{"id":877923,"date":"2026-02-13T10:00:00","date_gmt":"2026-02-13T10:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/?p=877923"},"modified":"2026-02-12T13:37:21","modified_gmt":"2026-02-12T13:37:21","slug":"how-to-write-a-manifesto","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/how-to-write-a-manifesto\/","title":{"rendered":"How to write a manifesto"},"content":{"rendered":"\n

I\u2019ve written a few books of non-fiction, and had a brilliant time doing so (with, erp, maybe one exception). And one of the things that really stuck in my head came from my agent.<\/p>\n\n\n\n

We were about to pitch a book on the basis of a short proposal: basically three sample chapters + an outline of the whole book + the book\u2019s introduction. I had thought of the intro as being the least important part of that package, but my agent told me no, it was crucial. I had to think of it, he said, as a manifesto for the book. A declaration of intent, but one that also laid out an argument to the reader: \u201cHere\u2019s why this topic is so important \/ interesting, and why you won\u2019t be happy unless you buy this book.\u201d<\/p>\n\n\n\n

So I took my intro more seriously and rewrote it. We took that proposal out to market. By that point, I was fine with the chapters themselves and had a good, strong introduction. I was much blurrier about the actual outline, though \u2013 so I fudged the issue, and wrote an outline that kinda looked <\/em>like a proper outline. It had all the right headings, but it was deliberately cryptic. My actual intentions as to content remained obscure.<\/p>\n\n\n\n

Thanks to my agent\u2019s insistence on getting the presentation right, we got a couple of huge offers and accepted one of them. We then had a Woo-hoo-we\u2019re-so-excited<\/em> lunch with the publishers at a posh place in London, and after an hour or so, I said, \u201cGuys, the book outline I gave you was kind of cryptic. Don\u2019t you maybe want to know what this book is going to be about?\u201d<\/p>\n\n\n\n

And yes: they did \u2013 and I told them \u2013 but they didn\u2019t really care. They bought the book, and were happy buying the book, without knowing much about what was going to be inside it.<\/p>\n\n\n\n

The point is:<\/p>\n\n\n\n

    \n
  1. They trusted my manifesto-style introduction. They thought, \u201cGosh, yes, this is an interesting and important topic which will engage plenty of our readers.\u201d
    <\/li>\n\n\n\n
  2. They looked at my three sample chapters and thought, \u201cYep, this guy can write and this is the kind of material that will engage a broad audience.\u201d<\/li>\n<\/ol>\n\n\n\n

    That was it. They didn\u2019t need more. They trusted me (rightly) to do the rest well.<\/p>\n\n\n\n

    It\u2019s much the same with the opening of any book \u2013 novels, included.<\/p>\n\n\n\n

    Obviously, you don\u2019t open a novel with something that sounds like a manifesto\u2026 but that\u2019s more or less what you\u2019re doing anyway. You\u2019re saying to the reader, in effect, \u201cYou like novels that are [literate \/ suspenseful \/ raunchy \/ funny \/ weird \/ whatever] and this novel is going to completely satisfy that desire in you.\u201d<\/p>\n\n\n\n

    Those opening pages constitute a promise (\u201chere\u2019s what\u2019s on offer\u201d) and a convincer (\u201cAnd boy, it\u2019s going to be good\u201d) all in one.<\/p>\n\n\n\n

    Now, plenty of writers are seduced into thinking that they can only achieve those goals via the sort of gimmick that opens a Bond movie: masked gunmen, alpine setting, ski chase, huge cliff, certain death \u2026 but wa-hey<\/em> \u2013 Union Jack parachute opens and theme music begins.<\/p>\n\n\n\n

    That approach works for Bond movies and it works for some novels, but it\u2019s not compulsory. The only elements that have to be there are:<\/p>\n\n\n\n

      \n
    1. Genre promise<\/strong>. You have to announce, accurately, \u201cthis is an xyz kind of book\u201d \u2013 a police procedural, a literary novel, a hist-fic epic, etc. Most books don\u2019t fit into a clearly defined genre, of course, but they still have to announce their niche. \u201cI\u2019m a funny, book-club style novel about relationships and loneliness in a digital age.\u201d You\u2019re giving co-ordinates to the reader, and those co-ordinates must be accurate. (That\u2019s why those Bond intros work: you know exactly what kind of film you\u2019re about to watch \u2013 a promise made, then kept.)
      <\/li>\n\n\n\n
    2. Authority<\/strong>. You need to convey authority. You need a reader (who may not have read any of your work before) to think, \u201cYes, I can trust this person to deliver the promise that is being made here.\u201d And again: authority doesn\u2019t need ski chases and parachutes. When you walk into a bank to take out a loan, you wouldn\u2019t feel comforted if your putative lender were dressed in a yellow ski-suit and spouting double-entendres. The way you need to display authority will vary according to the book you\u2019re writing.<\/li>\n<\/ol>\n\n\n\n

      And of these two, the key is authority.<\/p>\n\n\n\n

      Not many of you are going to falsely signal \u201cgory, Nordic horror novel\u201d when the book is actually going to turn into a sun-drenched rom-com, set over a Provencal summer. So, in effect, it\u2019s authority you need to worry about.<\/p>\n\n\n\n

      And?<\/p>\n\n\n\n

      Well, now is a good moment for me to remind you that The Ultimate Start<\/a><\/strong> – our latest self-paced video course – is running at the moment. There are well over four hundred of you already taking it (I\u2019m staggered), but you can easily jump in, if you\u2019re a latecomer. The course is \u00a349 if you\u2019re not a Premium Member, but it\u2019s as free as the wind, if you have the wisdom to be a PM<\/a><\/strong>. The aim of the course is to get your novel started on the right track \u2013 and of course to introduce you to our Ultimate Novel Writing Programme<\/a><\/strong> tutors, in case you\u2019re thinking about taking that most excellent course. <\/p>\n\n\n\n

      Next week, I\u2019ll talk about how authority can be made to work on the page \u2013 with or without ski-chases, yellow jump-suits and plenty of men-in-black getting shot.<\/p>\n\n\n\n

      FFEDBACK FRIDAY \/ Setting the scene<\/h3>\n\n\n\n

      This week’s Feedback Friday task is from Philip Womack, one of our tutors on The<\/strong> Ultimate Start<\/strong><\/a>. It’s this:<\/p>\n\n\n\n

      Rewrite your opening 500 words, this time trimming any unnecessary backstory or description. <\/em><\/p>\n\n\n\n

      When you’re ready, post your work to the forum<\/strong><\/a>, then read and comment on the thoughts of at least two of your fellow writers. Can you learn anything from their observations? <\/p>\n\n\n\n

      Til soon. <\/p>\n\n\n\n

      Harry<\/p>\n","protected":false},"excerpt":{"rendered":"

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