Saturday, March 25, 2017

GUESTOPIA: Author and Publisher Keith Mansfield


Keith Mansfield is (currently) a failed astronaut. Rejected by ESA in 2009 and ineligible for NASA because his parents returned to England from the US in the 1970s, a key theme of his writing is the longing for humans to journey into space. Author of the Johnny Mackintosh series of children’s science fiction novels, he has also helped create exhibitions for London’s Science Museum and a six-part UK popular science TV series. A mathematical physicist by education and publisher by profession, he has worked for institutions such as the British Film Institute and Oxford University Press. In that latter role he hopes to have saved humanity from enslavement by our future robot overloads by publishing the highly influential New York Times bestseller Superintelligence, by Nick Bostrom. He is currently working on a novel about the nature of reality and the perplexing apparent absence of aliens in the universe. He is also writing a nonfiction book about SpaceX’s plan to colonize Mars. Like his idol Elon Musk, he hopes to die on the red planet, just not during landing.

How impressive is that bio! So, let's find out even more about Keith (and be sure to read because this truly is an honest and insightful interview!)...

Is this your first published book?

I’m currently working on my fourth book (and a fifth!). Because of where I stand with them, I think this interview will only make sense if I switch continuously (confusingly?) between that intended fourth novel and my first. Besides, I have a terrible habit of always jumping around with my answers in life generally. I claim it’s to do with creativity, though others might describe it as having a disorganized mind.

What’s it called?

The new book’s called Entanglement, because it’s a love story between two characters whose lives are entwined across multiple realities and they start to realize this through the scientific phenomenon of quantum entanglement (I’m proud of my title!).

Which genre?

This is a science fiction romantic thriller, I’d say paying homage to The Time Traveler’s Wife and linking that with Carl Sagan’s Contact. If you liked those you should enjoy the new book.

Which age group?

Good question. Publishers always want authors to specify their audience as narrowly as possible. Authors want
everyone to read their books. My first books (the Johnny Mackintosh series) were originally classed as “children’s” but I’d say “for ages 10–100”. Plus, the target age probably went up as you went through the series so they moved from “middle grade” firmly into “YA”. The new book will probably be classed as “fiction” rather than “YA fiction” but it’s the sort of thing I’d have loved to have read as a 15 or 16 year old.

Is it a series or standalone?

For the first time I’m writing a standalone novel.

Are you an agented author?

No, but I expect to change that and get an agent before the book’s published. Because I work in the book industry (see below) when I signed my original deal my editor suggested we cut out the middle man (or woman) and I kept the extra percentage. I did that but in hindsight I think it was a mistake (again, see below!).

How involved have you been in the whole publishing process of your book?

My first book, Johnny Mackintosh and the Spirit of London, was published by Quercus in the very early days of them deciding to create a children’s book list. And my book (and series) was signed to be the initial lead title. So far, absolutely brilliant. But very quickly the editor who’d signed me up left. The knock-on effect was that, back then, Quercus decided to reign in their children’s programme. All the wonderful publicity plans evaporated, oddly the book was announced to the world as the first in a trilogy without consulting me (it was never intended as a trilogy) and the title was changed to something I didn’t even understand! It was a sad introduction and meant I immediately felt I’d lost ownership of my book and became disengaged. Near the end of the process, almost as the printing presses began to roll, the bookshops turned round to Quercus and said their title didn’t work and needed changing. I insisted (and eventually got) my original title back, but only because in the two or three days the question was open we didn’t have time to think of anything better. Sadly, because the editor had left, no one edited my first book at all. Though at the time I expect I would have been an annoying know-all author, resistant to changes. I’m much more mellow and able to listen to other people’s good suggestions nowadays.

If you’re lucky enough to succeed with a direct approach to an editor, you only need to find one person who really loves your work and you’re away. But if you are taken on by a literary agent and then an editor, you’ll have two people on your side. The experience taught me the value of having an agent to speak for you if you need someone to do that, so they can play bad cop with the publisher and leave you, the author, to enjoy being good cop. Working in the industry I know changes of personnel and company priorities can happen, but it’s also made me a better publisher, teaching me never to impose titles (or covers) on my authors. I must say all my Quercus covers have been beautiful, though I think it would make more sense if they were linked with a series style, as has been done with the eBooks (but not the print versions).

I must add that the next editor who took over the list worked tremendously hard on Johnny Mackintosh: Star Blaze, my second book, even though I suspect it wasn’t her thing. Because of her invaluable edits, the book now has a completely new (excellent) ending going beyond the one originally planned. Very sadly there was a glitch with the computer systems that meant for most of the first year after publication it was listed as unavailable (even though Quercus had stock), so bookshops or readers couldn’t order it. I’d report it, and for a day or so it became magically available, but then whatever was causing the problem would overwrite the database and it would become unorderable again. You can buy it nowadays, but even today hardly any have been sold compared with the several thousands of the first and third books, which is very frustrating when they were meant to be read in order! The third in the series, Johnny Mackintosh: Battle for Earth, went more smoothly.

Which publisher snapped up your book?

No one knows about Entanglement so far. You’re getting an exclusive first public reveal.

Do you have another job?

I’ve worked in publishing almost all my life, mainly as a publisher/commissioning editor. Though recently I gave up my job as science publisher at Oxford University Press so I’m now freelance. I’ve always dabbled in TV and since then I helped make a series called 'It’s Not Rocket Science' and a few other bits and pieces. As well as the writing, I’m toying with setting up a publishing company with an initial focus on important areas of popular science.

Did you receive many, if any, rejections prior?

I don’t think it’s possible to be a writer without getting rejections. With Johnny Mackintosh and the Spirit of London I was lucky that I had a lot of thoughtful and constructive rejections – very near misses really – that encouraged me to keep going. Probably around twenty agents rejected it. With getting close but no deal, I took a decision to stop sending the book out and I completely reframed and rewrote the opening third. It meant killing a lot of my babies that had become very real to me, but also made the book an awful lot better and more distinctive. Once it was ready I heard in the trade that Quercus were setting up a children’s list so I sent it to them directly and amazingly was immediately signed up. Before anyone else does similar, they no longer take unsolicited enquiries!

What created/what were you doing or watching when the first idea for this book sneaked up on you?

For Johnny Mackintosh and the Spirit of London it struck me one day that the books I really loved were what nowadays are called YA, yet I was trying to write the definitive modern novel. So, I went back to a story idea I had as a 15 or 16 year old that I’d liked enough to record onto an audio cassette and expanded that.

Entanglement is a coming together in a perfect storm of my OUP science and philosophy publishing, my love of cosmology and my dreams, to produce the definitive modern novel 😉. The first time that coalesced into the actual story was during a workshop on “how to pitch your movie”. I’d been working on a screenplay that, the longer the workshop went on, I realized was nearly impossible to actually pitch to anyone. Trying to think of a good pitch the story behind Entanglement came to me there and then.

How long did you plot/plan until you started writing it?

I chewed the story for Entanglement over in my head for a while, before going to a fifteenth century Scottish castle on a writing fellowship. Hawthornden is a beautiful isolated world, with no phones/tv/internet. There, I spent the first three or four days plotting and replotting and replotting some more, much of it on a ridiculously complicated spreadsheet covering the same two-month period over eight interlinked realities, making sure it all made sense. I don’t think I could have done it except for being in a place with absolutely no distractions. Then I began writing in earnest.

Once you started, did the story flow naturally or did you have to step in and wrestle it into submission?

The beauty of writing a book should be that it’s like reading your favourite book – one written especially for you. I think as an author you have to try to please yourself and then hopefully your readers will also enjoy what you’ve written. Naturally, you should want to devour it, so once I start it tends to flow reasonably well. Where it grinds to a halt, it means there’s a flaw in the story or the characters.

How many drafts did you write before you let someone read it? Who was that someone?

For Johnny Mackintosh and the Spirit of London I made a schoolboy error I’m really embarrassed to admit to. When I first queried agents, I wanted to be sure it was worth investing time in the book so I only wrote the first three chapters before sending it out (explaining I was doing that in my query letter). I wouldn’t recommend this. My first query went to star literary agent Carole Blake of Blake Friedmann (very sadly now deceased) who immediately asked for a full read, but I had nothing to send. So I busied myself rushing a terrible first draft and no sooner had I typed “The end” I printed it out and popped it in the post to her. Naturally she wasn’t impressed.

Did you employ an editor/proofreader or did you have a critique partner/beta readers before you started querying?

As an editor who started out in the industry proofreading and copyediting I’m reasonably confident of creating a high-quality work that’s at a level agents will take seriously. I’m lucky nowadays that more and more people have asked to go on a list of critique partners/beta readers, so they’ll get the advance version of my new book. Just not quite yet.

Roughly how many drafts did it take before you sent the manuscript off into the real world?

For my later books I certainly don’t show anyone the first draft. If I’m happy with the third, fourth or fifth, I might let me friends see it. My test for whether a book’s really ready, is when I start to find myself changing words and sentences back in an edit to what I’d changed from previously. It’s as if the draft’s reached some sort of state of thermal equilibrium in which I understand further edits on my part have become pointless.

How many drafts until it was published?

I hate to say for anyone who thinks this is easy, the first Johnny Mackintosh book took around 40 drafts (or course some of them pretty minor edits). Happily, I’m a great re-reader (I must have read all the Harry Potter books about twenty times) so I’m happy to re-read my favourite book (my own!) over again. Philip Pullman has said the idea of daemons only occurred to him in the around the 25th draft of The Golden Compass/Norther Lights, so I’m in good company.

Has the book changed dramatically since the first draft?

Happily, yes. There were too many characters doing the same job, and Johnny started out living with relatives
when in the final book he’s in a children’s home.

Are there any parts you’d like to change even now?

There are still too many characters. Though I shall always remember my first review, eagerly awaited, read “too many ideas”. At least it’s better than too few. Also, I didn’t think about structure at all whereas after I’d written it I ended up thinking about structure a lot and now it’s become key to my writing.

What part of writing do you find the easiest?

Unquestionably I enjoy writing dialogue. I have to resist the temptation not to do everything with speech. I think I possibly read too many screenplays.

What part do you find hardest?

The middle section of any book. The more I write the more I tend to structure things within three acts. You’re always buzzing to start something, and again when the finishing line is in sight, but keeping everything on track, interesting and page-turning in the middle can be a challenge.

Do you push through writing barriers or walk away?

I wonder what people mean by a writing barrier? For me, if I hit some sort of wall with my writing it’s a sign that the story isn’t working so I have to change it. And it’s always important to bear in mind that, just because you’ve written something in the story, doesn’t have to mean you keep it. Everything is malleable until your book goes into production. I find you can’t force a story to work when it doesn’t, so I stop and backtrack and try and resolve the issue. It’s very important to me that my stories make sense, both logically and also from the characters’ perspectives.

How many projects do you have on the go at the same time?

At the moment I’m slightly actively working on three which is more than enough: the novel, the nonfiction book and the screenplay that I can’t pitch. But the focus is very much one at a time. I’m aware I’m easily distracted, so it’s important to try to stay as focused as possible.

Do you think you’re born with the talent to write or do you think it can be learned?

Interesting question and a topic of debate among writers. I think plenty of people are able to write reasonably well, and that can be learned. But what singles some out is the instinctive ability to understand story and narrative. I probably bore a lot of people by telling stories instead of holding a conversation. It’s a curse as well as a talent. When I start reading a book or watching a film I can very quickly see how it’s going to end. Only the best stories surprise me.

How many future novels do you have planned?

When I started writing properly (as opposed to simply telling people I was a writer but hardly ever doing it) I knew I could write pretty well, but where I struggled was coming up with ideas. I’d start books that I thought should work, but they always petered out because the ideas didn’t excite or interest me enough to keep going to the end. And if I wasn’t that fussed, why should any readers be? Happily I was saved by Johnny Mackintosh. But the more you write, the better you get and the more the ideas flow. Whenever I have an idea I work up a plan in a computer file and also make sure I email it to myself so it won’t be lost, but now there are more ideas than it’s possible to write in a lifetime, so every book should, in theory, improve in quality.

Do you write other things, such as short stories, articles, blogs, etc?

I have a website that I update far too sporadically. Writing time is so precious that I’d rather spend it on books rather than other things. Also, though, these things are cyclical. In the run-up to publication you will find yourself writing a load of pieces for publicity, whether it’s for blog ours or op-eds. I do write TV scripts sometimes, for entertainment shows. And I’d like to write movies so I have tried my hand with screenplays.

What’s the highlight of being published so far?

It’s always wonderful seeing your books in store and amazing when readers make contact. It would have to be one of those things. As a UK author the highlight may be when I came to Australia for the far north Queensland total solar eclipse in 2012. I hadn’t had room in my luggage to bring copies of my newest book to give to (long suffering) friends. In Sydney I walked into a small bookshop and there was Johnny Mackintosh: Battle for Earth, piled high in front of me! Seeing my books unexpectedly on the other side of the world is probably the best.

Give me one writing tip that work for you.

Writing time’s precious so before you start writing, make sure you know your ending and make sure it’s really really good as that will be the most crucial part of your book. Also, it’s so much easier to plan once you know what everything is working towards.

And one that doesn't.

Tough one. I think most standard writing tips are actually well worth following, but there’s no way I could “write every day”. I need time to chew over a story if the writing’s going to be sufficiently rich. It’s like filling a reservoir as high as you can until you’re ready to breach the dam and have the words splurge out onto the page.

Can you give us a clue or secret about the next book?

You’re saying it was meant to be secret? Oops! Seems I’ve let the cat out of the bag above. I would add I’ve been very lucky to mix with many of the world’s greatest thinkers for my day job, asking them to write books based on their wonderful but sometimes whacky ideas. But at the same time, if their ideas are really out there, I do think “I could use that in a book”. Entanglement is part distillation of some of my exceptional authors’ brilliant ideas, weaved into a love story.

What question have you always wanted to be asked but never have? What would the answer be?

Ooh, lovely question. There are loads, but it’s especially a shame (probably because of the “trilogy thing”) that no one’s ever asked how many Johnny Mackintosh books I have planned and do I know how it ends?

There are meant to be five books and I’m so proud of the ending which is brilliant, epic, perfect, explains everything and achingly sad, but kind of happy at the same time. I hope one day I get to write it.

Wow! What a pleasure it's been to interview Keith and find out more about him. We hope you've all enjoyed today's Guestopia as much as we have. And we wish Keith, and Johnny, all the luck for the future! If you want to find out even more about Keith and follow him, here are some links that might help!

Stay tuned, as later this month we're welcoming another amazing author to the YAtopia stage!

Friday, March 24, 2017

How to Respond to Criticism

I know it's Spring Cleaning time around here, but I have something I need to get off my mind. Hey, I guess it fits the theme, after all!

Listen authors, we gotta talk. Bad reviews and other forms of criticism can hurt. Whether you haven't even finished your first manuscript or you have published eight thousand books, you're going to receive criticism.

Like, a lot.


Whether it's that guy in your MFA class, a member of your critique group, an agent offering precious feedback, an editor declining to publish your work, or a reviewer commenting on a published work, you're going to get a lot of it.

Some of it really is nonsensical and may have more to do with the reader's problems than the writing. Some of it is going to click right away. But most of it? You're going to think it's all shades of idiotic and undeserved, but sometime later (maybe years?) you're going to realize your critic had a point.

Though it may feel like it, criticism about your writing is not a personal attack. Someone saying they don't like (parts of) your book is not bullying. The info here does not pertain to actual personal attacks where the person has some kind of power over you. If you think you might want to contact the police or a lawyer, do that. Don't tweet about it, just do it. Personal attacks and actual bullying are a different issue. But in the heat of critique, it is very often difficult to realize the difference, and many authors have misconstrued the two.

It has become apparent that maybe some authors could use some tips on how to respond to criticism. From someone who has been a reader, reviewer, hopeful author, mentor, editor, published author, and publicist, I'll offer my (admittedly not perfect) advice.

1) Don't respond.

Not to argue, not to "correct." You're going to disagree with their opinions. Just do so inside your own head, okay? If it's someone you've asked to critique your work, you're permitted two words: "Thank you."

I know you want to defend yourself and your work. But you don't have to. You put your work out there and someone responded to it genuinely and honestly. That's it.

But if a reviewer got every single one of your main characters' names completely wrong, describes your light and fluffy romance as a creature horror, or grossly misrepresents your book in some other way?


Don't respond.

That's it. I know you're angry and/or hurt. We're compelled to defend ourselves. Your emotions are real. But for everyone's sake (especially your own), you gotta back off.

So what can you do?




Scream at the sky, drink a glass of wine, pet your puppy, go to yoga class, dance around your apartment to old-school Avril Lavigne, strap yourself to a chair until the rage passes, carry heavy stones up a hill then back down again, cry your eyes dry, call your BFF/sister/therapist/partner and rant about it - whatever you need to do to process your emotions privately. But then let it go.

I should be able to stop here, but recent events have shown that some of this needs to be spelled out more explicitly. So.

2) Don't write about it in any public or semi-public space.

If you wouldn't post it on facebook, twitter, and the front page of the New York Times, don't create a written record of it. Let me rephrase: If your publicist would so much as give you that little half-frown she does when you're being slightly ridiculous if you put this on twitter, don't email or message or post in a "private" facebook group. Emails can be forwarded, "private" facebook groups are the privacy equivalent of fish netting for clothing, and anything written can be screenshot.

This includes subtweets, posts where you don't name the critic and/or only summarize what they said instead of quoting them. One, you're just bringing more attention to the critique you don't want anyone to see. Two, in my nine years in the book community, I have literally never seen any response to criticism turn the tide of public opinion back in the author's favor.


This isn't just so you "don't get caught" but it's because you're going to say things either you don't really mean or don't understand the full ramifications of. Writing it and making it public - that's permanent. You can't take it back, ever.

If you really can't control your compulsion to write about it, go the old-fashioned route with pen and paper. Then light that shit on fire and let your bitterness float away with the smoke.

3) Don't contact the critic.

As the kids on twitter say: don't @ me. No tweets, no emails, no goodreads comments, no facebook messages, no tumblr reblogs, no instagram comments, no sending $0.01 donations via PayPal, no writing billboards, no passing things through a friend.

"But what if...?"


Nah, just don't.

And (Lady Godiva help me, I can't believe I have to say this) do not -- under any circumstances -- seek out & share personal information about them, contact their place of work, go anywhere near them in person, talk about their children in any way, tell everyone who will listen how much they hurt you, or any number of things I would never think I would have to warn you away from.


4) Read your positive reviews/feedback

Negative feedback can leave you feeling defeated, in addition to angry. Chances are, you've received positive feedback. Go ahead and re-read that. Say to yourself, "See, THIS PERSON appreciates my genius." Then maybe make friends with them if you're not already. Bask in the glow.

Don't isolate yourself to the point where all you hear is praise, as that will stunt your growth as a writer, but revel in your fans when you need to.


5) Don't read reviews

Some people offer this as blanket advice, but I don't. I think reviews can be a great source of both encouragement and education. And if the work is not yet published, you're going to HAVE TO listen to criticism of it. No one writes a perfect book on their own.

But some people just can't handle reading negative comments of their published work. And at that point, it's not like you can change the book anyway. Most of the time, you think you can handle it, but then you find them gnawing on your mental health and energy. If you find that happening to yourself, if your muscles are straining to respond or lash out, don't read any of your reviews.


Ask your publicist to send you the good ones, but don't lay one digital finger on your Goodreads or Amazon listing.

Some critique may find you, but you don't have to seek it out.

6) Listen & Consider

It may seem like this is the opposite of the last point, but it doesn't have to be. Here's the thing: a lot of that criticism that stings or feels like a knife to your gut? It may be valid.


Whether it's that you lean too heavily on the word "smirk" or your book could be harmful to a marginalized group, wait until you're calm and really consider the potential validity of the criticism. Maybe discuss it privately with someone whose opinion you value (but make sure it's also a person who is not afraid to tell you when you're wrong).

Take it in, process it, and use it to improve your writing.

If something in your writing has deemed to be hurtful, apologize. (Note: "I'm sorry you were offended" is not an apology.))

7) Revise or Start Something New

Now it's time to move on. If the work is not yet published, and you can use the criticism to improve your work, do that.

If the book is published. Write something else. Something better and (if applicable) something not harmful.



Wednesday, March 22, 2017

Spring Clean Your Writing Space (or Don’t)

Full disclosure: I’m not a spring clean type of person. I think it’s great to have milestones throughout the year that can offer new beginnings and a feeling of rejuvenation, but we need these more than just in spring; the turning of the seasons or the new year. I keep the place around my desk in a state which makes me feel most peaceful and motivated, and of course that changes throughout the year and according to my mood, so I alter the space around me to fit.

(I was however, forced to do a physical spring clean on Monday to rid my home of smoke from an actual fire – toaster set alight - but that was begrudging and involuntary!)

Anyway, every procrastinating writer knows the benefits of tidying up their writing space. And to be fair it probably is a better way to delay tackling that plot slump than cruising on Facebook for an hour, but I have good news for those who prefer to sit within a mess of books/banana skins/loose bits of paper/toenail clippings (OK that’s a bit gross)… According to Women’s Health mag, it’s better for your mental energy to embrace your mess than to force yourself to work in a clean, clutter-free space. (Barbook T (2017, March). The Energy Crisis. Women’s Health, 114. U.K.)

I believe it’s important for any writer to identify what keeps them happy and motivated and to surround yourself with that when you write. That might be complete minimalism, block colours which don’t distract you from your creative thinking, or murals of inspiring images from your WIP around your writing desk. Don’t be afraid to switch up the space around you as your mood changes, too. I can’t stand things becoming stagnant, so my writing space will be cluttered and crazy one month, and so barren the next month you could probably catch some tumbleweed floating past it.

So change up your pictures, invest in a new scented diffuser, stack your books high…. Or don’t! Think about what makes you happy right this minute and surround yourself with it. But the moment it stops being a place where you want to sit down and continue your character’s stories, switch it up. Don’t wait until next spring!