
Where do I start? How do I get the ideas? The characters? The inspiration and drive to write, when ultimately, I’ll cast my effort into a saturated market, not knowing whether it will vanish in a plethora of pages and a whirlpool of words. Foreboding, scary stuff, especially if wanting commercial success or filled with a passion to tell the world your story through fiction.
One seemly question I asked myself was self or traditional publishing? Each carries its snags and problems, though the former doesn’t pose the threat of repeated rejection from publishers who’ve spent decades doing just that. Self-publishing has rendered the book market a soggy mess. Thousands of books uploaded every week, and within months, most losing the will to live.
Latest research shows Amazon, who has the monopoly on book sales, stocks 32.8 million titles. That’s a lot of pages. A lot of words. And a lot of blood, sweat, and tears from authors who long to produce worthy books that readers can pick up, dare I say, enjoy, and, fingers crossed, review with relish. It’s a big ask. A staggering 99% of titles dissolve into the ether and perish.

Where do I start? How do I get the ideas? The characters? The inspiration and drive to write, when ultimately, I’ll cast my effort into a saturated market, not knowing whether it will vanish in a plethora of pages and a whirlpool of words. Foreboding, scary stuff, especially if wanting commercial success or filled with a passion to tell the world your story through fiction.
One seemly question I asked myself was self or traditional publishing? Each carries its snags and problems, though the former doesn’t pose the threat of repeated rejection from publishers who’ve spent decades doing just that. Self-publishing has rendered the book market a soggy mess. Thousands of books uploaded every week, and within months, most losing the will to live.
Latest research shows Amazon, who has the monopoly on book sales, stocks 32.8 million titles. That’s a lot of pages. A lot of words. And a lot of blood, sweat, and tears from authors who long to produce worthy books that readers can pick up, dare I say, enjoy, and, fingers crossed, review with relish. It’s a big ask. A staggering 99% of titles dissolve into the ether and perish.




That percentage includes books traditionally published. The big five, and larger independents, are mindful that only a handful of signed writers will stump up profit. It’s a numbers game. A game of chance. There’s no science behind it, and arguably, no logic. If a title’s selling and raking in the cash, you’re a success. So says an agent. Or publisher. And what about Joe Public?
Some might say, is that how we gauge achievement? Is creative ability quantified in notes and coin? Look at the statistics. See some of the dodgy writings that’ve made it and how. Without Joe Public, such works wouldn’t know success. The diversity of human nature guarantees a divide. Look at the reviews for any book on Amazon. See how one reader gives a two-star, another awards a five. Of course, we all know a strain of humanity loves to whine. Kindness doesn’t come easily. My retort? Before you point the finger, get creative and do it yourself. The process is so easy. And so difficult. How many two-stars would jump to a five? Now, there’s a plot twist.
That percentage includes books traditionally published. The big five, and larger independents, are mindful that only a handful of signed writers will stump up profit. It’s a numbers game. A game of chance. There’s no science behind it, and arguably, no logic. If a title’s selling and raking in the cash, you’re a success. So says an agent. Or publisher. And what about Joe Public?
Some might say, is that how we gauge achievement? Is creative ability quantified in notes and coin? Look at the statistics. See some of the dodgy writings that’ve made it and how. Without Joe Public, such works wouldn’t know success. The diversity of human nature guarantees a divide. Look at the reviews for any book on Amazon. See how one reader gives a two-star, another awards a five. Of course, we all know a strain of humanity loves to whine. Kindness doesn’t come easily. My retort? Before you point the finger, get creative and do it yourself. The process is so easy. And so difficult. How many two-stars would jump to a five? Now, there’s a plot twist.
For me, bringing a book to market’s a three-stage platform, each stage jammed with snags and struggles. Each level takes an organised approach. Method. Structure. Every writer’s different, but I’ve found the following works for me:
- THE WRITING: Plotting’s key, or at least a degree of plotting. Being a pantster’s fine to an extent, as long as I’ve identified scenes, characters, themes, and tropes. I know the beginning, middle, and end, then I begin.
I must get ideas into a manuscript. Don’t overthink. Don’t ruminate. Don’t umm and ahh and throw a tantrum because a character won’t toe the line, or “grandiloquent” in a sentence is too flowery. Among other authors, Orwell and Hemingway sing to me when writing. Big words can work, but only in moderation. I feel it’s important to keep it simple. Maintain the flow. Don’t make reading difficult for readers. Get words down and write the damn thing. The rest will follow.
For me, bringing a book to market’s a three-stage platform, each stage jammed with snags and struggles. Each level takes an organised approach. Method. Structure. Every writer’s different, but I’ve found the following works for me:
- THE WRITING: Plotting’s key, or at least a degree of plotting. Being a pantster’s fine to an extent, as long as I’ve identified scenes, characters, themes, and tropes. I know the beginning, middle, and end, then I begin.
I must get ideas into a manuscript. Don’t overthink. Don’t ruminate. Don’t umm and ahh and throw a tantrum because a character won’t toe the line, or “grandiloquent” in a sentence is too flowery. Among other authors, Orwell and Hemingway sing to me when writing. Big words can work, but only in moderation. I feel it’s important to keep it simple. Maintain the flow. Don’t make reading difficult for readers. Get words down and write the damn thing. The rest will follow.






- THE EDIT: In my day job, I’m a professional editor (with credentials) and know a story isn’t a story until the scathing eye’s scrutinised and the surgical hands moulded. There’s no substitute for a sound editor, with relevant experience. Editing a book’s an art. A definite skill, requiring an understanding of grammar, punctuation, syntax, and any other fancy noun you’ve heard. Semantics? Yes. That’s one of those fancy nouns.
The editing process isn’t only about cuts. It’s about additions. Shape. Structure. Development. Timing. Style. For me, editing means bringing a manuscript to life. Channelling Victor Frankenstein and giving it a loving, beating heart and deep soul. Yikes! Does that mean the end result will turn out a monster? I digress …
Proofreading’s part of the procedure, either as a standalone or part of a comprehensive edit, whether on screen or paper. Proofing isn’t merely checking typos, adding or subtracting the odd comma, or littering the pages with a glut of exclamation marks and adjusting the length of paragraphs. Proofreading has many limbs, requires specific skill, and is horribly overlooked. Enough said.
- PROMOTION/MARKETING: Pass! No, seriously. Some writers love it, most loathe it. I fall into the latter. A wealth of webinars. Research. Advice. Training. Logic. Knowing the market. Embracing your reader. I could go on, but won’t. Instead, I’ll learn, do it my way, and leave the rest to providence.
- THE EDIT: In my day job, I’m a professional editor (with credentials) and know a story isn’t a story until the scathing eye’s scrutinised and the surgical hands moulded. There’s no substitute for a sound editor, with relevant experience. Editing a book’s an art. A definite skill, requiring an understanding of grammar, punctuation, syntax, and any other fancy noun you’ve heard. Semantics? Yes. That’s one of those fancy nouns.
The editing process isn’t only about cuts. It’s about additions. Shape. Structure. Development. Timing. Style. For me, editing means bringing a manuscript to life. Channelling Victor Frankenstein and giving it a loving, beating heart and deep soul. Yikes! Does that mean the end result will turn out a monster? I digress …
Proofreading’s part of the procedure, either as a standalone or part of a comprehensive edit, whether on screen or paper. Proofing isn’t merely checking typos, adding or subtracting the odd comma, or littering the pages with a glut of exclamation marks and adjusting the length of paragraphs. Proofreading has many limbs, requires specific skill, and is horribly overlooked. Enough said.
- PROMOTION/MARKETING: Pass! No, seriously. Some writers love it, most loathe it. I fall into the latter. A wealth of webinars. Research. Advice. Training. Logic. Knowing the market. Embracing your reader. I could go on, but won’t. Instead, I’ll learn, do it my way, and leave the rest to providence.






Thanks for reading. After while.
Wen x
Thanks for reading. After while.
Wen x