Myth-busting the Publications Industry; Laura Williams, Literary Agent

“It’s the best job in the world,” Laura Williams, Literary Agent for Greene & Heaton told the members and guests gathered at the Hampshire Writers’ Society November meeting, “I get to work with authors, from day one of their career, until the end of their career.”

“Agents are not out there to take the author’s money,” she says, “and neither are they there to crash your dreams.” Outside the agency, they are super competitive. But, inside they are very forgiving. They talk books all day, swap manuscripts and read unbelievably fast. As agents for authors, they need to get to know all the publishers and booksellers in the industry. They go to book fairs and carry out a huge amount of editing. Laura’s message is that; if her author isn’t happy, she isn’t happy. Myth numbers one and two — busted!

Myth number three: your submission needs to be perfect? No. A bad synopsis will not preclude your submission. Your synopsis should be like a “greatest hits of your book.” The end MUST BE INCLUDED. Your covering letter needs to be polite, to the point and endorse that you know your book thoroughly. Also include a little about yourself. It doesn’t matter that you might have your genre wrong, that is fixable.

It also doesn’t matter who, in the industry, that you know. Laura is keen for us to understand that “It is all about the book.” Myth number 4 — busted!

Until she reads it, Laura sometimes doesn’t know exactly what it is that she is looking for in a manuscript. Her list varies from horror to big love stories that make her cry. As for timing and luck of your submission? The year’s two biggest book fairs take place in March and December. Do not expect an expedient reply if you submit at those times. Also, manuscripts submitted on Christmas Day are not likely to be read until the New Year! “Try three pm on a Thursday in August.” Laura says in jest. But yes, Agents really do read every submission that they receive.

On to myth number six – no, you do not need to live in London. Perhaps this was partly true in times of posting hard-copy manuscripts. Agents travel well and they are eager to try out all other cities. Laura even has clients in Canada.

Myth number seven: it’s about the prizes that you’ve won. It isn’t! A list of the competitions in which you’ve been successful, and your membership of societies (Hampshire Writers’ Society for one) in your covering letter shows that you are serious about your craft. Again, Laura is keen to advise that; “It’s all about the book.”

The same answer shot down myth number eight: it’s essential to have an MA in Creative Writing. There is a plethora of websites offering free advice. The Writers and Artists’ Yearbook is another free resource readily at hand.

Find the “essence” of your book and use that to pitch it in answer to the question, What’s it about? The essence is not always what the book says. All books can be pitched in this way.

Do not write for the market or the current trend. Some trends pass by very quickly, going right out of fashion. It may well be that by the time your novel is to come to fruition, the trend will be long gone. Always write the story that you want to write. If the agent picks it up and the genre isn’t clear; they’ll just “make it up”. And that takes care of myth number nine.

Ten: it’s all in the great writing? It’s a great story that is necessary. If, however the agent suggests a change, it is a good idea to listen. Again, here the agent supports their author. Laura once spent a Sunday afternoon re-writing half of a future client’s manuscript in order to change the point of view; the author did the other half.

What about social media? The agent and the publisher are there to help you through social media. Even if you have no presence on social media at all, it doesn’t matter.

Finally, to number twelve: once you have an agent, you’re set for life! Laura wishes that were true, but unfortunately it is not. Not all books are sold. However, many authors debut is not their first book. In the rare event that the agent is unable to sell your book, they will talk this through with you and together you’ll work out a way forward.

“Carpet bombing may not be quite the right phrase.” Laura says, “But, you get the idea. Send your manuscript to everyone that you want to read it. That’s what she does.”

‘A Journey to Self-Publishing’ Emma-Nicole Lewis, supernatural historical fiction author of three self-published novels, business strategist and Hampshire Writers’ Society member.

EMMA-NICOLE LEWIS appeared last month on the HWS blog featuring in the trailer for a mini-documentary about, Eyam the town where her latest novel, A SHADOW BEYOND, is set. The documentary, for which she sought permission from the museum and church used, took her only a week or so to make and has brought interest in her from as far away as Russia.

“Making yourself visible is now what it is all about.” she told the meeting last night, “Amazon has done wonders, but for the writer, it has saturated their market.”

Writing has been a passion of Emma’s since a young age and following the success of her first novel, THE WISHING HOUSE, she made the decision to swap her career in business strategy for full time novelist.

“Define your reader,” she says. It is something that can be done within your other research. As an unknown, new to the market, you won’t be selling books on your name alone. Think about how your story might fit with your reader. Consider the sort of book clubs that they might belong to, what are their interests, their hobbies, where do they go for leisure time and what are the websites that they might visit. By pin-pointing your readers, you’ll find it easier to market your book. Emma’s stories are historical; many of her readers will be interested in history, so she made good contacts with the museum and coffee shops in the town where A Shadow Beyond is set, leaving advertising leaflets there for readers to pick up.

Have your marketing plan in place before publication day. “Getting those pre-orders in to Amazon will raise your stakes in their best-seller lists.” she tells us. This in turn encourages them to spend their advertising space on you. “So, line up your reviewers and bloggers before you go live.”

Establish a PR hook. Find a story within your story. When Emma told the story of how her first novel was written whilst she was on maternity leave (she still doesn’t know how she did it), the local press bit quickly. Interest seems to be on the person who wrote the story almost as much as the story itself, so Emma’s social media pages are peppered with pictures of her and her family on her latest research expedition. It brings out either the Aaah! or the humorous side of your readers.

“Love your readers.” she urges, “It might sound soppy but, if you love them, they’ll love you back.” Reply to contacts and comments when appropriate (DO NOT RESPOND TO REVIEWS; ITS NOT THE DONE THING) your readers will talk positively about you, share your work and comments. A sort of virtual marketing team.

Finally, what is it that you want to see from your favourite writer? An avid reader, Emma often gets to the end of which ever book she is reading, wondering about what that author will do next. She often looks into it. If that author is not doing what she wanted – she does it herself!

Literary Agent, Lorella Belli Talks E-books, Publishing and Self-Publishing: an agent’s view

In just over two weeks, Literary Agent Laura Williams will be speaking to Hampshire Writers’ Society. Her talk, Myth-busting the Publications Industry will be live at the Stripe. So, I thought it would be good to resurrect the report of a talk from the Literary Agent, Lorella Belli. Especially as Lorella appears in one of this website’s banner photos, plus it’s Halloween time; resurrecting things is topical!
Lorella talks about the role of an agent regardless of whether the author has chosen to self-publish or the more traditional route of ensnaring the interest of a publisher.
Lorella Belli and Barbara Large
What are the pros and cons of getting a traditional deal or choosing the self-publishing route? In this rapidly changing landscape, what is the role of the agent?
It was Lorella Belli’s ambition to set up her own agency. She set out to know the publishing industry inside out. Her brief to discover ‘new blood’ gave her not just invaluable insider experience but introduced her to many unpublished authors.
‘An agent works for their Author.’ Lorella says. As an agent, her primary concern and something which she feels forms a vital part of the agent/author partnership is; ‘What does the author want from their writing?’
She is the first to declare that the agent’s role in the modern author’s career remains unchanged regardless of chosen route of publication – self or traditional. An area of particular interest is the protection and exploitation of the author’s rights and here, Lorella is well versed and diva.
For the most part, a writer wants readers, they want to see their work in a bookshop. Equally, it is important to recognise the financial aspects of a writer’s career. Both the traditional route and the contemporary self-publishing route provides remuneration, but in different ways.
It is her belief that an agent has a responsibility to be aware of the many platforms of publication available to authors both new and experienced, how those platforms work and therefore be able to fit the author to the best publisher.
Lorella’s agency is vocational towards the needs of an author. There is no room for the agent’s preciousness over writing. ‘So, what if the book is ‘trashy’.’ Lorella says, ‘If the writer is happy, then their readers are happy and so is the publisher.’
An author can retain some control over publishing decisions e.g. the cover even through the traditional route. An informed agent will know to insert such clauses into their contract. Similarly, self-publishing has given the publishing houses some much needed competition – authors now have an alternative.
However, authors must be aware that by choosing the self-publishing route, they are choosing to take on their career in its entirety and inevitably this will cut into writing time. A publishing house provides editing, a marketing department, a sales department and publicity.
The traditional route may seem like it is taking its time, whereas self-publishing can be a whirlwind. Of course, this is after the author has learned all the skills needed to be a publisher.
One huge pro for the appointment of an agent – they get the hurtful rejections! However, an agent of Lorella’s talent will believe in the book and wants to see it published. It is that agent’s job to spot the writer’s talent and therefore their target audience.
It is hugely important that authors remain professional. When an agent is passionate about a book and has an author that they can build on, they will stand more chance of promoting it, even if it does not appear to fit, or is the wrong length.
Even to an agent as talented as Lorella, the next big thing is a mystery. There will always be the wild card – who could have predicted 50 Shades of Grey? However, a writer can keep their eye on publicity to hang on e.g. the Olympics.
As a writer grows more successful, their chosen path can become more complex. Lorella suggests building a team – delegate, remember the AAA (Association of Authors’ Agents) and ask an agent for advice. That is the bottom line of their job – to work for the author.
Lorella Belli
An agent’s website will state what they are looking for. There is no divide between male and female, it is all down to what that agent wants to feel when reading a book. For Lorella, it is what makes her laugh and what makes her cry.
The members present were left in no doubt of Lorella’s message – the agent works for the author, no one else, not themselves, not the publishers. Just the author. They thanked her for her candid, refreshing approach and dependably constant open door

An Extra Ingredient!

This week we’re very lucky to have Sue Moorcroft Sunday Times and international bestselling author send us a writing tip. Sue is worth reading, she has reached the coveted #1 spot on Amazon Kindle, won the Readers’ Best Romantic Novel award and the Katie Fforde Bursary; and she’s been nominated for several other awards, including a RoNA.

A writer of short stories, serials, columns and writing ‘how to’, Sue’s courses have appeared all over the world!

Her current release is Let it Snow, in which Lily the heroine searches for her half-brothers. Lily’s quest takes her from the frosty cottages of Middledip village to the snowy mountains of Switzerland. The ebook is out now with the paperback and audio available on the 14th November 2019

-  A tip from Sue Moorcroft

You’ve written a story, a good one. You’ve created a high-stakes conflict to hurl at your central character and had her or him solve it via a pivotal moment. Your setting’s vivid; your characters jump from the page; you’ve spoken your dialogue aloud. There’s no overuse of adverbs, repetition, passive or loose sentences. Your metaphors and similes are poetry.

And yet you’re not satisfied.

Where do you look for that extra ingredient to catch the eye of an editor or judge?

How about a specific angle in your structure? An easy example of this is the ‘epistolary form’, which means a story told in the form of correspondence. For years – centuries, I suppose – it often meant letters but now we’re equally likely to see email or other electronic communication. For the purpose of this post I’m going to use the word ‘message’.

Maybe it’s because we’re taught not to read the messages of others that reading one within a story can be so intriguing? You can tell an entire story in the form of messages or just introduce one at the right moment.

We tend to write (text/message/e-mail) in our own voice or some version of it. You can use this fact to create a strong impression of the character responsible. This can be especially useful if you want to bring out the voice of a character who has no viewpoint and little or no dialogue.

A teenager’s text or WhatsApp:

hope u & dad r ok. thx 4 sending my course work can’t believe I forgot it lol.

A solicitor’s letter:

Dear Mrs Bell

I am writing to update you on …

A love letter:

Hey, sexy buns …

A threatening note:

Some people should know when to shut up …

Cyber bullying:

Everyone knows you’re …

Messages can be a brilliant way of getting information over to readers without the dreaded ‘infodump’. If you’re writing about a character with an unusual medical condition, creating a message board for the sufferers in your story provides an accessible way to get background detail across.

Big Bob: What I find the hardest to deal with is the shakes from the meds. Anyone else get this?

Little Ted: It’s a stress when you’re trying to talk to a girl, isn’t it? I spend a lot of time with my hands jammed in my pockets.

This personalises the condition you’re trying to convey and prevents your story plunging into passages that sound like a medical text book.

Here are a few ideas for utilising written communications in fiction. Just add imagination:

o   Letters

o   emails

o   Texts/WhatsApp

o   Social media posts

o   Diary entries

o   Log book entries

o   Reports (medical/school/work/prison)

o   Sticky notes

o   Graffiti

o   Lists

o   Recipes

o   Blogs/blog comments

o   Newspaper/magazine articles

o   Footnotes

o   Excerpts from books

o   Songs or poems

Note: It’s important to be aware that it may not possible to use lyrics from songs or excerpts from books without gaining permission from the rights holder. Check out the relevant copyright law, especially if the author is alive or died less than seventy years ago. Or write your own!

 

Get on the Customer’s Shelf

“Booksellers are Pragmatists,” says Crispin Drummond, proprietor of P&G Wells independent booksellers in Winchester, “not Romanticists.”

The Shop at College Street

P&G Wells have been in the business of selling books for over 200 years. Crispin was sold the shop on College Street after one too many glasses of wine. His only credentials — he liked to read. A year of learning on the job followed. He learned that the horror stories are true; there are too many books, chain-stores are closing and yes, authors are getting a bad deal from publishers.

The bookseller is firmly on the side of the customer and P&G Wells’ first policy is to give thoughtful customers a wide choice. So, when looking at new titles, deciding what to stock, he considers the customer and listens to their wavelength. The bookseller will think on over 50,000 titles, of those they will stock roughly 8,000. For a pragmatist, choosing those titles is blissfully free of the sentimentalities suffered by the romanticist. Of course, he doesn’t do “blissfully”.

“The average British reader only buys 3 books a year.” Crispin reports, “5 at most.”

The bookseller’s customers will not be swayed by the Best Seller label, they can get those anywhere. It is the fresh books that sell. P&G Wells supports a far larger number of authors than any of the chain stores, regardless of who publishes them.

To get your book on the P&G Wells customers’ shelves, it must be well-written, it needs to have something new, bring something special to the shelf. The customers would not forgive the bookseller for offering them something that was run-of-the-mill. They do not buy the same-old, same-old.

“Obviously, the booksellers’ best time of the year is Christmas.” Crispin told the members and guests gathered, “When the ideal customer is the one who wants to buy presents for every member of their family. And P&G Wells has just the book for each of them.”

Crispin is the Hampshire Writers’ Society treasurer. He is the bookseller in the foyer at every Tuesday night meeting.

Report by Lisa Nightingale

E.M. Davey: Fiction as a Window on Our World

E. M Davey

“A thriller writer needs to gain the trust of his reader.” E.M. Davey informs the gathered guests and members of the Hampshire Writers’ Society. With this in mind, he seeks out genuine ancient text, quotes and voices from those who were there, actually on site at the time to use in his conspiracy thrillers.

No stranger to the media, Ed decided on the use of the pseudonym E.M Davey, after being confused one too many times with Ed Davey MP. His day-job is in investigative journalism, harbouring a stint in undercover filming with a passion for travel and he uses it all to influence his thrillers. He grins when he points out that his job is exciting and a lot of fun. If the anecdotes he regaled us all with are anything to go by, his novels will be full of fascinating characters, beautiful settings and bustling cities.

“There’s something about that world that attracts absolute nutters!” he assures us.

It was the British Museum that captured his interest in history and he went on to study it at University. That was 15 years ago and he confesses to still uncovering ancient unknown civilisations. Clearly, he remains fascinated.

After pin-pointing the idea that will spark a novel, Ed totally immerses himself in his subject. He reads up extensively on it, attends exhibitions about it, watches documentaries on it and visits the setting. Seeing himself as a magpie, collecting snippets of information that will interest people, he’s never without his diary and now has a shelf of colourful, one-off, first account records for the 60 or so settings that he has visited.

“Find your Investigator’s Friend.” he advises.

Ed’s was invaluable when after researching in China he arrived home to find he’d been so blown away by the setting, he hadn’t taken any notes and for a writer so bullet pointed as E.M. Davey that wasn’t good.

“Its like being a bad, tabloid journalist, taking a quote and blowing it out of context.” he says.

A knowledge of the law is handy, although a writer, no matter how absorbed in their subject should have a care for the humanity in people. Those who have only recently passed-away may have family trusts set up.

There’s no right way to writing a novel, he tells us. In fact, Ed’s wife writes in the exact opposite way to his organised, chronological plotting, arcing, drafting and editing.

Ed’s system is to equip himself with a large Black and Red book which he then divides into colour coded sections in which to file his research. When the book is full, he creates a word document for each part and transfers all the information.

He then makes around 50 bullet points and begins dropping bits and pieces of story, character, setting in between these until an unashamedly large first draft is formed. A hard edit is then embarked upon, followed by 2 or 3 more until the final edit is down to roughly 80,000 words.

Here, Ed imparts a piece of advice that he was given when concerned that his books were boring. “Remember, none of your readers have read any of your book before. So, it is bound to seem boring to you; especially after 2 or 3 hundred reads.”

Report by Lisa Nightingale

September is a New Year

September! For Hampshire Writers’ Society, September is the start of a whole new year. The programme for our forthcoming season is now shining brighter than a diamond on the website.

E. M Davey

We’re starting the year off with Thriller writer E. M Davey. Ed spent eight years with the BBC, going undercover for Panorama, presenting the BBC World Service, and working on investigations for Newsnight, File on 4, and News at Six. He has visited more than sixty countries and next Tuesday Winchester where he will recount to HWS how adventure, travel, history, and investigative journalism have inspired his thrillers.
PG Wells Proprietor and HWS Treasurer, Crispin Drummond is our special guest. Crispin will spill the beans on how book shops choose the books that they stock and sell and where those books come from. His talk will be a must for writers planning on self-publishing.

Claire Dyer

In October, our speaker is Claire Dyer. Claire is a novelist and poet who likes love stories and cheese! However, she is “allergic to mussels, oysters and the like.” Still, Claire is proud to announce that she has an MA in Creative Writing from Royal Holloway, University of London which, when added to her BA in English & History from the University of Birmingham, and her MA in Victorian Literature & Culture from the University of Reading she has “three degrees so all she needs is to be able to sing in tune and wear sequins without looking foolish!” You must join us for Claire’s talk; it promises to be a giggle. Writer and poet Hilary Hares joins Claire as special guest.

Laura Williams

Literary Agent, Laura Williams in November is going to bring us all back down to earth with some myth-busting about the publications industry. November special guest is to be novelist of history and the supernatural, Emma Nichol-Lewis.

Caroline Wintersgill

Editor, Caroline Wintersgill in December is going to let us in on a secret – What Editors Want. Our own wonderful historical novelist, David Eadsforth is our Christmassy special guest.
Before you get excited about Christmas, HWS has four excellent speakers worth a listen even if their writing isn’t your thing. All genres, types, makes or brands of writing go into making a novelist and our speakers are eager to pass on that tip-bit that will click all your everythings together.

Check the programme on the website for monthly competitions and the remainder of the 2019-2020 programme.

Post by Lisa Nightingale

A Bond of Brothers (and sisters)


HWS blog is going Guildford this time to meet the Hogs Back Writers. Fellow writer and Winchester Writers’ Fest goer, Richard Fuller is our inspiration, here he tells us what Hogs Back Writers get up to at their meetings:

Hogs Back Writers’ Village Hall

We walk up the unlit, unmade, muddy lane, past mouldering gravestones and uncut grass, a bitter winter wind at our backs, before climbing the steep uneven steps at journeys end.

No, not the beginning of a novel, but the path from the car park to Hogs Back Writers regular meetings in a small village hall, between Farnham and Guildford. Why so remote? The answer is long gone. I’ve been a member for nigh on ten years, and the group was old then. I can give the reason for us staying, the hall is cheap and convenient(ish), though on a January night…

So why belong to a writer’s group, and why Hog’s Back?

I’ll answer those questions in reverse order to explain the benefits of our great little group of seventeen members, which include two published, and another two agented authors. Nearly everyone is writing novels, with a couple of exceptions in non-fiction. There is no poetry and only the occasional short story. Nearly everyone has managed to complete a first draft, we are all in the same metaphoric boat.

Writing, we know, is a solitary business, hours locked away with just a keyboard and spell check for company, but it needn’t be. I look forward to seeing my fellow writers. We share our problems, discuss sticky plot points, get considered feedback on our hard penned words. Not the ‘Lovely, dear,’ from friends and relatives, who think you need to be humoured.

Why Hogs Back? We meet most Mondays for critique of manuscripts. Bring along up to 2500 troublesome words, hand out half a dozen printed copies and read out your worries. The printouts are marked up with whatever anyone feels appropriate, and a ten minute discussion (not hard and fast) follows, in which members describe what they liked and where things might be improved. Of course it doesn’t always work, one person may say they thought the “voice” was perfect for the character, and the next may well suggest the opposite. But at least it gives you, the author, something to think about.

Our biggest benefits though, are not just in the critique. Every third Monday we lock away the manuscripts and meet in a pub, aptly named The Good Intent, to have a themed chat about writerly things, such as character, viewpoint, plotting, book blurbs, or anything else bothering us. These nights are some of the most useful things we do.

Then there are the Jellies.  We hold them a couple of times a year in a local hall. A writing day with quiet distraction-free time and a social buffet lunch. More recently we’ve taken to holding Trifles as well. Oh come on, a trifle is like a Jelly but more complicated- it’s a writing weekend. We have used the same large house in Margate several times, lots of bedrooms and writing spaces, sea views, and the companionship of fellow writers, oh yes and wine, lots of wine.

We also offer each other much needed support with such painful topics as synopses, and agent letters. We celebrate member’s successes and awards. We occasionally have guest speakers and of course there is the annual Christmas party with it’s hard fought flash fiction competition, mince pies, and, dare I say, lots of wine.

So that is Hogs Back, a very sociable addition to the solitude of writing. But please don’t rush to contact us, we are not looking for new members right now…

Post by Richard Fuller

 

Beacon Productions

Our blog post this week comes from Portsmouth based Simon Sansbury. A member of the Portsmouth Writers’ Hub, Simon is also part of Beacon Productions. If you have a drama, comedy or thriller you’d like to see produced either on screen or audio Beacon would love to hear from you – read on…

Beacon Productions is a not-for-profit group based in the Locks Heath area of Southampton. We’ve been running for over thirty years and currently have about fifty members aged between 18 and 79.             

Over the years the group has produced numerous shows. The longest running of these being the science fiction show, ‘The Adventures of Stephen Brown’. We’ve also produced soap operas, thriller series and short films.  

Beacon Nonsense

Currently in production we have a drama serial based around a coffee shop ’80 degrees’, an escape room show ‘Big White Doors’, a gameshow ‘Beacon Nonsense’ and have just begun a legal/socio-political science fiction audio series ‘Phipps Files’. As well as converting thriller series ‘Ninth Man’ for audio, we have a podcast and a couple of stand-alone audio dramas.

Zombies in a field – Day 66

Being a small group, our resources are limited and thus feature length films with a large cast, complicated set or location requirements present difficulties. But, set and location considerations don’t apply to audio dramas.

Knowing how many characters a script has, what genders and ages they are, what locations or sets are required (for film) helps us decide what is practical. The simplest things of all for us to record are of course short stories which require neither locations, sets or actors.

All of the output we create is uploaded to our YouTube or Soundcloud. You can find out more about us on our website.

 

CHINDI

The Winchester Writers Fest, attracts attendees from all over the world and a week ago on Saturday, Karin and I met up with many of them. So, for the next couple of posts, the blog is going to branch out into our surrounding counties and hear some of their inspirational stories

CHINDI (Celebrating and Helping Indy authors) is a network of independent authors based in West Sussex. Running online and live events, sharing ideas, expertise and contacts, they encourage independent authors to follow their dreams by supporting them in the creation of excellent printed, ‘e’ and audio books, followed by marketing, promotion and selling opportunities.

Helen Christmas, member of CHINDI and author of five self-published romantic thriller suspense takes time out from event organising at the Festival of Chichester to tell us a little more about them.

CHINDI Members at the Southern Book Fair

It is CHINDI’s belief that independently published books are as valid and exciting as those produced the traditional way; the authors have the same expectation and levels of excellence in production values and gripping content.

CHINDI works with retailers, media and event organisers to promote our member’s books, working in harmony with traditional agents and publishers.

The advice on offer comes from authors who have been there, done that. Answering many and varied questions, the likes of: Where do I find a good proofreader? How do I produce an e-book? What the heck is an ISBN? We share what worked and what didn’t through our private Facebook page CHINUP.

Members support each other through social media campaigns. We attend events, hold our own panel discussions and library talks, we regularly run competitions and blog tours too promoting our books. CHINDI has supported charities including Dyslexia Action, Words for the Wounded and Cancer UK.

A very enthusiastic group of authors, we encourage members to actively support each other as much as possible, whether that be simply reading each other’s books and manning book stalls or joining in our events.

At the Arundel Festival

New members are invited to join the CHINDI Facebook group, Chinup, where we share resources, such as self-publishing tips, seminars and blogs, anything to help with promotion. We follow each other on Twitter too and have a CHINDI account which is an easy way to share content.

We occasionally have meetings by zoom online conferencing!

The benefits of being a member are numerous but here is some information from our website:

Profile on CHINDI Author Website,
Have your books listed by genre in our Readers Section,
Join our CHINUP Facebook page for online discussions, sharing promotions and networking,
Eligibility to upload own videos/book trailers to Chindi Youtube Channel,
Inclusion in media PR programme,
Speaking opportunities at events,
Sales opportunity at events and market stalls etc.
Access to database of writing competitions,
Inclusion in CHINDI quarterly newsletters,
Shared knowledge and experiences of the group,
Free feedback on proposed cover designs and early drafts (this is not a full proofreading or editing service but might suggest you need these)

Chindi is set up as a not for profit Community Interest Company. Fees go towards hosting the website, booking rooms, funding promotional material etc. Find out about membership and events at https://www.chindi-authors.co.uk/