I still can’t get over the fact of a literary agency charging £649 for a daylong course called How To Get A Book Deal. We all have to earn a crust, but I thought literary agents did that by taking a commission for selling author’s books.

There are some very good courses run by agents and publishers (and writers and editors and writing teachers too …). And there are also plenty of festivals and writing conferences where writers can pay to hear the advice of industry professionals and sometimes even pitch to them – hey, we live under the system of global capital, right? And until the Revolution comes the exchange of money is often the foundation for the use of other people’s time and expertise, okay?!

But £649 is a lot of money to shell out for a day. I trust the pastries will be first-class!

So, for FREE, I’ll let you into a secret.

The way you get a book deal is to write a book someone else wants to read.

It’s as simple as that. And if lots of people want to read it, you could be very successful commercially.

I am not being facetious! I really do think there is great value in grasping the clarity of these facts. Too much can be overegged and overpromised in the world of creative writing, and promises made are rash ones. No one can really predict what a publisher will acquire, or whether a book will sell once it is published.

Stop grasping – just write a good book. If you want to be published, it really comes down to the simple matter of writing something that readers want to read. And it doesn’t even have to be a good book: look in a bookshop!

But, too, what is a good book? Taste matters as much as technique, and we know there’s no accounting for it.

However: it does help to develop your craft and technique, and also to gain inspiration in establishing an effective creative process. And though there are many excellent resources out there that you can pay for, there are also many that are FREE. Here are some of the ones I recommend most frequently.

On intention
Carmen Maria Machado, On Writing and the Business of Writing: a powerful essay on the intersections of art and commerce, grounded in real-life examples. If you are serious about getting published, this is required reading.
Alexander Chee, How To Unlearn Everything: written to address that contentious topic of writing ‘the other’, this essay in fact goes to the heart of three of the most important things in writing and publishing: your purpose in writing; your chosen narrative style; and understanding your readers. All writers should read it.

On creative practice
Charlotte Wood and Alison Manning on the Writer’s Life: a series of podcast interviews, with plenty of practical guidance on matters ranging from finding focus and discipline to working with feedback. There are so many podcasts on writing and books, but I’d certainly make room for this one.

On understanding how craft powers your story
Lincoln Michel, On The Many Different Engines That Power A Short Story: or novel or memoir or any narrative form. And while you are there, I highly recommend you sign up for the LitHub Daily – plenty of excellent craft essays and reviews and matters book-related.

On the intersections of plot and character, and how they connect with readers
Parul Seghal, The Case Against The Trauma Plot: lots of food for thought here for how stories are presented as tidy fictions – or messy ones. Valuable reading.

On developing a narrative style
Tell Me A Story and A Book Is Not A Film: blog posts of my own about narration, showing and telling, and knowing who or what is telling your story.
Emma Darwin, Psychic Distance: What It Is And How To Use It: I tend to use the term narrative distance, which I feel is more accurate for relating both interior and exterior modes of storytelling; whatever the language, understanding this concept can really empower your storytelling. And there is a whole textbook’s worth of writing advice in Emma’s excellent Tool-Kit.

On story types
Ronald Tobias, 20 Master Plots: a checklist for the 20 types of story is made available for free by the publisher – really handy for marshalling your narrative content and shaping it into a story. The book it’s based on is a good investment for writers too.

On story structure
Michael Hauge, The 5 Key Turning Points Of All Successful Screenplays: okay, a book is not a film (see above), but it helps to develop an understanding of ways to pace and plot your action. I often suggest that writers watch a favourite movie and look for those key developments in the story such as the Point of No Return and the Major Setback.

On prose style and voice
Chuck Palahniuk, Thought Verbs: a niche matter, but choosing the best verbs to power your sentences is imperative. Lots of other useful craft essays on the LitReactor site too.
Constance Hale, Sorting Out Grammar, Syntax, Usage & Style: there are lots of other resources on Constance Hale’s site too, and her book Sin and Syntax is *the* book on style, grammar and usage I always recommend: practical, witty, and breezy.

On publishing
Margaret Atwood, The Rocky Road To Paper Heaven: a pithy overview of the path from writing a book to getting it out in the world.
Jane Friedman’s Writing Advice Archive: should answer most questions about the business of publishing. Jane Friedman is a good one to follow.

On being realistic
Michael Neff, Why Do Passionate Writers Fail To Publish?: fierce but necessary! I disagree with a few points, e.g., that you must publish short fiction before submitting a novel, but a lot of sound advice here.
Editor’s Rejection Bullets: insights from the world of publishing.

On making yourself comfortable with uncertainty
Masterclass, John Keats’ Theory of Negative Capability in Writing: or cultivating the habit of being ‘in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason’. Masterclass has a lot of free articles on other topics too.

On returning to the page
National Writing Project, Thirty Days Of Lockdown Writing: because we don’t want you spending *too* much time doing the reading, a month of daily prompts, many inspired by that guru of writing practice, Natalie Goldberg.

All of that advice: for FREE!

If I were doing this next week, I might have different suggestions. And ideas for podcasts and YouTubes could form entire other posts. Lots out there! Feel free to suggest in comments below.

And if you are really keen, and don’t mind shelling out on a few textbooks or going to the library: here is my DIY MA in Creative Writing. FREE. But you might want to find classmates or writing partners for that.

And there are lots other resources and writing experiments on this site, of course. FREE!

*

I’m right now not blogging as frequently; call this a special edition for the spring equinox, and maybe I’ll try to do something quarterly. But you can also find me on Twitter, and especially on Instagram.

NB: Revised 28 July to include Carmen Maria Machado’s essential essay.