Writing can seriously damage your health - not to mention your relationships, your bank account and your career prospects. Here is a book that tells writers how to survive and prosper while struggling to make sense of the mad worlds of publishing, theatre, television and film. The early chapters help you to clarify your ideas about what you hope to achieve as a writer - money, fame or literary reputation; they also provide a realistic assessment of your chances of achieving those aims. Subsequent chapters provide a detailed explanation of how the modern publishing industry works, and explain the crucial role of emotion for writers of both fiction and drama. Later chapters offer practical advice on how to find the time and energy to pursue your writing career, and provide help on how to market your work in the digital age.
The Truth about Writing is a controversial, hard-hitting book which is going to upset some of the literary establishment. It will, however, prove enormously beneficial to writers.
After reading this book, writers will know how to think clearly about what they want to achieve from a writing career, and will be able to avoid wasting their time and effort on the unachievable. Whats more, they will know how to make the most of their limited time and energy.
Here, by way of a taster, are just of few of Michael Allens more trenchant conclusions:
As far as income is concerned, most writers would be better off working behind the bar in their local pub.
The desire for fame should be sufficient, in and of itself, to get you sectioned under the Mental Health Act.
Serious literary criticism is written in a language called litbabble, which is a form of postmodern, deconstructed gobbledygook. Its practical value, in terms of helping you to write a better novel, is nil.
Unsolicited submissions, from writers who are not represented by an agent, are accorded the same degree of respect as would be given to something left on the publishers doorstep by a dog with diarrhoea.
The so-called advance is actually a retrospective.
Most publishers can recognise a bestseller, but only when it was published two years earlier and they have the sales figures in front of them.
Publishing depends, for its continuance, upon a ceaseless flow of mugs, suckers, and assorted halfwits who are prepared to work for a year or more without any serious prospect of remuneration.
The degree of success experienced by a writer will vary according to circumstance, and the definition of circumstance is everything that the writer cannot control, or even influence.