Power to Authors
This was my second year on a row at the Winchester Writers’ Conference, and what fun it was? A course on writing conflict in your novel, by Adrienne Dines and a course on Social Media Marketing for Authors by Eden Sharp. (www.wordshaker.co.uk should find her)

English: Amazon Kindle e-book reader being held by my girlfriend. The color and scale of the device are accurate. (Photo credit: Wikipedia)
Both interesting but I think I learnt most from the Marketing course. The message I took away from that was, I need to get on Twitter. That’s going to be a big step as every time I’ve looked at Twitter I find my self totally confused by the site. But I have added it to my do to list.
Although a few of the direct publishing companies have had a presence at the Conference in the past, this year Amazon had a tabletop. They were doing presentations on how to publish for Kindle and on CreateSpace. They were so popular that the venue was moved from the rather cramped conditions in the Book Fair into the large lecture theatre. Which takes me to the theme of this post.
To explain – one of the attractions at the conference are the One to One’s. This opportunity to place your work in front of authors, agents and publishing representatives is an important use of the writer’s time. Because I have decided to publish my book directly I only went to see two agents and the rest were publishing experts. There was a difference in the approach between the agents and the others. The agents were very critical of my novel. One of them was rather infantile in her approach, demonstrated by her failing to realise that a barrister needs time to qualify and therefore the date she left home might be different from the date she began to work. The two publishing consultants, one the editor of the Writers and Authors Year Book, were complimentary about my writing and suggested ways of improving my synopsis and pitch letter. Which led me to think that agents who have acted as the gatekeepers for the publishing industry, and were the power brokers, need to realise that they have to offer something to the writer or she will publish their work directly to the reader. And that’s goodbye to their 15%.
Work in Progress
I was asked to do this by Catherine Lumb. I think it’s an interesting excercise to make you think about your writing.
What is the title of the book/WIP?
The book is called Crucial Evidence. Apart from WIP it’s had about five titles including ‘Defending the Innocent.’ and ‘Missing Alibi’
Where did the idea come from?
I know that defending an innocent man is the hardest thing a barrister can do. I expanded on that theme so that my main character goes to unusal lengths to ensure her client gets a fair trial.
What Genre is your WIP.
It’s a crime novel, legal drama.
Which actors would you chose to play your characters in a movie rendition.
I am tempted to say Maxine Peake as she plays a very similar character in Silk, but prehaps she should play my police officer, Alexis Seymour, and Anne Marie Duff could play Cassie Hardman, my barrister, but perhaps she’s too attractive for Cassie.
What is your one sentence synopsis of your WIP
Female barrister Cassie Hardman, sure her client is innocent of murder, searches for a crucial witness, and with Police woman, Alexis Seymour, finds the witness and then identifies the real killer.
Is your WIP published or represented?
I have sent the book to a number of Literary Agents without any sucess, but this year the consulting editor of a major publishing house asked to read the whole book. She didn’t want to take it any further after reading the novel, but she made some suggestions about the book and I am now redrafting it with those in mind with the intention of resubmitting it again.
How long did it take to write it?
About three years so far. I keep on rewriting it when I see flaws or I’ve had comments about it from Literary Agents, which make sense to me.
What other books within your genre would you compare it with.
‘Presumed Innocent’ by Scott Turow, the outstanding example of a legal thriller, and John Grisham’s ‘A Time to Kill.’
Which authors inspired you to write this WIP
Charles Dickens. ‘Bleak House’ is a great legal drama with strong identifiable characters. You can find the same types in the legal profession today.
Tell us anything else that might pique our interest in this project?
If you have ever asked yourself how can a barrister represent a person they believe is guilty, you will find the answer.
Getting a publisher
I promised myself that if I didn’t get an agent willing to represent me at the Winchester Writers’ Conference I would self-publish. I didn’t get an agent interested but an editor from one of the major publishing houses asked to see the whole of my book.
I sent it off in high hopes that this would be the breakthrough I was hoping for, but she thought there were some problems with the plot and made a few suggestions about which areas she thought would benefit from some rewriting. She ended by saying she wouldn’t take my book for now but she thought I had great potential. So I’m starting again reviewing the plot, the characters and the amount of legal jargon. I’ve begun by rereading the trial passages in Scott Turow’s ‘Presumed Innocent‘ and examining the extent to which he uses technical information about the trial process in his writing. Actually it’s quite a lot and he does explain the legal terms his characters use in some detail, telling and not showing. It is my experience that most people are interested in the legal process and want to know how it works. I’d really like to know if that applies to readers as well as the people I meet.
Then I have done an analysis of my plot to see where I can improve the tension. There are three different plots that intertwine and I think I need to work on how they work together and when I need to keep them apart.
I think this is going to keep me occupied for quite a while and I suspect this blog will get neglected in the process.
On another note we are off to France for a month so while I can write, access to the Internet is rather limited so a bientot.
Winchester Writing Conference
Three days at the Winchester Writing Conference has left me too exhausted to put fingers to keys. I went to workshops, lectures and had the opportunity of discussing my novel Crucial Evidence with a number of literary agents and authors. I know the publishing industry is struggling with Amazon and the supermarkets cutting the price of books and now the rise and rise of the e-book, but their response seems to me to be inadequate. In order to cut costs they us literary agents as gate-keepers, assuming that they as publishers and agents have the same agenda. During my career at the English Bar, I soon learnt that my clerk, the man who took 10% of my earnings, did not have identical objectives to me. I think the same applies to literary agents. They all say they are looking for some amazing talent, but in fact they want someone who will sell books so they stick to the familiar. I have no doubt that someone will say that it is sour grapes because none of the agents I spoke to wanted to represent me and my novel, but I find that strange when one of the authors whose class I attended described my writing as brilliant, another as marketable and a consultant editor of a major publishing house wanted to read the complete transcript. I wasn’t the only writer with a similar experience. One of the men in the class on ‘Writing a Page Turner’ read out to the class the beginning of his SciFi/Comedy book, which had us all doubled up laughing. The agents he saw told him they found his work incredibly funny, but they didn’t want his book because they wouldn’t know where to place it. Which all suggests thet anything new, different or original will struggle to get published. I think self-publishing is the way forward. Has anyone else had similar experiences
Winchester Writing Conference
As part of my campaign to find either an agent or a publisher for my book, Crucial Evidence, I am attending the Conference run by the University of Winchester. In addition to workshops on ‘How to write a Page Turner,’ and ‘How to get to Know your Characters’ there is the opportunity to have a ‘One to One’ with a selection of literary agents, editors and authors. I had to choose up to six individuals of whom four could be agents or editors and two authors. I found making a selection from about fifty people difficult. Of course ruling out some-one who has no interest in my genre was the easy bit, it’s not much good sending a crime novel to a poet or an agent who only wants children’s books, but that still left a considerable list from which to choose. Having made my choices I had to put together copies of a letter introducing myself and my novel, a synopsis and a section of the book. No two of the authors, agents or editors want the same thing. The number of pages of the book varies from two chapters, first ten pages, first 3000 words, first three chapters, first 500 words and first chapter. Making sure the right number of pages went with the right letter took me a whole day. Obviously one hopes that one of the agents or editors will love the book, and want to read the complete novel. I went to the same conference about three years ago and saw one agent who loved the sections I had sent her, but by the time I had finished writing the book, she was on maternity leave and her replacement was not so keen. They were very complimentary about my writing, but didn’t want to take it on. I hope I am more sucessful this time. Has anyone got some good advice on getting an agent or is there a problem with an industry in paralysis.
Perhaps the answer is self publishing.