Like people, novels come in different sizes. With the rise in obesity, I don’t know what the average size of a human being might be, but I do know that the average for a novel is around 300 pages or 100,000 words – although it varies between genres, just as the average for a person can vary across countries. As a fairly small person, I’m nevertheless sometimes surprised to encounter a member of the same species who is two or three times the size of me. I suppose we have some kind of “standard” in our heads. Is it the same with novels?
For Valentine’s Day, I’m reviving a post that appeared in October 2015 on the Reading Writers website, which is now defunct.
These two novels explore the impact of two of America’s controversial wars (Vietnam and Iraq) on combatants, observers and their nearest and dearest.
After lapping up Anne Tyler’s updated Taming of the Shrew, I was keen to feast my eyes (and brain) on some of the other titles in the Hogarth Shakespeare series. Because the bones of the stories and characters are, to a greater or lesser extent, already familiar, the novels provide a unique insight into the workings on the authors’ imaginations. For the reader, the interpretations highlight the particular passions of our favourite authors. For the writer – especially one like me who continually asks herself How am I going to pull this one off? – they are a lesson in casting the spell that renders the most crazy plots convincing.
As I’ve been out and about talking about my novel, I’ve been surprised to meet – in stark contrast to the predominant aversion to spoilers – a couple of people who like to look at the ending, perhaps the last couple of paragraphs, before turning to the first page. Now, I like the ending of Sugar and Snails, although it’s been suggested that some might find the issues insufficiently resolved. (I do get asked if I’m planning to write a sequel!) Because it tells of a destination rather than the journey, I don’t think reading it in advance would constitute a spoiler (although, prattling on at one talk about how I was pleased with the ending, I did have a friend tell me afterwards she thought my ending wrapped things up too much).
While I’d recommend this novel to readers, I want to focus, as I did some time ago with Instructions for a Heatwave, on what we can learn from Laird Hunt’s sixth novel (although the first to be published in the UK) as writers, whether we are looking to write historical fiction or not.
So, you’re midway through composing a blog post when, in a flash of inspiration, you hit on the very book that will nail the point you want to make. You scuttle off to your “library”, zeroing in on the shelf where – however eccentric your filing system¹ – you know it will be waiting for you. Except that it isn’t and, you now remember, it did a flit some time back. You lent it to a trusted friend – his/her exact identity lost in the mists of time – and it’s never been returned.
It’s happened to me a couple of times in recent months. The book in question was one of my favourite novels, namely – I kid you not – Never Let Me Go². I should’ve taken more notice because I’m bereft without it. I want to break into friends’ houses at the dead of night and go rummaging through their possessions till I find it. I’ve asked around of course, but no-one has fessed up.
One of the things I was careful to check before signing up with my publisher, was the proposed retail price of my book. I’d come across other small presses where the paperbacks were the price of a hardback from one of the Big Five. While I appreciate that small print runs contribute to the higher unit costs for the independent publisher, most readers wouldn’t understand. Why should they pick up a paperback from an unknown author and publisher when they could get a discounted hardback from a household name and half a dozen fancy bookmarks for the same price? How could I entice friends and family to support my launch if they had a sneaking suspicion they were being ripped off?
So I was delighted when debut novel, Sugar and Snails, came out priced at the lower end of the scale. With its beautiful cover and quality printing, people queued for signed copies, a few buying an extra one or two for friends. They were happy, I was happy, my publisher was happy – until I spoke to some booksellers.
Mired in marketing my novel, less of a shrinking violet perhaps, but still paddling in the shallows, I was pleased when the latest post from the Carrot Ranch appeared in my inbox this morning declaring that Charli Mills also has marketing in mind. “Marketing takes time,” she says. “You’re too damn right,” says I. But when the alternative is readers failing to find my novel, I accept I have little choice. Because when they find it, and let me know they’ve not only read it but loved it, I still get a buzz.
Today’s highlights have been a tweet from a reader who found my novel via a tweet of this photo by Rebecca Root and a yes from one of the quirkiest independent bookshops around these parts in response to my email nudging them to stock my book. Small gains, but they matter. As Charli says, “Being a marketer is like being a watchmaker. The gears do work, but you have to get it all aligned one piece at a time.” At the moment, I don’t even know what the pieces are, but I’m doing what I can to at least give them a chance of lining up.
Annecdotal is where real life brushes up against the fictional.
Annecdotist is the blogging persona of Anne Goodwin:
slug-slayer, tramper of moors,
author of two novels.
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