Planning and researching your novel, with Gillian Cross

Because we love our fellow Slushpilers so very much, today we bring you Gillian Cross, and her top five tips for planning and research. Gillian Cross has written over 40 books for children (yes, you read that right!) and has won a couple of prizes along the way, including the Carnegie Medal, the Whitbread Award and the Smarties Prize. She influenced a generation of school kids by making them even more terrified of their headmasters than normal with The Demon Headmaster series, and then terrified them all over again with urban thrillers including Tightrope. Her most recent novel is Where I Belong.

1. Discover your own way of planning - and how much you need to do in advance - and don't be intimidated by what other writers tell you. I know lots of fantastic planning tools, ranging from drawing a map of where the story happens to working out the whole plot backwards, on little white file cards. They're awesome to think about, but they've never worked for me. I always have to do my planning after I've written the first draft and the sooner I accept that the better I get on. It's always a struggle though, because planning seems easier than actually writing.

2. The key thing is to get the stuff down. Once you've got it, you can revise it, cut it, expand it or alter it out of all recognition.

But you must have something solid to work with. And that doesn't come from the same part of the brain as planning and editing.

3. Remember that people are one of the best research resources, so don't be shy of asking. I'm always embarrassed to ask people for information, but when I manage to pluck up courage I've hardly ever been rejected. Most people are very generous with their time and love being a source of useful information. It's important to work out what you really need to know though, because no one else can guess that. And the difficulty is, of course, that you don't always know what you want to know, until it turns up, because the things that are most helpful are often small, inconsequential details.

This ENORMOUS PILE of books formed just part of Gillian's research for Where I Belong.

4. Don't let research become an end in itself if you want to finish the book. In my experience, the more you learn about something the more fascinating it becomes. Research can go on for ever and sometimes there's a danger of forgetting how little your readers will actually understand unless you do lots of explaining. (Don't!) I once wrote a book about two boys who restore a 1930s motorbike and the story got lost in the details of sandblasting cylinders etc.

5. Don't panic about remembering everything you've found out.

If you try and hold it all in your head, you won't be able to concentrate properly on the story. A moment will come when you need to put the research on one side and write.

You can always check the details later. And a story isn't a research paper. Anything you write will be fine as long as you can get away with it. And that has more to do with storytelling than with correctness.

Slushpile note: If you found that helpful (or even just enjoyable!), check out Linda Newbery's Research and Planning blog here.

Roles in publishing: Bryony Woods, Literary Agent's Assistant

Bryony Woods is obsessed with all things book-related, and is lucky enough to have her ideal job – working in one the UK’s top literary agencies. She started her career working in libraries, where she developed her passion for children’s and YA fiction, before going on to complete an MA in Publishing at UCL. Whilst completing the MA she interned in literary agencies across London, before being offered her current job at the Caroline Sheldon Literary Agency in 2010.

As a person who has always loved books and reading, I think I might just have the best job in the world. I am constantly surrounded by books and manuscripts, and I love nothing more than finding a talented new writer with a book that’s crying out to be published.

But although many writer-orientated websites focus on this aspect of the job, looking for new talent is only a small part of what I actually do.

It’s not all glamour and cocktail parties.

While I may occasionally get to go out into the world and hobnob with super-talented authors and editors, the majority of my time is spent taking care of all the little jobs that keep a literary agency ticking over – updating the website, maintaining the databases that keep track of territories and sub-rights deals (such as audio, large print and film deals), chasing payments, sending proof copies to sub-agents etc.

I spend a lot of time reading contracts, checking the language used in various clauses and the percentages stated (e.g. royalties). Agents spend many hours negotiating the finer details of publishing contracts on behalf of their clients, so it’s important to ensure that the contract we send to an author for signing is correct.

Luckily for me, I love contracts almost as much as I love books. And no, I don’t think that’s weird. Honest.

The creative side of my job includes writing blurbs and putting together colourful catalogues of our clients and the titles we represent, as well as making up artists’ portfolios for our illustrator clients. This is especially important in the run up to major industry book fairs such as London or Bologna, where we have lots of meetings with editors who’ll be looking to acquire new authors or titles.

I also deal with some of the permission requests that come to the agency. When a person or company – perhaps an editor compiling an anthology, or a revision guide or website – requests the right to print an extract from a client’s work (most often a poem or short story), I will get out my trusty calculator and negotiate the best possible licence terms and fee.

But my absolute favourite part of the job is finding new, talented writers, and wonderful books that we can help turn into a commercial success. I am constantly on the lookout – whether I’m reading submissions at my desk, meeting new writers at a party, even while I eat and sleep.

Reading submissions (aka the Slush Pile) is a full-time job in itself, and everyone in the office pitches in and does their share of reading on top of their other day-to-day workload. We get thousands – yes, THOUSANDS – of submissions, of all kinds: the good, the bad, the truly weird and sometimes the downright ugly.

But every now and then I come across a voice so powerful that it grabs me and demands to be heard, a character that I just can’t get out of my head, or a page-turner that makes me drop absolutely everything else just so I can finish reading it. That’s when I know I’ve found something really special.

Tips for writers:

I’m often asked for advice on how best to approach an agent. But to be honest, the only thing an agent cares about when looking at your submission is that you’ve written a damn good book.

Other than that, I’d simply advise that you check individual agency guidelines, keep your approach smart and professional, and that you’re passionate about your work. If that passion shines through in your covering letter, an agent is more likely to want to pick up your manuscript and start reading.

The best moment so far:


I’ve tried and failed to pinpoint just one moment since I started this job that stands out as the best. It could be the first time I read a submission and fell head-over-heels in love with it; it could be logging on to Amazon just after a book was published and seeing the first fantastic customer review come in; it could be the excitement when a long-awaited sequel was delivered by a client (or maybe the moment during reading where I realised it was even better than the first book); or it could be the any of the times I’ve entered the office kitchen to discover that someone has brought in a cake. As I say, it’s impossible to choose.

The thing that most surprised me about the job:

The thing that still surprises me is the pace. It’s easy to get the impression from various blogs or websites that all agency employees do is lie around reading manuscripts, eating cake* and drinking champagne**.

But the truth is that most days I barely have time to stop and catch my breath.

Even when I’ve reached the end of my mammoth TO DO list, there are still emails to respond to, phone calls to answer, submissions and manuscripts and reviews to read.

*Ok, I admit it – there is quite a lot of cake.
** There may also be the occasional glass of champagne

Sometimes this job is very stressful, and I constantly find myself wishing that there were more hours in the day.

It’s not a job I could ever leave at the office, and my pile of Books-To-Read is usually taller than I am (and I’m not exactly short).

But aside from the perilous towers of books slowly taking over my flat, I honestly think I have the best job in the world. I can’t think of anything else I’d rather do.
Slushpile note: submission guidelines for the Caroline Sheldon Literary Agency can be found here. And OF COURSE Caroline Sheldon is the best literary agent in the entire world: she sold Slated, as reported here. Oops. I'm giving away my secret identity again, aren't I?

SCBWI Undiscovered Voices 2012: The Launch Party, or The Tale Of The Level Playing Field

by Jo Wyton and Maureen Lynas

Thursday evening saw the launch party of the third Undiscovered Voices anthology. In the anthology are twelve novel extracts (written by thirteen unpublished, unagented authors - including both myself and Maureen) and gorgeous illustrations by six very talented illustrators. Katie Dale has already blogged about the event here, and we don't want to get repetitive! So instead we'll focus on something else, something which came up in conversation a few times during the night.

It seems that one thing agents and editors want, what they really, really want is...

A level playing field.

Or at least they'd like, every now and then, for writers to act as though they're on one.

Because here's a secret (shh... don't tell anyone): agents and editors are people too. I know, shocking news.

The thing is, as writers we are used to sitting behind our laptops and sweating over every sentence, every word, until we don't think we get it any better. Then we send it out, and although we hope against hope for something positive, we inevitably expect to be rejected. If there is the merest sign of anything positive, we climb up to the nearest rooftop and dance a jig.

Now the UV launch party was great for a lot of reasons, but the main one for me was the intermingling of agent, editor and writer. There were no barriers in that room. If we wanted to approach people, we could. If people wanted to approach us, that was even better. So many surprises were had because of that breakdown of the neuroses which normally get the better of writers. Conversations were had that bore no relation to writing, or at least the anthology to hand, and more than that, they were enjoyed. This was a very different world than the one we are used to.

And here’s why. To a writer, the Industry Professional seems a mysterious creature. When we submit work, we think about what the person on the other end might say if they do like it, if they don't, and if they detest it with everything they have. Even if we know what the Professional looks like, we don't tend to think of them in that way when we know they have our work in their hands. We don't think of the person sitting at the other end of the e-mail, we only think about their reaction.

Will they like it, or won't they?

A number of times during the launch party, conversation turned to not only how intense the evening was for both writer and agent/editor, but to how much they were enjoying themselves. Partly, we imagine, this was due to the copious amounts of Prosecco that disappeared strangely fast. But it was also because agents and editors were surrounded by writers who weren’t afraid to talk to them.

Think about things from their point of view. Every month they receive hundreds of submissions. They know that with most of them, they either won't fall in love, or won't think that the book is ready to move on to the next stage. And yet they continue to fight through those slushpiles, because somewhere in there is the writer they would love to represent.

The reason we say 'love' is that for somebody to represent you, they have to LOVE your writing. Agents have to be able to walk in to a room and convince somebody to put money behind you and your book. Editors have to be able to face an acquisitions meeting and convince them all that your book is worth backing. You don't want somebody who likes your book, you want somebody who loves it.

And that's all agents and editors are looking for - writing they love. They want to find writers as badly as writers want to find them.

We wouldn't mind betting that when an agent or editor finds something they can get behind - something they LOVE - they look for the nearest jig-worthy rooftop as quickly as we do.

So next time you are at a conference or workshop, and you are avoiding eye contact with an agent or an editor in the desperate hope that they won't talk to you, go and say hello. You don't have to pitch (although don't tell anybody we said that). You really can just say hello. Act like there's a level playing field, and you never know, one might appear as if from nowhere.