morning. *There is no wrong way to do Morning Pages*–
they are not high art. They are not even “writing.” They are about
anything and everything that crosses your mind – and they are for your eyes
only. Morning Pages provoke, clarify, comfort, cajole, prioritize and
synchronize the day at hand. Do not overthink Morning Pages: just put
three pages of anything on the page… and then do three more pages tomorrow.

Try writing in a stream of consciousness way like this – especially if you feel stuck in your writing. You don’t have to do your actual writing – you can write about your writing.

6. Community and social support

Hang on – writing is a solitary profession, surely? All those frustrating, lonely hours sitting in front of a blank piece of paper or swearing at your laptop? Well, it doesn’t have to be. Yes, there are times when you’ll need to be alone to focus on bashing out a few thousand words. But you can balance that with the social aspects of being a writer. And there are some. What’s more, many of us feel the need to get out more, where possible, after a couple of years of COVID. If you’re a writer, there’s a supportive community of other writers out there.

Literary events are once more happening in person rather than just online. The London Book Fair took place in real life this year for the first time since 2019. There are writing courses, literary festivals, educational events and writing groups. You don’t necessarily have to join a writing group where everyone reads out their work and has it criticised (unless you want to). There are some groups where people just meet up to write for an hour or so, in silence, in the company of other writers, in a café. Or just go to your local café for a bit, for a change of scenery and to be with other people.

Some of us need total silence to work. Others enjoy the buzz of working in a cafe, library or shared office space – at least some of the time. You are allowed to leave your desk.

You can also be social with other writers on social media. Look for hashtags such as #AmWriting or #WritingCommunity. You might make new writer friends who you can meet with in real life. I’ve met many writers through ‘tweetups’ – real life meet ups of people who know each other on Twitter.

Because writing can be solitary, it’s good to make the most of opportunities to tap into social support where available. Other writers understand your hopes, dreams and frustrations. You can discuss the highs and lows, the strategies and stumbling blocks, that go with the territory.

7. Greater focus and flow

Does your brain sometimes feel like it has too many tabs open? Writing is great for making you focus on just one thing for a period of time. Switch off your social media, put your phone in another room, and design your workspace as a distraction-free zone. Commit to a specific period of time in which to write – perhaps using a 25-minute timer, if you want to use the Pomodoro Technique.

If you can train yourself to achieve greater focus, you’ll enjoy better mental health (as well as get more writing done!) You’ll have better concentration and reduced anxiety. You’ll be able to focus purely on the task in hand for a while – rather than the distracting cacophony of troubling thoughts in your head.

You may also enter a ‘flow state’. This is a feeling where, under the right conditions, you become fully immersed and absorbed in whatever you’re doing. And it’s incredibly rewarding. Have you ever got so wrapped up in your writing that it has your full attention, you’ve lost all sense of time, and experienced an almost ecstatic sense of clarity, focus and engagement? That’s a flow state. And it’s not just a temporary high – it can bring a lasting sense of happiness and fulfilment.

8. Happiness, purpose and fulfilment

Do you enjoy writing? Great! Do more of it. It’s so easy to get caught up in the busyness of our lives. But it’s important to set aside time for ourselves – however busy we are. Carving out ‘me time’ to do something you enjoy, something that’s just for you, is a great stress-buster.

OK if writing is your full-time job, I guess it’s work (though hopefully still enjoyable!) – complete with deadlines. But that’s not the case for most of us. Even most published authors need to earn money from other work too. Writing can easily get pushed down our list of priorities – whether that’s work or family life.

But it’s OK to prioritize writing – and to prioritize you. You don’t have to have a publishing deal to justify the time you spend writing. Like most of us, you may be in the position of writing completely ‘on spec’, trying to get that manuscript finished so you can look for an agent and a publishing deal. Or perhaps to have a book to self-publish. But, while writing goals and word counts can be helpful, you don’t necessarily need a final end goal – such as publication – in mind. It’s always OK to just write just for yourself. You may need to write in order to discover what it is you’re writing – and what you want to do with it.

One of the joys that writing brings is a sense of creativity and creative fulfilment. And this is where that most familiar of all the writing types I mentioned earlier comes in: creative writing. Creativity is great for boosting self-esteem, confidence and mood. It brings feelings of purpose, fulfilment, accomplishment and mastery. And if you’re a creative person, you probably enjoy creating for the sheer pleasure of creation – whether that’s through writing, art, music or any other outlet. Make time for creativity – even just 10 minutes a day. As the old song goes: enjoy yourself – it’s later than you think.

Your writing, your mental health

Above all, do what makes you feel good. It’s your writing, and your mental health. And you don’t have to show it to anyone. Write authentically, with truth and openness – and don’t worry about what anyone else will think. Write your first draft as if no one will read it. You can always edit it later assuming that everyone will! Don’t worry about other writers, your future readers, being good enough, getting an agent or getting published. Just write. Enjoy the process – and enjoy better mental health. Happy writing!

 

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Earth Day is 22 April each year. A good time to reflect on ‘eco publishing’ – something that’s now, fortunately, firmly on the industry’s agenda. I went to a couple of sessions on sustainability at this year’s London Book Fair. There was plenty of discussion of printing, transportation, packaging and supply chains – all important for finding ways to reduce the industry’s environmental impact. But these are all corporate concerns, surely? How can authors contribute to sustainability in the publishing industry? Well, in lots of ways. Here’s how you can make a difference.

Are books sustainable?

One of the first things many of us think of, when it comes to publishing and the environment, is trees. The publishing industry fells billions of trees every year – with a single tree producing about 25 books. In a 2021 column in The Independent, environmental campaigner Donnachadh McCarthy said: “My dream is that within five years all books are either ebooks or printed on 100% post-consumer recycled paper.” But is this realistic?

Yes, ebooks have come a long way in the last 15 years – and the popularity of audiobooks has rocketed. But we haven’t abandoned paper books in the way we’ve cast aside physical vinyl, tapes and CDs for digitally streamed music. In fact, we’re publishing, printing and reading more print books than ever. So the solution might be to use more recycled paper rather than aspire to 100% digital.

Sustainable book printing

Because the unit cost of printing a book drops dramatically the more you print, there’s also a perverse economy of massive print runs. This is especially an issue in trade (fiction) publishing. Yet print on demand (POD) technology exists. It is possible to print just one book, to order.

However, while POD might work for a niche academic monograph, it wouldn’t make economic sense for a bestselling novel. Trouble is, fiction publishing has always been more hit and miss than academic publishing – with more misses than hits. You don’t know in advance if a book is going to hit the bestseller lists. But you do know the size of an academic market in advance – particularly for textbooks, where student numbers are known.

The COVID-19 pandemic has been a challenge for many international supply chains – and this has made some publishers rethink where they get their books printed. Printing on the other side of the world was, at one time, a cheap option – certainly when I was a publisher. But it’s less so now – and the environmental cost of vast print runs being shipped back soon mounts up.

There’s an assumption that digital books have a lower impact. And this seems self-evidently the case. But there’s little actual data on this as yet. E-readers are not carbon neutral. There’s an environmental cost to making them (though many readers read ebooks on a device they already own, such as their phone). And they use power. Further research is needed – but these are things that the industry is increasingly trying to address.

How sustainable is the publishing industry?

Yet it’s not just paper. It’s plastic packaging. There’s transportation: shipping books and commuting staff. And there’s heating office buildings. As with most industries, there’s a whole shopping list of carbon to offset, pollution to mitigate and resources to conserve. And some top-level industry coordination and resources are required to address this.

At a session on ‘Sustainability in the Publishing Industry’ at this year’s London Book Fair, Stephen Lottinga, Chair of the Publishers Association, set out three of the things his organisation was doing:

Setting some ambitions and declarations for sustainability targetsCreating practical tools to understand impact publishing businesses have – including launching a carbon calculator for the publishing industry, including a materials indexCelebrating best practice – those publishers who are doing it well.

He stressed that these were all concerns for consumers too – so there is a commercial imperative for publishers to be greener businesses too.

There are other industry-wide initiatives too, which broaden ‘sustainability’ out to the UN’s 17 Sustainable Development Goals (SDGs). The SDG Publishers Compact launched at the 2020 Frankfurt Book Fair, in collaboration with the International Publishers Association (IPA). This is designed to inspire action among publishers, and aims to accelerate progress to achieve SDGs by 2030.

Another initiative that has recently launched is the Green Book Alliance. This is a joint project between The Book Industry Study Group (BISG), Book Industry Communication (BIC) and BookNet Canada (BNC). It aims to address international supply chain issues through activities including information sharing, joint planning and environmental events.

Signing up to green initiatives is something publishers increasingly want to do – and want to be seen to do. It can help them stand out from the crowd – and it’s something many of their readers – and authors – want to see.

8 things authors can do to contribute to sustainability

But these are all concerns for publishing companies, surely – what can we do as authors? Quite a lot, actually. The choices we make as authors can make a difference to the ecological impact of publishing. Here are some things we can do:

1) Question your publisher. How green is your (prospective) publisher? You may be so grateful to be offered a publishing deal, you’ll accept any contract with any publisher. And your options may, indeed, be limited if there’s not a bidding war for your début blockbuster. But authors have more power in the industry than we often realise – especially as you become more established. Ask your publisher about their commitment to sustainability. Here are a few questions you could ask:

Are you signed up to the SDG Publishers Compact? Or a member of any other environmental initiatives?Do you print on recycled paper? How is your paper sourced?Do you limit your initial print runs and/or use POD to reduce waste?What steps are you taking to reduce your carbon footprint?How are you addressing the environmental impact of your supply chain?Do you have a carbon offsetting programme?

If you’re already a published author, you can ask your publisher these questions too.

2) Insist on a ‘recycled paper’ clause. Donnachadh McCarthy did this when he was asked to write his first book, in 2004, by a small publishing house. He signed the contract only after they had included a clause guaranteeing the book was on 100%recycled paper.

3) Consider small, indie presses too. Many are doing great work in the sustainability space, or make it a focus of their business practices as a way to differentiate themselves. They also tend to have lower initial print runs. And it doesn’t mean your book won’t become a runaway bestseller or put forward for prizes. Although your choice of publisher will be based on many factors, make sustainability one of them.

4) Be aware of the environmental impact of your choices as an author. If you’re choosing a publisher, you can check out their green credentials. You may be able to do this when choosing an agent too (is there such a thing as a net zero agent? Why not? It could be a selling point!) But there are lots of other choices authors make every day in the course of our work. We read a lot too – perhaps for research on our latest work in progress. Do you always need a print copy? Can you read an ebook or listen to an audiobook instead?

5) Think digital-first for self-publishing. If you’re an indie author, you’re a publisher as well as a writer. So what are your environmental policies as a self-publisher? One obvious starting point is to self-publish in digital only – at least to start with. This is what many self-publishers do anyway, since it’s the easiest option to upload your book to, say, Kindle Direct Publishing (KDP). And if you do self-publish in print later, you’re more likely to use a print on demand (POD) service anyway – rather than warehouse boxes and boxes of books in your tiny flat then try to sell them! Though I do know indie authors who did that, before such technology was available…

6) Support libraries. Libraries are a source of social and environmental good. Support your local library, make sure your book is available there, and include libraries in your book tours and events. Getting your book into libraries and doing library events also helps build valuable word of mouth.

7) Green up your writing. Even if your genre isn’t eco-fiction, nature writing or non-fiction on sustainability, there may be a way to include a nod to environmentalism in your writing. In a natural, unforced way, of course. When creating characters, think about their attitudes to sustainability, or their green (or otherwise) behaviours. Even something as simple as the way you create a setting for your characters can help give your reader an appreciation of the natural world.

8) Educate yourself. Read up on environmental and sustainability issues too. The Independent’s list of 10 best books to help you live more sustainably is a good starting point.

There are lots of small ways we can all become more aware of our environmental impact, and contribute to greater sustainability in our lives and work. And that includes our work as authors. Together, we can make a positive impact on sustainability in publishing.

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How do you finally get that novel off your desk? And then what? Find out how to finish your first novel – and the next steps you need to take towards publication – on this inspiring masterclass from novelist and industy insider Molly Flatt.

Masterclass: How to Finish Your First Novel (and What to Do Next)
Speaker: Molly Flatt
When: Weds 27th April 2022
Where: Online – join us on Zoom from anywhere in the world
Price: £10-£30 (FREE to Publishing Talk members)
Booking: Eventbrite.

Book NowLearn how to finish your first novel with Molly Flatt

In this engaging and inspirational masterclass, you’ll learn what it takes to finally finish that novel – and get it published. You’ll come away inspired and motivated to start – and keep – writing!

What we will cover:What it takes to write – and finish – a novelHow to make time for your writingThe importance of genreThe next steps: finding an agent and getting a publishing dealThe publishing processBeing a published author.Workshop includes:Valuable insights, practical tips and inspiring advice from Molly FlattYour chance to ask Molly anything about getting that novel written – and publishedA 1-page PDF resourceAccess to a video replay of the event.Book Now

About Molly Flatt

Molly Flatt is Comment Editor of The Bookseller, and co-programmes FutureBook, the biggest books conference in the UK. She’s also co-founder of the Big Book Weekend: a free virtual book festival accessible to all, supported by BBC Arts and Arts Council England.

As a journalist, Molly writes about tech and culture for the likes of The Guardian, the Evening Standard and the BBC. She speaks regularly on Radio 4, Radio London and at events like FutureFest, Trigger Festival and Wilderness. Find out more at www.mollyflatt.com.

Molly’s first novel, The Charmed Life of Alex Moore, is available from Amazon and the Publishing Talk bookshop, which helps support local, independent bookshops in the UK.

About the Publishing Talk Masterclasses

Our online masterclasses are talks, interviews, seminars and workshops from successful authors, publishers, agents and industry experts designed to help you fulfil your potential as an author. Find out more on our masterclasses page.

You will be sent email reminders with joining instructions two days, two hours and 10 minutes before the start time of 6:30pm (BST) UK time on Weds 27th Apr 2022.

You can join this masterclass from anywhere in the world. If you’re outside the UK, please use this time zone converter to check your local live streaming time.

10:30am PDT | 12:30pm CDT | 1:30pm EDT | 6:30pm BST | 7:30pm CEST

Book Now

 

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London Book Fair 2022 – Author HQThe London Book Fair is back! And so am I. Here are my top takeaways for authors.

The London Book Fair is back! Did you go? For the first time in three years, one of the biggest events in the book calendar once again took place in real life, at Olympia, last week. I usually go for a day or two, but treated myself to the full three-day experience for the London Book Fair 2022. It seemed rude not to.

And I went to a LOT of sessions. I shall report back on some of them in more detail in due course. For now, this post is a quick overview of some of the key themes and things I learned.

This year’s London Book Fair was perfect timing for me as, the week before, I’d quit a full-time content writing job that had kept me occupied since last summer. So I’m back too – and I’m now dividing my time between working for some new publishing clients on digital content and social media projects, and here at Publishing Talk.

Here are my top six takeaways from The London Book Fair 2022:

1) Authors have more options than ever

The first session I went to was on ‘the creator economy’, chaired by Joanna Penn, founder of The Creative Penn, accompanied by Orna Ross, founder of the Alliance of Independent Authors, and prolific self-published author and publisher Michael Anderle.

This session explored the many ways now available to authors to create work and connect with readers. A key takeaway was that there’s no one-size-fits-all model. You can self-publish a single book – or build a publishing empire, like Michael Anderle. Nor is it any longer a straight choice between traditional publishing and self-publishing. Joanna Penn said: “The creator economy is like a choose your own adventure situation – almost no one is doing exactly the same thing.”

Orna Ross cautioned against overwhelm, and offered some practical solutions. The important thing is how you think about it. She said: “Don’t worry about ‘how do I do it?’ – you can always, for example, find editors. It’s more of a mindset shift into being a creator.”

A later panel session focused specifically on the platform most self-published authors use: Kindle Direct Publishing (KDP). It  featured friend of the show Nicola May, alongside fellow author JD Kirk (aka Barry Hutchinson) and the UK head of KDP, Darren Hardy. Both authors talked about how life-changing KDP had been for them – both financially and creatively – and shared insights into their writing process.

2) It’s hard to earn a living as an author

While some of these self-publishing success stories might make you think riches await, the hard truth is that most authors don’t make much money. An illuminating panel session with three authors who are also management committee members of the Society of Authors reminded us that becoming an author isn’t a path to riches – or even to earning a living.

Fantasy author Juliet McKenna, children’s author Abie Longstaff and poet Katrina Naomi had useful insights into how authors can maximize their earnings – but started with a reality check. According to the 2018 ALCS author earnings survey, the median annual earning of a professional writer is £10,500 – and author earnings have fallen by 42% in real terms since 2005.

There are, however, things you can do as an author to take control of your career. This was, ultimately, a positive session, which encouraged authors to recognise their power in the industry. Juliet McKenna said: “We may be the plankton – but without us the whales starve”.

3) There are no writing rules: just do it your way

How do you actually write a book, though? Which tools should you use? And how on earth do you find the time? An enjoyable session on ‘How I Write’, chaired by author and podcaster Mark Stay, with authors Stacey Halls and Milly Johnson, and author and screenwriter Tim Sullivan, revealed what we all secretly know about writing: there are no rules.

Everyone finds their own path, works in their own way, to their own schedule, and has their own routines, rituals and favourite tools. You’re not doing it wrong. You just need to find what works for you. And if you suffer from imposter syndrome: well, so do all the very successful authors on this panel. Still. In fact, it can get worse after your first book is published and the expectations are greater! But they keep going – and you’re in good company.

4) Diversity and inclusion are key to the business

Publishers have paid more attention to diversity and inclusion in recent years. Particularly since the killing of George Floyd, the rise of Black Lives Matter, and the enhanced public awareness of prejudice and unconscious bias. Yet the ‘culture wars’ are in full swing too. Issues of indentity are being politicised and contested – including by some high-profile authors. LGBTQ+ rights are under attack – not least with the UK government’s recent double U-turn on the long-promised banning of ‘conversion therapy’, which will now apply to gay people but not trans people.

Publishers, authors – and, indeed, books – are part of these discusisons in society and culture. But are publishers doing enough? Or are they just paying lip service?

A session chaired by Sarah Shaffi looked at ‘How publishers can successfully create a culture of diversity and inclusion’. Panelists included Sabah Khan (Simon & Schuster), Nick Coventry (Kobo), Cat Mitchell (Derby University) and Georgina Ugen (HarperCollins UK). The discussion centred on initiatives in publishing companies to attract and include a greater diversity of staff.

Topics included how we address the London-centric nature of UK publishing, improve accessibility for disabled staff, and form networks for under-represented communities. And how do we foster inclusion without burdening those networks with the work of D&I education – effectively turning them into in-house, unpaid consultancies?

There was also discussion of the role books play in guiding public discourse and policy on these issues. Nick Coveney said: “Books are part of the cultural landscape – not just products or objects.” He traced a direct line from certain books to recent government decisions on conversion therapy.

5) Mindset and self-belief are important

Diversity, representation and inclusion in publishing doesn’t just apply to those who publish books. It’s also an important issue for those of us who write them too. Becoming a published author – espeicially a traditionaly published author – can seem daunting. Especially if you don’t have any experience of the industry, and feel an ‘outsider’ or an under-represented writer. It can seem hard to break into what can seem a very white, middle-class, London-centric industry. Where do you even begin if you’re a working class writer, for example?

This was a question addressed directly in a session called ‘Celebrating Working Class Writing’, chaired by The Bookseller‘s Philip Jones. Panelists included authors Eva Verde, Mahsuda Snaith and Natasha Carthew – who also runs the Working Class Writers Festival. While there has been progress in many areas of representation – and specific publisher programmes to attract uner-represented writers – there is still work to be done with underprivileged writers. Topics included representation, visibility, opportunities and finding your own authentic voice.

A key insight from both this session and the ‘Diversity and Inclusion in Publishing’ session is that a lot of it comes down to mindset and self-belief. If you come from an under-represented background, you may feel that you don’t belong in publishing spaces – whether as a publisher or an author. Along with the work of your publishing job, or your writing, this is another hurdle. But you do belong, and your voice deserves to be heard. Writing – and pubishing – isn’t just for the ‘special’, rarefied few. Culture is for everyone – and it benefits everyone.

And if you want to self-publish, that mindet shift into being a creator is an important one. Anyone can self-publish – with no barriers to entry.

5) Sustainability is firmly on the agenda

Sustainability, environmental issues and the climate crisis are key issues of our times. So I was pleased to see a substantial stream on sustainability programmed into this year’s Book Fair. The publishing industry uses a lot of paper, after all – will no one think of the trees?

But the definition of ‘sustainability’ went well beyond green issues, to include diversity, inclusion and accessibility. Sustainability in the sense of all 17 areas of the UN’s Sustainable Development Goals (SDGs).

I went to two back-to-back panels – both chaired by Michiel Kolman of Elsevier and the International Publishers Association (IPA). A key insight, from Elsevier’s Rachel Martin, was that we can’t do it all alone – and supply chains are important for publishers’ ability to reduce their carbon footprint.

There was also much mention of the SDG Publishers Compact, which launched at the 2020 Frankfurt Book Fair, in collaboration with the IPA. This is designed to inspire action among publishers, and aims to accelerate progress to achieve the SDGs by 2030.

Another initiative that has recently launched is the Green Book Alliance. This is a joint project between The Book Industry Study Group (BISG), Book Industry Communication (BIC) and BookNet Canada (BNC). It aims to address interntional supply chain issues through activities including information sharing, joint planning and environmental events.

As well as these big, corporate initiaives, there are ways we can all, as individuals and authors, be more aware of our carbon footprints. We can also educate ourselves on the SDGs. And be more mindful of how our actions and our work can contribute towards achieving them.

6) It’s good to be social – though real life events are still tricky to navigate

Finally, it was just good to be back!  For many of us, it was an opportunity to reconnect with people who we hadn’t seen in person for three years. It was great to catch up with some previous Publishing Talk speakers – including Nicola May, Liz Fenwick, Mark Stay and Nick Coveney. Writing is a solitary profession – and events that allow authors to meet and learn always feel invigorating.

We’ve all had to stay in touch online much of the time during the pandemic. ‘Social’ has meant social media – which has become an even more important way for publishers and authors to connect with readers (and there was a useful session on TikTok).

But it was good to have that real life social connection with publishing people again. The meeting up, the opportunistic bumping into people between sessions – and the drinks parties – brought back a feeling of normality. Yes, I was out of my comfort zone attending a large event for the first time since the beforetimes. And the Book Fair has received some criticism for a wave of COVID cases that followed. But it’s a difficult balance.

The Fair was strict about COVID passes on entry and the venue was well-ventilated. It advised mask wearing at all times (though, by my reckoning, less than 5% of people actually did). It felt as busy as usual – which I wasn’t necessarily expecting. I suspect that’s partly because the footprint of the exhibition was a little smaller than usual, with some of the usual exhibitors and international visitors staying away. Most sessions were recorded and could be watched online too – and this hybrid approach seems the way forward for these events.

Overall, it felt like the Book Fair was back. And long may it continue. See you there next year?

The post London Book Fair 2022: Top takeaways for authors appeared first on Publishing Talk.

Boost your writing productivity and learn to build a writing habit that works for you, with this masterclass packed full of advice and inspiration from Bec Evans.

This masterclass was last live on 06 Jan 2021. It is now available on demand to Publishing Talk members.

Watch Now

This post contains Amazon affiliate links to the books mentioned. See our Affiliate policy for more details. Books by our masterclass speakers are also available in our Bookshop.org bookshop.

Join writing productivity expert Bec Evans of Prolifiko, and build a sustainable writing habit.

If you want to be a successful author, you need to write – a lot! But do you struggle to find time to write? Do you get distracted by important or urgent tasks, feel blocked, or fail to make progress with writing projects? Then stop worrying and sign up for support.

To keep going, keep writing and acheive your writing goals long-term, you need to build a sustainable writing habit. One that fits in around your busy life.

In this masterclass, writing productivity expert Bec Evans of Prolifiko will guide you with tried and tested approaches that will help you create a writing habit that works for you. She’ll help you find time, support and the systems that keep you going.

You’ll come away inspired and motivated to start – and keep – writing!

What we will cover:Prioritise your writing and make time for itSet motivating and achievable writing goalsBeat distraction by understanding what stops you writingImprove your productivity and feel positive about your progressBec’s top tips for keeping going long term.Workshop includes:Valuable insights, practical tips and inspiring advice from Bec EvansYour chance to ask Bec anything about starting and keeping going with writingA one-page PDF download with additional tips Access to a video replay of the event.About Bec Evans

Bec Evans is a writer, speaker, coach and consultant who works with the publishing and creative writing sectors. As co-founder of Prolifiko, she helps people become more productive writers, and offers courses including a free 7-Day Writing Sprint and an intensive 4-Week Writing Bootcamp.

Bec has spent a lifetime reading, writing and working with writers. From her first job in a bookshop, to a career in publishing, and several years managing a writers’ retreat centre for Arvon, she’s obsessed with working out what helps writers write.

Bec’s first book, How to Have a Happy Hustle: The Complete Guide to Making Your Ideas Happen, won the Startup Inspiration category at the 2020 Business Book Awards.

It is available from Amazon and all books by our masterclass speakers are also available in the Publishing Talk Bookshop.org bookshop, which helps support local, independent bookshops in the UK.

About the Publishing Talk Masterclasses

Our online masterclasses are talks, interviews, seminars and workshops from successful authors, publishers, agents and industry experts designed to help you fulfil your potential as an author. Find out more on our masterclasses page.

This masterclass is now available on demand to Publishing Talk members.

Watch Now

The post MASTERCLASS: How to Build a Writing Habit – with Bec Evans appeared first on Publishing Talk.

How to Build a Writing Habit in 2021, with Bec Evans – Online, Weds 19th Jan 2022Boost your writing productivity with this masterclass packed full of advice and inspiration from Bec Evans.

Masterclass: How to Build a Writing Habit
Speaker: Bec Evans
When: Wednesday 16th February 2022, 6:30pm UK time
Where: Online – join us from anywhere in the world
Price: £10-£20 / FREE to members
Booking: Book online / replay of previous event available on demand to members

This post contains Amazon affiliate links to the books mentioned. See our Affiliate policy for more details. Books by our masterclass speakers are also available in our Bookshop.org bookshop.

Join writing productivity expert Bec Evans of Prolifiko, and build a sustainable writing habit.

If you want to be a successful author, you need to write – a lot! But do you struggle to find time to write? Do you get distracted by important or urgent tasks, feel blocked, or fail to make progress with writing projects? Then stop worrying and sign up for support.

To keep going, keep writing and acheive your writing goals long-term, you need to build a sustainable writing habit. One that fits in around your busy life.

In this masterclass, writing productivity expert Bec Evans of Prolifiko will guide you with tried and tested approaches that will help you create a writing habit that works for you. She’ll help you find time, support and the systems that keep you going.

You’ll come away inspired and motivated to start – and keep – writing!

What we will cover:Prioritise your writing and make time for itSet motivating and achievable writing goalsBeat distraction by understanding what stops you writingImprove your productivity and feel positive about your progressBec’s top tips for keeping going long term.Workshop includes:Valuable insights, practical tips and inspiring advice from Bec EvansYour chance to ask Bec anything about starting and keeping going with writingA one-page PDF download with additional tips Access to a video replay of the event.About Bec Evans

Bec Evans is a writer, speaker, coach and consultant who works with the publishing and creative writing sectors. As co-founder of Prolifiko, she helps people become more productive writers, and offers courses including a free 7-Day Writing Sprint and an intensive 4-Week Writing Bootcamp.

Bec has spent a lifetime reading, writing and working with writers. From her first job in a bookshop, to a career in publishing, and several years managing a writers’ retreat centre for Arvon, she’s obsessed with working out what helps writers write.

Bec’s first book, How to Have a Happy Hustle: The Complete Guide to Making Your Ideas Happen, won the Startup Inspiration category at the 2020 Business Book Awards.

It is available from Amazon and all books by our masterclass speakers are also available in the Publishing Talk Bookshop.org bookshop, which helps support local, independent bookshops in the UK.

About the Publishing Talk Masterclasses

Our online masterclasses are talks, interviews, seminars and workshops from successful authors, publishers, agents and industry experts designed to help you fulfil your potential as an author. Find out more on our masterclasses page.

You will be sent email reminders with joining instructions two days, two hours and 10 minutes before the start time of 6:30pm UK time on Weds 16th Feb 2022.

You can join this masterclass from anywhere in the world. If you’re outside the UK, please use this time zone converter to check your local live streaming time. Book online, or watch a replay of Bec’s previous event (available on demand to members).

10:30am PST | 12:30pm CST | 1:30pm EST | 6:30pm GMT | 7:30pm CEST

The post MASTERCLASS: How to Build a Writing Habit – with Bec Evans (Online, Weds 16th Feb, 2022) appeared first on Publishing Talk.

Video replay of How to Write a Memoir, with Allegra Huston (Weds 27th Oct 2021). Allegra Huston is the author…

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The post MASTERCLASS REPLAY: How to Write a Memoir – with Allegra Huston appeared first on Publishing Talk.