How to start writing a novel – authors share how they did it
We’ve all got a novel in us. Or so the saying goes.
But for most people, even if you have the burning embers of an idea inside you – it can be hard to know where to start.
How do you find the time, the confidence, or the structure needed to actually put pen to paper, or fingers to keys, and actually start the process of writing your first novel.
Well – it can be done. Just look at all the books on your bookshelf or in your local bookshop. All of those authors were once beginners, and they all had to start somewhere.
So, we decided to ask some authors to share their journey and reveal how they actually got into writing in the first place. Hearing how someone else did it can be a fantastic source of inspiration.
Read on and get ready to start your own journey towards writing that all important first sentence:
Dolen Perkins-Valdez
Author of Take My Hand, coming May 12
‘When I was growing up, I didn’t personally know any novelists. I was an avid reader. I loved books. When friends visited my house and saw the bookshelves lining the walls of my bedroom, they asked the question that every bookworm has heard at least once, “Have you actually read all these books?” I would respond with a very quiet, “Yes.”
‘I was a little embarrassed by my voracious reading habit, so I didn’t mention that I’d read some of my books more than once.
‘At one point, in high school, I had the thought: I could write something like that. But it remained a thought, a fantasy.
‘It can be very difficult to imagine a career when you have no models. In my mind, most writers were dead. Even the contemporary living writers were people who lived on another planet, far away from my relatively quiet hometown of Memphis, Tennessee. So, I told my family and friends I wanted to go to law school. That was a clear path, one that everyone could envision for a little girl who loved books.
‘In my freshman year at Harvard, I was still dreaming of becoming a writer. I shared my secret passion with my roommate Susie Reiss who was already a talented visual artist, and she strongly encouraged me to write. Her encouragement meant a lot to me, and I published my first short story that year.
‘The best part of that first publication was that I was paid for it. That was the beginning of my belief that a writing career might be possible.
‘By the time I graduated college, I had the reading foundation and the belief, but I lacked the writing skills. I needed to learn my craft.
‘Some musicians call it the woodshedding years, when a musician disappears into a private room, the metaphorical woodshed, to practice difficult pieces on their instruments. I spent years in the writing woodshed, studying creative writing and literature in graduate school, and working on what the writer Charles Johnson has called “apprentice manuscripts.”
‘I sold my first book in 2008, and my greatest reward of that time was that my father was alive to see it. He said one of his greatest joys was walking into the bookstore and seeing my book on the shelf.
‘As my imagination expanded, and I came to understand writing as a viable career path, my father had also expanded his own belief in what was possible. To this day, I always tell everyone that we are only limited by our imaginations.’
Ore Agbaje-Williams
Author of The Three of Us, coming 2023
‘When I was moving out of my parents’ house, rediscovering old hidden items from childhood and laughing at the very cringeworthy content in notebooks, I found old stories written when I was younger, some that were just terrible, and some that were hilariously terrible, but all of which reminded me that I had loved storytelling for a long time.
‘I can’t remember exactly when I started writing them down, but I remembered that I used to make up stories for my sister and I at night with our doors open as we tried to fall asleep, and imagined that that’s probably where it all began.
‘Over the years I’ve written since, a short story or poem here, a few chapters of a novel I now laugh at and some flash fiction there, and never really thought much of it until I thought more about the idea of being a writer and got a literary agent.
‘My agent and I went through multiple ideas. Some okay, most terrible, until I realised that I was writing what I thought other people would enjoy. As my main job is as an editor, I’m so used to looking for things that tap into a lucrative market, so I found myself writing for other people/the market rather than finding what my writing voice was and working with that.
‘Once I realised that I’d been writing for the wrong person and I discovered an idea and a voice that worked for me, I found the writing process so much more enjoyable.
‘I still contend with the idea that I’m not “literary enough” or generally good enough, but I try to remind myself that as long as I’m comparing myself to others I won’t enjoy what I’m doing, and that as long as I’m enjoying it, that’s all that matters.’
How to enter the Space To Write Project
The aim of the project is to provide time, space and access to writers from underrepresented backgrounds to explore creative writing and to potentially write the next bestseller.
The project is a collaboration between Orion Fiction, Metro.co.uk, leading literary agency David Higham Associates (DHA), and Arvon, the home of creative writing retreats.
Submissions will open between Thursday May 26 and Sunday June 19, with the opportunity for UK residents to submit the first 5,000 words of their commercial fiction novel, as well as a synopsis of up to 1,000 words and a pitch of up to 100 words.
Writers must be Black, Asian or from an minority ethnic background.
A shortlist of fifteen entrants will be announced on Monday August 1 2022, followed by an announcement revealing the winners of the prize on Friday September 30, 2022.
The judging panel includes Lizzy Kremer, literary agent and MD at DHA, Sareeta Domingo, editorial director at Trapeze and editor/contributing writer of romantic fiction anthology Who’s Loving You, Mike Gayle, bestselling author of All the Lonely People, and Natalie Morris, deputy lifestyle editor at Metro.co.uk and author of Mixed/Other.
The first panel will take place online at 6pm on Monday, April 4, and will feature all four judges discussing the project in further detail, as well as the ingredients of a bestselling novel.
For more details on how to enter – visit the website here.
Joe Ide
Author of the IQ series and The Goodbye Coast
‘The biggest thing standing between an aspiring writer and getting published is the writing itself, separate and apart from content.
‘It’s like applying for a job at NASA and saying to the interviewer, “Funny thing. I skipped the aeronautics classes. They were too complicated. There was too much math.”
‘First rate writing is that fundamental.
‘The gatekeepers are agents and editors. These are people who’ve spent their lives reading and evaluating books. They recognize mediocre writing in an instant and discard the book with prejudice.
‘One editor said to me, “If I read two bad pages I close the book.” Two pages. And the decision is final. No one’s going to read a rewrite or a second book. You’ve wasted their time and they have hundreds of other choices.
‘So, how do you know if your writing makes the grade? If you don’t know, you probably don’t.
‘Try this. Read the first five pages of a book you admire and read it aloud. That’s important. Then read the first five pages of your book aloud. If you’re anything like me, you’ll hear the clunks and clanks and awful phrasing and unintelligible syntax and cringeworthy similes and a dozen other things that makes bad writing bad.
‘Lots of people think that because they write other things they can write a novel. That’s not true. Because you play golf does not mean you can play tennis. They’re different skill sets and each will take a long time to learn.
‘If you’re brave, ask someone you respect (family members don’t count) to read your five pages. Don’t ask, “Do you like it?” There are too many ways to weasel out of an honest answer.
Ask, “Is the writing at a professional level?” If you get a lot of shifty-eyed mutterings like, “professional? What do you mean? There are all kinds of professions,” then you know you have work to do.
‘Remember, however self-critical you are, the gatekeepers will be three times more demanding. You’re only going to get one chance to put your book in front of someone who can actually move it forward. Not your best friend that knows a guy who has a cousin that’s an intern at a printing company and his girlfriend is an assistant to the head librarian. A gatekeeper.
‘My advice, don’t blow it. Rewrite and rewrite and rewrite until you’re absolutely sure you’ve written an “Editor’s Choice”, a “Starred Review,” the centerpiece on the “Best Fiction” table, hand-sold by enthusiastic book sellers, climbing the charts like a hungry monkey, going into its third printing in its third week.’
Do you have a story to share?
Get in touch by emailing [email protected].
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