Book launches – are they all literary conversation and erudite jokes, or a booze-up with books? Based on my own experiences of launching Paternoster and Holy Blood, here’s a tongue in cheek account of what really happens behind the scenes.
1. It’s like a wedding
Like a wedding, you spend the whole event saying, ‘Hello, how are you? Thank you for coming’ to people, before having to dash off to have your photo taken, greet new arrivals, shake hands with the man from the newspaper, and sign books. After the event, you spend a week emailing everyone who came, thanking them for coming, and apologising that you didn’t get to speak to them for very long. Also like a wedding, you spend the whole time being hugged and congratulated by people you’ve never met before and have no idea who they are.
2. Your biggest fan will wax lyrical about your work, but only when your publisher is out of earshot
I love it when people tell me they’ve read my work, and love it even more if they tell me they liked what they read! It’s always a real thrill to have people come up to me at events and say lovely things like, ‘I’ve been waiting for your new book for ages. I’ve been looking forward to this.’ It’s incredibly kind of people and I’m always immensely touched. I just wish they’d say it – loudly – in front of my publishers instead of whispering it to me in the corner.
3. It’s not about you
Have you ever been at a wedding and someone stands up during the reception to announce that they’re pregnant? They hijack the bride and groom’s day and make it all about them. Book launches can have a similar effect on people. It goes like this. I pick up a message from a total stranger, which says, ‘I saw the poster about your book launch and it’s such a funny coincidence because I’ve always thought I could be a writer, too.’ Any other week of the year, I’d write back with encouragement and advice; try to swing off my book launch and make it about you? Nah.
4. It’s all about the catering
When I launched Paternoster, I made the mistake of writing on the invitation ‘Wine and nibbles will be served’. To me, this means ‘A range of beverages and small snacks will be available’ so I was surprised by the deluge of indignant enquiries I received:
‘I can’t drink wine – I’m driving/ breast-feeding/ tee-total – what will I do? By the way, I can’t drink orange juice because my dentist says I’ve got enamel erosion and I can’t have sparkling water because of my IBS and I can’t have anything with sugar in it …’
And then it was ‘What do you mean by ‘nibbles’? Don’t forget I’m gluten free/ dairy intolerant/ only eat organic from named and certified happy vegetables.’
Answering these outraged queries took an inordinate amount of time, so when I launched Holy Blood, I simply put ‘Refreshments will be provided’. This also meant the person who came along, drank five glasses of red wine in quick succession and then left, was discouraged from attending.
5. You will forget your friend’s name
Signing books is a complicated business. First, you have to remember to sign with your special ‘author signing books’ signature and not the one you use on your cheques; and you have to come up with some sort of pithy phrase to make you look open, approachable, witty and intelligent (haven’t found it yet – open to suggestions); and you have to make sure that the ink is dry before you close the book so it doesn’t imprint itself on the opposite page. So it’s hardly surprising, your honour, that after thirty minutes of this I’ve completely forgotten my friend’s name. I look at her, I think ‘I know you. I know I know you, but what the hell are you called?’ So I sign the book with a generic ‘All best wishes’ and pray she won’t ask me to personalise it.
6. You look peculiar in every photo
When I was a teenager, a boy told me I had a dead-pan face. This was very hurtful and I told my mum, who said he was right, I did have a dead-pan face. But looking at the photos from every single talk, workshop or launch I’ve ever given, I think I’ve overcompensated. In every photo, I’m gesticulating wildly and pulling a range of bizarre faces so I look like an understudy for Rowan Atkinson. The only ones where I don’t look demented are, naturally, blurred.
But despite all this, when it’s all over and we’re on the way to the bottle bank with the empties, I think, ‘That was great. Can’t wait for the next one.'
This month I’ve got an article out in Writers’ Forum magazine. It’s the first installment of a two-parter that looks at what resources are available to writers when they hit a block – whether that’s writer’s block or losing momentum in your writing.
To write the article, I contacted several published authors to ask if they’ve ever experienced a block in their writing, or a time when they felt their writing career had stalled, what they did about it, and what advice they could give to other writers who found themselves in a similar situation.
What astonished me was the number of writers who responded by saying they didn’t feel they could help because:
- They were struggling themselves
- They had no authority to offer advice
The second group was the one that flabbergasted me. Firstly because so many of the writers I contacted responded this way, and secondly because I’d contacted them because I considered they had absolute authority to comment: they were writers who have published lots of books, stories and poems; were bestselling authors; have won literary competitions; and teach writing.
It seems that as writers, however much we publish, however successful we appear to the outside world, we never quite feel as though we’ve ‘made it’. And I wondered if there's ever a point when we can look at what we’ve achieved and feel a sense of satisfaction, or will we always compare ourselves to other writers and wish we were better.
In one regard, this is depressing as it suggests we’re never contented with what we’ve achieved. On the other hand, if all writers experience this sense of ‘Don’t ask me, I’m not good enough’ then we’re suffering self-effacement along with all our literary heroes.
Reviewing the woes other writers confessed to me of crippling writer’s block, lack of time, lying to publishers and agents about how much work had been done on a new novel etc, I started to wonder if as writers this is ‘business as usual’? Is feeling stuck, unimaginative and sluggish the normal state of affairs for writers? And are those days when the words come flowing from the pen to be celebrated because they’re so rare?
Again, knowing that fellow writers are staring at the page with despair can be consoling, even if not encouraging. A sense of ‘we’re all in it together’ if you like. So if writing is so difficult and we never stop to acknowledge what we’ve achieved, why do we do it? Is it a form of addiction, or is it because of the rush we experience when a writing project suddenly falls into place?
And do we become writers, not because we have written, but because we have faced periods of not-writing and have persevered none the less?
I finished the first draft of a new novel at the weekend, and fought off the flat, empty feeling by taking myself out for lunch to celebrate. At the end of a book I always feel a bit depressed - I want to be back with the characters and in that wonderful state of discovering what's going to happen next in the story. Believe me, as the author, I'm the last one to know!
Anyway, I finished the first draft, and gave myself a pat on the back and a nice lunch, and the manuscript will be left fallow for a little while before I start the rewrite. Amazing what new ideas and insights come into play when it's been left alone for a while.
I think celebrating every milestone in writing is important: the first draft, completing a novel, sending off a short story, winning a competition. It's easy, as time goes on and the writing credits pile up, to take it all for granted, but one thing about writing is that it's uncertain. You never know definitely that you'll ever have anything published again. When I was a new writer, and sending work out was a Big Thing, I used to be so frightened of putting the manuscript in the post box that I pretty much hyperventilated. I used to hold the package in the slot, wish it luck on it's way (out loud, to the amusement of passers-by), and cross my fingers as I let it drop.
I don't hyperventilate when I post off work now (at least not as much) and I rarely wish my manuscript bon voyage or cross my fingers. But I do take time to acknowledge that there's another story on it's way; another story I've crafted and rewritten and stamped on and cursed at and rewritten again and again until I think it deserves an outing in the world. Sometimes it's just a moment when I think about the story and say to myself, 'Well done for finishing it.' Sometimes I have a little treat - a walk in a beautiful place, a poke round a junk shop, or a manicure.
Celebrating the conclusion of this latest first draft was a big deal for me, as a few months ago I thought the novel wouldn't get written at all. I normally take about a year to write a novel, end to end, but this one has been on the go for about eighteen months. Why? Because I caught flu five months in and was out of action for weeks, and have been pretty ropey since then. When I returned, eventually, to the manuscript I was part way through, I realised I didn't know my victim well enough, and I hadn't got a clue what made the murderer tick. It needed a complete overhaul: new scene outlines, new character sketches, a few red herrings to keep people guessing, and a subplot or two.
It was a while before I could face starting again, but I did, and the first draft was - eventually - finished. I learned a lot from having to start again, to rip up what I'd written and rethink the whole blessed book. And that's worth celebrating.
Kim Fleet lives and works in Cheltenham. Her two cats help the creative process by standing on the delete key.