• Author interview: Dorothy M Parker

    Author interview: Dorothy M Parker

    Author interview: Dorothy M Parker

    Last year I had the pleasure of working with new novelist Dorothy M Parker and her time travel novel, The Angel of Incompleteness. Her novel was published a few months ago so I thought I’d take the time to find out more about her motivations to write the novel, and more.

    Me: Hi Dorothy! What is your career background – I mean, before you wrote this novel?

    Dorothy: I was a journalist at the BBC for most of my career. I studied Biochemistry at Glasgow University and Journalism in an American University.

    Me: Is this your first novel?

    Dorothy: Yes.

    Me: The main character is Louise, someone who has worked in broadcasting. Do you have a particular affinity with her? If so, how?

    Dorothy: Yes, I was a TV Researcher, Producer/Director and then Editor of an Investigative Journalism documentary series at BBC Scotland. Many of Louise’s experiences are derived from my experience, although I focused on the bad ones for the purpose of the story!

    Me: Your novel includes time travel – is this a genre you particularly like? If so, do you have any favourite time travel books/films?

    Dorothy: Yes I love time travel. I was trying to understand quantum physics when I started writing this book, so I became fascinated by the fact that there is no time at the quantum level. I played about with this for the novel.

    Favourites include Carlo Rovelli’s book ‘The Order of Time’, Ruth Ozeki ‘A Tale for a Time Being’, ‘Outlander’, ‘The Time Traveller’s Wife’.

    Me: When did you first discover the nineteenth-century artist Berthe Morisot? And what attracted you to writing about her?

    Dorothy: I was looking at a book about Impressionists when I came across Berthe Morisot, just as Louise does in my novel. I didn’t know there was a woman Impressionist, and I fell in love with Berthe’s paintings – the lightness of touch, the beautiful colours. I became fascinated with Berthe’s work and her life, her struggle to be a painter in a man’s world.

    Me: Your novel also includes the other main Impressionists – was it fun to bring them to life?

    Dorothy: It was great fun. I read letters written by Manet and Degas, and researched them as well as Monet, Renoir, Cezanne. I discovered that Edouard Manet was brilliant and charismatic, Edgar Degas was a misogynist, and Paul Cezanne was a grump. It was fascinating that these amazing artists knew each other in Paris. That was one reason I wanted to go to that time in the book.

    Me: What issues did you find with writing about a real historical person who can’t answer back?! Do you think there are ethical concerns? Did you feel any sense of duty to the real people in the story – which might have constrained you in some way?

    Dorothy: Yes I really struggled with this at the beginning, especially as I was a journalist and spend my career making sure information was correct. Then I decided to give myself a break – lots of authors have written about real historical people. But I tried to be as faithful as possible to Berthe’s character and life. I did a lot of research around her and her family.

    Me: How long did you take from the original idea to completion?

    Dorothy: I didn’t set out to write a novel, but I became intrigued by Berthe Morisot about 5 years ago. At the same time I was trying to understand quantum physics. The ideas just took over, to the point I was waking up in the middle of the night to write them down. So the book insisted it be written. It’s my first novel so it was a huge learning experience. I put it away for months, and then a year at a time, so it was 5 years on and off.

    Me: Your novel not only deals with the Impressionists and Morisot, it also brings the Paris of the post-Commune period to life, including the Haussmann rebuild/public works programme. You contrast the wealthy with the poorest districts. How did you research this?

    Dorothy: I read ‘The City of Light’ by Rupert Christiansen, Robert L. Herbert’s book ‘Impressionism’ and did loads of internet searches about the clothes, the sewers, the food etc.

    Me: Your novel includes quantum physics and the theory of entanglement – how would you summarise the latter to a reader of this interview?

    Dorothy: Hah, difficult. In quantum physics it has been proved that 2 particles can influence each other over distance, instantaneously. There is no space and time at the quantum level. When you change the spin of one particle, the particle it’s entangled with changes its spin at the same time. I thought it would be fun if this applied to 2 women from different centuries!

    Me: How many of Berthe’s paintings have you seen in real life?

    Dorothy: I’ve been to as many exhibitions and art galleries as possible and seen all I can, maybe 50 paintings.

    Me: Where did you take liberties or speculate in the absence of evidence?

    Dorothy: Well obviously the time travel through the painting was a bit of a liberty. Louise’s relationship with Berthe and Eugene Manet was of course fictional. Berthe’s relationship with Pierre Puvis de Chavannes was speculative. They did know each other but I created their story for dramatic effect.

    Me: Did you outline your novel in advance, and if so, how tightly did you outline it?

    Dorothy: I didn’t outline at all to start with. Then I got lost and tried to map out the structure. Then I changed it several times, and then I asked Karen for help and that saved me.

    Me: For any readers inspired to learn more about the topics of your novel – which books would you recommend to them?

    Dorothy: The ones mentioned above. Also ‘Berthe Morisot ‘ by Jean Dominique Rey.

    Me: Most of the novel is historical – do you have a particular interest in historical fiction?

    Dorothy: I didn’t before becoming absorbed in this world.

    Me: What are your favourite genres?

    Dorothy: Magic realism and now, historical fiction

    Me: Who are your favourite writers?

      Dorothy: Ruth Ozeki, Mary Oliver (poems), Carlo Rovelli, George Saunders.

      Me: Do you miss the world of the novel now that the story is complete?

        Dorothy: Yes I really miss it. I take every chance I can to talk about it. I’m now doing a lecture on Berthe Morisot to U3A art appreciation group.

        Me: Would you like to travel back to that period yourself, given the limitations women suffered at the time?

          Dorothy: I’d love to visit Paris in the 1870s and meet Berthe and the Impressionists, but it would drive me mad to stay there. Women were either poor or heavily restricted.

          Me: Did the novel go in any unexpected directions that you were unprepared for?

            Dorothy: I enjoyed getting involved in the social scene in Paris, the balls and the dances. I hadn’t expected to write about that so that was fun. I had to develop the Louise’s relationship with her husband more and add some extra plot points and crises to make the story work, so I had to create a bit more drama to make the story work. There was a lot to learn about character arcs, plot and structure.

            Me: Did your characters surprise you when you were writing the book?

            Dorothy: I became very fond of them, even Edgar Degas. Louise and Berthe’s deepening friendship was a delightful surprise. Giselle, the maid, flourished into a minor character. And as I learnt more about Berthe I understood how hard she had struggled to be an artist.

              Me: What did it feel like to hold your published novel in your hands for the first time?

                Dorothy: Amazing. I was overwhelmed. It had lived in my head for so long it was hard to believe it was real.

                Me: Do you paint or engage in any visual art form yourself?

                  Dorothy: I paint, mostly landscapes.

                  Me: Are you planning to write more novels?

                  Dorothy: Not at the moment but who knows, something else may bubble up and demand to be written.

                  If readers want to check out Dorothy’s novel, you can follow the link below to Amazon:

                    The Angel of Incompleteness

                    The Angel of Incompleteness book cover.
                  1. How editorial feedback changed Interview with the Vampire

                    How editorial feedback changed Interview with the Vampire

                    How editorial feedback changed Interview with the Vampire

                    Interview with the Vampire is one of the most famous vampire novels in history, easily ranking with Dracula and Carmilla as a milestone in the genre. It was a novel that not only changed the life of its author Anne Rice, but also the genre itself. This post looks at the background to the book, its writing, submission process, and how editorial feedback changed Interview with the Vampire, leading to Anne Rice switching to the ending readers know today.

                    WARNING for spoilers relating to the current ending of the novel versus the original ending. Anyone who has not read the book, seen the film, or heard the story should stop reading now.

                    Also, this blog follows on from the previous post where I looked at Scott Fitzgerald’s The Great Gatsby and how it changed after editorial feedback from his editor, Max Perkins.

                    The first draft of Interview

                    It’s part of literary folklore (though also true) that Interview started as a short story. Anne reworked this story a few times and you can read a version of it in The Vampire Companion, listed in the reading material at the end of this post.

                    In late 1973, she returned to it, developing it further so that it became a novel she famously wrote in five weeks. She wrote long into the night, her husband learning to sleep with the light on. Sometimes he slept on the couch.

                    Rice wrote at night, researched at the library during the day, and also drank. She was still in the throes of grief after the death of her young daughter Michelle from leukaemia.

                    For most of her writing life, Anne would identify more with the villain of her first published novel – Lestat. But at this point in her life, she was more wedded to the dark pessimism, guilt and grief of Louis, who suffers the loss of his brother early on, the loss of his mortal life, and the loss of his daughter-companion later.

                    The novel’s frame narrative introduces the interview and the location – San Francisco. In fact, Anne had previously accompanied her poet husband Stan to a small radio station on Divisadero Street. Now the vampire would occupy such a space, telling the story of his life to an interviewer.

                    Though Anne lived in San Francisco at the time, through the novel she returned to the city of her childhood – New Orleans – richly describing climate, flora, streets, quarters, and the interiors of houses.

                    The novel tapped into her own history and recent bereavement, though she didn’t analyse it at the time.

                    Another influence on the novel was Carlos Castaneda’s The Teachings of Don Juan, particularly in relation to Louis learning to become a vampire.

                    She read Carmilla but could not finish Dracula which showed vampires as more alien and animalistic. The 1936 film Dracula’s Daughter was more in line with her vision of vampires as tragic, with a conscience and the ability to suffer.

                    She broke with many of the usual genre tropes so that her vampires could see their own reflections, touch crucifixes, enter churches.

                    It was important that while they represented something magical in their immortality, the vampires themselves could see no evidence of something greater than themselves – namely, God or the Devil. This strengthens the existential angst for a character like Louis.

                    Finishing and submitting the first draft

                    After five weeks of furious writing, Anne finally finished the first draft of more than three hundred pages. In her diary she wrote:

                    It is just before four a.m. Monday morning, January 14 (1974), and I have just finished my vampire novel – 338 pages. Even as I write this the flaws occur to me. Perhaps I’ll go in and add something terribly essential. But right now I want to enjoy the moment of being finished… I am too excited about it to say anything humble or modest. I feel that even the writing of this entry is important. I dream, hope, imagine that this will be my first published work. I feel ashamed of nothing in it – not even what I know to be flaws. I feel solidly behind it as though Louis’ voice were my voice and I do not run the risk of being misunderstood.

                    Before she showed the manuscript to anyone, she sorted out the flaws in the ending. But that ending was very different from the present one.

                    In the meantime, she showed the novel to her husband. His first thought after finishing it was, “Our lives have changed.”

                    On the other hand, a writing group failed to appreciate the opening thirty pages, their comments unproductive.

                    When she sent the novel to someone who worked in film, he suggested she change the title. She didn’t take his advice.

                    She then sent the novel off to publishers and received many months of rejections.

                    Finally she ended up with two interested agents at the same time. She chose Phyllis Seidel and in October 1974 she received the news that Knopf would pay $12,000 for the hardback rights. This was six times the average for a first novel.

                    Anne’s new editor Victoria Wilson did want some changes – minor changes. She brought up something that is not uncommon in manuscripts.

                    The editorial feedback

                    In her editorial letter, Vicky Wilson wrote, “I think you were tired at the end. The end sort of peters out.” While other people who read the novel didn’t feel the same way, Anne felt that Vicky was right. The story calls for a tragic ending, and her energy had given out before she could properly conclude it.

                    It’s not uncommon for authors to be exhausted by the end of a draft. This can mean the ending is weaker or ends in the wrong place. The beginning can often be stronger because the author has more energy and motivation at that point. They are only at the beginning of the long marathon of writing a novel.

                    But what was the original ending?

                    The original ending

                    The novel up to Louis and Claudia going to Paris is pretty much the same as the published draft. But there is no Theatre of the Vampires. There is no climactic fire. There is no Madeleine. Lestat never appears, suggesting he likely died in the fire in New Orleans.

                    Instead, the Paris vampires live in an old mansion in the Faubourg St. Germain where they throw balls, recite Baudelaire’s Les Fleurs du Mal, and drink animal blood in crystal glasses, served from a cauldron. Elderly human servants attend to them, humans who hope to become vampires one day.

                    Louis assumes the vampires are Satanic, leading him to hope they might have some answers to his existential questions. But Armand, the oldest of him, has no knowledge of either God or the Devil. This discussion still essentially exists in the published novel.

                    There are other scenes that don’t appear in the final draft, or which have been adapted. A girl is feasted on at the house in the early draft, while this takes place in the Theatre of the Vampires in the final version.

                    There’s a scene where Armand and Louis look out from a tower room to the Paris skyline beyond. Louis still suffers despair. He cannot stay with the Paris coven. They are too conformist and rigid in their rules. In Armand, he finds “the vampire of my dreams” and they go off together to wander the world. They’re still together by the time of the interview.

                    Meanwhile Claudia has embraced the Paris coven, fitting in where Louis does not. While the truth comes out about her attacking and likely killing Lestat, the other vampires decide he deserved it. The punishment in the final version leads to a dramatic climax. In this earlier version, Claudia is welcomed and joins with other vampire children to terrorize the priests and population of Paris.

                    There is more to this older draft, and you can find an outline of it in Katherine Ramsland’s The Vampire Companion, which is listed in the reading material at the end.

                    The attraction of the first draft’s ending might be evident to anyone who understands that in the child vampire Claudia, Anne Rice had immortalised her own daughter. “Claudia” was Michelle’s nickname. In granting Claudia a happier ending, she might have left her alive at the end of the book, but the overall happy ending wasn’t what the book needed.

                    According to Anne, “The ending wasn’t right. It just didn’t reach it’s cathartic pitch. In fact it didn’t really have an ending, so I went back and rewrote it, and then it had a horrendously different ending.”

                    The rewrite

                    Anne admits she didn’t really re-read the first half, only skimming it. Instead, she threw out the last hundred pages and spent ten weeks writing the new scenes and researching new material. She worked twelve hours a day. The novel’s world was growing and expanding and she was swept up in it once more.

                    This brought the manuscript up to 530 pages. It was far more than what her editor had asked for.

                    With the novel now having new scenes, plot twists, and a different tone and ending, the risk was that the publisher might not like it.

                    It was no longer the manuscript they’d bought.

                    But Vicky Wilson was delighted.

                    Later, Vicky and the editor-in-chief at Knopf told Anne that when authors are asked to revise, they don’t usually address most of the feedback. Some things are revised, but “they get very little back. There isn’t much more an author can do, and they know that.” (This was the mid-70s.)

                    Lessons from Interview with the Vampire

                    It is absolutely true that authors can run out of steam before they reach the end of their book. I have seen numerous manuscripts where the ending petered out.

                    But this is fixable.

                    It’s worth remembering that Anne Rice sent off an early draft. Some writers take longer and write a few before they submit it anywhere.

                    It’s certainly better to polish a manuscript over time, taking break periods where necessary.

                    It’s important to recuperate and return to the manuscript with more energy and objectivity.

                    Feedback from others also helps. For some, this will be writing groups.

                    Anne Rice didn’t find her contact with writers in this scenario as helpful. She had a poet husband who was supportive, but ultimately her own instincts told her to hold to her vision where necessary.

                    That same instinctual understanding of her characters and story told her how to fix the ending.

                    Her novel went on to become a classic of the genre. One that would change the vampire novel forever.

                    Reading List

                    Interview with the Vampire by Anne Rice

                    Prism of the Night: A Biography of Anne Rice by Katherine Ramsland

                    Conversations with Anne Rice by Michael Riley

                    The Anne Rice Reader edited by Katherine Ramsland

                    The Vampire Companion: The Official Guide to Anne Rice’s The Vampire Chronicles by Katherine Ramsland

                    Looking for editorial feedback yourself?

                    Whether you’re a beginner writer or you have more experience, editorial feedback offers a fresh insight into your characters, plot, story structure and more.

                    There are different levels of feedback. I offer an Opening Chapters Developmental edit, a Manuscript Critique, a Beta Critique (a bit shorter and cheaper than a Manuscript Critique), or a full Developmental Edit.

                    If you have any custom requests, feel free to contact me at or you can check my services page link below:

                    Click here for editorial services page.

                  2. How editorial feedback improved The Great Gatsby

                    How editorial feedback improved The Great Gatsby

                    When Scott Fitzgerald heard his first novel This Side of Paradise was accepted, he immediately quit his job (repairing the roofs of railroad cars), and ran down the streets, stopping automobiles and friends to tell them the news.

                    His novel had been accepted by the traditionally conservative New York publishing house Charles Scribner’s Sons. And although Scott had sent previous drafts of the novel to Maxwell Perkins there, acceptance of This Side of Paradise marked the beginning of a professional relationship that would last for two decades.

                    Soon F. Scott Fitzgerald would become the voice of a generation – forever associated with the Jazz Age and flappers.

                    And Maxwell Perkins would go on to work with Thomas Wolfe and Ernest Hemingway, making him possibly the most famous and influential fiction editor in history.

                    Scott’s last letter to his editor, Max Perkins, was dated December 13th 1940. Scott died later that month from a heart attack. His final novel, The Last Tycoon, was left unfinished.

                    The Great Gatsby is F. Scott Fitzgerald’s most famous novel. It was preceded by This Side of Paradise and The Beautiful and Damned and followed by Tender is the Night. Additionally, his Jazz Age short stories solidified his reputation.

                    Maxwell Perkins

                    Perkins was exceedingly gifted at inspiring an author to produce their best work. While he could help with structure, think up plots and titles where needed, Perkins had a credo: “The book belongs to the author.”

                    He also long avoided the spotlight believing that editors should be invisible, both for the benefit of the author and the public. To be visible could erode trust in the work or the writer involved.

                    If you have a Mark Twain, he said, don’t try to make him into a Shakespeare.

                    But in Fitzgerald Max Perkins was dealing with a perfectionist. Consequently, there was less advice needed compared to some others. Nevertheless, as well as dishing out support, cheques against future earnings, and exchanges on other up and coming authors, Perkins would also give editorial feedback.

                    In this blog post, I’ll specifically deal with his editorial commentary on the original draft he saw of Gatsby. Perkins would later say of the novel, his favourite Fitzgerald novel, that it was “as perfect a thing as I ever had any share in publishing.’

                    What to call the third novel?

                    Correspondence between Perkins and Fitzgerald shows Scott trying out different titles for the book. Some of these titles seem distinctly odd now: Trimalchio in West Egg is perhaps one of the least strange. Other suggestions included:


                    Among the Ash-Heaps and Millionaires

                    On the Road to West Egg

                    Gold-hatted Gatsby


                    The High-bouncing Lover

                    Under the Red, White and Blue

                    While Scott worried over the title and was still fond of Trimalchio, this choice did not go down well with most of those at Scribner’s. And although The Great Gatsby ultimately won out, Scott felt the title wanting in some way.

                    The editorial feedback

                    There is a Cambridge edition of the early Gatsby manuscript, titled Trimalchio: An Early Version of The Great Gatsby. It also contains notes and two letters from Perkins. The value of this draft of Gatsby is in seeing what differs from the final version.

                    For anyone particularly familiar with Gatsby, there will be obvious changes. However, the novel that most people know is still very much there.

                    Previously, the novel Fitzgerald was writing was far longer, but he removed a lot of material. There is a long story called Absolution that was cut from the Gatsby narrative. By the time the first draft arrived on Perkins’ desk, the manuscript (Trimalchio) was very similar to the end product.

                    Maxwell wrote back to Fitzgerald full of enthusiasm. Dear Scott, he wrote, I think the novel is a wonder. He goes on to say it has vitality and glamour.

                    He brought up the issue of the title, which no one at the publisher liked but him. This letter was brief since he intended to take the novel home and read it again, before writing his impressions in full.

                    His second letter was a bit longer, but it did not amount to what might be a modern manuscript critique. This is partly because Fitzgerald had already cut a lot out of his novel and shaped it before sending Perkins the first draft he saw. This was Scott’s third novel, so he knew what he was doing and was already a perfectionist.

                    Perkins opens the second letter with, “I think you have every kind of right to be proud of this book.” He goes on to praise the use of a spectator narrator in Nick Carraway, which gives the readers more perspective on what is happening than the characters at the heart of the book. The eyes of Dr Eckleberg also look down on events.

                    When it comes to actual criticisms, Perkins makes only a few points. He was not a very hands-on editor with Fitzgerald. He never wanted to impose his own vision and he was dealing with an exceptionally talented writer.

                    The criticisms make perfect sense and while tiny in number, they do make an important difference.

                    First of all Scott had worried that there was a slight sagging in chapters six and seven. Perkins agreed with him but didn’t offer a suggestion other than to say he knew Scott would come up with something to fix the pacing.

                    Describing Gatsby

                    One major difference between the first draft Perkins saw and the published version relates to the scene where Nick first finds himself looking at Gatsby.

                    He was only a little older than me – somehow I had expected a florid and corpulent person in his middle years – yet he was somehow not a young man at all. There was a stiff dignity about him, and a formality of speech that just missed being absurd, that always trembled on the verge of absurdity until you wondered why you didn’t laugh. I got the distinct impression that he was picking his words with care.

                    After that, Gatsby is distracted by his butler and leaves.

                    Readers familiar with Gatsby will remember a more memorable description that more clearly outlines his youth. Perkins pointed out that Tom Buchanan was so well described that he’d know him if he met him on the street. By contrast, “Gatsby is somewhat vague. The reader’s eyes can never quite focus upon him, his outlines are dim.

                    While much about Gatsby is a mystery, Perkins felt that he should be described in as much detail as the others.

                    Perkins adds that two people at the publishing house thought Gatsby was older than he was, even with the statement that the man was only a little older than Nick.

                    In a later response to Perkins, Scott admitted that he himself didn’t know what Gatsby looked like or was engaged in (the nature of his business). He’d originally thought this was okay, but it was of course one of the problems Perkins picked up on.

                    Here is the final version that Scott came up with:

                    He smiled understandingly – much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced–or seemed to face–the whole eternal world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself, and assured you that it had precisely the impression of you that, at your best, you hoped to convey. Precisely at that point it vanished – and I was looking at an elegant young rough-neck, a year or two over thirty, whose elaborate formality of speech just missed being absurd. Some time before he introduced himself I’d got a strong impression that he was picking his words with care.

                    Gatsby’s business

                    Another point Perkins made related to the mysterious nature of Gatsby’s business. He clearly had a business relationship with Wolfsheim but the reader would still be puzzled by all his wealth.

                    It wasn’t that Perkins wanted Fitzgerald to go into detail about the source of his money. But he thought the reader would wonder about it and that it would make sense to drop in hints here and there “that would suggest he was in some active way mysteriously engaged.

                    Perkins went on to say that the total lack of an explanation “through so large a part of the story does seem to me a defect.” Even the suggestion of an explanation would do. The details of what Gatsby is engaged in didn’t need to be outlined, including whether he was an innocent tool of someone else or not. But there did need to be more evidence of his activities.

                    In his response letter (which can be read in Dear Scott/Dear Max), Scott said, “Gatsby’s business affairs I can fix. I get your point about them.

                    And indeed in the next draft he does drop in more evidence of mysterious business activities that do not in any way undermine the mystery of Gatsby himself. The reader can fill in some of the remaining gaps themself.

                    In a later letter Perkins (in Dear Scott/Dear Max) brought the subject up again, referring to the fact Gatsby was supposed to be a bootlegger – a little bit here and there about the bootlegging might be what’s needed.

                    Gatsby’s biography

                    In the earlier draft, the story of Gatsby’s background appears in chapter eight. Perkins felt that the way it was given to the narrator departs from the narrative technique in the rest of the book. Elsewhere, “everything is told, and beautifully told, in the regular flow of it, – in the succession of events or in accompaniment with them.” Dumping the backstory where it appears in the earlier draft interrupts the flow of the novel. Perkins thought it better to sprinkle the information bit by bit through the course of the narrative.

                    In a later letter to Max, Scott listed his changes – that he’d brought Gatsby to life, accounted for his money, fixed up the two weak chapters (six and seven), improved his first party, and broken up the long narrative relating to Gatsby’s history.

                    The outcome

                    Although Scott still dithered over the title of the book – mentioning Gold-hatted Gatsby in a March 1925 letter – he also felt that Trimalchio might have been best after all. But it was The Great Gatsby that appeared in bookstores on April 10th 1925.

                    Scott’s letters to Perkins show his nervousness, fear, and foreboding. He worried women wouldn’t like the book because it had no important woman in it. And he thought the critics wouldn’t like it because it dealt with the rich and “had no peasants borrowed out of Tess and sent to work in Idaho.

                    He also worried that he wouldn’t sell enough to cover his debt to Scribner’s since they had often loaned him money in advance.

                    Even on the day of the release, Scott was picking over the faults he could still see in the novel. Nevertheless, he considered the first five chapters and parts of the seventh and eighth to be the best things he’d ever done.

                    Unfortunately, sales did not take off as hoped. The fact the book was around 50,000 words and therefore shorter than what the trade preferred did not help. At least two big distributors reduced their orders considerably at the last minute.

                    Scott reflected that the title was only fair, “rather bad than good“. And he still considered the lack of an important woman character to be an issue since “women control the fiction market at present.”

                    In the end, the book would establish itself as one of the greats of modern American literature and cement Fitzgerald’s reputation. But it didn’t happen overnight.

                    Reference material

                    Trimalchio: An Early Version of The Great Gatsby – The Cambridge Edition of the Works of F. Scott Fitzgerald edited by James W. L. West III

                    The Great Gatsby by F. Scott Fitzgerald

                    Dear Scott/Dear Max: The Fitzgerald- Perkins Correspondence – edited by John Kuehl and Jackson Bryer (out of print so check eBay)

                    Max Perkins: Editor of Genius by A. Scott Berg

                    Looking for editorial feedback yourself?

                    Whether you’re a beginner writer like Fitzgerald once was, or you have more experience, editorial feedback offers a fresh insight into your characters, plot, story structure and more.

                    There are different levels of feedback. I offer an Opening Chapters Developmental edit, a Manuscript Critique, a Beta Critique (a bit shorter and cheaper than a Manuscript Critique), or a full Developmental Edit.

                    If you have any custom requests, feel free to contact me at or you can check my services page link below:

                    My editing services page.

                  3. Terrified of reading your work in public?

                    Terrified of reading your work in public? Some tips on how to perform well at an author event.

                    Terrified of reading your work in public?

                    Terrified of reading your work in public? You should be. You’re a writer, not an actor!

                    Unless of course you’re both. In which case you can stop reading now and do something else.

                    There are many intimidating moments in a writer’s life. Getting the first feedback on your novel, hearing back from agents or editors. Reading reviews. The horror!

                    Or having to stand up in public and read out your work. More horror!

                    While author events are more associated with the mainstream publishing industry, indie authors too can read their work to a live audience.

                    Some authors thrive in the spotlight, enjoying the opportunity to interact with readers or potential readers.

                    But for other authors, standing in front of an audience represents death by a thousand cuts.

                    It’s true that actors and musicians can be introverted in their private lives, then miraculously switch on for an audience. Prince would be an example of this – extroverted on stage, introverted and quiet-spoken in private.

                    It’s easier of course when you’ve had a lot of experience performing, or even some training.

                    Writers tend not to have any training in acting or performing.

                    Is it worth taking acting classes ahead of a reading? Possibly.

                    However, there are other ways to approach a reading. The obvious one would be to avoid reading in public altogether! But not so fast… You might want to scurry back into your author’s burrow, but that doesn’t get your work out to the public.

                    Plus, if you attend an author’s event as a writer, the audience has made the effort to turn up. So you might as well make the effort to entertain them – and no, I don’t mean by falling off the stage or giving the worst reading in the history of worst readings!

                    If you’ve been avoiding reading events, it’s time to develop some decent reading chops. No more sorry excuses. No more turning up to read, and quietly droning into the microphone until you finally get the damn thing over and sit down… hoping you didn’t humiliate yourself too much.

                    There is an answer to this problem and it comes in two words:

                    Anthony Hopkins

                    Yes, you’re going to get some important tips from a master of acting. And you don’t need to become a master of acting yourself to benefit from this advice.

                    In interviews, Anthony Hopkins has revealed he memorises his lines 250 times. He’s absorbing the text, ensuring that he really really knows it well. He describes 250 as a magical silly number. Yet something happens when he goes over the text so many times. By knowing the text so well, he has all the information he needs and his brain can relax.

                    He goes on to say in one interview that once you’re relaxed, you can go on the stage and improvise within that text. He describes ‘becoming so free you get into the zone‘. Once he’s memorised the script, he puts it aside. He also advises putting ego aside if possible, and managing emotions and remembering that less is more in a performance.

                    I’ve added some links below to interviews he’s given if you want to explore this some more. But the bottom line is that his advice can also apply to reading your own novel to an audience.

                    How to prepare for your readings in advance

                    This is very important. You should not start preparing just before a reading. Instead, you should start before your novel is even published. Going through the final draft, begin selecting passages you’d want to read to an audience. Most likely your opening pages, but you might have one or two other passages you also want to read.

                    It’s worth remembering that these passages should act as a hook to reel in potential readers in the audience.

                    Your reading is partly a marketing effort and it’s always worth remembering that.

                    Begin memorising the final draft of these passages. Follow Hopkins’ example and do it over and over it again, many times.

                    In the case of Hopkins, he’s absorbing the words to the point where the words are second nature, and this likely helps bring his facial expressions, body language and internal emotion into line with what he’s saying.

                    An author doesn’t need to memorise to the point where they go on a stage and recite without the novel in front of them. In the case of a reading, it’s about absorbing the language until the words become second nature.

                    You will be less likely to trip over words, lose your place on the page, and you will also likely become more immersed in the story. This in turn can help with feeling self-conscious.

                    It can also ward off the kind of physical tension that can kick in and restrict your voice. Nerves and reading in a formal setting can lead to tension in the throat. This in turn can lead to a tendency to drone.

                    But if you really know your material and can relax, you should find it easier to modulate tone and emotion in your voice.

                    There’s a difference between reading text that you’re just scanning from a page, and reciting something you know so well that you get swept up in it and your voice can better modulate emotion.

                    Rhythm, pauses, emphasis

                    Once you’ve really memorised the passages you’ve chosen, to the point where you could recite them in your sleep, play with pauses, word emphasis, speeding up and slowing down speech.

                    In a video essay on Anthony Hopkins, relating to a particular scene from Westworld, there’s an analysis of speed and pauses in his speech. I’ve linked to this video essay at the end of this blog post, so you can check it out for yourself.

                    You too can experiment with how to break down your text and where to emphasise a word, include a pause or even a gesture, etc. And you can use highlighters or underlines to help you remember, if necessary. Look also for rhythm. Try tapping it out where it’s important in a text, then use it as a guide to how you might read that line.


                    Of course the reading itself is only part of the deal. What do you look like? Are you like most writers – ie, do you look like you’ve been dragged through a hedge backwards?

                    You might be tempted to buy new clothes for your reading. (Let’s face it, any excuse to buy new clothes is an opportunity not to be passed up.)

                    And there’s nothing wrong with splashing out on that eighteenth century dress in red silk brocade for your historical bodice ripper reading. In fact, the audience will never forget the effort you made.


                    They will remember it for years to come.

                    But remember that if you’re wearing uncomfortable new clothes or clothes that leave you feeling self-conscious, you are making things harder for yourself.

                    You can wear something different, including period costume, but make sure you walk around in those clothes (and shoes) a bit before you do your reading.

                    Wear them to the point where you hardly notice the way they fit on your body. Make sure they’re also comfortable enough for the reading.

                    It’s like costume rehearsals. The more comfortable you feel in your clothes, the less awkward you’ll feel on the stage. Own your costume, even if it’s just your usual jeans and sweater.

                    And another thing…

                    Own the stage

                    When you arrive at the venue, see if you can visit the stage and walk around it a bit. Get a feel for the space. Don’t be afraid of it.

                    Also, don’t huddle tightly into a small space behind the microphone or lectern when you’re performing. And stand up straight – body posture impacts emotions and your ability to project your voice.

                    Video and audio readings

                    Of course, you don’t have to turn up in person to do a reading. You could make a video – again, make sure you really know your text beforehand. If you’re camera shy, you could go straight to audio or use images that match your story to accompany your voice. This allows you to get more creative.

                    You can also post readings to social media – be aware that if you have Twitter verification, you can post much longer videos. The algorithms like video content.

                    Still terrified of reading your work in public?

                    While reading in public for the first time can be a frightening experience, it’s not unusual to get a post-reading thrill. You might even wish you could go up and do it again. It all depends on how it went.

                    And how your reading pans out will depend on the amount of preparation you put in.

                    Don’t leave things to the last minute and wing it.

                    Don’t see it as a painful rite of passage you have to go through for each book.

                    Learn your text, prepare, and give it your best shot. This is your chance to win over the audience – especially if you’re appearing alongside other writers.

                    Some of the audience will be there to see and hear someone else.

                    Make sure that when they leave, it’s YOU they’ll remember and talk about.


                    Anthony Hopkins about his acting philosophy – particularly look for the section 10 minutes in called ‘Working on the text’.

                    Westworld: What makes Anthony Hopkins great – video essay by Nerdwriter1

                    Other IndieCat blogs you might find useful


                    And if you’re interested in getting feedback on your novel, feel free to check out my services page. You can also contact me if you have a particular custom service in mind.

                    Click for services page here.