Perhaps we should have #TenTweets about BOOK BLURBS next. It seems rather timely, somehow. Follow the hashtag to collect them all! #TenThingsAboutBookBlurbs
1. A blurb, as opposed to a cover quote (which is usually a one-line comment by another author, saying how much they liked the book) is a short synopsis on the back of the book jacket, summarizing the contents for the reader. #TenThingsAboutBookBlurbs
2. That said, its sole purpose is to represent the book in a way that will draw in potential readers, in only a couple of sentences. That doesn't often make for subtlety or nuanced, in-depth analysis. #TenThingsAboutBookBlurbs
3. Most publishers will have either a designated copywriter for creating blurbs, or sometimes the blurb will be written by the author's editor. #TenThingsAboutBookBlurbs
It's also perfectly possible for the author to write their own blurb, especially if they have the conversation with their editor at the right time (ie, before the layout has been finalized); or to rewrite an existing one. #TenThingsAboutBookBlurbs
5. However, writing jacket copy is a specialized task, and not all authors feel able to do it well - although they are usually given the opportunity to discuss the process, and adjust the blurb as required. #TenThingsAboutBookBlurbs
6. If you're not offered this opportunity, ask your editor. The earlier you do this, the more involved you'll be in the process. #TenThingsAboutBookBlurbs
6. If your blurb sounds generic, that's probably because the person who wrote it is writing dozens of these things a day. You, as the author, only have one book on which to concentrate at a time. Personalizing yours should be a doddle. #TenThingsAboutBookBlurbs
7. If you do give it a try, it's worth bearing a few things in mind. First, your blurb is meant only to entice the reader to open the book. That means not trying to give out too much information. #TenThingsAboutBookBlurbs
8. It helps to know where the story is set (and why the reader should want to go there). It also helps to know who the main character is, and why you should care about them. #TenThingsAboutBookBlurbs
9. It also helps for a blurb to contain an unanswered question, in order to make the reader want to know more. And all this needs to deliver the goods in the five seconds the prospective reader picks up your novel. #TenThingsAboutBookBlurbs
10. So if you're writing a book blurb, choose your language carefully. Every word must earn its keep. Think of how the tone reflects the language of the novel. Don't over-use adjectives, and make the ones you do use work for you at maximum capacity. #TenThingsAboutBookBlurbs
10 b) And finally, remember this: it's ultimately your right to decide what goes on the sleeve of your book. But don't expect your publisher to chase you every two minutes for your opinions. If you want to be involved, get involved.
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Without making this all about criticizing the rather unwise actions of an author for whom I otherwise have a lot of time, I think it's important to think about the way women's books are presented.
You've probably noticed me complaining from time to time about the way books by women tend to have pink jackets, feminized fonts and a generally softer look than books in a similar genre by men. I think this sucks for various reasons.
First, it perpetuates the general idea that although writing by men is universal, books by women, about women's experiences, are exclusively FOR women. Most men have women in their lives. Why not in their book cases?
Lazy Saturday. Cup of tea. You know what that means, Twitter. #Storytime.
New folk, if you're new to this: #Storytime; in which I write a story, freestyle, on Twitter. Some pay attention; others unfollow. And it always starts with these words:
There once was a man who longed to be King. He had no qualifications, except in that he was a man of privilege, wealth and connections, and he was only one among many with their eyes on the throne, and not the most deserving. #Storytime
1. Imagery can be a powerful weapon in your arsenal as a writer. But to maximize its effect, you first need to think WHY you need it, and what its role is in the scene you're writing. #TenThingsAboutStrikingImagery
2. Description usually exists to draw attention to something - a scene, a theme, a sensation. Decide what it is in each instance, and target your imagery appropriately. #TenThingsAboutStrikingImagery
This one's a bit of a challenge, I'll admit. There are so many ways to be a writer, and if yours works for you, it's the right way. But these are a few things I've learnt to avoid. You should probably avoid them, too. #TenThingsForAWriterToAvoid
1. Avoid hard-and-fast writing "rules" that discourage you from thinking for yourself. Some have a grain of truth in them, but mindless acceptance of what others say is usually not conducive to finding your individual voice. #TenThingsForAWriterToAvoid
New authors: If a stranger e-mails you out of the blue, asking you to read, critique or comment on their unpublished book, there's no reason you should indulge them. In fact, there are plenty of reasons you probably shouldn't.
Short thread follows.
Authors - whatever their profile - get these requests all the time. New authors often feel guilty at saying no. However, your time is valuable. A proper critique would be worth something like £500 from a professional manuscript evaluator, and would cost you a week of your time.
And if you do accept to critique a manuscript as a favour, word will get round. Once people hear about it, you'll suddenly receive a hell of a lot of requests. The ones you reject (and you'll have to reject some) will feel you've been unfair to them.
Imagine a family of four, driving to the seaside. The parents are in front, one driving, one navigating. The two young kids in the back are impatient. "Are we there yet? Are we?" they shout, kicking at the driver's seat. Every time they do this, the driver has to slow down.
The children pay no attention. "Are we there yet?" they scream, kicking repeatedly at the seat in front. Finally, the driver stops, gets out, and tries to explain to them that the more often they do this, the less likely they are to get to the seaside before nightfall.
"Is that what you want?" says the driver.
The children scream and cry, saying: "We want the seaside! Now! Now!"
The driver gets back into the car and sets off. Five minutes later, the kids start kicking the seats again. "Are we there yet? Are we?"