Last weekend I submitted the manuscript of Opera to Claret Press. Then I went and made some jam.
I’d had a major wobble about the ending towards the end of last week and rewrote it, now I’m worrying that it’s not written well enough. In truth this doesn’t matter, because the editing process means that submission is just the beginning and I’ll have ample opportunity to consider it again. I’m sure that those more experienced or more skilled than myself are able to produce a manuscript which is almost, typos and a few infelicities aside, completely ready for publication. Their manuscripts would be almost perfect. As yet I can’t, so my aren’t.
Opera is the sixth book that I’ve written, the third to be traditionally, commercially published (by Claret Press), beginning with The Village back in 2014. I’ve learned a lot since then, not least how very unglamorous a job writing is and what extremely hard work. It’s a business, an industry and many of those toiling within it do so for very little reward and recognition. As with any industry the larger entities, the Hachettes and Harper Collins, will have greater reach and a higher profile ( placing their books on supermarket shelves for example ) and the big corporate vendors, the Amazons and Waterstones will also skew the market towards those books which get the publicity and the coverage. As my friend and fellow Claret author, Steve Sheppard, says in the note in his latest novel Bored to Death in the Baltics, he ‘ought to have tried to become a celebrity first, as this would have made selling it (the book) so much easier’.
Another of the things I have learned about is the creative process, or, at least, how the creative process applies in my case. So I know that there comes a point in the making of a book when I, the writer, need other input. As ever this will come from my husband, who has an uncanny knack of spotting plot holes, very useful to a writer of crime/mystery stories, but also from a trusty band of beta readers, some of them writers themselves, who are ‘critical friends’. So the manuscript of Opera has also gone to them. Their feedback will inform the editorial process too. But the major input will be from my editor. So far, I’ve had two, Gina Marsh on Plague and Madeleine Simcox-Brown on Oracle: both were excellent in different ways and, of course, there is the over-arching input from Katie Isbester, the Editor-in-Chief.
I have come to genuinely enjoy this process, though it sometimes isn’t a comfortable one. People get passionate about a work, there are disagreements and I, like any writer, am possessive about my stories. I expect to know them better and know what’s best for them, despite evidence to the contrary. But for now I have a moment’s respite, maybe a fortnight, maybe longer. I can sit back, read other books, do the garden, catch up on all those jobs… and make more jam.
Bored to Death in the Baltics will be published by Claret Press in September 2021.