I Think I Just Bypassed What I Would Have Made Traditionally

Okay… so KEPT has been out in novella form for about a year and a half now. It’s a 20,000 word novella, so it’s not that long. Checking out some publishing advance averages through Google, a first romance novel tends to get between a $2600 and $5000 advance from a major publisher.

 
A novella is going to be less. Most novella anthologies contain 3-4 stories. With the length of KEPT, its inclusion in any print anthology would have likely been along with 3 others. In addition to that, almost all novella anthologies include one “name” author. Even if the author isn’t uber-famous they are high on the midlist. So it would be irrational to think that I would get the same exact amount for a first novella as other participants in an anthology with more publishing experience and name recognition would. In fact, I’d probably get the smallest advance of all of them. After all, if a well known author in the genre is a part of a novella anthology, very likely they are driving a lot of the sales, so they SHOULD get more. 
 
I just tabulated the amount of money I’ve made through Amazon Kindle for KEPT. Priced at 99 cents, I’ve made as of this moment: $1, 572.03. I think at this point, it’s safe to say that I have made more self-publishing through Amazon Kindle as a complete unknown, than I would have been given as an advance through a major publisher for participation in an anthology.
 
Also, in addition to my sales at Amazon, the PDF version is floating around free in many places. To date, in the places I can track, I’ve had close to 25,000 total downloads including paid downloads of KEPT. In addition to making more money than I would have made the traditional way for this particular novella. I’ve likely gotten more exposure for my work than I would have gotten the trad [traditional] way as well. Since novella anthologies don’t tend to sell as well as novels. They’re kind of a niche market.
 
Given that a book is considered “Successful” if it sells 5,000 to 10,000 copies… I’m going to go out on a limb and say the likelihood that 25,000 people would have been exposed to my work the trad way, is fairly slim.
So while many will still quibble over whether or not self-publishing was the fiscally responsible choice for me (let alone for most people. Let’s not open that can of worms.), I know at the very least, that it was the better financial and exposure choice for me for KEPT.
 
Most books never earn out their advances and so many authors never see royalties. The advance is all they get. Forgetting the fact that I have probably bypassed the amount of money I would have gotten from a print publisher for KEPT, I’m STILL making money from it. Steadily. I know at some point KEPT sales will slow down. However, with ebooks growing and more and more people buying e-readers, and KEPT finally getting into other places like B&N for the nook, the ibookstore, Sony, Kobo (some of these places haven’t shipped yet and I don’t think any of them have officially listed), that’s even more small income streams trickling in.
 
While I understand trad publishing is preferable to many people… I personally can’t see the appeal. 

This is a cross-posting from The Weblog of Zoe Winters.

How To Publish Your Book On The iPad

If you own the digital rights to your book, then you can publish your book/s on the iPad. You don’t have to be published through big name publishers to make it into the iBookstore. Exciting!

Here are your options so far (no doubt more are coming!):
 
 
Smashwords. Definitely the most egalitarian distributor out there, Smashwords now has distribution deals with Apple for the iPad as well as Amazon for the Kindle, Sony for the eReader and Barnes & Noble.com. You can load your book for free onto the site but it does need to conform to specific guidelines in order to make the Premium catalogue which includes the iPad, for example, it needs an ISBN.
 
Check this article for how to ensure you get distributed.
Price: FREE (but you will need to spend some time formatting)
 
 
Amazon DTP for Kindle. The Kindle app is available on the iPad so if you publish on the Kindle you can still get onto the iPad.
 
Go to dtp.amazon.com. There are lots of help documents!
Price: FREE (but you will need to spend some time formatting – check out this podcast with Joshua Tallent from EBookArchitects for help.
 
 
Lulu.com. Lulu is one of the top print on demand distributors and they are offering a way to get onto the iPad as well as offering a free iPad with some of their packages. Lulu is aimed at helping authors self publish and has various packages offering services, for example, if you don’t want to DIY formatting you will need some help.
 
Price:$2399 upwards (not for the faint-hearted!). I am mentioning this because I want to include the many ways you can get on the iPad but as I have posted before, self publishing should cost you nothing.
 
 
Create your own iPad app. Most iPhone apps will function on the iPad so if you have one in progress, then it’s still a good option. Check out this podcast on how to create your own iPhone app for more info. The developer’s kit for the iPad is now available and there will be a truckload of new apps coming out for the iPad soon.
 
Price: $$$$ (depends on what kind of app you want, but certainly not free!)
 
Disclaimer: ok, so the iPad isn’t even published in Australia yet and I need to modify my own ebooks on Smashwords before they get on the iPad. I usually only post on what I have done myself, but this is so exciting, I thought you would like to know!
 
Please do leave any other ways to get published on the iPad in the comments.
 

 

This is a cross-posting from Joanna Penn‘s The Creative Penn site.

Spam, scam or virus

According to strangers that email me, I’ve had a handful of rich relatives or someone who just wanted to leave me money die in foreign countries.  I deleted the messages right away.

Recently, I received two invitations to link my blog to leading ink cartridges blog sites by I assumed from the way the email read a employee of those companies who just happened to read my blog and found it interesting enough to have on their website. In the one link, the address turned blue which was a sign to me that there was such a link. In the next email link I received a week later with the other ink cartridge company name mentioned the address was not blue which should have been a red flag. I did search for a blog site for that company and didn’t come up with one. But I excused that as my failure because I didn’t know where to look. I put the links in a couple of my blogs. One of those blog web sites red flagged my blog as having a virus in it and didn’t use the entry. At that point, I still wasn’t getting what had happened. You see as an author, I was thinking the more places on the internet I have my blog means more exposure so more people become familiar with my name and my books and buy them.

I got another email from the one link. The woman said she couldn’t find the link on any site. I replied that the link didn’t light up so she might send me the link again if the one she sent wasn’t working. I didn’t hear from her. Until a few days ago that is when I recieved much the same type email with the hype that the site had thousands of bloggers and thousands of viewers. The woman used the same name as before which wasn’t too smart. Now I’m finally suspicious that something is wrong. She requested me to link up to yet another name brand ink cartridge blog site. The link wasn’t blue in this one, either. I investigated and couldn’t find the blogs so I deleted and blocked that message. Maybe the links were just these companies way of advertising. If someone saw the links they couldn’t use them because they weren’t valid for good reason, because there isn’t blogs connected to the company sites but the ink cartridge brand mentioned is a way to remind them to buy.

I’m not sure what was suppose to happen or what will happen as a result of my replying to the emails. Now I’m wondering about the first email with the legitimate website address. Anyone can type in a website address that works. That doesn’t mean the person who emailed me had the authority to invite me to be in the blog site or that I actually got in once I put the link in my blog. I’m now thinking that all three message came from the same person or persons.

The blog site that red flagged my blog has let me back in to post. I appreciate that the website managers are willing to give me a second chance. So from now on, one lesson I’ve learned is if the link isn’t blue delete it and before you accept an invitation investigate to see what you’re getting into. I’m going to go back to my blog entry with the links in them and delete. For right now, if I were you I’d put emails with bad links to name brand cartridge ink blog sites on the top of your list of emails to get rid of fast. If anyone can tell me what was or is suppose to happen now that I stupidly replied to the email, I’d appreciate hearing comments.

Think that is the end of my virus or spam woes. Think again. A couple weeks ago, I took myself off a social network. I enjoyed emailing family and friends through that website. However, they all have my email address and can contact me anytime they want, but it makes me angry that I should be the one to leave in order to stop a problem created by someone else. My email was being used in a link that was thought to be a virus. I didn’t have a clue that the link was circulating on that site until a member that wasn’t on my list of contacts so wouldn’t have been someone I would have known how to contact emailed me. She sent me the link with my email address in it. This was a long line of letters and numbers with my email address in the middle which by the way wasn’t lit up. She said she had received the link many times for a period of time. The link looked like a virus to her, and she wished I’d quit sending it. I replied that I didn’t know anything about it or her which should have made her suspicious. She should have notified the website managers right away after the first time she got the email. I didn’t like what was happening any better than she did so I told her I was going to leave the site, but before I did I turned in the problem and hoped she did, too. The website managers answer was for me to delete myself until they found out what was going on. Right after that I received another email from a man who had gotten a link he didn’t like. I didn’t know him, either. A man he did know was sending this link to him so he deleted that man from his list of contacts. He thought that would be the end of it for him. He was hoping that would solve my problem so I wouldn’t have to leave the group. Might have but I didn’t know the person the link came from or what was behind it so I couldn’t delete anyone from my list of contacts. The damage was already done and would continue if I had stayed on the site. Who knows, my email link may still be surfacing to unsuspecting members of that social group if the person or persons sending it hasn’t been caught yet. For me, it means I will never use that site again.

Lesson number two, don’t be like the woman who suffered in silence as she deleted emails from me, a stranger, with my email address in the link and no other message included. Alert someone at the website involved, tell it to whoever will listen so a virus doesn’t happen to them. Stop whatever was suppose to happen. I know that won’t stop the bad guys from coming up with something new to pull on us, but hopefully as we keep each other informed, we become more alert and wiser. So if anyone out there wants to leave a comment about this happening to them or something similar I’d appreciate hearing from you. The more educated I am, the more prepared I am to end the next attempt at scaming me or putting a virus in mine and other computers.

 

 

Your Author Photo – How To Project The Right Image

Some authors write for personal fulfillment or to share with friends and family, but if you want to make money from your book you need to treat it like a business. That means (among other things) that you need to project a professional image.

Your author photo is part of your image and brand. A fuzzy shot of you cropped out of a group photo, with someone’s arm draped over your shoulder, just isn’t the right image if you want people to take you seriously as a professional author.

An author photo doesn’t necessarily have to be shot by a professional photographer in a studio. In fact, some studio portraits tend to look overly formal. In deciding on the setting, pose and clothing for your author photo, think about your personality, the type of books you write, and the brand or image that you’re trying to project.

If you write gardening books, an outdoor shot with plants in the background is appropriate. If you write about business topics, you might want a studio portrait in business attire. Some authors take a photo in front of a bookshelf or holding their book, while others just use a plain white background. You can get ideas by looking at photos on author websites or on book covers in the bookstore. See what others who write the same type of books you write are doing.

If you hire a photographer, explain that you are using the photos for business and you will need to receive digital files. If you would rather do it yourself, find a good location and ask a friend to shoot photos with a digital camera. Take lots of shots so you can choose the best one. Just make sure the photo is in focus and free of distracting things in the background. Solid colored clothing usually looks best.

You will need several versions of your photo for promotional purposes. For printed materials like book covers, sell sheets, and magazine features, you need a high-resolution image (300dpi). For online use, it’s best to use a low-resolution image (usually 72dpi). Low resolution files are much smaller, so they are faster to upload, open faster as pages load, and take up less space on servers. In your online media room, I recommend offering both high-res and low-res versions of your photo and your book cover.

It’s a good idea to use the same photo everywhere – people will begin to recognize you. You may need to experiment a bit to get the best version of your photo for use on social networks. For example, on Twitter it’s best to upload a square headshot, cropped fairly tightly around your face. On Facebook, you want to upload a photo that’s not cropped so tightly. Facebook will display your original photo on your profile, but reduce it to a square thumbnail to display in other places on the site. See this example:

FBphoto 
Most computers come with simple photo editing software. To crop a photo in Windows, open your standard author photo with Windows Photo Viewer, then open Microsoft Office Picture Manager, click on Edit Pictures, click on the Crop tool, then drag the black lines inward until you’ve captured the portion of the photo you want. Try the Auto Correct button to improve the color and lighting. Click on the Compress tool to create a low-resolution file for use online. Be sure to save each version with a new file name.
 

Some authors use their book cover or logo as their image on social networks, but people are there to network with people, not with a book. I recommend using your author photo most of the time, but you might want to use your book cover on certain occasions, such as during your book launch.

You may want to update your look every couple of years to keep it fresh. I introduced a new photo in January with the redesign of my website, and it took me several hours to change out the photo on every website where I’m listed online! My photographer took several studio poses, but I liked the outdoor shots better because they were less formal and more colorful. I even wore a blue blouse to coordinate with the blue on my website.

Whatever setting or look you choose, just make sure it projects the right image of you as a professional author.

 

This is a reprint from Dana Lynn Smith‘s The Savvy Book Marketer.

Are Hardbacks Necessary?

At the risk of goring some sacred cows, I’m going to say no and here’s why. In the past, major publishers followed this model: Initially produce advanced reading copies as plain paperbacks. Then the official release came as a hardback. Six months later, the trade paperback version was released, assuming the hardback had been selling well enough. At some later point, they might bundle it as a mass market version, or they might go directly to mass market if the book was a genre directed toward the grocery store market.

As booksellers, my wife and I dislike hardbacks because:

  • They’re expensive—maybe $10 more expensive than the trade paperback
  • They’re heavier—our military customers have to move often and need to keep their household weight allowances light
  • They’re bulkier—again a concern for people who must live in smaller quarters

So why do publishers produce hardbacks? Primarily for the library market. Hardbacks are sturdier—better to survive the ins and outs of library patrons. They are also produced for the book clubs. Why are hardbacks necessary for book clubs? In the 90s, Doubleday’s Military Book Club took on two of my books where they became bestsellers. Mine were trade paperbacks and sold well despite that. There is also a very small market of folks who just prefer hardbacks—almost an elitist thing.

In this past, producing hardbacks must have been worth it, but I don’t think that is the case anymore. Libraries have services that can coat paperbacks with a heavy plastic coating that protects them as well if not better than hardbacks for less cost. I know one mystery publisher that initially only produced hardback versions. Although they had good mysteries, we could not sell them because of their cost. They are now producing trade paperback versions, which is encouraging us to offer them in their own section in our bookstore now that they are more affordable.

If you are a self-publisher or a small press, you might want to consider either not producing a hardback version or accompany it with a trade paperback version at the same time. The library market just isn’t that large, and they have other choices to harden their books. Adding the stiff cardboard and fabric covering and a fly cover with panels, which increases cover design costs, just isn’t worth it.

As I said, I’m goring sacred cows here, and I know many may have other viewpoints. Please feel free to wade in on this issue. But, remember the necessity of also producing ebooks and audio books is greatly increasing the complexity of book production for publishers.

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

Apple iPad First Look: The Future Has Arrived

In the later 1980s or early 1990s Citibank in New York, where we were living at the time, redid all their Manhattan branches, ripped out the old ATMs and installed new ones with full color, touchscreen interfaces. They were very easy to use. Every other ATM used a green or gray character-mode interface with buttons and keypads. The difference was startling. Here you could just point at what you wanted to do.

Over the years I was surprised that no one else followed Citibank’s lead. Even Bank of America, the largest bank in the country, and where we banked after coming to California, used the old character mode screens. Eventually they pasted a color JPG on top, but it was still 1985 when you logged in.

Despite the efforts that Tom Cruise had made in Minority Report, it wasn’t until the iPhone and iPod Touch arrived that the touchscreen really caught on. But wait, I want to go back even further, and I promise it’s worth it.
 

The Primitive and The Promise

When you look at really elegant user interfaces, the kind where the technology behind the interface is almost completely invisible, subsumed into the device itself, you understand which devices are far away from that ideal. Compared to the Citibank touchscreen ATM, every other ATM was primitive. To watch TV, you turn it on, tune to the station you want to watch. It’s so simple and direct there doesn’t seem to be an interface at all. But we just don’t see it.

This is why I’ve been complaining for many years that no matter how wonderful our computers, no matter how big the hard drives, how precise the monitors, that computing itself was still in a primitive phase, and that computer manufacturers had turned us all into hobbyists. Why else on earth would anyone who doesn’t work in technology need to know about things like USB, RAM, Ethernet cables, refresh rates, bus speeds, serial ports and MODEMs? Why has the underside of every desk I’ve sat at for the last 20 years looked like a spaghetti factory running off power strips?

Configuring ports, formatting hard drives, stepping through series of dialog boxes filling in SMTP server specifications are things that hobbyists do. Nobody else wants to do this stuff, but we’ve had no choice if we want to enjoy the fruits of the digital age.

All along there’s been a dream that we would eventually combine all the major computing and communication functions in one, convergent device, that each citizen of the new digital world would have one of these devices, and that they would have reached the level of technical sophistication where the device served the wishes of the owner, and not the other way around.

Back to the Future, Once Again

Yesterday was iPad launch day, and it was impossible to ignore. Everyone is prognosticating, reviews started to appear, “breakdown” photos bubbled up and I’m sure Mashable had some record traffic.

We headed down to the Apple Store in the afternoon, just in time to see the mall security guards loading up the rope barriers used to contain the eager crowd at the beginning of the day. Although it was crowded, busy and heady with euphoria, you could move around, and I only had to wait about 5 minutes to get my hands on one of the demo machines on the iPad table near the front window.

thebookdesigner.com at the apple ipad launch
Here you can see the photo Jill snapped while a fellow in a blue t-shirt was informing her photos were NOT ALLOWED.

The iPad was completely unsurprising. It seemed like a cross between my iPhone and the iMac I work on every day. It had the glossy black sleek and polished look of the iMac, with the iPhone’s app pages, flick-ability, and touchscreen interface. It’s heavy for its size, but not unpleasantly so. With my hand on the underside I could feel the fans kick in, with a little vibration, giving it a feeling of being animated.

The screen of the iPad is brilliant and clear just like an iMac, and the responsiveness of the computer is noticeable. The thing is fast. Since I didn’t have much time I decided to focus on the iBookstore and iBook reader and the word processing/layout program, Pages.

The iBookstore was every bit as colorful and smooth to operate as the video tour had promised. Tap, and a book opens up though a quick animation. Flick, and the pages turn quickly in the dimensional book graphic. Turn the iPad sideways and the “page” becomes a “spread,” although the iPad typography fails at this task, since it doesn’t resize the type, leaving huge spaces in the lines. But the full page book reader is very servicable for reading, and far more interesting to look at than the eInk screens used by Kindle and other eReaders. The iBook reader still had the same fonts we saw in the launch videos back in January.

What About those iPad Fonts?

I tried out Pages, Apple’s word precessing and page layout program. Here you can get acess to a much larger set of iPad fonts. According to developer Michael Critz, the iPad fonts include:
Academy Engraved
American Typewriter
Apple Gothic
Arial
Arial Hebrew
Arial Rounded
Baskerville
Bodoni 72
Bodoni 72 Oldstyle
Bodoni 72 smallcaps
Bodoni Ornaments
Bradley Hand
Chalkduster
Cochin
Copperplate
Courier
Courier New
DB LCD Temp
Didot
Futura
Geeza Pro
Georgia
Gill Sans
Heiti J
Heiti K
Heiti SC
Heiti TC
Helvetica
Helvetica Neue
Hiragino Mincho Pro
HiraKaku Pro
Hoefler Text
Marker Felt
Optima
Palatino
Papyrus
Party
Snell Roundhand
Thonburyi
Times New Roman
Trebuchet
Verdana
Zapf Dingbats
Zapfino

This is not a very exciting, or even competent list of fonts and, I’m afraid, it’s obvious that no one at Apple read my post about the Apple iPad fonts we want. Oh well.

Pages, however, is a slick and user-friendly program. Obviously, I wasn’t able to see many of its features, but I went into the page setup screen and experimented with the settings offered. One thing I was quite impressed with was the way the program used the touchscreen interface for tasks we would usually do through typing into dialog boxes.

Setting the margins, for example, only required me to put a finger on the margin line and drag it one way or the other. A helpful box popped up showing the size of the margins as I adjusted them in real time.

What’s the Verdict?

I can’t pretend my few minutes with the iPad amounts to enough experience to say anything very meaningful about the device, and I plan to return to the store to spend more time with it. Although Jill encouraged me to buy one for TheBookDesigner.com, I think I’ll wait. I have a natural resistance to early versions of radically new hardware, and a patient nature.

But the iPad seemed to draw a bright line between what has come before and what computers will eventually be. It fulfills—to some extent—the promise of portability, convergence, and transparency in the user interface that computing has long held out as an ideal. The experience of holding and using the iPad “hits a pleasure spot you didn’t know you had,” in the words of an editor from BoingBoing who showed the device on the Rachel Maddow show.

Even more, it represents the first clear example of a device that works for you rather than making you into a technical hobbyist. It seems so natural to reach out and manipulate pages, guides, photos, music files and media controls you wonder why we need all the other interface aids. When you need to type something, it pops up a keyboard, then puts it away when you’re finished. When you flip it over, it reorients to you. In every sense that I can see, it’s a computer for you to use and enjoy, not a device that makes you into its servant.

This is the most radical thing about the iPad. I was unprepared for just how mesmerizing, how magnetic the tablet is, how touching the screen to control it made it into a tactile experience, drawing you into the interaction in a more personal, almost intimate way, than ever before. People will become very attached to the iPad. It fulfills the promise of the touchscreen interface, showing a clear direction for digital devices of the future.

We can’t say whether the iPad will succeed commercially or not, although I bet it will. But I think we can say we’ve seen the future of computing, and that future will look a lot like the iPad does today.

Takeaway: In person the Apple iPad breaks entirely new ground in the experience of computing, and has the potential to radically change the technology we use everyday. It is an epochal change that marks a clear division between the past and the future of computing.

This is a cross-posting from Joel Friedlander‘s The Book Designer.

AmazonEncore Announce Six Summer Titles

Amazon announced six more new titles to be published this summer under their AmazonEncore imprint. The six books will be published in print and Kindle editions. I have stated here before that while Amazon may at times give us reason to question their influence on the publishing industry and dominance and tactics as a retailer, AmazonEncore has proved to a tremendous PR success for them and a worthy channel for the lesser known voices in fiction. This batch of six soon-to-be published titles and one just-published title are particularly eclectic.

 
Lyla Blake Ward’s How to Succeed at Aging Without Really Dying is a collection of essays on (in the 82-year-old author’s words) "living in a world of bubble packs you can’t open, electronics you can’t turn on, and expiration dates you can only hope don’t apply to you." Lyla Blake Ward is a former newspaper and magazine columnist who lives in Connecticut. How to Succeed at Aging Without Really Dying was published April 6.
 
Laurie Fabiano’s Elizabeth Street is a novel based on the true-life story of the abduction of Fabiano’s grandmother by the Black Hand, the precursor to the mafia, and her great-grandmother’s fight to get her daughter back. Tom Brokaw calls the book "a fascinating account of the Italian immigrant experience at the turn of the century that is at once inspiring and terrifying." Fabiano lives in Hoboken, N.J., where she is the president of Fab Tool, a marketing and events company that advises non-profits. Elizabeth Street will be published on May 4.
 
Originally published in 1988, Eric Kraft’s Herb ‘n’ Lorna is a novel about a young man who discovers after his grandparents’ death that they had a bawdy love affair predicated on their founding of the erotic jewelry industry. In a front page review in the New York Times Book Review, reviewer Cathleen Schine writes: "The novel is all about sex, and sex, in Herb ‘n’ Lorna, means everything in life that is good–craft and art and imagination and hard work and humor and friendship and skill and curiosity and loyalty and love." Kraft lives in New Rochelle, N.Y. and is the author of over 10 books, including his most recent novel Flying. Herb ‘n’ Lorna will be published on May 11.
 
AmazonEncore published Nick Nolan’s first novel Strings Attached in March 2010. In the sequel, Double Bound, protagonist Jeremy and his boyfriend Carlo are sent to Jeremy’s wealthy aunt to oversee the family business in Brazil, where they are accompanied by Arthur, the family’s butler. Double Bound is Arthur’s story: his heartbreaking youth, his days as a gay U.S. Marine, and his journey of self-discovery while in Brazil. Nolan lives in Los Angeles. Double Bound will be published on June 1.
 
In The Berry Bible, James Beard award-winning cookbook author Janie Hibler gets to the heart of berries, from their health benefits to how they are best put to use in the kitchen. In her research, Hibler traveled the world, visiting the Canadian prairie to search out Saskatoon berries; Alaska to pick wild blueberries; and Europe to peruse the markets for the best strawberries. The Berry Bible contains 175 recipes, as well as instructions on how to properly wash berries, freeze them, measure them correctly, and more. Hibler is a contributing writer to Food & Wine and Bon Appétit magazines and was a contributing writer to Gourmet. She lives in Portland, Ore.. The Berry Bible will be published on June 22.
 
A King of Infinite Space, a mystery novel by Tyler Dilts, follows detective Danny Beckett as he hunts for the murderer of a local high school teacher. The son of a policeman, Dilts grew up fascinated with the work of homicide detectives. Currently an instructor at California State University in Long Beach, Dilts’ writing has appeared in publications such as the Los Angeles Times, the Chronicle of Higher Education, and The Best American Mystery Stories. A King of Infinite Space will be published on June 29.
 
The Last Block in Harlem by Christopher Herz is a novel about a young man trying to fight the gentrification of his Harlem neighborhood. A former copywriter, Herz left his job upon finishing the manuscript of his book and began hand selling it in New York City. He walked the streets until he sold 10 copies a day, and his hand selling caught the eye of Publishers Weekly, which featured him in an August 2009 article. Herz still lives in New York City. The Last Block in Harlem will be published on July 13.

I am particularly delighted to see Christopher Herz getting well-deserved attention and this wider opportunity. Last year we ran one of our Self-Publishing Success features on Herz and Canal Publishing, the self-publishing imprint he used to publish The Last Block in Harlem.

 

This is a cross-posting from Mick Rooney’s POD, Self-Publishing and Independent Publishing blog.

The Successful Author

When it comes to publishing in the modern age, I don’t think people care much about anything other than sales. As an author you can write something great, but if it doesn’t sell like hotcakes the miserable soulless scorekeepers in the publishing industry will say what the miserable soulless scorekeepers in every industry say: that you failed.

Because primacy of sales is not implicit in the word author, however, qualifiers become necessary. You can only be a successful author if you sell lots of books, or otherwise generate serious revenue in the form of t-shirt sales, film rights, speech-circuit fees, etc. It doesn’t matter if you generate all these sales by lying about yourself or duping your readers. The only thing that matters is the money.

If you write a book that is only read by world leaders, who take your words and change the planet with them, you will not be called successful. You might be described as influential, and the fact of your influence might drive future sales or offers to speak in front of go-go executives, but until the money rolls in you will never be described as a success. Not even if you save a million lives.

If you do not sell a lot of books but you receive critical acclaim then you can call yourself a critically-acclaimed author, or an award-winning author, but you cannot call yourself a successful author. Unless of course you were aiming for critical success all along, in which case you can pull a fast one and present yourself as a successful, critically-acclaimed author, thereby implying that you sold more books than you actually did.

If you are neither critically-acclaimed nor generating sales, then you can call yourself an author as long as you A) have written at least one book, and B) are working on another book, even if it’s only in your head. If you stop at any point, however, you become a failed author because you failed to achieve critical acclaim or financial success. In the writing business there is nothing worse than being a failed author. Except being a miserable soulless scorekeeper.

The antidote to all this, of course, is defining success for yourself. And I don’t mean that as a trite observation. Rather, I mean you should have an actual conversation with yourself about this issue and define why you’re writing and what it is you hope to give and gain by linking words together.

You don’t have to tell anyone what your definition is, and you can change it any time you want. What’s critical is simply that you know the answer yourself. Because if you don’t, the miserable soulless scorekeepers will gladly define success for you.

This is a cross-posting from Mark Barrett‘s Ditchwalk.

When You Do Your Best Writing

One of the first things that new writers may discover when they start working is that there are certain times of the day that make for better writing results. Of course, this isn’t a one-size-fits-all sort of thing. No, each writer will answer differently if asked. (Some may not know when they do their best writing.)

There are writers that work better first thing in the morning and there are those that do better work at night when things tend to be quieter. You may even find that the middle of the day is the best time for you. There are also writers that work better dividing up their writing times into several periods throughout the day. Which of these are you? Better yet, what benefit is there to knowing when you write better?

For the working writer, the answer may come down to productivity. If you are working on an article with a deadline, you want know that you can make the most of the limited time that you have in order to get things done. If you want to work better then you should be aware of your tendencies. Make your writing time work for you rather than against you. There are some beginning writers that spent time trying to force themselves into a particular mold. They then wonder why they’re having such a hard time putting words on the page. Every article becomes a struggle to complete.

Now, we cannot say that this is the only reason for low productivity. There are other factors that contribute to how much a given writer will get done during the course of the day. Distractions from within and without number chief among these. Sometimes, you’re just having a bad day and the words won’t come easily. It doesn’t have to be a complicated mesh of reasons for why one part of the day works better than another. 
 
Rather than conforming yourself to one specific way, it may be the best course to have some options so you are not governed by an  unrealistic standard. How can you expect be a creative writer this way? But wait. Which is it? There are benefits to approaching your writing time from both perspectives. In fact, you may find that a good mix of the two will be the most effective way to get things done right.
 
I leave it up to every writer to discover this one for themselves. I am doing the same. What do you think? Do you have an opinion about this? If yes, then e-mail me or leave a comment. I’d love to hear from you. 
 

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

Kindles In China: An Amazing Story

I met an old friend for a couple of beers at the Legal Test Kitchen in Boston’s Seaport on the edge of Southie last night, and we spent some time talking about the Kindle.

Jim received a Kindle DX with Global Wireless for Christmas and he was a bit skeptical at first, but he says he’s a believer now. Not only did it help get him through his recent knee rehab, but it came up big on the two-week trip that he took with his family to China recently. He read two entire books on the flight over and arrived in the land of 1.3 billion people far more knowledgeable about his destination than when he left Boston.

He brought some reading with him on the Kindle, of course, but he didn’t mind paying the extra wireless download fee of $1.99 each time to add other books along the way. And even though Amazon is not shipping Kindles to China at the current time, Jim found that the Whispernet worked like a charm in numerous locations across China.

You might expect that in Shanghai or Beijing, but here’s the piece that I found astonishing.

At some point during the trip Jim and his family were in the mountains in a rural area along the Tibetan border, and he was engaged in a conversation with his 20-something Chinese guide about reading and censorship. The guide was telling him about a book that he wanted to read, Wild Swans: Three Daughters of China, but the Chinese government had banned it, which is not a total shocker given Amazon’s review:

In Wild Swans Jung Chang recounts the evocative, unsettling, and insistently gripping story of how three generations of women in her family fared in the political maelstrom of China during the 20th century. Chang’s grandmother was a warlord’s concubine. Her gently raised mother struggled with hardships in the early days of Mao’s revolution and rose, like her husband, to a prominent position in the Communist Party before being denounced during the Cultural Revolution. Chang herself marched, worked, and breathed for Mao until doubt crept in over the excesses of his policies and purges. Born just a few decades apart, their lives overlap with the end of the warlords’ regime and overthrow of the Japanese occupation, violent struggles between the Kuomintang and the Communists to carve up China, and, most poignant for the author, the vicious cycle of purges orchestrated by Chairman Mao that discredited and crushed millions of people, including her parents.

Most people in China can’t get that book any more than they can do a Google search for information about Tienanmen Square.  But Jim decided to put his Kindle DX to the test.

He typed the title of the book onto his Kindle keyboard, used the 5-way to select "search store" to the right of the search field, clicked on the "buy" button, and Wild Swans: Three Daughters of China was on his Kindle in, you guessed it, less than 60 seconds.

I will leave you to draw your own conclusions about the potential power that the Kindle could have in China, or about forces may have conspired to make the Kindle unavailable in China. It’s available in Taiwan and Hong Kong and Viet Nam, and apparently it is not a problem for a U.S. citizen to carry a Kindle into China. At other times during our conversation Jim spoke vividly about how the economic changes fostered by the Chinese government have helped to lift 400 million people out of poverty during the past couple of decades, and it seems at least a bit ironic that some of this economic power now and in the future is or will be tied to the development and production of new technologies like the Kindle and the iPad. I learned this week from UPS worldwide tracking information that my iPad, like thousands of other iPads, is in fact on the way here from Shenzen, China, and of course there were stories this week about a "gray market" for Kindles in some Chinese cities.

So Kindles are traveling to China, Kindles are being sold in China, Kindles are connecting to the Whispernet in China, and Kindle Killers are being shipped here from China. It was clear to Jim that for the vast majority of Chinese people, the human rights issues for which Westerners point fingers at the Chinese government are far, far less important than the sweep of economic change and its effect on the quality of life for hundreds of millions of Chinese.

But the Kindles? They may have minds of their own.

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

How To Be Your Own Best Editor: Part III

This is the third and final post in a series of posts about what I did to ensure that the historical mystery I just published, Maids of Misfortune, was professionally edited. Part I detailed how I worked to develop the skills to be my own best editor. (A necessity for an indie author, but as discussed in numerous blogs, increasingly a necessity for traditionally published authors as well.) Part II described the actual process I went through as my own developmental editor.

This third post enumerates what steps I followed to substitute for the copy editing that traditional publishing houses provide. Again, I want to thank Alan Rinzler for his definitions that distinguished between the job of developmental editors and copy editors, “who take a manuscript that has already been developed and correct the spelling, grammar, punctuation, and in some cases fact-checking.” Choosing a freelance editor
 
In order to ensure I had a clean, well copy-edited final manuscript I followed these steps:
  1. Read my manuscript through, focusing on grammar and punctuation.
  2. Read my manuscript out loud to someone else.
  3. Assembled a team of readers with different strengths to copy-edit for me
  4. Corrected the manuscript after first printing-when new errors were found
Step One
When I was doing my developmental editing I had looked for basic grammatical errors, but I knew that I was missing things, particularly in those sections I was rewriting extensively or writing for the first time. So, after all the rewriting was done, I went through the manuscript word by word, checking every comma, looking for misplaced modifiers, scrutinizing the rhythm of every string of dialog, and making sure that every rule of good writing was followed consistently.
 
In this process I used Microsoft Word’s little squiggly red and green lines that indicated that there were misspelled words or grammar problems to double-check my own editing.  I also used the useful search and replace abilities of Word to make sure that I had caught all the places where I still had two spaces instead of one between sentences. This function was additionally useful to check that the name changes I had made from previous drafts had been applied.
 
Step Two
Last year I attended the 2009 California Crime Writers Conference, and one of the most frequently offered pieces of advice at that conference, by writers, agents, and editors, was to read your manuscript out loud. I had never done this before, but who was I to ignore the one point every professional in the business actually agreed on.
Serendipitously, soon after I returned from that conference, a friend asked if I would like to read my manuscript to her. Years earlier she had been part of a writers group that read their work aloud and she had enjoyed the process. As a result, over 4-5 lovely sessions lasting several hours each, I read Maids of Misfortune to her. This was a wonderful experience.
 
First of all, I got immediate unfiltered feedback. She was able to tell me at the end of each chapter if she felt confused or if the story dragged. Even better, I could see when the writing was working. When she laughed at the right places, shivered over a tense scene, professed to be unable to tell who the murderer was, and even delayed leaving so I could read “just one more” chapter before she had to go, I got the kind of positive feedback a writer seldom gets. This alone was worth the sore throat from hours of reading aloud!
 
I also discovered a number of bad writing habits. I found little repetitive phrases and words that I had never noticed. Yet, when you say a word or phrase out loud, over and over, they come right out and hit you in the face. I also found sentences that were grammatically correct, but still too long or awkward. I found missing words and punctuation that my mind had simply filled in when I read to my self. It was a humbling but very useful process-and one I will never forgo in the future.
 
At the end of this process I had the manuscript as clean as I could make it. Nevertheless, I realized that to be my own best editor, I also needed to turn to others for help at this stage. No one, even a professional copy editor, can catch every error on their own.
 
Step Three
My next task was to assemble a team of readers. While I had asked members of my writers group and friends to read my manuscript before, this was the first time I was asking them to copy edit. In the past I had actually asked them not to do so–since I was most interested in hearing their opinions about characterization, plot development, and voice. I had been able to do this in part because I had confidence that my basic writing skills were good and that I wasn’t asking them to read a hopelessly messy draft.
 
If you are a beginning writer, you might want to ask someone whose writing skills are superior to yours to read and closely edit at least a portion of your work. This will tell you how much cleaning up you should do before asking anyone else to read the manuscript.
 
I think that a writer has to be careful not to abuse the friends, family, and other writers that they turn to for help. This means making sure you have solved the problems you do recognize before asking anyone else to read your work. It also means being careful not to over use readers. Reading another person’s manuscript and writing up thoughtful comments is hard work. While friends and family usually love the idea of being part of the process–if you ask too much of them, there will be diminishing returns. Each time they read a draft, the less they will see wrong with it–or conversely–the more frustrated they will become if they didn’t see improvement.
 
I was fortunate because my writers group hadn’t seen a copy of my manuscript in over four years, and some of the other friends I turned to hadn’t seen a copy in over ten years. As a result, I knew that they would be coming fresh to the work. I was also confident that the draft they were reading was so improved from the previous drafts that I wasn’t asking them to do anything very painful.
 
However, again, if you are just starting this process–you might think about keeping some people who have expressed interest in reading your work in reserve for subsequent readings.
I was also fortunate in having potential readers with different strengths–a kind of editorial board with multifaceted skills and experiences. I would recommend that all writers think about developing this sort of support group.
I gave my manuscript to people:
  • Who are published writers (and this can mean non-fiction articles and books, short stories, fiction)
  • Who edit other people’s work (teachers, editors, administrative and research assistants)
  • Who teach writing (high school, college, private workshops)
  • Who read extensively in my subgenres (mystery, romance, and historical fiction)
  • Who are knowledgeable about my subject material (Nineteenth century and Women’s history)
  • Who are good with detail
In all, I had six people read my manuscript. Many of them had overlapping areas of expertise. For example, all three of the members of my writer’s group are published authors, teach, and read mysteries. Did I need all six? I think so. While all of my readers caught small typos (interestingly about half of the errors were caught by more than one reader–the rest of the errors were caught by single readers–and therefore wouldn’t have been caught without their input.) More importantly, my reader who loves light romantic fiction was able to point out the few places where I undercut the hero–something the rest of my readers wouldn’t have noticed, while those readers who were historians were important resources to ensure I didn’t get the facts wrong.
 
After going through the responses from all these readers, and making all the needed corrections and changes, I had a polished, well-edited manuscript that was ready to publish. However, it turned out there was one final step.
 
Step Four
After I published my book (as an ebook and print on demand paperback), and the first few friends began to read it, one of those readers found typos. Twenty-two to be exact. I felt terrible. How could I or my selected board of editors not have found them?
 
But, being an indie author who has self-published. I was in a vastly superior position to an author who had gone the traditional route. I didn’t have to wait for a reprinting (which might never come) to make corrections. I could take my self-published work back, make the corrections, and reissue a corrected copy (or electronic files), with only the loss of about 2 weeks. And in the future, I will make sure that reader–the one who turns out to be very good with detail—gets to read the paper proof copy of any book I write, before I publish, so in the future I may get to skip step four.
 
In conclusion
As I look back at these three posts, I confess there really isn’t much original material, since most of what I did has already been discussed in the numerous blogs that give advice about writing and publishing. However, I hope readers have found some benefit in a detailed description how one author has tried to follow that advice. I also hope that the message has been clear that those of us who are independent authors and publishers must take responsibility for the professional level of our work, but that this can be done without expending a great deal of money.

This is a reprint from M. Louisa Locke‘s The Front Parlor blog.

The Relatives Have Spring Fever

My post may appear to have nothing to do with being able to write a book, but guess again.  Where do you think I get my ideas and vivid details for the type of books I write?

My attention is split these days between the computer to blog and work on a book and the transformation outside from winter to spring. Sweet smelling purple and white hyacinths are in bloom in one of my flower beds. On a trip through a couple towns yesterday, I saw other flowers, but in the country, the temperature is cooler. We are not protected from the cold winds so country flowers take longer to come up and bloom. I just keep telling myself that my turn is coming to admire my flower beds.

Now we have most of the baby lambs and goats born and frolicking around the barn yard. City relatives want to see the newborn. A great nephew thought we ran a petting zoo. I gave him a bottle of milk to offer a lamb. The lamb came at him with such gusto it was all the little fellow could do to hang on to the bottle. After the bottle went empty, the nephew made a lap around the barn yard, chasing the sheep. They managed to stay ahead of him and not knowing his intention decided to hide in the barn until he left. I put a milk goat in the stanchion and offered to let him milk, but he took one look at what I had in mind for him to do and yelled, "Gross." After that he stayed fairly close to his father. He’s only five years old. The rabbit tour was more up his alley. They watched him from the safety of their cages, and he eyed them back.

That same day, a 36 year old nephew, a new relative by marriage, who wants to experience all he can about farm life came to visit. He is always eager to learn something new when he comes to visit. First, I had to dig out two new nipples so that I had enough bottles to go around to feed the lambs. Nephew was going to help me put the new nipples on the bottle. The hard new rubber nipples refused to stretch over the pop bottles. It took us half an hour to get the job done. Finally, my husband pulled his pliers out of his side holster, grabbed the tab at the bottom and stretched the nipples over the opening. Where was he thirty minutes before? Of course, the nephew thought I gave him trick nipples to use just to see him struggle. The next morning the new nipples went on the bottles as easy as the older nipples because they had been stretched. I haven’t told Nephew this yet.

He helped our five year old great nephew bottle feed lambs, but he wanted to try more of a challenge. For a year now, he has been asking me if he could milk a goat. I handed him the bucket and pointed to the goat in the stanchion. My instruction was to milk fast while she ate her feed, because when she finished eating, she lays down. The nanny is pretty smart that way. This is her statement. She gets fed, or she don’t give milk.

Nephew worked gingerly at something he’d never done before. I finally told him to turn loose of the bucket and use both hands. After getting half a cup of milk in the bottom of bucket, he told me to show him how I do it. As he got down close to watch, I pulled the trick that has been handed down through most families of farmers when they milked their cows. I missed the bucket and sprayed him. My aim was good. I splattered the back of his hand, thinking to not mess up his city clothes. He wiped his hand on his slack legs like a true county man. Unaware that I missed the bucket on purpose and this nephew being the teaser he is, he isn’t going to let me forget my bad aim for awhile. Not that a trick or two is going to stop him from coming back for more lessons. He loves being on the sidelines of what we do here. I know how he feels. It was bred into me from my ancestors to want this country life and to appreciate it.

10 Acclaimed Authors Who Only Wrote One Book

This post originally appeared on the Online Degree Programs site, and is reprinted here in its entirety with that site’s permission.

For many authors, a great novel is simply one part of a larger lifetime of creative work. For others, however, a great novel is a once in a lifetime blessing, one that was never followed up with another due to creative stagnation or circumstances out of his or her control. The authors listed here wrote books that have been read in high school and college courses for years, many of which won numerous awards. These books mark the greatest literary achievements of each author’s lifetime.

  1. Harper Lee, To Kill a Mockingbird: This notoriously reclusive author was terrified of the criticism she felt she would receive for this classic American novel. Of course, the novel didn’t tank and was an immediate bestseller, winning great critical acclaim, including the Pulitzer Prize for Fiction in 1961. While Lee spent several years working on a novel called The Long Goodbye, she eventually abandoned it and has yet to publish anything other than a few essays since her early success and none since 1965
     
  2. Ralph Ellison, Invisible Man: Invisible Man is Ellison’s best known work, most likely because it was the only novel he ever published during his lifetime and because it won him the National Book Award in 1953. Ellison worked hard to match his earlier success but felt himself stagnating on his next novel that eventually came to encompass well over 2000 pages. It was not until Ellison’s death that this novel was condensed, edited and published under the title Juneteenth.
  3. Boris Pasternak, Dr. Zhivago: Pasternak’s inclusion here by no means limits him as a one hit wonder, as he was and is known as one of the greatest poets of the 20th century. But when it came to writing novels, Pasternak was to only create one work, the epic Dr. Zhivago. It was a miracle that even this novel was published, as the manuscript had to be smuggled out of Russia and published abroad. Even when it won Pasternak the Nobel Prize in 1958, he was forced to decline due to pressure from Soviet authorities, lest he be exiled or imprisoned. Pasternak died two years later of lung cancer, never completing another novel.
     
  4. Margaret Mitchell, Gone With the Wind: Margaret Mitchell never wanted to seek out literary success and wrote this expansive work in secret, only sending it to publishers after she was mocked by a colleague who didn’t believe she was capable of writing a novel. She turned out to be more than capable; however, and the book won a Pulitzer and was adapted into one of the best known and loved films of all time. Mitchell would not get a chance to write another novel, as she was struck and killed by a car on her way to the cinema at only 49 years of age.
     
  5. Emily Brontë, Wuthering Heights: As part of a family of women who enjoyed writing, Emily did work on a collection of poetry during her life, though the vast majority of her work was published under a more androgynous pen name at first. While Wuthering Heights received criticism at first for it’s innovative style, it has since become a classic and was edited and republished in 1850 by her sister under her real name. It is entirely possible that Emily may have gone on to create other novels, but her poor health and the harsh climate she lived in shortened her life, and she died at 30 of tuberculosis.
     
  6. Anna Sewell, Black Beauty: Sewell didn’t start off her life intending to be a novelist. Indeed, she didn’t begin writing Black Beauty until she was 51 years old, motivated by the need to create a work that encouraged people to treat horses (and humans) humanely, and it took her six years to complete it. Upon publication it was an immediate bestseller, rocketing Sewell into success. Unfortunately, she would not live to enjoy but a little of it as she died from hepatitis five months after her book was released.
     
  7. Oscar Wilde, The Picture of Dorian Gray: Wilde is best known as a poet and playwright, but he did make one attempt at a novel during his life, the sometimes controversial The Picture of Dorian Gray. While his plays brought him the most success during his lifetime, it is this novel that has secured a place for him in literary history. Yet it was a bit too racy for Victorian society at the time, with critics calling it everything from "effeminate" to "unclean", largely due to the book’s homoerotic and hedonistic undertones. Because of this criticism, Wilde revised his novel, but he was never to undertake the task again, instead sticking to poetry and plays for the rest of his career.
     
  8. John Kennedy Toole, A Confederacy of Dunces: John Kennedy Toole was a well-educated and intelligent man who taught at Dominican College in New Orleans. It was during this time he wrote his comic novel. Unfortunately, the stress of not being able to get his work published–book critics didn’t think it was about anything in particular–as well as other factors took their toll on his health, and Toole quit his job and descended into a deep depression, eventually committing suicide in 1969. It was not until 1980 that his work was published, finally earning him the recognition he desired and a posthumous Pulitzer Prize.
     
  9. Sylvia Plath, The Bell Jar: Sometimes a work of fiction can be a little too personal, as was the case with Plath’s The Bell Jar, published in 1963 under a pseudonym. While an accomplished poet, Plath struggled with bipolar depression, a condition made worse by an unfaithful husband and a miscarriage. In the acclaimed novel, the main character suffers a break and commits suicide, a fate Plath herself was to share, killing herself only months after the publication of the book. While this was to be her only novel, Plath did win the Pulitzer for her poetry in 1982, the first writer to ever posthumously do so.
     
  10. Arundhati Roy, The God of Small Things: This author is mentioned last because while she has to date only published one work of fiction–one that garnered her the Booker Prize–she is still working today. Much of the work she has published since her novel has been nonfiction and political essays as well as a number of screenplays. After a significant hiatus from her last book (13 years and counting), she is reported to be working on a new novel, though there is no guarantee that she will return to the novel-writing genre.

 

Can You Succinctly Pitch?

suc·cinct
–adjective
1. expressed in few words; concise; terse.
2. characterized by conciseness or verbal brevity.
3. compressed into a small area, scope, or compass.

As writers we always try to be as brief and succinct in our writing as possible, while maintaining a clear voice and interesting, beautiful prose. It’s the eternal difficulty of not writing in too flowery a way, or using “purple prose”, yet still making our stories more than just a technical, clinical telling of a yarn. We want to be recognised for our writing style, for our ability as wordsmiths as much as for our ability as storytellers. The ultimate aim is to create a fantastic story, brilliantly told. Brevity in delivery, while waxing lyrical in the right places, is something of an elusive holy grail in writing. It’s something I constantly struggle with and constantly try to improve.
 
Then today I saw this post at Nathan Bransford’s blog. In the little video clip he talks about how important it is to know how to pitch your book. As an agent, he needs you to be able to explain the essence of your book to him thoroughly and succinctly; he says in 200 words or less. The thing he said that rang out loud for me was, “What are you gonna to tell people at parties that your book is about.”
 
Whenever I meet new people and we get to the inevitable What Do You Do? part of the conversation, I always end up talking about martial arts and writing – that’s what I do for a living. With the writing it always comes down to the fact that I have a couple of novels out and people always ask, “Really? What are they about?” I want to tell people. I want them to understand and stay interested, who knows, they may even go out and buy a copy later if I talk it up well. But even if it’s not their thing, that doesn’t matter. It’s part of a conversation, part of what I do and what I am and I want people to be interested. Folk’s eyes glaze over really quickly when you start um-ing and ah-ing, trying to nail the story.
 
Of course, it’s hard. For me to describe a 120,000 word novel in a few lines is quite an ask. But that’s what a pitch is. I’m lucky right now, as I have two novels out and don’t need to pitch them. But I’m working on a third. I’ll have to pitch that eventually. I have to be able to nail a short summary of every book I write. If I can get the one or two sentence “party description” down, then a 200 word pitch summary should be a piece of cake, right?
It’s a bit like the back cover blurb, which is always an arse to write. But that’s different, as it’s directly selling the book to an interested person that’s picked it up for a look. Here’s the back cover blurb for RealmShift, for example:
Isiah is having a tough time. The Devil is making his job very difficult.
 
Samuel Harrigan is a murdering lowlife. He used ancient blood magic to escape a deal with the Devil and now he’s on the trail of a crystal skull that he believes will complete his efforts to evade Lucifer. But Lucifer wants Samuel’s soul for eternity and refuses to wait a second longer for it. Isiah needs Samuel to keep looking for the crystal skull, so he has to protect Sam and keep the Devil at bay. Not for Samuel’s sake, but for all of humanity.
 
RealmShift is an engrossing Dark Fantasy thriller; a fascinating exploration of the nature of people’s beliefs and their effect on the world around them. Magic, action and intrigue, from dank city streets to the depths of Hell and beyond.
Here’s the MageSign back cover blurb:
Three years have passed since Isiah’s run in with Samuel Harrigan and the Devil. He has some time on his hands – a perfect opportunity to track down the evil Sorcerer, Harrigan’s mentor. It should have been a simple enough task, but the Sorcerer has more followers than Isiah ever imagined, and a plan bigger than anyone could have dreamed.
 
With the help of some powerful new friends Isiah desperately tries to track down the Sorcerer and his cult of blood before they manage to change the world forever.
 
In this long-awaited sequel to the highly acclaimed RealmShift, Baxter once again keeps a breathless pace and blistering intensity with gods, demons and humans entangled in magic and conflict. This is dark fantasy at its best.
Now sure, those paragraphs do a good job of describing the book from a back cover point of view, but can you imagine me suddenly blurting that out when someone says, “Oh, really, you’ve got a couple of novels out? What are they about?” I’d be sectioned.
 
I could potentially use them as a pitch, with a little tweaking, if I was trying to sell the books to an agent or publisher now. Thankfully that’s not necessary with these ones. But it got me thinking about that party description. I always feel like a dickhead trying to answer those questions, saying things like, “Well, it’s a bit hard to describe, but there’s this immortal dude that has to keep a balance among all the world’s gods… you see, this blood mage… well, the Devil, right, he’s a bit pissed off…” and so on. And that got me thinking, What if I could describe my book on Twitter? The 140 character or less description. So I’m working on fine-tuning my skills in describing both my current novels as an exercise in succinct pitching.
 
Here’s what I’ve got so far for the short, succinct party description. Or the Oprah’s couch description. Fuck it, aim high, I say.
RealmShift is the story of a powerful human called Isiah that has to shepherd an evil blood mage around the world to meet his destiny. If the blood mage doesn’t fulfil his destiny, humanity will suffer. The trouble is, the Devil is after the blood mage, so Isiah has his work cut out. There’s lots of magic, mayhem and fighting. It’s a dark fantasy thriller.
That’s just 65 words. Just like the back cover blurb would make me sound mad if I came out with it at a party, the description above would be weird on a back cover. It’s too conversational, but that makes it perfect for casual company.
 
For MageSign I have this:
MageSign is the sequel to RealmShift – they make a duology. In MageSign, Isiah decides to track down the teacher of the nasty blood mage from RealmShift and prevent him teaching any more evil prodigies. Only Isiah discovers that this teacher has a powerful cult of blood mages under his command and they’re planning something massive. Again, lots of magic and action, it’s a dark fantasy thriller like RealmShift.
That’s 69 words, again, conversational, relaxed, not too long. If people are still interested and asking questions after that then I can spend time going into as much detail as necessary. If, as is often the case, they’re “not really into all that sci-fi stuff” then fine. I’ve said enough and don’t look like a tool that has trouble describing books he wrote himself.
 
The Twitter description is much harder. Trying to distill those two paragraphs above into two 140 character bites is tough. The RealmShift one is currently 358 characters, and that was as brief as I could make it. The MageSign one is 425 characters.
 
So far, I have this for RealmShift:
It’s about a powerful human that has to shepherd an evil blood mage to meet his destiny, or humanity suffers. It’s a dark fantasy thriller.
139 characters. But it doesn’t mention the key aspect of the Devil chasing them around and it cheats by say “it’s” instead of “RealmShift is”, so without a question like, “What’s your first book about?” it falls down.
For MageSign there’s this:
Isiah tracks down the teacher of the blood mage from RealmShift and discovers that he has a cult of blood mages planning something massive.
139 characters.
Again, it presumes a question has been asked, which is kind of cheating. Another option would be working it like this:
RealmShift: A powerful human has to shepherd an evil blood mage to meet his destiny, or humanity suffers. A dark fantasy thriller.
130 characters.
MageSign: Isiah tracks down the teacher of the blood mage from RealmShift and discovers that he leads a cult planning something massive.
136 characters.
These sound more like ads and less conversational, but they do get the very basic essence of the books they’re describing. There’s so much missing, so much else I want to say about these 120,000 word things I sweated and agonised over, but in the first instance I need brevity.
 
I’ll revisit this subject periodically with these and all future books and try to refine these things. After all, it is fairly important for me to be able to accurately describe books I’ve written without sounding like an idiot. Plus, this exercise is very useful in developing my skills at pitching, which I’ll certainly need throughout my career as a writer.
What do you think? Have I nailed the descriptions well? If you’ve read them, how would you describe RealmShift and MageSign in 140 characters or less? And if you’ve written, are writing or are planning to write a book, do you know the essence of it well enough to describe it to someone at a party? Leave your own examples in the comments if you like and practice your pitching skills.
 
 
This is a cross-posting from Alan Baxter‘s alanbaxteronline blog.

The Art of Critiquing

It’s come to my attention that there are a lot of us who don’t have a clue how to honestly critique. We can tell you we like your story (or hate it), but we leave out the most important part — the why.

Critiquing isn’t just about misspellings and bad punctuation. It’s about understandability, what makes a story something you just can’t put down. Or, as Kelly Hart put it in her post Critiquing, “[I]t is about trying to help the story creator reach the full potential for that story.” She goes on to remind us that each story is the writer’s “baby” and “[f]or this reason you should try to be as diplomatic as possible, nobody likes to be told bad things about their baby.” (And I can say that’s true from both the mother’s and writer’s POV)

One way to bone up on the hows of critiquing is to just do it. Receiving critiques and critiquing others’ works makes a writer a better writer because  it “improves your own editing eye,” according to blogger Penny in her post 
The Art of Critiquing, Pt. 1. I have to agree with that. As I’ve read and edited others’ works, I’ve noticed problems in my own writing.

Of course, getting critiques (honest ones, especially) can be difficult. I’ve mentioned Critters as a place to find other authors willing to give good criticism, but I recently read about another called Absolute Write. After reading the Newbie section I think it sounds like a great place, so long as you can handle a little heat. Apparently there have been some, as the moderator put it, knock-down-drag-out arguments on things as silly as the appropriate use of serial commas.

Of course, my suggestion before putting your work out there for criticism, is to edit it at least once yourself. Track down as many of those niggly little misspellings and punctuation errors as you can. And don’t forget about grammar. While in some cases grammar rules can be bent, it’s best not to break them without at least knowing them. For that I would recommend a fantastic little book called Grammar Girl’s Quick and Dirty Tips for Better Writing.

Regardless of where you find your critics (or where they find you ;) ) try to keep in mind what you need to improve your writing, then reach out to your fellow traveler to give the same in return on The Road to Writing.

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