How to End Your Novel

Writing conferences and how-to-get-published guides constantly focus on the first chapter of a novel. When you sign up for a 15 minute critique at a writing workshop, the focus is inevitably on the first line, the first chapter, the first words of your novel. How do you hook that editor/agent with that irresistible beginning that makes it impossible to stop reading?

But what about the end?

Just this past Tuesday, I finally typed 'The End' to my YA novel, Ugly City. Woo hoo and all that.

It's the third time I've managed to finish a novel — and just like the other two, as it became clear that the book was coming to a close, I was stricken with a terrible, crippling feeling that the book was no good, that the words were pedestrian and the characters uninteresting and that I had thrown away precious hours, minutes, MONTHS better spent not neglecting my family.

It doesn't help that writing an ending doesn't have the fresh awakening of writing a beginning, or the thrill of building up to the climax of the story, or the wow of turning the corner to the denouvement.

Wither the end then?

I trawled through my favourite YA books, looking for a way. The greatest difficulty was that, Ugly City being a dystopian fantasy, there was a danger of too much explanation putting the reader to sleep.

In the end (pun unintended) it was Geraldine McCaughrean who gave me the answers. I read and re-read The White Darkness and Not the End of the World. Boy can that woman write. And there was method to her artistry.

She opens her final chapter with a unversal statement. Here's what she writes in Not the End of the World:

The planet tilts, like the eyeball of a sleeper waking. From Space, that is how large it all seems. But of course it is vast really — too vast to comprehend — too vast for the most catastrophic natural disaster to touch all of its blue-green sphere.

In The White Darkness, the last chapter begins like this:

What kind of word is 'big' to describe Antartica? To begin to capture anything here, 'big' would need twenty-seven syllables.

Words can't cope. The space between the letters ought to make them elastic enough, but they aren't. The tails under the g's and y's and q's and j's ought to help them grip, but they slide about helplessly. Cliffs are the length of counties. Icebergs are the size of cities. Prospects run as far as the sky. Parallel lines never meet because there's no disappearing point. Adjectives die on the wing the moment they see Antartica and plummet on to the Plateau. Words are no good.

The universal statement leads to a single kernel of truth. And that single kernel takes us to a short summary of key events that happened offstage while we were in the grip of the heroine's viewpoint and version of events. They are just brief one liners but they fill us in on what the heroine — what WE didn't know. (Note: I won't quote anymore to avoid spoiling the books for you)

Thus having enlightened us, McCaughrean gives us a final scene - and her final scenes, though as final as final can be, continue to thrust us forward, thrust us to the promise of a story that will not end, a life that will continue to be as eventful as ever — but without our participation.

And always, always, we are sorry that the story has come to an end. Because we have been so engaged in the characters that we are flabbergasted that they would have the temerity to leave us behind.

Oh, words can't cope.

I apologise heartily to Ms McCaughrean — I doubt she'll recognise this ... it's just my own interpretation, such is the nature of inspiration.

Egmont to Invade USA

News just in:

EGMONT IS TO launch in the US in autumn 2009 with ambitions to become one of the top US children's publishers within five years. It is to set up an office in Manhattan in January, run by Douglas Pocock, currently Group Sales Director, who will become Executive Vice President of Egmont US.

Rob McMenemy, Senior Vice President and MD of Egmont UK, told PN: "This is something we have been planning for two years. It's a huge opportunity - it's the biggest English language publishing market and we're the only top ten children's publisher that isn't in it. The US children's market grew by 8% in 2007 and the same figure is predicted for 2008. I won't say it's easy over there - it has many of the problems that we do - but the growth is ahead of the UK and we're hoping to steal a share of what is an enormous market of some $5.5bn. You don't have to steal a huge share of that to make an impact."

The move represents a multi-million pound investment for the company whose UK book turnover is around £30m. Pocock will head up a team of seven and is currently recruiting. No details are being given on the number of titles yet, but McMenemy added: "We're not going to be a boutique publisher - we're looking at a list that reflects our ambition. The big lesson we've learnt from others who have opened in the US is that it's important to have a list that is generated in the US." Publishing News

O woe for the huddled masses of unpublished writers in the United Kingdom (like me). It's important to have a list that is generated in the US. Darn.

Authors or Agents? Picking the Shortest Queue

So Sarah Megibow at the online friendly Nelson Literary Agency was carefully explaining manuscript submission rules to a Denver writer's conference when someone asked, "are those rules the same for all agents/editors?"

GULP! No, they aren’t. I’ve been thinking about that question a lot this month. There are so many rules and regulations that writers must feel overwhelmed. I mean, Nelson Agency only accepts email queries (no paper mail whatsoever), but other agents only want snail mail. Some agents want query letters and yet others want a query pitch and a synopsis. Others will want you to include the first ten pages of the work. Then there are the editors. Some will read unsolicited submissions and others won’t even look at them unless submitted by an agent. It’s enough to make any writer’s head spin. So while I don’t have a submission rule that’s true for all agents or editors, I can give this suggestion: Do your research online before submitting. Tips From the Slushpile, November 2007 issue

And sometimes online research doesn't do the trick.

If you checked out the website of Harry Potter publisher Bloomsbury, the submission guidelines are clear:

Unfortunately, due to the enormous volume of material sent in to our Children's department, Bloomsbury can no longer accept unsolicited children's manuscripts.

But last week soft-spoken Emma Matthewson, Deputy Editorial Director of Bloomsbury Children's Books told a group of SCBWI authors that yes, submissions will be read.

Cause for celebration? Weeeell. Editors speaking at writer's events (and I can claim to have attended quite a few of these) very kindly always say they will look at your manuscript. My theory is that confronted with the fresh-from-the-garret faces of suffering writers, editors feel they just have to be nice.

And yes, they really do read the manuscripts. Now before you print off another copy of your 1700 page wizard fantasy, beware.

I asked Emma if agents had to wait as long as authors for their submissions to be looked at. She said, no, though agents had to wait a few weeks, they pretty much jumped the queue of direct author submissions. The authors submitting directly have to wait months. And the sad number of books from the slush pile that make it to publication (I think Emma said they published four in the past five years) just isn't funny.

So which queue — Editors or Agents?

At the end of the day, it's only time.

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