Just joining the group

I write on my own and with my husband (no easy feat). We have a number of books to our credit (check out www.deadlyduomysteries.com) and this summer I learned I could self-publish a Kindle version of Hemlock Lake. So, with a little help from a cover designer and a lot of help from a text conversion expert, I did.

It’s a mainstream mystery set in the Catskill Mountains and deals with betrayal, revenge, love, loss, and redemption set against the search for an arsonist turned killer in a remote community.

I live in Vancouver, Washington, where I teach classes in novel-writing, edit manuscripts for other writers, and work as a substitute teacher to feed my writing habit.

For Most Book Lovers, The Future Is Here

Every morning I check one of my favorite book business newsletters, Shelf Awareness, and one of my favorite features there is a "quotation of the day" that is often provocative. This morning’s quotation is an interesting one from William Gibson, whose latest novel, Zero History, was released yesterday:

"My dream scenario would be that you could go into a bookshop, examine copies of every book in print that they’re able to offer, then for a fee have them produce in a minute or two a beautiful finished copy in a dust jacket that you would pay for and take home. Book making machines exist and they’re remarkably sophisticated. You’d eliminate the waste and you’d get your book–and it would be a real book. You might even have the option of buying a deluxe edition. You could have it printed with an extra nice binding, low acid paper."    
–William Gibson

I love the idea too, and I am certainly a fan of the imaginative energy behind various print-on-demand technologies including the Espresso Book Machine, which is popping up in a growing number of well-capitalized bookstores but remains a pretty expensive technology for many others.     

But here’s what’s a little funny about the quotation: it’s not a "futuristic dream scenario" at all. Amazon has been doing this with tens of thousands of "real books" for over three years. I know they are real books because they have sold thousands of copies of my books. The print quality and production values are better than copies that I used to have printed at a reputable printing company an hour from where I live, and the production costs are lower, and the price for customers is as low as on any comparable trade paperbacks.

It’s true that I can’t "go into" Amazon’s "bookshop," which means that I have the convenience of buying such books in seconds and waiting 24 to 48 hours for their delivery. It is also true that I can’t get a deluxe hardcover edition, which of course eliminates less than 1/10th of 1 percent of all book transactions.

If I don’t want to wait 24 to 48 hours, of course, I can download many of these books instantly and directly to my Kindle, BlackBerry, iPad, iPod Touch, Android, PC, or Mac.

Either way, I think that the future is probably here for most of us, Mr. Gibson. And I am liking it.

I love bookstores, too. And I loved the grand old publishing companies of the mid-20th century. And my collection of great 45 RPM records and LPs. And horses, too.

Related post: William Gibson’s Futuristic ‘Dream Scenario’: Enhanced POD


This is a reprint from Stephen Windwalker’s Kindle Nation Daily.

Book Marketing: Use Your Email Signature Effectively

You have probably heard this advice before, but have you done anything about it? What does your email signature say right now?

I get emails every day from people commenting on the blog, asking questions or telling me about their books which I love to receive and happily reply to. However, over 50% of those emails do not have any links in their email signature, and many have no email signature at all. Some have an image of a business card with no clickable links to their website or book for sale which is not very useful either.

How many emails do you send a day? To friends, your accountant, business colleagues, potential clients, potential readers and more. If your email signature is set up, you are constantly sending people your information and doing ‘passive’ marketing, spreading the word about you, your brand and your books. Use your email signature wisely and those people might click through and read more about your book/join your email list or contact you for business.

So, today’s book marketing advice is to sort out your email signature right now!

What information should an email signature contain?

To make sure people know who you are and can buy your books, you should include some of the following aspects:

  • Your full name, your business name and tagline if you have one, or an explanation of what you do. Don’t assume people know what you are about.
     
  • Your website and blog URL prefixed by http:// which makes it directly clickable (you should always use that prefix on the web for clickable links)
     
  • Your book titles and where people can buy them or find out more information e.g. Amazon.com links or specific pages of your website
     
  • A hook or offer for the reader that catches their eye if it is a topic they are interested in e.g. I mention my Author 2.0 Blueprint
     
  • Social media links including Twitter, Facebook and any other main site that is relevant (you don’t have to use them all!)
     
  • Address and phone details if they are relevant to how you run your business
     
  • Logo or picture of you or your books if you want to include them. This is not mandatory, but if you do include them, make sure you also include plain text links as well.

My basic email signature is shown above. It is an image here but as an email signature all the links are clickable.

I don’t use any fancy formatting or images right now but there are plugins and code you can use to make it look prettier. That is great but just get something basic up for starters and worry about formatting later. If people want to know more about you, they want the information right in front of them. They don’t want to search for it.

If you’re having problems with your email, try Gmail

Some people have problems with their email accounts and providers. It seems some of them make it very difficult to set up email signatures. If you’re struggling with email, I highly recommend using http://www.gmail.com which is Google’s own free online email service. You can set up a signature through the Settings page, and then the General area. There are also a host more benefits including easily searchable text, contacts and tasks integration and much more.

What do you include on your email signature now? Do you have any favorite tools for making it attractive?

 

This is a reprint from Joanna Penn‘s The Creative Penn.

Taping Interview Sold Story

I’m interviewing my mother-in-law while she tells me about her early years. Why you might ask? Well, she’s going to turn 90 years old in a couple weeks. There is so much about her life that should be interesting to her grandchildren and great grandchilden since life today is so different from when she was born.

 

We’re thankful that this woman is one sharp minded cookie and able to be a main stay in our lives as long as we can keep her with us. She has been dubbed Little Grandma because she’s an agile, healthy four feet eleven inches example to live by. Her life long passions have been two. First one is her faith. She knows all the stories in her well worn bible. Second is growing flowers and plants of all kinds. I’ve never seen anyone else that has a thumb as green as hers. We both started out with rose cuttings in June from the same plants. Her rose cuttings are alive and growing. Mine dried up a long time ago. I’m used to this problem and always know I can get another start from Mom when she has her plants big enough to share.

This lady is busy in the summer raising many flowers, which cover much of her large yard, and a large garden from which she freezes the bounty and gives much of the veggies away. She has given the coming of her 90th birthday much thought. Recently, she told my husband not to till up her garden this fall. We should wait and see how she feels about planting a garden next spring. I told her to look ahead. She’s only as old as she feels. She said age was a state of mind. She’d do what she was able to do as long as she could.

In the fall, she always takes in cuttings from her houseplants and keeps them alive all winter until time to set them out again. If she loses a plant she bemoans the fact as if she’s had a death in the family. I take my cues from this woman so I’m ready preparing for fall and winter, too. Working in a flower bed is much easier to do if the weather is warm.

I use a tape recorder to document Mom’s answers to my questions about the last century. Where did I get the idea to tape someone’s story? Several years ago, I taped a resident at the nursing home. That happened because one evening at their dinner hour, I told everyone in the dining room the Good Old Days magazine bought my fourth story from me.

The woman said, "I have stories."
Afraid of where this was leading, I replied, "The magazine likes pictures with the stories."
"I have pictures," she insisted.
"The pictures have to be in black and white," I countered.
"They are."
"The story has to be before 1960," I said.
"It is."
"Let me guess. You want me to write a story for you."
Grinning widely, she nodded in the affirmative.

My day off was coming up. So if nothing else, why not share my time to reminsce with this woman. Spending time with a lonely person is a good way to volunteer. This lady happened to be a resident that had very little company. So I set up a meeting in the conference room one morning. I wanted this lady to think I was sincerely interested in helping her so I took my tape player and plenty of tapes. By taping the conversation, I wouldn’t forget details about her story, and I’d be paying closer attention to her if I wasn’t always writing down notes.

We went through her picture album together. She introduced me to her relatives and shared her early life with me. When the hour was up, I pushed her to the dining room for lunch and left. If nothing else came from that meeting, I was sure she had a good time remembering the past with someone who really listened to her and was interested enough to ask questions.

When I listened to the tapes, my idea as to write a story to give the resident. That should make her happy. The more I listened I realized what stood out was Sunday afternoons spent at her grandparents with a whole house full of relatives. Potluck for lunch, baseball in the afternoon with cousins and later rides on Grandpa’s white horse. What I heard on my tapes was this lady has a speech pattern I wouldn’t have used if I had taken handwritten notes. I’m told I write the way I talk. That’s what readers that know me say anyway. Taking the story from the tape, I was able to write her story in her words the way she spoke them. At that point, I recognized a story that had selling possibilities if I submitted it to Good Old Days magazine. Families don’t get together like they used to when all the relatives lived close by.

I read the story to the resident. She approved. I submitted the story to the Good Old Days. The by line had her name as told by me which I’d seen others do on several submissions. I explained in my submission letter that this woman was in a nursing home. I didn’t know if her story was something the magazine wanted but the woman had fun telling this story, and I enjoyed listening to it. To my surprise and everyone else’s, our story was accepted and published in the July 2007 issue of Good Old Days specials – Family Get-Togethers.

The resident was so proud. She told everyone she was a published author. The activity director had an activity just for her. The two of them sat in front of an audience at the nursing home while the activity director read her story. The other residents clapped their approval which made that woman glow. That short hour I spent with her taping her story gave her a shining moment that lasted for days as she repeatiedly told people she was a published author. Selling another one of my stories was great, but the bonus was how I brightened her days. I will always be glad I did that for her.

Now I’m taping my mother-in-law’s story. She speaks with a southern accent and a speech pattern from the 20’s and 30’s. I couldn’t duplicate that without the aid of a tape player. What am I going to do with this story? She’s already warned me I am not to make a book out of it that would be published to the world. I assured her my intention was to give her life story in book form to the following generations as her legacy to them. Besides, I can always use the writing practice.

At our first taping, I ran out of questions. Mom’s daughter that had this idea came up with suggestions. Since then we’ve had another taping. I found a way to come up with more questions by then. Last Thursday, my husband and I went to the Old Thrasher Reunion in Mt. Pleasant, Iowa. Talk about going back in the past. We took a trolley ride, watched school in session in a one room school house, saw rugs made on a loom and quilting in an 1850 log cabin. Everything is exhibited for men and women from steam engines and old tractors.

For women, there is a reminder of how far we’ve come from the drudgery of the past when I looked at wood cook stoves, lye soap, wash boards, sad irons and much more. My mind was on my mother-in-law’s story. I took pictures of what might have been used in her lifetime as well as pictures of signs describing what we now think of as antiques. So Saturday afternoon, I had another round of questions for Mom. After about 90 minutes, my sister-in-law and I ran out of questions again. Now I’m working on a new list for the next time.

Mom asked me how I was going to put the story together. I told her we skipped around in her life so this would take time. A story that will be a good winter project. Could it be she is eager to see this book she was hesitate about in the beginning? I explained I’d have to make chapters and add each story to the chapter it fit into as I put her life in order by years. Also, I want to make this a history lesson for the children, this story is intended for, so I will add who was president, the depression era, and other history events in a time line with her life.

She’s not so suspicious of my motives now. In fact, she was eager to start talking and thought of events like the pie socials and winter sled rides through the timber to her grandparents that I wouldn’t know to ask about. It’s a good thing I didn’t have to take notes, because I listened too intently to write details down. Whether you are a writer or not, take it from me that time gets away from busy families. I have lost many elderly relatives that could have told me the stories Mom is telling. Events have come to my attention that made me regret I didn’t ask questions when my parents were alive. This time, I’m making sure the next generations will know this grandma. The next time I have the opportunity to tape someone it might be to sell another story. This is a method that works for me.

Am I always looking for a good story and characters that stand out? Sure I am. Mom didn’t say I couldn’t use a likeness of her character with a different name in a fiction book. But just to be on the safe side now that I have her talking, let’s keep this our little secret.

 

This is a cross-posting from Fay Risner‘s Booksbyfay blog.

Save The Little Darlings

Hello. My name is Virginia and I’m a back story addict.

I admit it. I have a problem with giving my readers too much information. After reading not one but two posts by two different individuals on the topic of “killing the little darlings” (an idea taken from Stephen King’s On Writing) and too much back story I’ve finally come to terms with my addiction. So how do you go about ridding yourself of those scenes and characterizations you’ve grown so fond of?

You could do as Kristen Lamb suggests and ruthlessly delete them. That certainly “kills the little darlings.” Of course, if you’re like me, you probably have a hard copy or two hidden away you could resurrect them with. If you really want to get of rid of them for good, then you’ll also need to shred those documents. Better yet, give them a right good send off into the netherworld — burn them.

Okay, so I don’t know about you, but I have a hard time letting go. (I’m an addict, remember?) I have a secret stash of dialog and scenes that are nothing but “little darlings” and back story. I keep them and revisit them from time to time as a reminder of who my characters are, what past events shaped them, which silent characters still greatly influence them. Keeping them doesn’t mean they’ll make it back into the story. They may, however, find their way into another, provided it moves the story forward. In the mean time they get to live their own quiet life in a document far removed from the one they originated in.

It’s a risky move. Those pieces of characterization could easily sneak off their island and invade my work in progress. Yet I think it’s worth it because hidden in the “dirt”, as Joe Konrath calls it, are some gems that could be useful later.

It’s important to remove all the “little darlings” and back story information that weighs your WIP down, but perhaps instead of killing them it is better to house them in a secret document located far, far away from The Road to Writing.

What do you think? Is it better to eradicate the “little darlings” or isolate them?

 

This is a reprint from Virginia Ripple‘s The Road to Writing blog.

Taping Interview Sold Story

I’m interviewing my mother-in-law while she tells me about her early years. Why you might ask? Well, she’s going to turn 90 years old in a couple weeks. There is so much about her life that should be interesting to her grandchildren and great grandchilden since life today is so different from when she was born. We’re thankful that this woman is one sharp minded cookie and able to be a main stay in our lives as long as we can keep her with us. She has been dubbed Little Grandma because she’s an agile, healthy four feet eleven inches example to live by. Her life long passions have been two. First one is her faith. She knows all the stories in her well worn bible. Second is growing flowers and plants of all kinds. I’ve never seen anyone else that has a thumb as green as hers. We both started out with rose cuttings in June from the same plants. Her rose cuttings are alive and growing. Mine dried up a long time ago. I’m used to this problem and always know I can get another start from Mom when she has her plants big enough to share.

This lady is busy in the summer raising many flowers, which cover much of her large yard, and a large garden from which she freezes the bounty and gives much of the veggies away. She has given the coming of her 90th birthday much thought. Recently, she told my husband not to till up her garden this fall. We should wait and see how she feels about planting a garden next spring. I told her to look ahead. She’s only as old as she feels. She said age was a state of mind. She’d do what she was able to do as long as she could.

In the fall, she always takes in cuttings from her houseplants and keeps them alive all winter until time to set them out again. If she loses a plant she bemoans the fact as if she’s had a death in the family. I take my cues from this woman so I’m ready preparing for fall and winter, too. Working in a flower bed is much easier to do if the weather is warm.

I use a tape recorder to document Mom’s answers to my questions about the last century. Where did I get the idea to tape someone’s story? Several years ago, I taped a resident at the nursing home. That happened because one evening at their dinner hour, I told everyone in the dining room the Good Old Days magazine bought my fourth story from me.

The woman said, "I have stories."

Afraid of where this was leading, I replied, "The magazine likes pictures with the stories."

"I have pictures," she insisted.

"The pictures have to be in black and white," I countered.

"They are."

"The story has to be before 1960," I said.

"It is."

"Let me guess. You want me to write a story for you."

Grinning widely, she nodded in the affirmative.

My day off was coming up. So if nothing else, why not share my time to reminsce with this woman. Spending time with a lonely person is a good way to volunteer. This lady happened to be a resident that had very little company. So I set up a meeting in the conference room one morning. I wanted this lady to think I was sincerely interested in helping her so I took my tape player and plenty of tapes. By taping the conversation, I wouldn’t forget details about her story, and I’d be paying closer attention to her if I wasn’t always writing down notes.

We went through her picture album together. She introduced me to her relatives and shared her early life with me. When the hour was up, I pushed her to the dining room for lunch and left. If nothing else came from that meeting, I was sure she had a good time remembering the past with someone who really listened to her and was interested enough to ask questions.

When I listened to the tapes, my idea as to write a story to give the resident. That should make her happy. The more I listened I realized what stood out was Sunday afternoons spent at her grandparents with a whole house full of relatives. Potluck for lunch, baseball in the afternoon with cousins and later rides on Grandpa’s white horse. What I heard on my tapes was this lady has a speech pattern I wouldn’t have used if I had taken handwritten notes. I’m told I write the way I talk. That’s what readers that know me say anyway. Taking the story from the tape, I was able to write her story in her words the way she spoke them. At that point, I recognized a story that had selling possibilities if I submitted it to Good Old Days magazine. Families don’t get together like they used to when all the relatives lived close by.

I read the story to the resident. She approved. I submitted the story to the Good Old Days. The by line had her name as told by me which I’d seen others do on several submissions. I explained in my submission letter that this woman was in a nursing home. I didn’t know if her story was something the magazine wanted but the woman had fun telling this story, and I enjoyed listening to it. To my surprise and everyone else’s, our story was accepted and published in the July 2007 issue of Good Old Days specials – Family Get-Togethers.

The resident was so proud. She told everyone she was a published author. The activity director had an activity just for her. The two of them sat in front of an audience at the nursing home while the activity director read her story. The other residents clapped their approval which made that woman glow. That short hour I spent with her taping her story gave her a shining moment that lasted for days as she repeatiedly told people she was a published author. Selling another one of my stories was great, but the bonus was how I brightened her days. I will always be glad I did that for her.

Now I’m taping my mother-in-law’s story. She speaks with a southern accent and a speech pattern from the 20’s and 30’s. I couldn’t duplicate that without the aid of a tape player. What am I going to do with this story? She’s already warned me I am not to make a book out of it that would be published to the world. I assured her my intention was to give her life story in book form to the following generations as her legacy to them. Besides, I can always use the writing practice.

At our first taping, I ran out of questions. Mom’s daughter that had this idea came up with suggestions. Since then we’ve had another taping. I found a way to come up with more questions by then. Last Thursday, my husband and I went to the Old Thrasher Reunion in Mt. Pleasant, Iowa. Talk about going back in the past. We took a trolley ride, watched school in session in a one room school house, saw rugs made on a loom and quilting in an 1850 log cabin. Everything is exhibited for men and women from steam engines and old tractors. For women, there is a reminder of how far we’ve come from the drudgery of the past when I looked at wood cook stoves, lye soap, wash boards, sad irons and much more. My mind was on my mother-in-law’s story. I took pictures of what might have been used in her lifetime as well as pictures of signs describing what we now think of as antiques. So Saturday afternoon, I had another round of questions for Mom. After about 90 minutes, my sister-in-law and I ran out of questions again. Now I’m working on a new list for the next time.

Mom asked me how I was going to put the story together. I told her we skipped around in her life so this would take time. A story that will be a good winter project. Could it be she is eager to see this book she was hesitate about in the beginning? I explained I’d have to make chapters and add each story to the chapter it fit into as I put her life in order by years. Also, I want to make this a history lesson for the children, this story is intended for, so I will add who was president, the depression era, and other history events in a time line with her life.

She’s not so suspicious of my motives now. In fact, she was eager to start talking and thought of events like the pie socials and winter sled rides through the timber to her grandparents that I wouldn’t know to ask about. It’s a good thing I didn’t have to take notes, because I listened too intently to write details down. Whether you are a writer or not, take it from me that time gets away from busy families. I have lost many elderly relatives that could have told me the stories Mom is telling. Events have come to my attention that made me regret I didn’t ask questions when my parents were alive. This time, I’m making sure the next generations will know this grandma. The next time I have the opportunity to tape someone it might be to sell another story. This is a method that works for me.

Am I always looking for a good story and characters that stand out? Sure I am. Mom didn’t say I couldn’t use a likeness of her character with a different name in a fiction book. But just to be on the safe side now that I have her talking, let’s keep this our little secret.

Odds and Ends

It’s always a thrill to know my blog posts get noticed. I appreciate that last week’s blog post Short Story Contest Winner was featured on iFOGO village’s home page. A new leader board went up on that site, and I found me at number five. Thank you iFOGO village and Gene Cartwright for the acknowledgments.

Those of you that have followed my blog posts about making hay should know that we just finished the last cutting for the year. I was so relieved to get done with the overhauled tractor working fine, the ancient baler shooting out every bale without incident and the brand new hay conveyor sent every bale to the loft with a smooth rattle. So just went I thought we lucked out this time, I woke up the next morning after unloading those bales to find my back painful. I gave in to going to the doctor for muscle relaxants and pain pills. I took one of each and was moving and talking in s – l – o – w motion for 24 hours. It’s a good thing I write these posts a few days ahead of time so I can go over them a few times. Last Tuesday was a copy and paste day and lots of nap time. By Wednesday, I decided I was better off feeling the pain which was less since I’d stayed still one day so I put away the pills. I’m looking on the bright side when I say I was probably cheaper to fix than my hay making equipment, and now I can quit worrying until the next hay season in 2011.

 

 

F & FW: The Workshop Advantage

Here’s a quote from my initial post on the subject of workshops:

The reason a fiction workshop works, and generally works better than any other method of settling the question of authorial intent and accuracy, is the same reason that any broad-based sampling works. By providing more responses to the author, outliers are marginalized and there is at least the possibility that an informative consensus may emerge.

(Note: when I used the word ‘consensus’ here I meant a consensus about points large and small, not simply an overall judgment.)

Everything I’ve said about feedback so far applies to any feedback you get. You might be more comfortable getting or giving feedback in a one-on-one setting, then again you might not. Sitting down with someone who tells you what you wrote is death is not fun. In a workshop, even if others generally agree you came up short, there will also be people who point out some bright spots, or at least keep you from reaching for a bottle of pills.

For writers new to the craft of storytelling, however, a fiction workshop provides benefits that cannot be acquired in any other way. In fact, when it comes to learning how to give and receive feedback about stories, a workshop advances the cause by orders of magnitude over and above any other approach.

Consider the benefits:

  • In a workshop setting the weight of consensus can help break the subjective-opinion deadlock between writer and reader. As I also noted in the earlier post linked to above: “If ten people (out a workshop-normal fifteen or sixteen) agree on a particular concern, it’s probably something you should take a look at.”
     
  • This appeal to consensus cuts both ways. If you blew it, you can be convinced by sheer weight of numbers to look at your work rather than argue your cause. If you were successful, however, it’s a pretty heady thing to have a group of people say, “This is good,” and it’s hard to walk away thinking the group reacted positively for any other reason than the work itself.
     
  • As noted in an earlier post, you’ll learn as much or more (probably a lot more) by giving feedback than by getting feedback on your own work. There are two reasons for this in a workshop, neither of which can be replicated in one-on-one feedback sessions. First, you get to see how your take compares with the feedback of others. Did you miss something? Did you see a character one way, maybe as a result of your life experience or bias, while others had a different response? Second, you get to see how other members of the workshop and the writer interact. Believe me, all you need to do is watch a few people go through the workshop process and you’ll have a much better idea how to approach the process yourself.

When it comes to learning the craft of storytelling, nothing speeds the process like giving and receiving feedback. When it comes to learning how to give and receive feedback, nothing speeds the process like being in a workshop. Nothing.

 

This is a reprint from Mark Barrett‘s Ditchwalk.

What About Book Reviews?

You may find this post to be a little controversial because I’m going to gore a sacred cow, book reviews.

Book Reviews of the Past

There was a time that new books lived or died as the result of their reviews. If one could garner an excellent review from a major reviewer/review journal, your success was almost guaranteed. Even a bad review wasn’t all bad because it would guarantee sales to curiosity seekers. Not many folks were in the reviewing business.

They got paid for their work by newspapers and journals who sold subscriptions and advertising to pay for their content. One large review operation that uses between 80-100 volunteers has been funded by grants. In other words, there was a variety of structures that allowed for a paid professional/semiprofessional reviewer corps. Getting the blessings of one of these was considered a real coup and almost essential to obtain bestseller status.

The Modern Review Scene

The old, established scene is still here, but it has been greatly degraded by journals and newspapers going out of business. Still, there are far more reviewers today than ever before because of two things–the internet and online retailers such as Amazon who encourage people to write about what they read. The numbers of the traditional professional reviewers are less, but there are many more who have come to prominance  via blogs. The business side of book reviewing has been changing as well. As I mentioned, professional reviewers got paid by who they worked for. These organizations never charged for their reviews and the idea of having to pay for a review was abhorrent to many. That has definitely changed. Such reviewing giants as Kirkus, Bowkers, and Foreword Magazine now have pay-for-review programs for self-publishers and small presses.

After reading and writing reviews on over 2,000 books for free, without any compensation for my time and talents, I decided to charge $247 for normal books and $47 for children’s picture books’ reviews. I still use sets of rubrics or evaluation guidelines to base my scores, which make my reviews far more objective than many in the industry. That has surprised and upset a few clients, even though my website at http://www.heartlandreviews.com is very clear as to my approach. They thought that by paying, they would be given a fluff review. Sorry, but I just don’t do that. I’m an honest, straight from the shoulder type of guy. My scoring system provides details on a number of different areas which helps writers/publishers understand what may need improvement.

What Do You Do With Reviews

Although reviews in the major journals can be helpful with the library and major chain bookstore markets, there are other ways that any reviews can be useful. They are an important tool for marketing. I have seen excerpts of my reviews on book jackets and covers, inside books, websites, and in display ads in many newspapers and journals, to include the New York Times. They can be used in your current books and in future books, advertising flyers, brochures, and even on brochures. Instead of leaving blank pages at the end of a book to load up a signature, fill them with reviews and marketing information.

The day of the review is not over, although the rules have been changing. You are limited in how you use them only by your imagination.

 

This is a cross-posting from Bob Spear‘s Book Trends blog.

Happy Labor Day!

Publetariat staff are taking Friday, 9/3 through Monday, 9/6 off in observance of the U.S. Labor Day holiday.

And by the way, did you know Labor Day was made a U.S. national holiday in order to quell social unrest following the deaths of some striking workers at the hands of the U.S. military and U.S. Marshals in 1894—essentially out of government fear of retaliation from the labor movement? Yeah, neither did we till we looked it up on Wikipedia.

[No need to click through, there’s no more text in this post]

Does Your Novel Suffer From Flat Writing?

One bane of the writer’s existence is flat writing that comes off to your reader as dull or lacking impact. It slips into writers’ work with little notice and will destroy a wonderful novel in no time at all. How do you determine if your writing is flat? Allow people you don’t know to read your work. They’ll inform you in a hurry. However, the best way is to keep your eye open for how you respond to your reading. If it doesn’t "wow" you, it’s flat.

 
[Listen to a PODCAST of this article.]
 
 
Here are some tips to overcome flat writing.
     1. Cut, Cut, Cut

     2. Choose Your Nouns and Verbs with Care

     3. Eliminate Passive Voice

     4. Play with Your Words

     5. Trust Your Muse

Let’s now look at each of these in more detail.

 
Cut, Cut, Cut: If your writing sounds flat, it’s often due to excessive words that don’t add to the plot or even the meaning of your scene. To overcome this, review each word as to its necessity in your novel. Let’s consider the following example.
 
     "Jason went to the store to pick up his weekly groceries."
 
If we review this sentence, we see much of it is unimportant. Right away, we can drop the phrase, "went to the store," as this action is obvious by the word, "groceries." We might also be able to cut "weekly," unless this time period is needed for the plot. Your final sentence might be:
 
 
     "Jason picked up his groceries."
 
Better, but still pretty dull, don’t you think?
 
Choose Your Nouns and Verbs with Care: Let’s consider the corrected sentence above for this example. If we just read the words, there’s little interest even in our corrected sentence. After all, grocery shopping is about as mundane as life gets. So, let’s pay attention to the NOUNS AND VERBS to see if we can’t spice this puppy up. What if we rewrote that sentence as follows:
 
     "Jason raced to grab his groceries."
 
You can see by choosing more specific verbs, this sentence came alive. With the word, "raced," all of a sudden we’ve instilled the sense of speed or pace, and thus, more interest. The secret, of course, is to choose the correct verbs and nouns to fit the scene.
 
Eliminate Passive Voice: We’ve all heard about the inherent weakness of Passive Voice in fiction. It’s sin is the way it makes it more difficult for a reader to tell who’s doing what. And a slow read, is a boring read. There’s more on PASSIVE VOICE here.
 
Play with Your Words: Sometimes writers get so caught up in the minutia of the craft of writing, we forget to write out of the box, so to speak. Go ahead and try something new and unusual. Write that simile the way it popped out of your head. Go on and use that odd description or that risky scene.
 
After you do this, set it aside for a while then review it to see if it still works for you. If it does, leave it in. If it doesn’t, well, reread suggestion number one of this article.
 
Trust Your Muse: As with recommendation number four, set things aside then go back and reread your work. This allows you to forget the subtle nuisances of your thought process when you first wrote out whatever comes off as flat.
As you return to your work, if you’re not sure if the words you’ve chosen enhance your novel, listen to that nagging voice from deep within you. That’s your Muse and she’s rarely wrong. Don’t try to outthink her or rationalize away your rejection of her coaxing. Just trust the woman. She’s your best friend in life, let alone in your writing.
 
If your writing is flat, disinteresting, dull, lifeless or any of those other synonyms, readers will put your book down. Worse than that, they’ll create a negative buzz about your novel. Focus on the most compelling writing you can produce and things will fall in line for you.
 
Has your work ever suffered from flat writing? What did you do to overcome it?
 
Until we meet again, know I wish for you only best-sellers.
 

This is a reprint from C. Patrick Schulze‘s Author of Born to be Brothers blog.
 

Freelance Writer Mistakes And Blunders

It’s bound to happen sometime.

When you become a freelance writer, you take on a lot of responsibility.  Each project has its own share.  The extent may change all the time, but it is still there.  A moment will arrive (or may be it already has) when you make a mistake that seriously complicates or even compromises your writing assignment.  

The danger for you as the freelancer is three-fold.  There the possibility that this occurrence is just the latest one in a line of blunders that have marked your freelancing career – and it may be symptomatic of an unprofessional attitude.  Next, you might lose out on future opportunities for work because of the delays and problems that characterized your project relationship with the client.  The third one is the biggest: you receive a request for a cancellation and/or refund from the client.  This third one really hits you where it counts – in your wallet.

Now What?

You have a few options you can take.  You can either shrug it off and move on, perhaps making a future mistake or blunder inevitable, or take this opportunity afforded by the end of the project to reassess what it is you are doing.  (I will admit, that I’m a culprit in this scenario.  Thus, I’m having examine my working process and decide what I can do to improve it and to ensure that nothing like what just happened, ever happens again.)  For those of you, my fellow freelancers, this may be true as well.  You might be wondering which road you will take.

It’s easy to tuck your tail between your legs and keep going down that path, bumbling along until you get right back where you started.  Who wants to be under the unnecessary press, being crushed under a furious writing pace, just get everything fixed and up to speed?  Folks, I just don’t want to do this anymore.

A New Course Ahead

Those of you who may be reading this might have also caught some of my earlier posts on freelance writing.  I’ve said it many times that there is a right way to do this.  Now, sometimes, even when you know better, you end up falling into the same sort of traps you’ve harped on to others.  I’ll admit I’ve done just that.

The challenge, though, is to step up, take responsibility, but then move on.  We writers can just write on to a new page – a new chapter – in our writing careers.  Yet, this requires that all of us take the proper steps.  For me, it is not burdening myself with work that I cannot possibly finish on time, when considering my peculiar stay-at-home dad/freelance writer juggling act.  I have to be more creative that that and so do you!

It doesn’t have to be some big epiphany where you decide to skip out of freelancing and become a novelist.  No, it may be just a series of small decisions that help refocus your path.  You may be ready to take another step into uncharged writing opportunities.  That’s great.  It will be a way for you to grow more a writer while also getting paid for your time.

Then again, the hope of securing better pay through new writing directions may be in your immediate future.  Who isn’t looking for better pay these days?  (The economy is making it tough for everybody out there, writers included.)

Whatever you decide, now is the time.  You cannot afford to mess around.  Your future career as a freelance writer may be at stake.

Get On With It

That’s what it’s about isn’t it?  You can’t be in front of the computer screen sitting on your hands, folks.  Get on with it and go find new ways to be a writer.  Go be the kind of professional that you are despite the blunders and mistakes you’ve made lately.  The main point is to believe that you have what it takes to be a freelance writer – and keep writing, for the love of Shakespeare, keep writing!

 

This is a reprint from Shaun C. Kilgore‘s blog.

On Beyond Ebooks

This post, by JA Konrath, originally appeared on his A Newbie’s Guide to Publishing blog on 8/27/10.

I’m loving the ebook revolution.

Obviously, I enjoy the money I’m making (close to $500 a day).

But it’s more than that. I’m able to do things I never could have done in the traditional publishing world.

Not only can I release ebooks when they’re finished (rather than waiting a year), and have much greater control over the content, cover, and title, but I can also play with the format and do new, interesting things.

With TRAPPED, I released two different versions of the novel in the same ebook download. The author’s version and the uncut version. It’s pretty cool to show fans all the stuff that was cut, added, and changed, and let them decide for themselves which one they prefer.

With SHAKEN, coming out in October, Amazon is also releasing a dual ebook. SHAKEN takes place during 1989, 2007, and 2010, and jumps around in time. I had a ball writing it, and showing Jack at various stages in her career while she chases the same bad guy over the course of twenty years. But along with the author’s preferred version, the SHAKEN ebook will also come with a linear version. If people want to read the book chronologically, rather than go back and forth in time, they can. And even cooler, it reads well in both versions.

Eager to romp in this new digital playground, I have two more projects that will be released in September.

One is secret, and I’m not going to mention the title or the subject yet. But I will say it is a horror novel. And I will say I’m writing it with three of my peers. Those peers are F. Paul Wilson, Jeff Strand, and Blake Crouch.

When I was working on TRAPPED and ENDURANCE, I followed the same formula as AFRAID. In nutshell, I took a handful of characters and dropped them into a terrifying situation, then followed each of their journeys as they fought an insurmountable evil. No chapter breaks–just direct cuts from POV to POV.

It occurred to me that I could write a book in this style with other authors, and it would be a snap. Instead of me writing every character on my own, each of us could control a character, and the book will follow each storyline until they all converge. It’s the exact same formula as AFRAID, TRAPPED, and ENDURANCE, except we can write it in 1/4 of the time, and it will benefit from four unique inputs.
 

Read the rest of the post on JA Konrath‘s A Newbie’s Guide to Publishing blog.

Ebook Revolution Well Underway

Exactly a year ago, I wrote about how ebooks are the future. Today I read that the Oxford English Dictionary, the mighty volumes that record our very language itself, will only be available online. You can read a bit about that here.

Now, I’m a speculative fiction writer. I love science fiction. I’ve said this before – my iPhone does way more than Captain Kirk’s communicator could ever do. The iPad is suspiciously like Star Trek: The Next Generation‘s PADD (Personal Access Display Device). Incidentally, check out the gibberish on the PADD screen in the picture below. Are we really surprised that things like a multi-volume behemoth are crumbling under the weight of online use? We can’t have the future and the past together. That’d be some weird time twister where everyone’s confused.

As a writer, I often use a dictionary to check words. You know which one I use most? www.dictionary.com. I have a beautiful printed dictionary, in fact I have a few, but I rarely use them. If I’m not at my computer, I use the dictionary.com app on my iPhone. It’s easy and it’s good for the planet. You can hear the trees breathing a sigh of relief.

But you may also remember me gushing about how much I love Angela Slatter’s new book. Not just because it’s awesome storytelling, but because the physical book is just a beautiful thing to hold and behold. It was limited to 300 copies. Here’s a relevant quote from my previous post a year ago, that I linked at the start of this one:

But here’s my prediction – 99% of the books of the future will be either electronic or Print-On-Demand. Within twenty years or so traditional off-set print runs will be used exclusively for high-end collectors edition books.

I know – quoting myself. What a wanker. But you get my point. We have to accept that these things are happening and we have to accept that it’s not a bad development. I heard a statistic on the radio today that by the end of next year, one in ten books bought will be ebooks. Ten per cent of market share. That’s a lot for a new technology. It’s already around the three to five per cent mark. But literacy rates are expected to go up as well, as more people will have access to more reading options more often.

That 20 year estimate in my quote above could be grossly inaccurate. It might all happen far quicker than that. It’s the future people. Embrace it. Real books aren’t going anywhere, because too many of us love them. But the face of reading is changing just like the nature of book buying and book publishing is changing. Don’t be scared – it’s all really quite exciting.

EDIT – There’s been a fair amount of chatter about this post on Twitter and other places and one of the things that keeps getting mentioned again and again is, more or less, “I just hate reading from a screen, simple as that.”

Well, it’s worth noting that ebook readers are evolving rapidly too. Already the Kindle and other e-ink devices are replicating the printed page very well. Screens will soon be so advanced that they’re just like a printed page. And isn’t that deliciously ironic. Accept it – we already live in a digital future. The Schwarzschild radius has long since passed.

 

This is a cross-posting from Alan Baxter‘s The Word.

ISBNs Don't Matter As Much As You Probably Think They Do, But You Might Want To Start Owning Your Own Anyway

I was about to post an overlong response in a comment thread on Joel Friedlander‘s The Book Designer blog, but on reflection, realized what I was about to post wasn’t a response, it was a blog entry in its own right. The article associated with the comment thread is about Library of Congress registration information [Editor’s note: the article is reprinted here on Publetariat today], and the subject of ISBN ownership came up in the discussion going on beneath the article, in the comments. And here’s what I have to say about ISBN ownership:

In the case of an individual author who only self-publishes his own manuscripts (as opposed to someone running an imprint, publishing works by other authors) what does it matter, really, who’s the registered owner of the ISBN on a book? There’s no legal or regulatory tie between ISBN ownership/registration and copyright or intellectual property rights. ISBN registration only designates ownership of the ISBN, not ownership of the content of the book to which the ISBN has been assigned.

I’ve used Createspace’s free ISBNs on all of my self-published books to date, and while this technically makes Createspace the ‘publisher of record’ in the ISBN records, I still retain all rights to the published material and I still own the copyrights. CS’s terms of use state this explicitly, and CS is also very adamant that their company not be listed as Publisher on their clients’ books’ copyright pages.

ISBN ownership can help to establish the legitimacy of a publisher’s claim to profits from a given book in a legal challenge situation, but given that CS has made it abundantly clear it never wants to be named as the publisher of record for any of the books it prints and distributes, the likelihood of CS trying to usurp my royalties seems pretty remote. Also, since copyright is the most meaningful measure of intellectual property ownership in the case of a book, and I own the copyrights on my books, the fact that CS is the registered owner of my books’ ISBNs wouldn’t allow CS to claim my intellectual property rights, either. One caveat: the financial and legal waters would be a bit murkier if I were running an imprint and publishing other authors’ works as well as my own, and in that case I would absolutely want to purchase and register all the ISBNs in the name of my imprint.

While not being the registered ISBN owner prevents me from listing the books with wholesale catalogs myself, since Createspace now offers to create wholesale catalog listings as part of their service, it’s a non-issue for me. My CS books are available on Amazon, Amazon UK, through Barnes and Noble, and through every other bookseller and retailer that stocks its inventory via the Ingram or Baker & Taylor catalogs, and that’s most of them.

Borders is a special case, in that its online and in-store inventory is stocked from an internally-maintained catalog; the only way any publisher, indie or mainstream, gets her books listed with Borders is to get one of Borders’ buyers to add them to Borders’ internal catalog. Since my CS books are listed in the Ingram and Baker & Taylor catalogs, from which Borders draws entries for its internal catalog, I could approach a Borders buyer and inquire about getting my CS books added to Borders’ catalog if I wanted to, but I haven’t bothered.

True, my books aren’t available through European wholesale book catalogs (since only the registered ISBN owner can list books with those catalogs), but since I’m not promoting my books in foreign markets nor releasing them in foreign language editions, I don’t think I’m missing out on many sales there. Amazon UK is the #1 bookseller for English-language books in Europe, and my CS books are already listed on that site.

While not being the registered ISBN owner also prevents me from registering my books with the Library of Congress, I don’t really care about that and I don’t think anyone else does either—with respect to my books, anyway. It would matter if I were trying to get my self-pub books stocked by public and institutional libraries, but let’s face it: self-pub books, novels especially, aren’t likely to be stocked by those libraries anyway.

If I self-publish anything new in the future I’ll most likely purchase my own ISBN/barcode blocks for the new projects, but only because "premium" or "expanded" distribution options offered by print and digital publishing service providers increasingly require that the author/imprint be the registered owner of the ISBN. Since this is already a requirement for Smashwords’ premium ebook catalog, I expect it’s going to become commonplace for ebooks to have ISBNs just like print books and hard media audiobooks.

Even so, I still see the whole thing as little more than an administrative hoop through which I’ll soon be forced to jump and an extra expense I’ll be forced to shoulder to make retailers’ lives easier. Cost of doing business, and all that. I’m still not likely to list my self-published books with European wholesale catalogs, nor Borders’ internal catalog, and I definitely won’t bother registering them with the Library of Congress.

I have always maintained, and still maintain, that ISBNs are merely tracking numbers used by retailers, libraries and government agencies to organize, and retain control over, their inventory of books—nothing more, and nothing less. Some people (and I’m not talking about Joel Friedlander or anyone who’s commented on his article) treat ISBN purchase and ownership like some kind of mark of legitimacy, and others even go so far as to tell self-publishers that if your book’s ISBN isn’t registered in your name, that fact alone makes your book a "vanity" project and you an amateur who doesn’t deserve to wear the name "author".

Horsefeathers. There may be compelling business reasons for this or that indie author to purchase and register his own ISBNs, and there are definitely compelling business reasons for imprints to do so. But that’s all they are: business reasons.

This is a cross-posting from April L. Hamilton‘s Indie Author blog.

CIP: What It Means, How to Read It, Who Should Get It

There is one place in printed books were we look for all kinds of editorial, bibliographic, legal, promotional and production information: the copyright page. But among all this information, data, legal notices and marketing and contact information, there’s one piece of content on the copyright page that is obscure to most people who pick up the book: the CIP data block, issued by the Library of Congress’ Cataloging in Publication program.

According to the Library of Congress, the CIP program allows catalogers to

complete the descriptive cataloging …, assign subject headings …, and assign full Library of Congress and Dewey decimal classification numbers. … A machine-readable version of the record is distributed to large libraries, bibliographic utilities, and book vendors around the world.

This transmission of data is what makes participation in the program useful for selling books. Being listed in the databases of large libraries and book wholesalers thanks to the Library of Congress program eliminates one of the obstacles to achieving library sales for a book. And for many books, libraries are a critical part of their market.
 

The Problem with the Program

Unfortunately, the CIP program excludes self-publishers from participating, and that applies to authors who have [self-published through a print service company like Lulu or Createspace]. It also excludes publishers who have issued less than 3 books by authors other than themselves. This effectively bars self-publishers from the program, even those whose books would be of great interest to libraries.

The good news is that participation in the Library of Congress’ Preassigned Control Number (PCN) program is open to all publishers who list a U.S. place of publication on the title or copyright page, and who maintain an office inside the U.S. where they can answer questions from the catalogers. And once you have a PCN you can pay for your own CIP to be created.

CIP data blocks created by the Library of Congress are known as LC-CIP. Those created by a publisher, or by a third party on behalf of a publisher, are known as P-CIP. The chief source for P-CIP for many years has been Quality Books, a distributor of small press books to libraries. Their fee for this service is $100.

As with the Library of Congress, you will have to fill out their forms and supply information about your book. A cataloger will analyze your submission and produce a P-CIP data block to be printed in your book. Of course, the downside is that this record will not be distributed to large libraries and wholesalers, the way the Library of Congress’ record is distributed.

This leads to the question of whether it’s worth it for a self-publisher to go through the time and expense of having a P-CIP data block produced for her book. And the answer is actually quite simple: If you anticipate making any appreciable sale to libraries, it’s probably well worthwhile to get P-CIP. Having this cataloging information simply makes librarians’ jobs that much easier, reducing their resistance just a bit to acquiring your book for their collection.

Particularly if you publish reference books, histories, books about local events that would be of interest to libraries in your region, travel books, directories, how-to books on popular topics, or similar books, you could well have a good sized market with the thousands of libraries, both public and private, throughout the country.

What Does it All Mean?

 

Copyright page CIP data block

Click to enlarge

This brings us to the data block itself, and our attempts to decode the arcane notation of the catalogers. Here’s a line by line guide to what’s in the CIP in this illustration (and this is a complete invention, just for illustration).

 

A. Alerts the librarian the CIP was prepared by or for the Publisher

B. The main entry under which the book is cataloged, always the author’s name.

C. The title, followed by a statement of responsibility, in this case assigning authorship to John and Joan Doe.

D. Physical description of the book, almost always blank since the books are usually not yet published.

E. Notes whether an index or other bibliographical entries are in the book.

F. ISBN

G. Subject headings, conforming to Library of Congress usage. Here’s an important note from Lisa Shiel, an experienced CIP cataloger: “The subject headings . . . MUST be authorized Library of Congress subject headings or it isn’t really CIP–and it isn’t properly cataloged. . . . Unless you are experienced with choosing subject headings you may misunderstand the intricacies of cataloging or inadvertently choose a heading that has fallen out of favor.” See the comments to the blog post for Lisa’s complete comments.

H. Indicates other ways the book will be cataloged, here by title as well as by author.

I. Library of Congress classification number.

J. Dewey Decimal classification number.

K. Library of Congress PCN. Note the year the number was issued is in the first four digits.

Note that since this article was published I have incorporated the information generously provided in the comments by Lisa Shiel, an experienced CIP cataloger.

So there you have it. Here are some resources for going further into the CIP area:

  1. Library of Congress PCN program information
     
  2. Quality Books P-CIP Program
     
  3. Adrienne Ehlert Bashista, a freelance Cataloger-At-Large who prepares P-CIP data blocks for publishers
     
  4. Five Rainbows CIP Cataloging service

Takeaway: Although participation in the Library of Congress CIP program is closed to self-publishers, understanding this data block and how it’s used by librarians will tell you whether to go to the time and trouble to acquire your own.

 

This is a reprint from Joel Friedlander‘s The Book Designer.