Author Blogging 101: Up With Comments!

One of the first experiences you’ll have when you start your blog is publishing a post and then wondering if anyone is reading it.

Especially at the beginning, author blogging can feel a little bit like “pouring from the empty into the void.” We all know that some of the best blogs are about the conversation going on between the blogger and the readers, but it can take a long time before you start getting those comments on your blog articles.

 

Commenting is central to the kind of blogging I like the most, and the one that seems to work best for most bloggers. There are lots of reasons commenting is a tool you should learn to cultivate and respect. And whatever you do, try to make it easy for your readers to comment. It will do many things for you:

  1. Comments allow you to engage one-on-one with readers. When we write for publication, we’re writing for some group of people, and we may or may not know very much about who is reading. But when a reader steps forward and writes a comment, they are opening a dialogue with you, one that can have profound implications.
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  3. Readers will make your blog posts better with their comments. If you’ve missed something in an article, or made a factual error, astute readers may well point it out. And since none of us can know everything about a subject, comments can make a conversation more complete and well-rounded than it would have been with only one voice.
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  5. The voices of many people can be heard in the comments. These other voices help to expand the range of your blog and its appeal to more kinds of people.
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  7. Comments show that a community is building around your blog. Many of us follow dozens of blogs, but we can only give enough attention to become part of the community at a handful of sites.
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  9. Commenting gives readers an opportunity to get to know you better. In fact, this is one of the most common pieces of advice given to bloggers who want to write guest posts for other blogs, and it certainly works. For instance, the wonderful article on Friday by Joan Reeves came about because of her comments on another article.

 

A Word About Blogs Without Comments

Although it seems like most bloggers are eager for comments, sometimes you come across a blog where the comments have been turned off. I don’t read many of these blogs, and it’s interesting how different the environment is on a blog without comments.

It feels more like a website where articles are posted regularly, and that’s about the only relation to a blog. Some bloggers have good reasons for blogging this way, and it does take time and attention to have a conversation with readers that just goes on and on.

So it can be done, and done very well by the right person, but I’m not talking about those kinds of blogs in this article.

What is “Social Proof”?

One of the reasons you want comments from your readers is because it contributes a great deal to “social proof.” What does that mean?

Social proof is a psychological trigger that affects our behavior. It’s the tendency, when you are undecided about something, to be influenced in your choice by the apparent choices of a group of other people.

What does that mean? What I mean is that suppose you happen onto the blog at Copyblogger.com, one of the internet’s premier resources on the subjects of copywriting and content marketing. You like the article you’re reading, then you notice the subscription box:

Copyblogger.com

When you see that over 155,000 other people have subscribed to the Copyblogger blog, you are assured it would not be a big mistake to take a chance and put your email address into the subscription box. The number of subscribers is a kind of proof of quality, a social proof that can influence our behavior.

The same is true for blog comments. If you see a blog article with 10, 30, 50 comments, you might automatically think that it has some value, that it’s not just an empty post parroting something some other blogger said. Otherwise, why would it have so many comments?

So having comments, and displaying the number of comments on your blog posts, naturally prompts more comments. And remember, the vast majority of your readers will never comment on the blog, so each person who does represents a whole swath of readers who likely have similar opinions.

How Can You Stimulate Interaction?

As a blogger trying to build community and relationships, your readers are vitally important. Encouraging comments makes your blog a better read and more attractive for interaction.

So how do you get those comments?

  • Ask—I know it seems obvious, but it’s not that easy when you start out. If you’re writing a post that centers on your opinion, ask for reader’s opinions. If it’s a how-to article, ask if they understood it. If it’s a survey, ask if readers know other resources.
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  • Unfinished posts—I learned this from Chris Brogan and it works. Instead of writing all the way to the logical end of an article, stop and ask readers how they would finish it.
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  • Controversy—One of the easiest ways to spark a discussion is to take a controversial stand, to oppose the current trends in your field, or pick a fight with a leading figure.
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  • Revelation—Discussing your problems and your passions, revealing yourself to your audience in an emotional, contactful way will bring in comments from a variety of readers.
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  • Co-creation—You may want to try creating a resource with the help of your readers. This can be a powerful community-building experience, especially if you can get enough people to participate, and the comments are a great way to do that.

The Golden Rule of Comments

Okay, now you’ve got the story on blog comments. Comment on other people’s blogs so you can get inside the feeling and know what your readers are experiencing.

Use comments to ask your readers what their concerns are, what information they would like, or what they think of your new book cover. These conversations turn into relationships and the bond between you and your readers will grow strong.

The Golden Rule of blog comments, of course, is to never ignore them. What’s the point of asking people to comment if you never answer them?

You don’t have to answer every comment, but it makes a huge difference if readers sense that you are as much a part of the discussion as they are, and a well-placed response will be much appreciated.

So does that answer your questions about blog comments?

 

 

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

Categories, Key Words, and Tags, Oh My: Why should an Author Care?

Two weeks ago I published my second historical mystery, Uneasy Spirits, and in the process I was reminded of how confusing it can be to determine the best category and key words I should use on Amazon to describe my book. Since there are several other authors who have been wrestling with the same question in the Historical Fiction Authors Cooperative (HFAC) that I belong to, I decided to write this post on how to use categories and keywords to maximize ebook sales.

For the purpose of this post I am focusing on ebooks on Amazon, in part because that is where I have the most experience, but also because Amazon is definitely ahead of the other ebook stores in its sophisticated approaches to helping readers find books. My understanding of these issues is based on my experience as a self-published author using KDP (Kindle Direct Publishing). Finally, as with much of the publishing process, there is still a lot of conflicting information about how Amazon categories, keywords, and tags work, so some of what I say is more of an educated guess than documented fact.

First some definitions:

Categories: When a book is uploaded into KDP, an author (and, I assume, a traditional publisher) has the opportunity to choose two categories. It used to be that Amazon allowed you to choose five categories, which is why some books have more Kindle Store categories listed at the bottom of their product page. When you, as author, choose a category for your book, you are actually choosing a browsing-path for readers. That browsing-path/category consists of a hierarchy of sub-categories and your book is available for readers to discover under each of the parts of that hierarchy. For example, in the case of my most recent book, Uneasy Spirits, one of the two browsing-path/categories I chose was:

Fiction—Mystery&Thriller—Mystery—Historical 

If you browse for Uneasy Spirits in the Kindle store, you will find it in under all four parts of the hierarchy:

Fiction
Fiction–Mystery&Thriller
Fiction—Mystery&Thriller—Mystery
Fiction—Mystery&Thriller—Mystery—Historical  

Note that each time a reader goes one step further down the hierarchical browsing-path, there are fewer books to browse. For example, as I write this, here are the numbers of books in each of these four areas:

Fiction [324,671]
Fiction–Mystery&Thriller [43,629]
Fiction—Mystery&Thriller—Mystery [9,700]
Fiction—Mystery&Thriller—Mystery—Historical   [73]

By carefully choosing my category, I make it much more likely that a reader will find my book, since the pool of books is smaller with each step down the path.

The “categories” Amazon offers when you upload your book to KDP are apparently BISAC categories, a book industry standard for subject headings.  What is confusing is that the “browsing path” that Amazon generates from your choice is not always the same as the BISAC category you chose. Amazon apparently converts the BISAC categories that you pick into the Amazon browsing-path categories and subcategories that show up in the Kindle store — and the two are not always the same.

To make matters more confusing and frustrating, this conversion process does not always work accurately. You can read more about this on my blog post, “Working Amazon” and on Suzanne Adair’s blog post, which provides a hilarious description of the trouble she had with getting her wonderful new Revolutionary War thriller, Regulated for Murder, in the right category. (Suzanne is a fellow HFAC author.) To complicate issues further, the browsing categories for books and ebooks are not identical, and Amazon creates browsing categories like “newly released” and “best sellers” and “editors’ pick” — some of which are separate from the browsing-path/categories and some of which are available as additional qualifiers to the browsing-paths. Are you lost yet?

Keywords: When you publish your book with KDP, you can choose seven “key-words” in addition to the two categories. These are really key phrases since they can be more than one word. For example I used terms like “Victorian Mystery” and “cozy mystery.” These “key-words” are apparently used by Amazon in its own search engine — along with words in your title and subtitle and product description. This may seem very straightforward, until you get to the next definition—tags.

Tags: These are another kind of key-word or key phrase. They are listed on a book’s product page under the heading “Tag this product” and were designed by Amazon to help customers describe and find products using key words called “tags.” Readers can add tags to a product page and can indicate that an existing tag is useful. It used to be that the “key-words” that authors chose at the time of uploading a book to KDP were automatically displayed as “tags” on the book’s product page, but this evidently no longer happens. Of course, after publication, an author can add tags to a product page just like readers can.

There is contradictory information about how Amazon uses “tags” and “key-words” in its own main search engine, but I believe that “key-words” that the author has assigned to a book are searchable in Kindle store, the but “tags” are not.  For example, I did not add the word “clairvoyant” as a “key-word” when I uploaded my book Maids of Misfortune to KDP, but it has been added by customers as a tag on the Maids product page. So, if I go to the Kindle bookstore on the Kindle device (or the main search box on the Amazon website) and search for “clairvoyant,” Maids of Misfortune does not show up in the 100 books that are listed in the search result. So, apparently, Amazon does not include the customer-created “tags” in its Kindle bookstore search (available on the Kindle device) or in the standard search box on the Amazon website.

“Tags” are available for a different kind of searching, though. The “tags” themselves are clickable links. Readers can click on any “Tag” on a product page and find other books that have the same “tag.”  For example, if, on the Maids of Misfortune product page, I click on the tag “clairvoyant” (which 19 people checked as useful), the result is 152 books, including Maids of Misfortune. Also, in the “Tag” section of the product page there is a special search box labeled “Search Products Tagged with.”  By entering terms in that special search box, you are searching only “tags.”  Searching “clairvoyant” using the special tag search box finds those same 152 books. Note that “tags” are typed in by users so you will see misspelled tags!

Why Should an Author Care?

Categories, keywords, and tags can be used to help readers find your books, and these are methods that are generally not available to authors of print books that are sold in brick and mortar stores. As authors of ebooks, we need to learn how readers find books in estores like the Kindle store and use the tools that are available to us to maximize our sales.

When you sell a book to a traditional publisher, who then distributes that book to bookstores, you, as author, really don’t have much to say about how readers find your books. You hope that the bookstores will shelve your book on the right shelf (and that they have separate shelves for your genre) and you hope your publisher can convince the seller (or pay them) to put your book in special places like “newly released” tables, or “best seller” tables, or under “staff recommendations.” Beyond that, there isn’t much authors can do besides cultivating booksellers at conventions and through book signings, hoping this will convince them to feature their books — a time-consuming and expensive proposition. (Although I know one author who always turned their books and books of their friends so that the full cover showed whenever they found them in a bookstore!)

However, self-published authors, by their choice of categories, keywords, and tags, can increase the chances that a reader will find their books in an ebook store. I am going to discuss two strategies an author can use to achieve that end.

The first strategy is to choose a category (browsing path) that ends up with a small number of books at the end of the path.

For example, I could have chosen as one of my two categories, the browsing path of Fiction—Historical Fiction for my newest historical mystery, Uneasy Spirits, which is most certainly a work of historical fiction. However, this would have placed this book in a final pool of over 15,000 books in the Kindle store. Maybe some day I will be such a successful author that I can compete in a pool of that size, but right now as an indie author without a big promotional campaign behind me it would be easy for me to get lost in that pool. Few people are going to scroll down through hundreds if not thousands of books to find mine.

So, I chose to place both of my books, Maids of Misfortune and Uneasy Spirits in the Fiction—Mystery&Thrillers—Mystery—Historical category/browsing-path. Not only does this more accurately define the sub-genre of these two books, but there are fewer than 100 books in this subcategory. It took me six months to reach the top ten books in that subcategory with my first book, Maids of Misfortune, but once I did, my sales went up exponentially. In May 2010, I sold 55 copies of Maids in Kindle and in August, after the book hit the top 10 in this category, I sold 249.

I did a fair number of things to help Maids of Misfortune achieve that top ten status (price changes, reviews, short story, etc.) but I could have done all those things and it still wouldn’t have gotten me into the top 10 in the category of Historical Fiction—it is just too big a pool of books. With the publication of Uneasy Spirits, I had the benefit of now being a better known author, with an already existing fan base, which explains why it took only 24 hours for this book to hit the top ten in the historical mystery subcategory. Even so, as an independent author without a whole publicity machine behind me, I still would not have achieved this within the “Historical Fiction” category.

This strategy (getting your book into the smallest possible pool of books) is also why I chose to put Uneasy Spirits into the browsing path Fiction—Romance—Romantic Suspense (4,800), rather than into the Historical Fiction (15,000 books) or the Historical Romance (8,800 books) subcategories. Again, this was in part because this subcategory accurately describes the book, but also because the pool of books in this subcategory is smaller than in these other two. This is also why, when I had 5 choices of categories when I uploaded Maids of Misfortune, I chose History—United States—state and local—west as one browsing path. I not only figured that people looking for books about the western US would be interested in my book, based as it was on solid historical research, but this was also a pool of less than 500 books, and Maids of Misfortune has been at the top of this list for most of the last year.

The second strategy is to use key-words and tags that will help users find my book in a small pool of potential books.

Let’s take the example of a work of historical fiction that is not a mystery and that, therefore, doesn’t have a lot of options apart from being placed in the historical fiction category with those 15,000 other books in the Kindle store. Here the application of key-words (or tags for people who are doing a tag search) is the appropriate strategy for narrowing the pool to a reasonable level, giving your book a better chance to compete. For example, when I was giving advice to a fellow HFAC author, Elisabeth Storrs, who has written a well-reviewed work of historical fiction, The Wedding Shroud, which has not yet found the readership that it deserves, I investigated what key words she could use.

I discovered that a user who is browsing in the historical fiction subcategory and looking for books about Rome will narrow that list from 15,000 books to 221 books if they put in the search term “Rome.” If they search for “Ancient Rome” they will find a list of just 88 books. And, if they searched for “Early Rome” while browsing in the historical fiction subcategory, they would find just two books.

My recommendation was that she use “Rome” and “Ancient Rome” for two of her seven “key-words” because readers using this browse-then-search strategy would be more likely to find her book in these smaller lists of books that match. This would enable her to compete more successfully in an otherwise broad category. And, of course, these terms more accurately describe the historical fiction she has written!

However, I did not recommend the use of “Early Rome” (although it equally described the period of the book) because it produced such a small pool of books that readers probably wouldn’t return to that search. The other two key-words bring up enough books to make them search terms that readers would be likely to use the next time they were ready to look for a new book.

These two strategies can boost your sales in two additional ways.

First, they will help you get on an Amazon “Top 100 Best Seller List.” Second, they will help ensure that people who find your book will have found books similar to yours — and that improves the chances of your book showing up on the Amazon “Customers who bought this book also bought” recommendation system.

The best-seller lists: Amazon has a computer algorithm that updates the “best-seller lists” in each category and subcategory every hour. While secret, the algorithm evidently takes into consideration “all-time sales, as well as recent sales that are weighted more heavily than older sales…” according to an Amazon spokesperson quoted in this article. Needless to say, no matter how good your sales are in a given hour, or day, your chances of getting into a top 100 best-sellers list and staying there are pretty slim if you are competing against 15,000 other books.

If, however, you are in a group like Horror-Dark Fantasy (227 books), or Science Fiction—Series (169 books), or Fantasy—Authurian (27 books), or Mystery—Historical (73 books), your chances of being ranked in the top 100 in these categories increases (or becomes 100%). Since many customers start their searches for book in the best-seller lists, this heightens your visibility and cachet and increases your sales, which in turn helps you stay on and move up the best seller lists. The increase in sales may, in time, help your book rise in the other categories or key-word searches where your book is listed. Very briefly after Christmas of last year, when my sales were high (700 books in the 3 days after December 25), I actually made the top 100 of the category Mystery—Women sleuths (6,222 books). Heady days!

Customers Who Bought This Item Also Bought: Amazon uses an algorithm that identifies other books that people who have bought your book have bought. You have to have a certain number of sales for this to kick in (Uneasy Spirits had enough Kindle sales so this section appeared within a day—my print edition came out a week later and has had fewer sales, so its product page does not yet have this feature.) In addition, it appears that for a book to appear in this list, a certain number of your customers must have bought the book. For example, nearly 15,000 people have bought Maids of Misfortune, yet there are only 100 books that show up in the “Customers Who Bought” list, and I know that those 15,000 people bought more than 100 books altogether. It also appears that there might be some other limitations; I haven’t seen more than 100 “also-bought” books listed, even for popular books like Amanda Hocking’s ebooks.

You’ll want to do more than just sell enough books to trigger this feature, however. You’ll want to make sure that the books that show up are similar to your book – and you can do that by using the right categories, key-words, and tags. For example, I could certainly have put my books into the category of Romance—Historical, but then the books that would show up in this “Customer who Bought” list would be dominated by books that tend to put the romance before the history and have explicit sexual themes. While there is nothing wrong with these books, a customer who bought my book, based on the expectation it would be like these historical romances, might be very disappointed by the rather chaste nature of my protagonists’ relationship.

Since my books are in the Mystery—Historical category, it is not surprising that the list of books in the “Customer who Bought” feature is filled with historical fiction (usually in the Victorian era) and mysteries. This adds to the chance that the customer who is checking out my book will think, “Hey, I read those books and liked them, I will probably like this one.” And if they buy my book, there is less chance they will be disappointed —  thinking, “Where was the sex?” — and give my book a bad review. And finally, it will also mean that my book will show up on “customers who bought” lists for books that are in my sub-genre. You can imagine how pleased I was when I discovered that Maids of Misfortune had started showing up on a “customers who bought” list for Victoria Thompson’s Gaslight Mystery Series! That meant my book was being seen by exactly the readership I want to attract.

In Summary:

As an author, you need to carefully choose categories and key-words when you publish and add your own “tags” after publishing. You need to take into consideration not only what best describes your books but also what will maximize the chances that a reader who is browsing through the Kindle store will find your books. You also want to make sure that readers who find your book are the ones who would be most likely to buy it and enjoy it. Careful uses of categories and key-words and tags can also increase your chance of getting on one of the best-seller lists and showing up on one of the “Customers who bought” lists, which in turn will help boost your sales. Carelessness in using these strategies can condemn even the best work to the backwaters of the Kindle store —  undiscovered, unbought, and unread — and that would be a shame.

 

 

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

5 Things Paratrooping Can Teach You About Self-Publishing

This post, by Chris Allen, originally appeared as a guest post on Joanna Penn’s The Creative Penn on 10/31/11.

As a thriller writer, I am always keen to experience new physical adventures! I have done tandem and static line parachute jumps so I was fascinated to hear what Chris Allen had to say about paratrooping in this guest post.

As a kid growing up in Western Australia in the 70’s, I knew I wanted to be a writer of action stories from the moment I picked up my first Ian Fleming (The Man with the Golden Gun, a dark blue, dusty old hardcover borrowed from the school library).

I devoured Fleming’s descriptions of dastardly villains – devoid of scruples and resplendent in physical malformation, his exotic women – subtly flawed but incredibly beautiful in their own way, the locales, the action, the adventure, and of course, the ultimate action hero… James Bond. What boy wouldn’t be hooked!

Of course, not everyone needs to see action to write about it, but I wanted to – fuelled by the belief that I was ten tall and bullet-proof.

So, joining the Australian Army at the tender age of 18, the next fifteen years I spent ‘in’ as an Officer gave me all the fodder necessary to recreate action scenes in my writing. But what I didn’t expect was the similarities between publishing books and those exciting days as a Paratrooper, when I’d launch from a plane, sometimes by night, into less than hospitable parts of the world.

Back then, I remember what would flash across my consciousness whenever we’d force ourselves to depart from a perfectly good aircraft into black, starless skies…

To the brave belong all things

Sometimes we needed encouragement to launch out into the unknown, and when it came to me, it worked every time.

The stoic Celtic adage applies equally to those of us who are part of the current publishing revolution  – blazing a trail (or perhaps, hot on the heels of those doing so) into the world of eBooks, online communities, and technologies that allow readers to find and enjoy stories from a diverse new range of voices.
There are other ways that being a Paratrooper is similar to being in the writing and publishing game, so if you’re conscious and still reading this, thank you, and here they are.

(1) Trust your peers

My mates in the Army always double-checked my gear before I jumped, and even today they still have my back. Similarly, as writers we’re lucky to have friends, family, colleagues, fellow authors and online fans who will tell us first-hand about their reading experience as we press the green light. We are no longer totally reliant on the big publishing houses to send their versions of our stories out into the world. Listen to honest feedback from your own network and use it – it’s your lifeline to connect with your fans and give them what they want.

Real-life outcome: We chose our book cover via an online vote using SurveyMonkey.com. It gave us amazing feedback direct from our fans, and a classic cover!

(2) It’s a long way down

It can be overwhelming, overseeing the editing and design of your book, researching and choosing providers, building your author platform, planning events, negotiating with distributors, bookstores and libraries… all at the same time. I recall peering over the ramps of Hercs many times and being so weighed down by the gear I was carrying (usually 90kg) that I just wanted out of the aircraft, if only to take a load off. Once you get on your way with your publishing project, adrenaline and pig-headedness will keep you going. Stay the course, even when it seems like it’ll never end, and resist the urge to hurl your computer out of the nearest window.

Real-life outcome: We drew on the energy and enthusiasm from our network of friends, family and online communities when it seemed like we’d never get there.

 

Read the rest of the post on The Creative Penn.

NaNoWriMo: Some Helpful Hints and Tools

For those of you who will be participating in NaNoWriMo…this post, by Steven Sande, originally appeared on the TUAW blog on 10/29/11.

This morning, I noticed a tweet from @rvbelzen that said, "As a NaNoWriMo veteran, do you have any tips for this NaNoWriMo newbie, maybe an article you wrote about it?" Most of the posts that I’ve done about National Novel Writing Month for TUAW have focused on the tools, not on the technique. Based on the tweet, I thought I’d give you some hints from a three-time NaNoWriMo winner (that means you wrote a 50,000-word novel in the month of November) about how to prepare for the writing marathon.

Helpful Hints For Writing Your NaNoWriMo Novel

1) Make sure you have a broad outline of your plot and characters in your mind or on paper. This was the hardest part for me the first two years I did NaNoWriMo, as I had a story in my head but didn’t spend the time to think of characters or how the story was going to evolve. As a result, those first two novels were only about halfway through the total plot line when I got to 50,000 words. What I suggest is sitting down with your favorite writing tool — whether that’s TextEdit, Word, Storyist, Story Mill, Scrivener, or another other writing tool, and just write a quick outline of how the story is going to unfold. Come up with character names and a rough description, locations, etc., and write them down as well.

2) At some point on November 1st, sit down for an uninterrupted spell of writing. In order to write 50,000 words in a month, you’ll need to average 1,667 words a day. I find that setting aside time to write in a place where I’m not going to be interrupted by talk, TV, or tweets is essential. If you’re enthusiastic about your story, that 1,667 words is going to flow out of you, and you’ll find that some days you’re writing 2,500 words. Go for it on those days, because you’ll have other days when you need to take a break. My favorite place to write NaNoWriMo novels? The kitchen table. The chair is uncomfortable, so I need to write quickly so I can get out of it ASAP.

3) It’s all about words, not about tools. I’ve noticed over the last few days that I see more and more tweets about "which tool should I use?" There are debates going on about the merits of Storyist versus Scrivener, or using one of the many minimalist writing tools. Here’s my take on the writing tools: don’t go out of your way to buy a new app that has lots of bells and whistles, because they’ll get in the way of writing your novel. Many of the novel-writing apps have ways to write outlines, build character cards, etc. I found these tools to be so incredibly distracting that I finally just started using minimalist tools. You can easily write a NaNoWriMo novel in Pages or Word — you don’t need an "author’s tool" unless you really think it will help you. My second NaNoWriMo novel was actually written in TextEdit.

 

Read the rest of the post on the TUAW blog.

Z Winters: YA Dystopians

For a long time I’ve thought about trying my hand at writing YA dystopian novels. It’s a genre I really enjoy and I have a ton of creepy ideas for them. I hadn’t pursued it because I felt like I’d need to create ANOTHER identity. And really, there are only so many separate brands I can maintain. It gets difficult, especially when you are building brands and not having crossover/cross-pollination. But for some reason there seem to be a lot of paranormal romance readers who also read YA dystopian. I have no idea why this is. And I fit into that camp as well. I enjoy reading both genres.

 

So I thought I didn’t really want to create a whole other identity somewhere, just a slight branding distinction. Like if I’m going to write both genres, I don’t want someone to pick up a PNR from me expecting YA dystopian or vice versa. But since there is a lot of crossover potential, as long as it’s easy to tell which is which at a glance, there should be no problem with keeping it all in the family so to speak.

I set up a Facebook fan page for Z Winters. Yes, that’s my sad little fan page with nothing on it.

On Twitter, I am Z_Winters (Don’t forget the underscore.)

And I also purchased Zwinters.com and Zwinters.net

So I’m ready to roll with that when I get ready to. Please note, I am NOT changing my name. I am simply adding a new brand identity. Zoe Winters will still be there and she will continue to write paranormal romance. (No, that didn’t sound schizophrenic at all!) Z Winters will write YA dystopians. I will be cross-promoting the names also.

Those who are waiting for more Pretverse, don’t worry. I am not writing my dystopian until I get Dark Mercy (the novella/novelette coming in November), The Catalyst (tentative title for book 3) and LifeCycle (book 4), out the door to you. I just have this awesome idea that’s been percolating and really want to write it. And even though there are some dystopian type themes in Pretverse which will be expanded upon, this particular idea won’t work in that world and doesn’t fit a paranormal structure.

I’m not sure how many dystopians I’m going to write. I’ll probably publish them less frequently unless I just get on a tear with ideas. But by keeping the pen names so closely linked together, I feel like it will be less stressful/overwhelming trying to build a totally separate brand with a totally new readership because I anticipate a lot of the Zoe Winters readers will also read Z and vice versa.

And that’s all I have to say about that. :)

 

 

This is a reprint from Zoe Wintersweblog.

And Pretty Words All in a Row: Tightening Your Narrative Focus

This post, by Janice Hardy, originally appeared on her The Other Side of the Story blog on 10/19/11.

First drafts are typically messy. We let our creativity guide us and the story goes where the story goes. It’s not uncommon for a first (or even second) draft to be a bit all over the place. Eventually we’ll get to a point where it’s time to tighten, not only the prose, but the narrative as well.

It’s time to look at your narrative focus.

Narrative focus is the theme or idea that ties a sentence, paragraph, scene, chapter, and book together. It’s what keeps the story flowing because everything is lining up like lovely little story roads. It helps keep the pace moving as events and details are building upon one another and making the reader feel like the story is going somewhere.

Like so many things in writing, narrative focus affects the macro and micro levels of your story.

Sentences
Have you ever read a run-on sentence? Odds are it lost its focus. It’s trying to do too many things at once and you’re not really sure what the point of the sentence is. Or you’ll find a sentence that’s trying to cram something in that doesn’t really go with the rest of it.

Bob ran for the car, jumping over the barrel of firecrackers he still couldn’t light, trying to ignore Sally screaming that she’d never leave the keys in the ignition and he was looking in the wrong place.

Um, what?

Do you have any idea what this sentence is trying to say? What’s important here? Going for the car, lighting the barrel of firecrackers, or the keys in the ignition.

Try keeping the focus of each topic together.

Bob ran for the car, ignoring Sally’s screams that she’d never leave the keys in the ignition. He jumped over the barrel of firecrackers he still couldn’t light.

Better, but there’s still trouble here, because what do firecrackers have to do with going for keys? This kind of narrative wobble is common when you’re trying to slip in details and aren’t sure how they fit. This can lead to unfocused paragraphs.

Paragraphs

Remember English class? One topic per paragraph? That still holds true in writing.

 

Read the rest of the post on Janice Hardy‘s The Other Side of the Story blog.

Dialogue: Common Mistakes Part 1

This post, by Karen Baney, originally appeared on her site on 9/23/11.

In this series on dialogue, I’ll cover several common mistakes that writers make in dialogue.  For a more thorough study on dialogue, I suggest picking up a copy of Gloria Kempton’s Write Great Fiction – Dialogue.

Today’s Topic:  Overuse of Character Names

This is best illustrated in the following example:

“Why are you here, Kyle?” Niki asked.

“Well, Niki, I’m here because Marcy asked me to come to dinner with her and her boyfriend,” Kyle replied.

“That’s not what I meant, Kyle.  What are you doing here, in Arizona?  Out of the Air Force?”

“Why is it so important to you, Niki?”

“Why are you avoiding the question, Kyle?”

“Look, Niki, I’m just not ready to discuss it yet.”

Did you notice the extreme overuse of the character names (Kyle & Niki)?  Is it clicking yet?  If not, try reading it out loud.

 

Read the rest of the post on Karen Baney‘s site, and also see parts two, three and four of her series on dialogue.

Literary Agency Sells 520 Books In One Deal, Raising Questions

Editor’s Note: while most Publetarians are indie authors and small imprint owners, this article is still worth a very close look from all of us. It touches on the indie authors’ and small imprints’ new competitors, companies which are a hybrid of literary agency and publisher. Plenty of indies have a mainstream-published backlist, and those indies need to be particularly wary of the kinds of business practices revealed in this article.

This article, by David Gaughran, originally appeared on his Let’s Get Digital site on 10/19/11.

Last week, Curtis Brown (UK) signed a deal for 520 of their authors’ backlist titles to be published by Pan Macmillan’s new imprint Macmillan Bello.

120 titles will be released between November and the end of the year, with 400 more coming in 2012, and the books will be available in both digital and POD formats.

 

Regular readers might remember that, in May, Curtis Brown were considering a move into publishing after fellow-agent Ed Victor launched his own imprint Bedford Square Books.

At the time, Jonathan Lloyd, the managing director of Curtis Brown, was quoted by The Bookseller as saying, “Where Ed Victor leads, others follow – and we are right behind him, but with a rather larger list.”

However, Mr. Lloyd may not have expected what happened next. Ed Victor’s move created a firestorm, with angry reaction from publishers, authors, and even other agents – including calls for his expulsion from the UK’s representative body, the Author’s Association of Agents (scroll down to comments for quote)

In addition, later that month, one of the first UK agents to move into publishing – Sonia Land – was dramatically cut out of a publishing deal by one of her own authors – Tom Sharpe – who made a backlist deal directly with his publisher.

It seems that Curtis Brown decided to rethink their move into publishing.

Instead, they have announced a deal to sell 520 books en masse to a new imprint owned by Pan Macmillan created especially to house these books. Naturally, with a deal of this size and nature, questions are being asked. Here is what Passive Guy (a lawyer) had to say:

 

Read the rest of the article on David Gaughran‘s Let’s Get Digital site.

9 Tools For Character Development

This post, by Bryan Thomas Schmidt, originally appeared on his site on 10/13/11.

Character Development is core to good storytelling. After all, characters are whom readers connect to and if they are stagnant and unchanging, the story can fail to hold reader’s interest. Growth of characters creates drama and propels the story. So what tools can you use to develop characters well? Here’s [nine] suggestions:

 

1) Treat Your Characters As Individuals–People are unique, no two the same, and so should it be with your characters. So each characters should respond differently to a situation as any other character. In particular, fight scenes, for example, can often be a place where characters blend into one, as they all react the same. Instead try treating such common scenes as opportunities to reveal character through uniqueness. How would one character fight differently than another? Work this in and your story will be richer, your characters stronger. There are many other common scene types where you can similarly emphasize the uniqueness. Look for them.

2) Vary The Vocabulary–People use words differently, so your characters should as well. One of the best ways to distinguish and develop characters is through dialogue. Educated people use more sophisticated words, while less educated structure sentences  differently. Think of this as you develop each character’s voice and use it to set them apart, create conflict and develop them throughout your story. Vocabulary, in fact, is far more effective than attempting to create accents. Phonetically, accents already pose problems and can even devolve into silly or, far worse, confusing dialogue styles which detract from the story.

3) Scene Point Of View–Another way to develop character is by choosing the protagonist whose point of view will tell particular scenes. I tend to consider who has the most at stake in a particular scene and make the scene happen in that POV but there are varied theories. Whatever your method, your characters can be developed well through use of POV. For example, I had a scene where a couple are fighting. At the same time, an old enemy is stalking them, intent to do them harm. I told the scene from the enemy’s POV, even though he never interacts with the couple because it allowed me to further both the romantic storyline and the antagonist’s storyline in one scene through his internal monologue as he witnesses their discussion. Three character arcs and two plotlines were thus furthered in one short scene.

 

Read the rest of the post, which includes 6 more tools for character development, on Bryan Thomas Schmidt‘s site.

Uneasy Spirits and Halloween: Using Fact in Support of Fiction

“The feast of All Saints, which was ushered in Friday evening by the old-fashioned games of ‘All Hallows’ E’en, was yesterday celebrated in the Catholic and Episcopal Churches.” San Francisco Chronicle, 1879

 “It’s barmbrack cake. Beatrice has baked a ring in it, and tradition has it that the girl who gets the slice with the ring will marry within the year.” Annie Fuller, Uneasy Spirits.

The first quote above is from a real person, who was reporting for the San Francisco Chronicle about real events. The second quote is by Annie Fuller, a fictional person and my protagonist, from my newly published historical mystery, Uneasy Spirits, which is set in 1879 San Francisco. As we approach Halloween, 2011, I thought it would be fitting to discuss how I used factual data from the past to provide historical context for a work of fiction.

 

As I was plotting Uneasy Spirits, the sequel to my first historical mystery, Maids of Misfortune, I knew that I wanted the story to start only a few months after the first book ended, which was the last week of August, 1879. I also knew the basic plot was going to revolve around Annie Fuller trying to expose the shenanigans of a trance medium who claimed to commune with the spirits of the dead. So, placing the action of Uneasy Spirits around October 31 and the celebration of Halloween seemed a fairly obvious choice.

I got a calendar for October 1879 (one of the wonders of the internet is being able to find this sort of thing so easily), made a list of the main scenes I had outlined for the book, and then decided to make Halloween (which was a Friday that year) the day when several of the semi-climatic scenes in the story occurred. I then literally counted back from October 31, and determined that the opening scenes of the book should happen about 3 weeks from this date. In the final version of the book, the first chapter opens on October 11.

But then I was faced with a real problem. Despite being a professional historian and having written a dissertation that focused primarily on women who worked in San Francisco in 1880, I had no clue how people in 1879 San Francisco would have celebrated Halloween. Did they trick or treat? Wear costumes? Have Jack o Lanterns? I had some vague idea that young boys in small towns went around tipping over outhouses on this night in “earlier days,” but beyond that, I didn’t even know if anyone would actually celebrate this night at all, much less how, in a larger city like San Francisco.

A little research was in order. The first clue came with the mention in the San Francisco Chronicle of “old-fashioned games of All Hallows’ E’en.” I now knew to look for what someone in 1879 would consider “old fashioned games,” which led me to several internet sites that reported on Halloween, including an article in Harpers Magazine for 1886. In addition there were a good number of contemporary articles detailing the history of this holiday.

All these articles agreed that, while Halloween’s roots can be traced back to a number of ancient cultures and religious beliefs, in the 19th century it was the Celtic peoples, particularly the Irish, who had the strongest influence on the development of Halloween as a night of celebration. It was the Irish who seemed responsible for turning October 31 into a night of fun and games, and Irish immigrants brought their traditions with them to America, profoundly influencing how this country celebrated this holiday.

I couldn’t have been more pleased with this information because the Irish were an enormously important ethnic group in San Francisco in 1879. They not only made up a substantial percentage of the working class of the city, they also were represented among some of the economic and political leaders of San Francisco (men like James Flood and William O’Brian, the Silver Kings, and Frank McCoppin, a former mayor.)

Not coincidentally, two of the most important people in Annie Fuller’s life are her cook, Beatrice O’Rourke, and her maid-of-all-work, Kathleen Hennessey, both Irish. Once I knew about the prominence of parties as the way to celebrate Halloween in the late 19th century, it was easy to decide that Annie Fuller would host a party at the boarding house she owned, with Beatrice and Kathleen inviting their friends and family. A perfect setting for one of the main climatic scenes of the book.

And what fun that party was to write. There were indeed jack-o’lanterns at that time (in Ireland the tradition was to use turnips!), and I was able to work a pumpkin into the plot in what I thought was an unusual way. In addition, there were games like “snap the apple,” dancing, and special foods, like the barmbrack cake, which was one of several elements of Halloween activities that revolved around trying to foretell the romantic futures of participants.

I now had a way to provide a new and different setting in which my characters could interact. The detail I had gleaned from my research would make my portrayal of the past more authentic. And finally I was able to leaven what could have been a series of very “heavy” scenes with a light, humorous scene, which is one of my goals as a writer. And I learned something, which was much fun for me as I hope it is for the reader.

Oh, and click here to find a recipe for that barmbrack cake, in case you want to make it for Halloween! 

Sources:

Lynne Olver, Halloween and Day of the Dead Food Traditions, 2005   http://www.foodtimeline.org/halloween.html

Bridget Haggerty, An Irish Halloween Part 1 and 2
 http://www.irishcultureandcustoms.com/acalend/Halloween1.html

William Sharp, “Halloween: A Threefold Chronicle,” Harper’s Magazine, Vol 73, 1886
http://bit.ly/newKG3

 

This is a reprint from M. Louisa Locke‘s 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.

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 writer to give the same in return.

In what areas do you find yourself needing some extra help? What tips and tricks do you have for giving (or receiving) critiques?

 

This is a reprint from Virginia Ripple‘s blog.

Publetariat Interviews Sean Platt About Platform, The Writing Life, And Serialized Novels

Many Publetarians may be familiar with Sean Platt as the Writer Dad, Ghostwriter Dad, or through the Collective Inkwell site. In addition to those endeavors, Sean is also an author. In this interview, I talk to Sean about his many irons in the fire and his latest experiment: a serialized novel entitled Yesterday’s Gone.

Sean, you’re the man behind Writer Dad, Ghostwriter Dad, and Collective Inkwell. Can you share a little about each site?

First off, April thanks for having me. It’s great to be here!

And that’s a great first question. In three years online, I don’t think anyone’s ever asked it before!

Writer dad was my original home on the web, the site I started before I had any clue what I was doing. It was an outlet, a conduit, a way for me to nurture my online voice and connect with an audience.

I’d only recently started writing when I bought the domain. But even three years ago it was clear to see what was happening with the publishing industry. I didn’t want a traditional contract, but that meant I had a lot of work to do as far as building a base. So Writer Dad was born from a desire to establish my own audience.

Attention was easy enough to get, but it was impossible to make any money with a site where I mostly talked about life and family. I had no advertising, and wasn’t willing to, despite my traffic. It seemed too incongruent with what I was trying to do. But I had to something since I was bleeding badly, having closed a successful business to follow my dream of becoming a writer.

Ghostwriter Dad was the solution to the problem, the site I started to capitalize on the name brand I had established for myself with Writer Dad, but with a built-in mechanism to make it easy to trade my time for money. I figured it would be simple enough to slip ghost in front of writer and trade a reasonable fee to keep my name off the byline, product, sales page, or whatever I was producing.

David Wright and I started Collective Inkwell around the same time as Ghostwriter Dad. Originally the site was designed to draw design and copy business, but we ended up mostly writing about creativity and the creative writing process. This was a BIG mistake, though we didn’t realize it at the time. Turns out you can’t really market your services as a writer when writers are your target audience. Seems super obvious when staring in the rearview, but it’s a common mistake a ton of writers make, ourselves included.

Collective Inkwell is now our publishing imprint, and home for all the work Dave and I do together. We’ll be re-launching the site soon as a a hub for self-publishing news and interviews, along with behind the scenes peeks at everything we’re going through ourselves during our own publishing process.

Should be a ton of fun. So far this year our teeny-tiny imprint has published six titles, including the full our horror novel, Available Darkness, and the full season of Yesterday’s Gone.

Your career in writing started out with copywriting and ghostwriting, but this year you’ve ventured into publishing your own full-length fiction and nonfiction as well. What prompted you to start publishing your own full-length works?

My intent was always to be an author and publisher, long before I ever registered my first domain. Copywriting and ghostwriting were a means to an end, a way to pay the bills until the sea change that would eliminate the gatekeepers and help authors like me and you get easily heard was complete.

I didn’t really see that happening until 2013 of the earliest, 2014 more likely, and was totally blown away last January when I saw numbers pouring in from writers like Konrath, Hocking, and Locke, doing exactly what I wanted to do (and was doing for others already!).

From that moment forward, it was game over. David and I completely shifted our business, and I started to break free from the work-for-hire hamster wheel.

I love my experience ghostwriting and copywriting. I’ve written everything. Sales letters, auto responders, blog posts, wedding vows, speeches, fiction. You name it, I’ve written it. I love knowing my fluency is strong enough to write pretty much anything that lands on my desk, but the articulate strength born from copywriting and persuasion techniques have helped Dave and I to design Yesterday’s Gone more like scripted serialized television, filled with open loops and awesome cliffhangers that make the viewer, or in this case the reader, salivate over what may happen next, more than a traditional novel.

I enjoy writing copy, and ghostwriting for others, but it reached a saturation point where I was fatigued by seeing other people reap success for words that came from inside me. You only want to be Cyrano for so long.

Your most recent writing project is a serialized novel entitled Yesterday’s Gone. Why have you and your writing partner elected to release this work in installments?

Dave and I love serialized TV.  LOST, Dexter, Walking Dead, etc. But beyond that, we were tired of the slog of writing a single title at a time, then surrendering to the “hope and pray model.”

When we looked to others in self-publishing who were moving the units we’re looking to move, they’ve all published multiple titles. Konrath has his entire back catalog, Hocking is cranking hers out, and Locke had 5 Donavan Creed books before he even started his marketing!

We wanted to establish a heavy presence on Kindle by Christmas, but knew there was no way we could publish multiple titles with the quality we expect from ourselves, and that our readers have come to expect from us. Serializing a large story by writing it all out at once, then breaking it apart, exactly like they do with television, was what made most sense to us.

Have you found any particular creative challenges in working with the serialized approach?

In many ways, this is much, much easier than writing a regular book. A regular book, begins and ends, and if done well has a “hero’s journey” and solid story structure sprinkled through the pages in between. Our fiction, like the television it’s modeled after, takes a “season” approach. That means every episode leads into the next, and the finale leads into the first episode of our followup season.

People love watching television this way, but we believe the market will love buying and enjoying their e-content this way, too.

How about in more practical terms: what kinds of business considerations have gone into this book?

The business of the book follows a simple, classic model. Dave and I want to give the first episode away for free, or as close to it as we can get. We’ll publish the “pilot” for $.99 on Amazon, then make it available for free on Smashwords and hope Amazon price matches. People will buy the first episode, or download it for free, then if they love it they’ll want the next in the series.

This should also help us get a more qualified buyer for the entire season, meaning our reviews will be better and our links are more likely to get spread around. Of course, this is all contingent on creating something of quality that people really, really love. You can’t expect to throw anything on Kindle and have it do well. That doesn’t work now and it never ever will.

Our model is simple: the pilot is free or $.99, episodes 2-6 are $1.99, and the full season is $4.99.

We’re happy with our work getting read regardless, but were happiest when people download the full season, not only because they’ll get to enjoy the complete work as it was written and intended to be read, but because it’s where all the profit is ($3.50 versus $.30) for us as writers and publishers.

You are co-authoring the book with another author, David Wright. How does your collaborative process work, in terms of the actual writing?

I can’t imagine doing creative writing with anyone else and having it turn out nearly as fluid as it is when writing with David. We’ve been writing partners for three years, and have exchanged countless pages between us. Just as I’ve been a ghostwriter for many people, Dave’s been a ghostwriter for me, making my copy cleaner, and always helping to me to sound smarter than I actually am!

Specifically, with Yesterday’s Gone, it’s been a tremendously fun process. We started with the premise, agreeing that there would be six different POV’s and that we would each start by writing three. I wrote mine for the first episode and he wrote his, then we blended them together in a single narrative. This worked extremely well, both creatively and for overall efficiency, so it was how we divided the writing duties for the remainder of the project as well.

Admittedly, I’ve had a much easier time. My job was to write my chapters, and go over his. But Dave had to go over mine, assemble everything so it had the best possible flow, edit everything together, insert dates and times, then make sure we don’t have any snafus, like the one we had in the pilot where a guy in handcuffs tries to take off his shirt!

Yesterday’s Gone is being published exclusively as an ebook at this point. Do you think the rising popularity of ebooks could lead more authors to explore the serialization option?

Absolutely. It just seems smart. Honestly, I’m surprised it’s not being done more already, but I’m also thankful we’re early, before the market is flooded. Having said that, I believe there is and always will be plenty of room. As long as you publish a quality product that puts your reader first, and you take the time required to do it right, rather than seeing Kindle as a gold rush, and you work furiously to develop an engaged audience, even if that means falling down 341 times and standing up 342, you will eventually succeed.

Do you have any plans to publish the book as a single volume after the last installment has been released?

The entire season will be available as a print book, but that’s more of a marketing decision than one motivated by profit. If readers want to enjoy a print version, we want them to have it, yet so few of our sales are coming from print, across all our titles, it’s not enough to justify a print run on single episodes.

How are you approaching marketing for the book?

I spent the last couple of years as a ghostwriter, helping others market their finished products, but it’s always been within established networks. This round I have no list to lean on, so we’re going grassroots, trying to hit around 100 or so blogs in the next three months, and hoping influencers notice us.

After a while, I’ll start my round of emails. But I’m trying to avoid any cold emailing. I’d like people to find Yesterday’s Gone on their own, because I feel as though the growth will be more organic. Beyond that, I wrestle around 300 emails a day myself, and understand the deluge. I don’t want to be a yappy puppy adding to anyone else’s inbox triage.

Most authors and writers are familiar with the challenge of finding the time, energy and quiet focus they need to write. With all you have going on, the sites, the books, and being a family man to boot, how do find enough hours in the day to get everything done?

I can’t take credit for that. I have an amazing support team, an absolutely wonderful and impossibly patient wife, who handles all the household heavy lifting so I can make all this happen, and a remarkable team. Not just my partner Dave, but my other partners Tracy O’ConnorDanny Cooper, and my wife, Cindy, who have helped me with everything I’ve needed to get this project off the ground. Of course, it helps that I write fast, but it’s definitely not enough!


I’d love for any readers interested in Yesterday’s Gone to download the pilot for .99, or just go ahead and get the entire awesome season for $4.99, which you’ll probably want to do after reading the pilot anyway.

But fair warning: if you don’t like serials like LOST and writers like Stephen King, you probably won’t like reading Yesterday’s Gone. But if you like stuff that starts awesome, and then is awesome on every page until the WTF? cliffhanger ending, you’ll totally dig Yesterday’s Gone!

We also have a special insider’s club where we’ll be sending readers exclusive content and behind the scenes stuff. It’s a great place to be if you’re a writer interested in the publishing process and would like to tag along and get free sneak peaks at how it’s all going.

Click here if you want to be a “goner” and get the exclusive episode with the shocking ending.

Thanks so much for having me, April. It’s been fun!

 

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Sean Platt is an author, publisher and creative entrepreneur. Follow him on Twitter.  Please share this post on Facebook or Twitter!

Conflux 7 – A Quick Report

I’m supposed to be on holiday for the rest of this week, but I just wanted to post a quick report on Conflux 7, which happened this past long weekend. Conflux is the Canberra-based annual Fantasy and Science Fiction convention, and it holds a special place in my heart. I love the vibe of this particular con, always friendly and open. It lived up to that rep once again.

 

There were many highlights for me. The Angry Robot launch was excellent and well attended. Kaaron Warren and Joanne Anderton were there to launch their books, Mistification and Debris. Trent Jamieson was there in spirit, though not in person, as his new book, Roil, was also included in the launch. Kaaron’s daughter made angry robot cupcakes for the event, which looked great and tasted better:

angry robot cupcake Conflux 7   a quick report

The official opening ceremony followed that, MCd by the incomparable Jack Dann. There’s no one quite like Jack Dann, for which we should probably all be thankful, but he’s a great guy and loads of fun. He’s one of the good guys and opened the con with great enthusiasm.

Following the opening ceremony was the official launch of the new CSFG Publishing anthology, Winds Of Change. That book includes my story, Dream Shadow. There were a staggering fifteen contributing authors and artists at the convention, so a mass signing table was set up and we all sat down to sign for people buying the book. It sold really well – my signing hand was fully a-cramped by the end. Here’s a shot of the mass signing – you can spot me by my terrible posture:

winds launch Conflux 7   a quick report

Quite a night, involving lots of beer, and that was only the first evening.

Other personal highlights for me included the Evil Overlord panel, on the subject of the Best Getaway Vehicle for an Evil Overlord. I was moderating that panel, with Laura E Goodin, Kathleen Jennings and Phil Berrie. We started by discussing some of our ideas, then I opened the floor to the audience. Lots of suggestions were made and discussed, a long list was whittled to a short list and a final vote decided that the ideal getaway vehicle was a Monkey-style flying cloud. I’m pleased to say that was my original suggestion. Not only that, the incredibly talented Kathleen Jennings illustrated the winner. Here’s me with The Duck Lord:

duck lord Conflux 7   a quick report

I’m honoured to have that very drawing hanging on the wall of my study right now.

I enjoyed the Paths To Publishing panel I was on, along with Cat Sparks, Nicole Murphy and Natalie Costa-Bir. That was one of those panels where I got to share my own experience and learn a lot at the same time – always the best kind in my mind.

Right after that panel, due to a bit of a SNAFU, the Guests Of Honour gathered for their Q&A panel, but there was no MC present. I stepped up and got to wrangle the audience for questions for four very cool people – awesome author Kim Westwood, editor extraordinaire Natalie Costa-Bir, and artists Lewis Morley and Marilyn Pride. Hearing them talk about their processes and projects, and where they’re headed next was very interesting. Here’s a pic of that panel:

goh qa Conflux 7   a quick report

L to R: Lewis Morley, Marilyn Pride, Natalie Costa-Bir, Kim Westwood and me (last minute ring-in MC)

From that panel I went directly to one about the influence of heavy metal music on SF, and SF’s influence on it. The panel consisted of myself, Tracey O’Hara and Joanne Anderton. We also talked about the influence of extreme music on us and our writing. It was a great panel, very interesting and vibrant, and I think everyone there, including the three of us, left with a list of new bands to check out. Here’s that panel:

metal in sf Conflux 7   a quick report

L to R: Tracey O’Hara, me, Joanne Anderton

I attended several other items as an audience member too. Probably the highlights for me were Kim Westwood’s Guest Of Honour speech, the panel on short story writing (with Kim Westwood, Jack Dann, Kaaron Warren, Helen Stubbs and Cat Sparks), the panel on why we love the dark and macabre in our art (with Andrew J McKiernan, Kaaron Warren and Kyla Ward), and a reading by Kaaron Warren of a new short story, which resulted in a very interesting discussion afterwards, talking about the themes of the story. I’d love to see more of that at cons, and I’d love the opportunity to read one of my short stories to a group and have a discussion about it afterwards. I also really enjoyed the Historical Banquet on Saturday night, a 1929 Zeppelin themed dinner. Well done Gillian Polack for that one. Of course, I did loads more stuff, but it’s all swirling in the misty pseudo-memory that is my post-con brain right now.

Just reading over that, I look like a right Kaaron Warren fanboi. And you know what? I am. Not only that, Kaaron was kind enough to put me up over the weekend and make me coffee and bacon sandwiches. She’s absolutely lovely in every way and an incredible talent. I’m honoured to call her my friend. In fact, here’s a pic of three of my favourite SF ladies and me:

fave ladies Conflux 7   a quick report

L to R: Jodi Cleghorn, Kaaron Warren, me, Joanne Anderton

It was also great to hang out with Cat Sparks and Rob Hood for the weekend, who were also staying at Kaaron’s. And that’s a fine example of the kind of SF community we have in Australia, and around the world. The F&SF community takes care of each other and every con is just an excuse to catch up with good friends and hopefully make some new ones.

The only downside to the con was that on Sunday night some junkie fuckknuckle smashed out the window of my car, bled all over it and stole a bunch of my stuff. He also smashed windows and stole stuff from at least seven other cars in the street. So that sucks the big one, but it’s not enough to spoil a good con.

Conflux was great, as it always is, and I can’t wait for the next one.

I’ve only posted a handful of pics, as those are all I’ve managed to pilfer thus far. I’ll post links to other photos from the con when I find some. If you have any, please drop a link in the comments. Also, if you were there, share your favourite moments in the comments too.

Oh, and one last thing. There was a person there who asked me a few times to have a chat about short story markets. I kept telling her that I would find five minutes for a chat about it, yet I never did! I’m sorry – if you’re reading, drop me an email.

 

This is a reprint from Alan Baxter‘s The Word.

A Self-Publisher’s Guide to Computer Data Backup

Protecting your computer’s data files is something every self-publisher must know about and deal with before it is too late. It is not a complicated or expensive process. It can be as simple as having an external hard drive and using cloud storage. No special knowledge or fancy equipment is needed. And, the process is very easy to automate. It is essential that you keep the back-up process simple and automatic. It is also essential to create multiple copies, on-site, and off-site. Here is a run-down of how we do this in our office.

Using An External Drive For Data Backup

We started out using one external hard drive in our office. This is the most basic and easiest way to protect your data that is located on your internal hard drive. A brand-name 3TB hard drive is now $120. Make sure that you purchase a hard drive larger than you currently need. But don’t overbuy. Right now this 3TB has a good price. As time goes on, the larger hard drives will drop in price too. Another reason not to over-buy is that hard drives don’t last forever. Purchase only what you need now, and then upgrade with a newer and larger unit when you need it. We purchased an external USB hard drive that is only 5 inches x 7 inches x 1.5 inches. This small size gives you an easy way to put the hard drive into your safe, or safety deposit box, or take it with you on your working vacation.

Using Multiple External Drives For Data Backup

We now use multiple external hard drives. They are installed together and they work as one unit within a storage array box. This way we can store a large amount of data on multiple drives that are all stored within one small, desk-top box. Even if one or two drives fail, we would still have several more still working. Again, only purchase a big-name storage array box and big-name external hard drive to put into it.

Using Cloud Storage For Data Backup

Storing your data online is called "cloud storage". You should consider using cloud storage because it is a safe and simple way to store your files away from your office – where they can’t be stolen from your office, lost, or burned up in a fire. There are many cloud storage companies, and all are easy to find on the internet. Many offer 2GB or 5GB of free storage. There are also many reviews and comparisons of the different services on the internet. Some companies will even automatically backup your data to an external hard drive and, at the same time, also to the cloud. Play it safe and pick one of the big-name cloud storage companies to deal with for your business.

How Do I Find A Cloud Storage Company?

There are many cloud storage companies, and all are easy to find on the internet. There are many reviews and comparisons of the different services on the internet. Some will even automatically backup your data to an external hard drive and also to the cloud. Play it safe and pick one of the big-name companies to deal with.

Isn’t Backing Up To The Cloud Risky?

Your data will be stored in an encrypted format when it is backed up to the cloud at the storage company, which should prevent a hacker from easily accessing your information. If you require a greater level of security, you can use your own private encryption key to further reduce possible exposure to data intrusion. The likelihood of a server like Apple’s, or Amazon’s, or Google’s going down is far less than the possibility that your own hard drive or local backup will fail.

Working Away From Home/Office

If you are away from your home/business computer, and using your laptop, email yourself the document that you are working on. Also save it to your laptop’s internal hard drive, and to your flash drive. A good general rule is that you should never keep extremely sensitive data on your laptop. Keep it on your flash drive and on the cloud. We keep several flash drives with us when on vacation – and keep them in our pockets for safe-keeping. Flash drives are very inexpensive – so buy and use several. We purchased 3 brand-name 8GB flash dives for under $20.

Should I Encrypt My Hard Drives?

For most purposes, encryption of your computer or hard drive is not necessary. Encryption is only necessary for extremely sensitive data – like your patients’ medical records. If you encrypt a backup, you will add unneeded complexity to a process that is designed to simplify and preserve fast access to your information. With this added complexity comes the increased probability of a problem. Therefore, the chance that you lose access to your backed-up data goes up. Do yourself a favor and make sure that you understand when and why you might need to encrypt your backups and think about how you’ll guarantee that will you have access to your encryption password when it counts. Data encryption will cost you too much time, money, and aggravation.

What Computer Data Should I Backup?

At the very least, you need to back up everything except software applications. Any data that is necessary for the operation of your business must be copied. Most software is easy to replace, and generally not too expensive.

What About Our Websites, Blogs, Mailing Lists, and Online Publications?

All of these are absolutely essential to keep your self-publishing business going and thriving. Fortunately, every one of them already has a built-in backup. We keep multiple backup copies on multiple hard drives here in our office, and also on the cloud. All of our websites and blogs are also backed-up by the hosting company. Our hosting company also sends us a backup copy by email. Our mailing lists are kept at an online mailing list company. The list can easily be downloaded from the mailing list company. We also keep a copy of it on our computers and hard drives. All of our online publications (ebooks and edocuments) also have full copies with the companies that sell our publications.

Conclusion

By having a simple backup plan that utilizes both online data backup and multiple external hard drives, you’re providing yourself with foolproof security for when your computer’s hard drive crashes, or your system is ruined in a fire or flood. Don’t risk losing your important files forever when you can quickly and inexpensively avoid that mess with a tripled-up data backup plan. And never forget: do not put all of your trust in one method over the other. Internal hard drives, external hard drives, and flash drives can fail. Even your cloud storage company can fail – go out of business, be hacked, or their software on your computer can fail.

 

This article was written by Joseph C. Kunz, Jr. and originally posted on KunzOnPublishing.com

 

My Book Ate My Blog

I ran across an excerpt of this interesting post entitled “My Book Ate my Blog” by Sophie Perinot on the Passive Voice blog (which if you haven’t discovered the Passive Guy yet, run right over and check him out!), about the difficulties of balancing the demands of maintaining a blog while trying to write. The comments on her site, and on the Passive Voice, were filled by people who agreed that blogging was taking them away from writing or how hard it was to maintain a balance.

As I thought about my own history of blogging, I found an interesting pattern had emerged.  First of all, I am not a prolific blogger. For the whole time I have been blogging (21 months) I have produced only 40 blog posts-counting this one (which means an average of 1.9 posts a month). My blog posts tend to be long, detailed, and they often take me 1-2 days to write. According to perceived wisdom on the subject of social media and marketing, this infrequent blogging pace, and my hopeless inability to use Twitter effectively, probably explains my small number of subscribers (40), and my low number of views (7000 views total in the 21 months I have been blogging–an average 333 a month).

Nevertheless, I have been very fortunate that most of my posts have been cross-posted in Publetariat, providing with me a much larger readership than these statistics suggest, and generally my statistics have shown growth, with 2011 showing 5 times the number of hits than 2010-and the ratio of growth should be even higher by the end of the year.

However, when I examined it, my pattern of blogging did not seem to suggest that my blogging had any negative effects on my writing. I started blogging in December of 2009 (the same month I self-published my first historical mystery, Maids of Misfortune. Between Dec 2009 and the end of Dec 2010, I published on average 1.7 posts per month. I was marketing, not writing, during those 13 months—so there was no conflict at all.

I started working on my sequel, Uneasy Spirits, in January 2011 and completed the first draft at the end of June 2011. In that 6 months period I averaged 2.3 blog posts per month. Obviously writing did not interfere with my blogging, nor vice versa, since in that 6 months I produced a draft that was over 140,000 words long.

However, as I rushed to complete the draft in June and then began the process of getting feedback, rewriting, getting more feedback, editing, and then proof-reading the manuscript to get it ready for publication by October 15 (my self-imposed deadline), my blogging rate went down considerably. I not only didn’t post anything in Jun, but I only produced one post for July, August, and by the skin of my teeth (since this post is coming out Sept 28th) one in September.

One could conclude that blogging had not interfered with my writing (since I was more productive as a blogger when I was writing full-time.) However, once the book was a real entity, and I moved into high gear to get it published, it completely consumed me. In other words, it was my book that ate my blog.

My conclusion? When I was marketing my first book, blogging was a natural extension of that process, no conflict. When writing the book, blogging was actually a nice break from the fiction, and my blogging benefited. But when the first draft was done, and I knew I had a book, and I created a deadline for myself (I was committed to getting the book out in October, in time to garner reviews by the Christmas holidays), then doing everything that was necessary to get that book out there to readers began to consume me. Everything became secondary.

But today I am currently waiting for the print proofs, I am confident I am not only going to meet my deadline, but the book may actually be out there a week earlier, so watch out world, this blogger’s back!

So has your blog eaten your book, or has your book eaten your blog?

 

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