Archive for the ‘Writing’ Category

My work in progress, Slinter Wood, is largely set in the late 1980s, mirroring my own school days. I’m currently doing a lot of research to get the right tone and detail for the period.

I’d love it if you could help me!

Tell me in the comments (or via social media) any details you remember about school life, fashions, fads, insults, and pop culture in the late 1980s. If I use your idea in Slinter Wood you’ll get a thank you in the book – and (if it’s really good, and I haven’t already thought of it) a free copy when it’s released! (Don’t hold your breath. Given my usual pace, it’ll be years yet…)

It’s not the big stuff I’m interested in, the world events, the politics, the disasters – that’s easy to research. It’s the small, inconsequential details of life circa 1988. Sometimes we forget how much life has changed, but once you start thinking about it, it was a very different world back then.

What do you remember about those days? I’ve already filled 50+ pages with my notes and memories, and I know it’s only the tip of the iceberg. I’m not looking for cliches and buzzwords from popular memes (Spangles! Boggle! Marathon!), but actual memories – it’s those minute, true details that give a story depth and richness.

Here are some of mine:

  • That stink of stale cigarette smoke every time I walked into any school toilets. Burn marks on the toilet seats, and the unfathomable mystery of the ancient, rusted ‘Bunny Incinerator’* on the wall
  • the breath-taking agony of getting a hockey stick whacked round my ankles on a frosty morning
  • the school bus: a narrow prison of torment, with no escape from those who would shout insults, pull your hair, kick your seat, whisper about you – just loud enough so you knew, even though you couldn’t hear what they were saying. The humiliation if you stumbled when the bus lurched to a halt; the hot, damp horror of all that laughter directed at you
  • watching Threads** in Humanities class at school, and the idea of nuclear war becoming a constant background fear. Waking in the early hours and hearing an aeroplane high overhead, convinced it was about to drop a nuclear bomb
  • owning only three video cassettes, but being a typical obsessive teen and wanting to hoard all my favourite things; having to make the painful decision of which much loved music video or comedy sketch to sacrifice when I needed to record something new.

I could go on, but I think that gives you an idea of what I’m after: snapshots, impressions, details that bring the period vividly back to you. I’d really appreciate it if you’d share any with me.

Thank you.

* Because I think that is going to confuse a lot of you, just as it confused me all those years ago, let me assure you it involves no cruelty to small furry creatures, but turns out to be some old-timey solution to the disposal of feminine hygiene products.

** Having just read the Wikipedia entry, it’s a wonder I ever slept again!

Lake in Shining Cliff Woods

DANGER – DEEP WATER

‘Let’s make a film about revenge. About some kids who’ve had enough of being pushed around, having crap shouted at them. So they kill the guy who’s been picking on them, and make it look like an accident.’

‘How?’

‘I dunno. Poison? Drowning? Torn apart by wild dogs..?’

15 year old Rose accidentally joins her school Film Club. But it isn’t long before Film Club has transformed into Revenge Club, as she and video-obsessed loner, Paul, plot an elaborate trick on the popular kids who make their lives hell.

The trick works better than they could ever have imagined – disastrously so. And now they need to trust each other and work together to outrun the horrifying consequences.

But against her better judgement, Rose is drawn back to the scene of their success – to Slinter Wood, to its ruined cottage and silent lake, to the legend of the witch Mary Slinter, who met her cruel end there 350 years ago…


Slinter Wood marks a change of direction for me on two counts. It’s aimed at an adult, rather than young adult, audience; and rather than fantasy, there is more of a folk-horror vibe.

This new direction is largely the result of taking a year off from novel writing to concentrate on short stories. Every one of the short stories I wrote last year turned out horror themed, and pretty damn grim.

I did alright with the first one, and although I haven’t won any further competitions (yet), I wanted to take this theme through into a longer format. It’s early days, as I’m still working on the first draft, but I’m really excited about it.

I’m thinking Heathers meets The Loney.

Check out Slinter Wood’s Pinterest board for a flavour of what’s to come.

Now that Kikimora is finally published, and the day job is still as hectic as ever, I’m thinking I might concentrate on short stories for a little while, rather than immediately embarking on another novel. I know I got lucky with the first one, and am unlikely to repeat that success right away, but I’m going to give it a try.

This weekend I have submitted my entry to the Guardian Short Horror Story Competition – to be judged by Stephen King, no less! I know there’s going to be stiff competition for this one, so I’m not holding my breath. If you fancy giving it a go (UK only), you have just a couple more days until the deadline.

My entry is a sort of companion piece to Kikimora, since it concerns a woman’s confession to a Rusalka – though much darker in tone than anything in Kikimora.

This line in the Ts & Cs amused me: “(it) must not show inappropriate or dangerous behaviour…”

Er… but a horror story, right?

Needless to say, I have smashed that rule into a thousand glittering pieces and danced on the shards until they are ground to dust.

As a special Christmas treat I will be reading The Big Guy on Radio Free Smedley Street this wednesday. If you miss the program – don’t panic! They have all manner of new-fangled listening methods on their website.

If I don’t check in again before the holidays, I do hope you all have a far merrier christmas than the Big Guy…

Since Christmas is almost upon us, and in case you missed my prize winning christmas zombie story in SFX magazine earlier this year, here’s something to get you feeling festive.

Or not.

The Big Guy by Emma Woodcock

Winner of SFX short zombie story competition

The Big Guy

The sound of bolts snapping back. Hushed voices. A crack of light, thin as a hair, but blinding. It’s been months, I suppose. Time ceases to exist in the darkness.

The first latch flicks back, then the second. The door eases a little, as though drawing a breath. There’s a pause before it’s thrown open, and the light floods in, unbearably bright. I recoil – as far as the restraints allow – seeing nothing but formless, liquid shapes.

“He’s frightened.”

Mila. She’s still here then.

“Nonsense. He always does this. Come on. Wakey wakey.”

And Gustav. Of course. It’s always Gustav. “Up and at ’em, big guy.”

“Should I do the-?”

Gustav makes an impatient gesture, and Mila picks something up from the table, weaving back and forth in front of the light. My eyes are adjusting now, making sense of the figures. More are crowded behind these two, peering forward fearfully.

A small voice from the back, “Is he dangerous?”

Mila presses her lips together, as though to prevent any answer escaping.

“Not if handled correctly,” says Gustav. “Observe the double restraints. They must remain in place until the inhibitor is administered. Mila, if you would?”

She leans closer, touches my arm. Her fingers are warm with sweat. After so long without sensation of any kind, the touch is startling, revelatory.

Please, I want to say, but it comes out an incoherent croak.

She recoils, almost dropping the syringe.

Gustav rolls his eyes. “Shall I do it?”

“Sorry, Sir. No, I can manage. But, are you sure? I mean-”

“We’ve been over this.”

“I know, but seeing him like this-”

“And over.”

“It just doesn’t-”

“And over.”

“Seem right.”

“Objection noted. Please continue.”

She swallows. “Yes, Sir.”

No doubt she tries to be gentle, but to my heightened senses the scratch of the syringe is monstrous.

A heaviness comes to my still bound limbs. But it is an odd effect of the drugs that even as they dull my senses and inhibit my actions, my brain becomes more alert, memories sharper. To Gustav it is a year since we last began this game. To me, no time at all. My thought processes pick up where they left off when he closed the box, 11 months, 30 days ago.

Mila unfastens one strap, and then another. I droop forward, almost collapsing without their support.

“Come on out, then,” says Gustav. “My team have outdone themselves this year. We have Minecraft plushies. We have remote control quad bikes. We have robot dinosaurs that pee their pants. I’m not even kidding. That’s what kids want.”

I curl a hand around the box, steadying myself before I lurch forward with rusty, awkward steps. Gustav stands his ground as the younger ones shrink back.

“No,” I tell him.

“Don’t be like that. We all agreed, this is for the best. Would you leave the poor kiddies disappointed?”

I glance at Mila. She drops her gaze, murmurs, “There are other ways, Sir.”

“Don’t start on about online shops!” he says, anger flaring. “Transactions. Paypal. Postage and Packing! It is not the elf way. We create for the joy of it. We give freely of our skills. I will not sully our traditions with financial exchanges!

Her cheeks flush. “Come and see the team,” she says to me. “That always cheers you up.”

I let her lead me past the cowering others, down a narrow corridor where strings of coloured lights twinkle on the walls. She opens a heavy door, and animal smells surround me: hay and fur and rotting meat. Even here, flashing lights are strung across the stalls.

Reluctantly, I draw closer. “Vixen, old girl.” I lay a stiff hand on the creature’s head. Her ears are cold, ragged. She glances at me, as bone weary as I am. How long has it been now? Since age and ill health claimed me – and the elves, my immortal helpers, my makers, claimed me back again.

“Blitzen.” I move to the next stall. He is in a sorrier state than Vixen. Ribs show through the parchment skin. His eyes droop, seeing nothing. I move on, greeting each of them in turn, looking for some spark of recognition, some remaining spirit.

I reach the final stall. “Rudolph?”

He raises his head just a little. One eye swivels towards me, and the ears come forward. He still knows me, and it breaks what remains of my heart. A beast’s suffering is always nobler than a man’s. A man knows why he is punished, or can guess. He can blame himself for a thousand small mistakes and wrongs – whether they have any bearing on the issue or not. A beast understands nothing but that it is in pain, and it cannot fathom why – or why those it loves do not help.

“It’s almost time,” says Mila. “I’ll fetch your jacket.”

I don’t respond. My fingers stroke Rudolph’s cold, dribbling nose. He shivers, gives a wheezy bark.

“I know, old friend. I want it to end as much as you do.”

I glance at the coloured lights, winking on and off endlessly in preordained patterns.

She has left me alone. She is not supposed to do that. He will be angry with her.

I snatch down the lights, swiftly winding the cable around Rudolph’s scrawny neck. The little bulbs shatter, jagged edges piercing his desiccated hide, and my own. He still has a bit of fight left in him; kicks at the stall, shakes his big head from side to side, working the wire deeper into his flesh.

The commotion brings the others. A twitter of high, anxious voices, and then Gustav barking orders. A syringe is found, and another dose administered. The sense of purpose drains from me, and I allow the little hands to subdue me, steering me away from the thrashing reindeer.

A sudden silence signals Mila’s return. “It was only for a moment!” she says, before he has chance to accuse her. “I thought it would be alright. He seemed so quiet.”

“Just get the jacket on him.”

I allow them to dress me, pulling the huge red coat over my sagging body, fastening the buttons and buckling the belt.

“He doesn’t fill it like he used to.”

They stand guard over me as the skeletal reindeer are led out and harnessed to the sleigh. Last comes Rudolph, staggering, his big head drooping. My swollen hands are ringed with blood where wire and crushed glass has dug in. The little finger is almost severed, hanging at an odd, helpless angle.

“What were you thinking?” Gustav’s voice is soft, like that of a concerned friend. “Strangulation wouldn’t end him. You know that. Don’t you remember when you tried to hang yourself?”

I was aiming to decapitate him, but there is no need to tell him what I know and what I remember. There is always next year. There is always another attempt.

I look up at my team of undead reindeer, my sleigh filled with presents for children who don’t know what it takes to bring them this joy each year.

Mila cranks the handle, and the gramophone starts up. Tinny sleigh bells jingle. I sit up at once, tense, alert. I have tried to fight it. As often as I have tried to end my unendurable existence, and that of the reindeer. But it is impossible. Whatever they have done to me, they have done it well.

Reanimation. Mind control. These things do not contradict the Elf Way.

The piano comes in. Next year, I promise myself. Next year I will escape.

The scratchy voices begin: Dashing through the snow, in a one horse open sleigh…

And I am gone. Only Father Christmas remains. He climbs into the sleigh, he takes up the reins, as he is programmed. He waves to the elves as they load the last presents onto the back. He launches into the sky with a hollow, “Ho Ho Ho!”

In the summer I attended celebrations marking the 50th anniversary of my old school, Anthony Gell, in Wirksworth. As part of the celebrations, they aim to gather 50 short pieces of writing from people who worked or studied at Gell during its 50 years of community comprehensive education.

I was asked to contribute, and considered it an honour. But all the work it has taken to bring Kikimora to publication meant that I had not yet found the time. Last week I was gently reminded that the deadline is the end of November, and today I finally sat down to write my piece. It ended up going somewhere I hadn’t anticipated.


“Why bother to learn a dead language?” people typically ask after hearing I have a GCSE in Latin. “It’s useless.”

Everyone knows that you learn Latin by sitting in a classroom reciting en masse, “Amo amas amat…” – the conjugations of the verb to love. I’m afraid I didn’t do much of that in my class of one, sitting in the office of my Headmaster, Mr Pearce. Latin was not on the curriculum of this small, rural comprehensive, but Mr Pearce was more than happy to teach anyone who showed interest.

Why did I want to learn it? I’m not even sure. Something to do with a general interest in ancient history, with mythology and magic – those were the things I associated with Latin. Though if my interests had lain elsewhere I suppose I might have associated it with medicine, with biology or with the church.

What I didn’t realise I was signing up for was something which would alter the way I perceive language, the way I learn, and even the way I think.

Almost the first thing I was taught after amo amas amat, was to examine my existing vocabulary for associated words: amorous, paramour.

When I learnt puer (boy) I found: puerile.
Agricola (farmer): agriculture, agrarian.
Mare (sea): marine, maritime.
Nauta (sailor): nautical… and so on.

Latin words form the roots of countless other words, not just in English, but in many European languages (all of the so-called Romance languages – Romance as in Romans, not as in love).

Now whenever I encounter a word I don’t know I break it down into its constituent parts. What does it sound like? What root might it be formed from? It’s surprising how often this proves a useful technique – allowing you to at least get close to the word’s true meaning, even if not quite all the way.

What I learned in my Latin lessons was not a dead, useless language, but the ability to think around a problem, to analyse and dissect, to look past the unfamiliar and try and find something recognisable.

That is a valuable skill – particularly if you apply it to more than language. For instance, to culture, to creed, to lifestyle.

We live in dangerous times. There are many people who, for their own selfish reasons, want to foster a culture of us and them, to instil fear, distrust, suspicion, hatred. But most people – ordinary people who don’t have vested interests in arms, in land grabs, in oil, in religious fanaticism – aren’t so different from each other. Most people just want to feed their children, to love whomever they love, and go about their lives peacefully and without fear.

I’m writing this on Saturday 14 November 2015 as the world reels from the latest terrorist attacks in Paris, as the inevitable backlash against Islam rises again in the West, as the thousands of refugees remain mired in border camps throughout Europe, alternately vilified and beatified by a press pushed one way by public outcry and another way by their corporate paymasters.

I can’t help feeling that the world could be a better place if people everywhere learned to look beyond the unknown, the different, the perceived-to-be-threatening, and instead look for the familiar – people just like themselves, with the same desire to love, to nurture, to live in peace. Stop seeing them and see more kinds of us. After all, it is harder to gun down us, than to gun down them. Harder to blow up us than to blow up them. Harder to deny food and shelter to us, than to them.

Recently a friend of my mum’s asked me for some advice on self-publishing his book. Some time around bashing out the tenth paragraph of my email and suggesting we should perhaps meet up to discuss it all in more detail, I realised I have quite a lot to say on the matter.

I’m not going to tell you to run a spell-checker, or do a thorough proof-read. That’s pretty obvious, right? But here are some of the less obvious things I have learned through four years and two novels worth of self publishing.

1) Set Your Expectations

The first – and rather brutal – thing to acknowledge, is that no one cares about your book except you. I know, I know, you’ve spent the past ten years labouring over your magnum opus, and it’s precious and delicate and magical as a new born baby, and if you ever thought about it at all, you probably figured something along the lines of, “Build it and they will come,” right?

Unfortunately, that is not the case. In my experience, they will only come if you drag them kicking and screaming, and maybe leave them a breadcrumb trail of freebies, blog tours and guest posts.

Most of the books you sell – whether paperbacks or ebooks – are likely to be to people you know.

The paperbacks I’ve sold are mostly either to people I know or via stalls at fairs/festivals. Ie, in person rather than via shops (online or brick). Very few people are willing to take a punt on a self published book by someone they don’t know – even if the ebook is £1. Even if it’s free! They certainly won’t fork out £8 on a paperback without a lot of persuasion.

You may be thinking, “But paperbacks are cheap! I rarely pay more than £3.99 for a paperback from Amazon.”

Mass produced paperbacks are – or can be – cheap. Your self-published run of 50 or 100 is not. By the time you’ve recouped your manufacturing and handling fees and allowed yourself a couple of quid profit/remuneration for the years of hard work you’ve put into your book, you’re unlikely to be selling a paperback for less than £8 (though obviously this depends on the length of the book and what publishing package you use).

You may have more luck expanding your audience with ebooks. The major advantages are:

  • customers can try before they buy with a free sample
  • ebooks have no production costs, so can be sold far cheaper for the same – or greater – profit
  • there are no postage costs
  • they can even be returned if they turn out to be drivel, making people more likely to take a chance.

The disadvantage is that ebooks are very easy to forget about. I am a kindle owner. I read quite a lot of ebooks – but not half as many as I download samples of. Most of the samples I download I never even open. Why? Usually I forget all about it immediately. By the time I get around to noticing that new book on my shelf I’ve forgotten what it was or where it came from or why I thought it might be interesting. I’m also very busy. When I finally have time to sit down and read I often have a clear idea of what I want to read next, and don’t feel like giving some unknown thing of dubious provenance a chance.

Conclusion: do a print and ebook version, but be aware of their respective markets.

2) Have a Marketing Plan

I read this exact piece of advice prior to publishing Darklands. “A what??” I thought. I’m a web designer by day; novelist by night. At no point does marketing enter into my job description or skill set!

Reader, I did not have a marketing plan.

After publishing Darklands and rapidly realising the truth of point 1, I belatedly tried to scrabble some marketing efforts together. It was a bit pitiful.

I’m still pitiful when it comes to marketing. I squirm from self promotion. I’m embarrassed to impose myself on nice, busy people who have far better things to do than take any notice of me. It all just seems so… uncouth.

But it IS necessary so, like me, you’re going to have to knuckle down and do your best – however pitiful that may be. Since I am a self-confessed dunce when it comes to marketing, I won’t attempt to advise you how. Instead, check out the optimistically titled 89 book marketing ideas that will change your life or many other online resources.

3) Get Reviews

Reviews are vital, and objective reviews from people you don’t know are vitallerer 😉

The best reviews to have are from organisations rather than individuals. ‘Organisation’ in this context might just mean a bored teenager with a book blog. But the important thing is that when quoting the lovely review you recieved, you get to attribute it to ‘Ace Books Weekly’ rather than to ‘Julie from Slough.’ I think you can see which sounds more impressive.

There is an excellent, thorough list on Indie View of book bloggers who accept self published books. It’s a hard slog sifting through them all for appropriate people to approach; and most of the time you will be rejected (by rejected I mean, ignored). But persevere. There likely are people who will give your book a chance, and every review helps your credibility massively.

For advice on how to approach reviewers, see this post on Empty Mirror.

If you’ve got a budget to throw at the problem, then check out this Alliance of Indepent Authors post (but also see point 5).

The really important thing about reviews is being able to quote them on your book jacket or inside cover as well as any online listings – you know, like a real book. But in order to do that you need to be getting those reviews prior to publication, which means querying reviewers months prior to publication.

4) Set a Release Date

When I had finally really definitely totally finished Darklands, and sweated over MS Word and checked all the formatting and corrected all the glitches, I couldn’t wait to finally get it out there. I hit publish, and the next morning it was available to buy. But… no one knew, because I hadn’t forewarned them. Of course, I posted about it as soon as it was out there. But guess what? Other people were busy doing their usual Saturday morning things: grocery shopping, taking the kids swimming, cleaning the car, walking the dogs. No doubt many of the people who saw my posts were very happy for me – but that doesn’t necessarily mean they were going to drop everything and go check out my book!

Set a release date. Build anticipation. Allow people to pre-order. That way when the book becomes available you will get a number of sales right away – and that means your Amazon ranking is going to be as good as it possibly can be right away – and that means you are going to appear higher up any relevant search results – which *may* boost sales, and will certainly help your credibility.

I’m not actually certain whether the option to pre-order was available when I published Darklands. If it was I disregarded it in my giddy excitement to get my first book published. Or maybe I thought, “I can’t set a release date. I don’t know how long it’s going to take me to sort out all these goddamn formatting wierdnesses…”

However long you think it’s going to take – it’s probably going to take twice that long (see point 7). If you want to be really thorough, get your book all ready first. Do the formatting. Check the preview copies. Iron out the errors. Only when you’re happy that it’s all ready to go do you set the publication date.

Then start drumming up interest.

5) Spend your Money Wisely

So you’re self-publishing your book. A lot of people want your money. A LOT. They are hungry vultures circling tasty, meaty you.

You absolutely do not need to spend £1000s or even £100s on expert help, guidance, services or materials. You don’t need to order 1000 copies of your book and have boxes of it sitting in your garage like a stubborn toothache for the rest of your life. You don’t need to buy a professional sounding publication package that actually doesn’t give you anything you couldn’t have done yourself anyway.

Don’t spend anything without researching who you’re giving your money to, exactly what you’re getting in return – and most importantly, what the rest of the internet says about their services. There are many excellent online resources who keep an eye on the scams and schemes that exist purely to profit from your naivety. Check out Writer Beware or David Gaughran for starters.

Print on Demand may be a far better option than buying 1000 copies of your book up front. I use UK based company, Feed A Read. In all honesty, their website is glitchy and often frustrating, but any queries I raise get replied to within a day or two, and if I can’t do what I need to via the website, then they’ll allow me to email any necessary files direct. The resulting books are good quality, they don’t charge for unnecessary fluff services,* they’re supported by the Arts Council of England, and just generally don’t seem especially evil. That’s as glowing a recommendation as you’re likely to get.

* Well, you could count the distribution package as unnecessary fluff. I paid £80 for Darklands to be available to proper bookshops through normal distribution channels as well as to Amazon. Of course, that’s only useful if you’ve persuaded any bookshops to stock your book – and for some reason can’t supply them with copies yourself.

I know you want the distribution package, cuz that makes your book proper! But I’ve decided to forego it for Kikimora. I really didn’t feel the benefit. And Feed A Read have introduced a new, more economical service now whereby they can sell the book through Amazon Marketplace. This seems a much more worthwhile deal – though I’ll know more once I’m actually using it.

6) Get the Formatting Right

It’s vital to create as good an impression as possible with your self published book – whether ebook or paperback. Take care with your formatting. Don’t rely on changing fonts and sizes manually; use styles. Styles allow you to name a particular kind of text within your document (ie, basic text, chapter heading, first paragraph) and apply rules to it, including font, size, margins, line-spacing, etc. It is then easy to change any of those rules as it becomes necessary – and believe me, you will try various changes before you settle on the best for your book.

For example, your ebook will most likely want to use a basic sans-serif font (though most e-readers allow readers to change this themselves), but your print book would more likely use a serif font (such as Times New Roman). When you see the production costs for your print book, you might start thinking, “Damn, do I really need it to be double spaced? How big does that text look once I’ve resized the document to the exact dimensions specified by the printer? Maybe it’s too big, maybe it’s too small. How about those chapter headings? They look better not bold, after all…”

Using styles, these changes are easy to make and undo to trial different looks and layouts until you get it right.

But there is a caveat! One I fell foul of with Darklands, and I could not understand until I noticed the same thing happening with Kikimora.

If your writing process is anything like mine, by the time you have a completed manuscript some areas of its text will have been copied and pasted from different documents many times. The document format may have changed from say Open Office to Word. This leaves you in danger of formatting glitches.

Say during the writing process your basic text was set to 12pt Verdana. You copied a section from another document (a previous version of your manuscript, perhaps) and pasted it in to the master copy. The other document was also using 12pt Verdana, so all is good, right?

Maybe not. Make sure that any passages you copy in get your ‘basic text’ style applied, and don’t rely on manual styling. Otherwise, you might find when you change it all to Times New Roman those random pasted passages are still Verdana – and the only people who’ll notice are your first readers. Eek.

Word processing packages can be ever so ‘helpful’ when it comes to retaining text formating from one document to another. Get in the habit of manually stripping formatting any time you paste text in, and then ensuring your custom styles are applied. If your word processing package doesn’t make it easy, then a simple way round it is to copy any text into notepad and from there into your master document. Any formating rules will be lost, and it will take on the rules in your master document, as you want it to.

7) Take your Time

None of this stuff is difficult, but it is astonishingly time consuming. Factor this in when thinking about release dates. If your writing activities are time-limited (cuz you also have a full-time job, family commitments, some kind of life), then I wouldn’t even set a release date until you have already done ALL of this.

For example, I work *almost* full time. The only time I have for writing and writerly activities is Thursday and Friday afternoons – and occasional Saturdays if I can be let off family commitments. I finished the final edit of Kikimora in August. Since then my writing afternoons have been spent:

  • querying reviewers
  • researching publication requirements for my various platforms
  • formatting the manuscript
  • proofing the cover design

That’s it. Three months has passed. Kikimora the ebook is released tomorrow. I submitted, proofed and accepted the final files for my print book today – so it still won’t be available for some weeks (In retrospect I should have been more organised and got both out together. This is something I’ve learnt very recently as I’m going through the process. I would have pushed it all back, but didn’t want to risk ending up the wrong side of Christmas!)


So those are some of the things I wish I’d known when I set out. What things have you learned the hard way whilst publishing your own books? I hope my experiences help, and wish you all the very best of luck.

I’m thrilled to reveal Kikimora’s cover design, courtesy of Uncut ID, and to announce the ebook is now available for pre-order.

Kikimora by Emma Woodcock

As mentioned previously, it’s an ebook-first soft launch, to be followed by paperback in a few weeks (hopefully before Christmas!)

The first reviews are also in.

I’m really pleased with the cover design. It’s just what I had in mind: a cold, blue, snow-laden forest, and something mysterious lurking within…

This post from two years ago shows that I already then knew exactly what I wanted!

I hope you like it too. Let me know your thoughts in the comments?