Brad vs. Pirates

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This post, from screenwriter Brad Riddell (American Pie films, Road Trip, Slap Shot 3 and the upcoming Road Trip-Beer Pong) originally appeared on his The L.A. Dime on 7/30/09. If you’ve ever considered confronting pirates to call them on the theft of your work, read on to discover what happened when Mr. Riddell did it. 

I’m kind of a Twitter and Facebook fanatic. I like to see what people are doing, saying, and thinking  out in the world, and both of those applications cater to my need for people knowledge.  They are also great for market research, and to that end, I have a saved Twitter search for “Road Trip-Beer Pong,” which updates me when anyone says anything about the movie. On Tuesday, I awoke to discover dozens of tweets offering links to illegal downloads of the film, which apparently was  leaked overnight.

This is not a unique situation. Nearly every movie made is leaked to the internet, these days. And most pirates don’t bother to think about what they’re doing — it’s free, they want it now, and it’s easy.  Those who do think about what they’re doing believe they’re “sticking it to the man” atop the rich, powerful, corporate studios.

While the studios do lose a lot of money because of piracy, it’s  artists like me who really take a hit to the pocket book.  Each sold DVD equals a very small payment to many of the key creative people who made the movie.  These “residual payments” help artists pay the bills between jobs, because contrary to popular belief, the vast majority of writers and directors are not hopping from one seven figure contract to another.  Most film artists are middle class folks, living on a budget, doing the best they can in an expensive city to get buy week-to-week as they fight for their next gig.

So, for two days, using Twitter, I decided to send a personal message to each pirate who admitted to downloading and watching my movie. My message wasn’t about their opinions, good or bad. It was about their actions. And at first, most were astounded to hear from me. Then they got angry. “How dare you challenge my right to steal?” was the general attitude. Or, “your movie sucks, so who cares if I steal it?” They got really mad when they found out I was reporting their user info to Twitter and the Anti-Piracy folks at Paramount. I was threatened, black-listed (from future robbery, I guess, because they never actually BUY anything), called a tool, a twat, a cry-baby, and told to #$%& off.  One guy suggested I was an idiot for relying on residuals — that I should instead ask for more on the front end.  Sheer ignorance. The system doesn’t work that way at all. And that’s my point. People will always steal.  My goal was to put a face on who they were stealing from, and they didn’t like that one bit.

Read the rest of the post, and some comments from pirates, on Brad Riddell’s The L.A. Dime. 

Youthful Writing: Precocious, Or Premature?

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This post, from Robert Nagle, originally appeared on Teleread on 7/23/09.

Quick: when you [were] a teenager, how fantastically awesome was your writing?

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Imogene Russell Williams cautions young writers who wish to get started too early:

In your early teens, you’re not necessarily aware of how derivative your literary outpourings are, and the extent to which your reading shapes your writing; and you may not yet be sufficiently master of your own voice to take on high-falutin’ genres like fantasy and romance. (I speak from experience. At 13, I was passionately devoted to a high-fantasy epic featuring Dallien the dark prince, a charger called Bayard whom I’d pinched from Prince Caspian without realising it, and a large, coniferous forest – Mirkwood after the emigration of the spiders.)

(BTW, despite the boring name, the Guardian’s Book Blog  is easily one of the best group litblogs on the Internet).

Williams mentions several recent teen works and even a work written by a 9 year old. She cites Diary of Anne Frank as the model, although that case was clearly extraordinary . (See also: Zlata Filipovic’s  excellent Zlata’s Diary).

 

Now with printing/publishing costs becoming  more affordable, lots of young kids have self-published interesting things as part of school projects. We can mock, but I would have loved to have a published book  to keep in my scrapbook  of memories. Instead I spent my creative efforts writing  original Dungeon and Dragons adventure   modules. 

One obvious source of youthful creativity is blogging/journaling, but practically speaking, U.S. schools can’t sanction them or use them for class unless blogging sites are COPA-compliant. (I’ve been told that content filters on some school networks block blogging networks altogether). I suspect school districts subscribe to  walled-off COPA-compliant  student communities for students to share their writings.  That shouldn’t discourage young people from journaling in the wild, but they have to do it on their own time. Schools and teachers can prep students for potential problems of online writing and help them to  take reasonable precautions. But only the teen can take the important next step of actually  starting an online journal.  

It takes a few decades for a young person’s writing skills to develop. That’s not a reason for a student to put off writing.  Far from it.  Writing improves  with  practice. Even bad writing can record thoughts and feelings  of a time period.  (And if you don’t record them, these thoughts are gone forever).  Perhaps people’s verbal skills before 20 aren’t optimal, but they are more than adequate to present facts and daily events. Sometimes in fact, inner city youth may have lots to write about but little motivation.  (Projects like the Freedom Writers’ diary have tried to rectify this by encouraging students to write down their anxieties).

Read the rest of the post on Teleread.

worthyofpublishing.com: Online Readers’ and Writers’ Community Popular

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This post, from Brian Scott, originally appeared on the Book Publishing News blog of BookCatcher.com on 7/20/09.

New changes to an already popular website for readers and writers are proving to be a big hit. www.worthyofpublishing.com was created by Kiwi entrepreneur Aaron Cook, to give writers the chance to gain free feedback on their manuscripts from the general public.

Book lovers can preview and vote for what they would like to see published and available for sale on bookshelves, and leave comments to help authors improve their writing.

One of the most recent upgrades to the website was the message centre, which allows members to communicate with each other directly to share tips and ideas. This compliments the already popular comments section, where members post comments about a writers work for the public to view.

The website has also been made more transparent, so when a reader rates a book their rating is displayed beside the comment they have left for that book.

Cook says the new upgrades have proved to be very popular amongst members, and have definitely brought a more community feel to the website.

The overall concept originated from China around a decade ago. Since the establishment, it has helped numerous authors become recognized by the public and achieve dramatic success. It was mentioned at the most recent Frankfurt Bookfair that the world’s eyes are on the growth of China’s publishing industry, which has been driven by the internet.

Last year twenty percent of China’s bestsellers originated from the internet, many of them have been [from] previously unheard-of authors discovered on similar types of websites to worthyofpublishing.com in China.

Just one of the many examples of a Chinese author becoming a huge success through the internet is Tian Xia Ba Chang, who wrote a book called “Candles Blown by a Ghost" which is a thriller/adventure novel. Over time this book reached over 3.6 million hits online and once finally published sold 500,000 copies in one year.

 

Read the rest of the post on the Book Publishing News blog of BookCatcher.com. 

Top Ten Tips For Editing Your Own Book

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This post, from Gary Smailes, originally appeared on the BubbleCow website on 7/29/09. In it, he runs down some of the most common missteps authors make in writing fiction, along with remedies for each. In that sense, it’s not a list of tips for editing, so much as a list of tips for writing well in the first place.

Editing your own book can be a stressful and for many writers, a frankly daunting task. At BubbleCow we help writers tackle the problem of editing their own work on a daily basis.

Here’s a collection of the top ten tips for editing your own book as suggested by our editors:

 

1. Be consistent

Writing a book is a long process that often spans over years. During this period it is easy for writers to lose track of some of the minor plot details. However, it is vital that a writer makes every effort to maintain consistency throughout the writing process. The problem is that readers will notice mistakes. If you tell your readers that a character has blue eyes in the opening chapter, and then six chapters later you say they are green, the reader will remember.

Our tip is to use character reference sheets. These are simply lists of the key aspects for all of your characters. On these sheets you should record all the key facts – age, description, eye colour etc. Also include any details that might be important such as relationships with other characters, home address and other details you develop. One additional tip is to get into the habit of updating your sheets as you build the characters.

2. Use simple grammar

Not all writers are grammar experts. In fact the reality is that many writers struggle with grammar. Our tip is to keep it simple. The correct use of the period (full stop) and comma will get you out of most tough spots. Learning the rules of the correct use of the apostrophe is also crucial, as is the grammar of speech. However, beyond this you are getting onto dangerous ground. If you are unsure of the correct usage of the semi-colon, then don’t use it (even if Microsoft word insists otherwise).

3. Formatting

Consistent formatting is an important, but often overlooked, part of editing. By this we are talking about titles, subtitles, indenting, text font etc. In fact you need to pay attention to anything that appears on the page. One way to get around inconsistencies is to use the ‘style’ function of your word processing package. Another way is to simply pay attention each time you start a new section, type in a header or change font. Being aware is half the battle.

4. Narrative arc

Your story needs to have a clear start, middle and end. We are all aware of this but it doesn’t always come across in writer’s work. Our tip is to read your work with the three phase structure in mind. Can you pin point the three sections of your book clearly?

Here’s a couple of sites that explain the narrative arc well: here and here.

5. Tense usage

When talking to our editors the issue of tense was highlighted as a common problem. The switching of tenses (past to present/present to past) is something that happens to all writers. It is for this reason that you must pay particular attention to this problem. This is one of those things that readers tend to spot. This blog postmight help.

 

Read the rest of the post, which includes tips #6-10, on BubbleCow.

Book Promotion Campaign Elements

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This article, from Rick Frishman, originally appeared on Beneath the Cover on 1/23/09.

Not every element that follows may work for every book or platform, but the ones listed below are good cornerstones.

Media List

Your media list includes the names of those who will receive a copy of the sale version of the book. It will include those who received review copies of your book plus national media outlets and local media in your area, the areas you plan to visit, and those where you have special contacts.

To find sources, go to the library and leaf through Cision’s publications, such as Cision’s MediaSource. Although you can pay for the same information on the Internet, at libraries, it’s free. However, the information may be dated because media people move frequently. Your best bet is to do your initial research at the library and collect a bunch of names and contact information. Then call or check websites to verify what you found and to get the most current information.

Also check the Harrison guides, Radio-TV Interview Report for national broadcast media information. Call media outlets and ask who you should send your material to. Try to get an actual person’s name, not simply an e-mail address to “info@.”

Internet Marketing

When people hear about you or your book, they go to the Internet to get more information. They Google you, read about you, and visit your Web site; they look for your book on Amazon.com. So, as an author, it’s essential to have a strong Internet presence.

  1. The first step in your Internet marketing plan is to put up a memorable website, a site that people love to visit and will tell others about. You website must be great-looking and reflective of the impression you want to convey. For example, you may want it to appear authoritative, lighthearted, elegant, colorful, hip, scholarly, or goofy. Or it could have a theme related to your book or your area of expertise. Your site must also be up-to-date and easy and intuitive to use, and all links must work.
     
  2. Register your site with all the major search engines under your name, your book’s name, and every conceivable variation of them. That way, when people misspell your name and don’t get your book’s title exactly right, they will still get to your site.
     
  3. Include in your website everything that’s in your media kit. Your site should allow visitors to read a sample chapter, order your book, enter into exchanges with you, and view your upcoming events and appearances. It should link to other complementary sites and to your strategic partners. Your site must have a press room with the latest articles on you and your book.
     
  4. In addition to your site, you can start your own blog, newsletter, or e-zine.

Numerous firms such as FSBAssociates.com (Fauzia Burke) and PromoteABookmedia.com can be hired to handle your Internet book-marketing campaigns. These firms can be invaluable because they know all the components that can be included in your campaign. They can create an Internet campaign that may include creating a website for the book, sending your book to relevant websites, and sending it to blogs. These firms have lists of Internet book reviewers; will syndicate your content on the Web; or will set up chats, downloads, newsgroups, and mailing lists.

Read the rest of the article on Beneath the Cover to learn about the Amazon blast, newspaper and radio releases, and media training.

Research: A Writer's Best Friend and A Writer's Worst Enemy

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This article, from Joseph Finder, originally appeared in his Tips For Writers in May of 2009.

My name is Joe, and I’m a research-aholic.

This should surprise no one who reads my books. In fact, I’ve taken some teasing about the length of the “acknowledgments” sections of my books, because so many people have been so generous about sharing their expertise with me.

I have always considered “Write what you know” one of the most useless pieces of advice a beginning author gets. Write what I know? If I’d started out writing what I knew, I’d have come up with 10 or 12 pages about a kid in upstate New York who wanted to be a cartoonist (I did, actually; see my monthly newsletter for more about this). Granted, Philip Roth and Saul Bellow, among others, did very well in turning their life experiences into literature — but I wanted to write thrillers, and my life was not thrilling.

No, for me, writing was all about having my characters do things I could only dream of, whether that was taking the Concorde to Paris, escaping assassins on the streets of Moscow, or wining and dining beautiful women in Boston’s finest restaurants (which I am now able to do, thanks to my wife and daughter, but you know what I mean).

And let’s face it: research is the fun part. Who wouldn’t want to ride along with cops, learn to shoot guns (lots of guns!), and talk to interesting people about the cool things they do? It’s much more fun than sitting alone in front of a blank computer screen, trying to figure out what happens next.

Research has also given me some of my best plot points and material. A weapons expert once showed me how to smuggle a gun through airport security and on to a plane. Believe me, I could not have thought that one up by myself.

But every hour you spend doing the fun stuff of research is time you’re not writing. And I’m here to tell you that research, while fun and often necessary, is addictive and dangerous.

It’s also a great crutch. All novelists feel like impostors at times; it’s only natural to feel unqualified and insecure in what you’re writing about. You don’t really know it — what do we know, we’re writers, right? Ñ so you want to find out as much as you can. But in the age of the Internet, you’re always one hyperlink away from the next website or article, and it can go on ad infinitum. The easiest thing in the world is to put off writing while you find out exactly how many gallons the New York City reservoirs hold, or how long it takes to fly from Washington to Timbuktu, or whether Brazilians drive on the right or the left-hand side of the road.

So stop. Put the story first. Write your story first, and fact-check later. It doesn’t have to be 100% accurate; it just has to be plausible.

John Grisham was 100 pages into his latest book, The Associate, which was set at the Princeton Law School — when he found out that Princeton doesn’t have a law school. It didn’t derail him; he just moved the story to Yale, which does have a law school. The key is that the setting wasn’t the important part, the story was — and he’d already written 100 pages, so he was able to go back and make the necessary changes.

Read the rest of the article on Joseph Finder’s site, and click here to subscribe to his newsletter or Tips For Writers. 

Why Hasn't Story Itself Changed With The Web?

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This post, from Jeremiah Tolbert, originally appeared on his blog on 5/19/09.

The structure and nature of short stories haven’t really changed in the digital age, as far as I can tell.  They’re still told the same way mostly, same perspectives, in roughly the same amount of time ( around 3-7000 words). 

E-zines are for the most part  straight forward adaptations of the print magazine format, to varying degrees.  PDF magazines are identical to print magazines, except they’re read on a screen instead of on paper, or even printed off by some. E-zines like Strange Horizons make use of basic hypertext features, but the stories themselves do not take advantage of of any of those features except in rare occasions.

Flash fiction, or stories under 500 words, has seen a boom online, with electronic magazines such as Brain Harvestspecializing in them exclusively.   Personally, I don’t find such short stories very satisfying very often, despite my involvement with the Daily Cabal, (which you should check out if you do like flash fiction).  I don’t think I’ve ever written a really successful flash fiction story.   I would argue that flash fiction is even less popular than regular short fiction, which is pretty unpopular in the first place.

 

You might think that the internet would lend itself to shorter stories, on the assumption that the internet has shortened our attention spans.  I don’t really believe that. I think we have mostly the same attention spans we did before the web began to dominate our entertainment time, but we’re a lot better about evaluating content quickly to determine if it’s worth our attention.  Scanning is the new reading of the 21st Century.

Early on in the web days, there was a lot more experimentation with the idea of hypertext fiction, which in my experience is basically a glorified “Choose Your Own Adventure” (CYOA) made with links rather than “turn to page X” instructions.   I’d argue that for “choose your own adventure” stories, the web is a better format than print, but– choose your own adventure stories were just a relatively crude form of interactive storytelling, and video games are a more evolved form of the same thing.  CYOA  books are not printed in nearly the same quantities as they were when I was a kid in the 80s.  I don’t think it’s a coincidence that the rise of video games has corresponded with the fall of CYOA books. Wikipedia’s article on CYOA references a company called Chooseco that purchased the rights to the original CYOA books, but when I tried to visit the site for said company, all I found was a GoDaddy redirect. I think it’s fairly safe to say that the Choose Your Own Adventure format is effectively played out.

Stories told in an e-mail-like format are really no different from the epistolary format, which has been around since the letter itself.   Wikipedia puts the first epistolary novel appearing in 1485 or so.   Over 500 years old.  So the e-mail format nothing much new, just a slightly different take.  The language might be a bit different, but that same back-and-forth exists, generally written in alternating or single-thread first person present or past-tense.

Some have experimented with Twitter and its 140 character limit.  “Twitter zines” like Thaumatrope publish these stories regularly.  I wrote a serialized story in the twitter format, using the nature of Twitter itself as an aspect of the story, called #futurejer, to what I think was probably varying degrees of success.  Ultimately was the form of story changed by this?  Not very much, I suspect.  It’s just an extremely serialized tale, probably.

Read the rest of the post on Jeremiah Tolbert’s blog.

How to Write Tight – Self-Editing Tips to Make Your Manuscript Ready for Publication

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This post, from Suzanne Lieurance, originally appeared on the Writers In The Sky e-zine on 7/24/09.

As writers, we hear it all the time. We need to "write tight," which just means we need to trim all the flab from our manuscripts and make every word count.

Here are some self-editing tips that will help you "write tight" and take your manuscripts from flabby to fit for publication in no time!

1. Avoid a lot of back story – information about the POV character’s history and background. Weave all this into the story instead of loading the manuscript down with too many sentences or paragraphs of straight narrative before the action begins.

2. Simplify your sentences wherever possible. Watch for redundant or unnecessary phrases. As writers, we need to "show, not tell" as often as possible. Yet, some writers tend to show and then tell the same information, which is redundant. Watch out for this in your manuscripts. Also, look for the redundant phrases below and others like them.

Stand up = stand
Sit down = sit
Turned back = turned
Turned around = turned
He thought to himself = He thought.
She shrugged her shoulders = she shrugged
She whispered softly = she whispered
He nodded his head = he nodded

3. Avoid adverbs for the most part. Use strong, descriptive verbs instead.

Flabby: She smiled slightly at the photographer.

Fit: She grinned at the photographer.

4. Avoid using the same word over and over in a paragraph. Go back and reread each sentence. Have you repeated the same word several times within a single sentence or paragraph? If so, substitute another word with the same meaning.

5. Don’t overuse names. Beginning writers tend to have the characters address each other by name too often. When you speak to a friend, you don’t constantly say his name. Don’t have your characters do this either. It doesn’t ring true, and it draws the reader OUT of the story.
 

Read the rest of the post, which includes tips #6-15, on Writers In The Sky.

Writing A Book For Self Publication

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This post, from Morris Rosenthal, originally appeared on his Self Publishing 2.0 blog on 7/26/09.

There’s a big difference between self publishing a book because you can’t land a contract from a trade publisher and writing a book for self publication. A book that no acquisitions editor is willing to pay you an advance for is probably a bad gamble from a commercial standpoint, no matter how well written and polished it may be. But the business of writing for self publication doesn’t stop with choosing a subject for which there’s an audience, be it weight loss or teenage vampire romance. It’s just as important to match your writing and production capabilities to the business model you choose.

A simple example would be my collection of computer titles. Since I use Lightning Source to do my printing on demand, and since color POD is still too expensive for producing books with reasonable cover prices, I chose from the inception to write books that didn’t require photographic illustrations. That may sound simple, but I can assure you that books related to computer hardware have always been published with heavy photo illustration. In some instances, like a step-by-step book for building PCs, those photographs are very useful, but more often than not they are filler to bulk up the page count for a higher cover price. So back in 2003, I developed an approach for troubleshooting computer hardware based on black and white flowcharts, and I even turned the lack of photographs into a selling point in the promotional book video I wrote about a few months ago.

A more general example is simply writing lean books. Trade publishers love bulking up books to achieve wider spines for shelf visibility (thicker paper stock is also common for low page count books) and the perception of higher value which allows higher cover prices. More subtle reasons include the perception of higher value for competitive purposes, and the belief that bulk equates with quality, especially in nonfiction and reference type titles. After all, if the reader is simply overwhelmed by the amount of material in the book, they are more likely to blame themselves for failing to understand the subject than to blame to author for failing to explain it. For trade publishers ordering large offset runs, the incremental page count has limited impact on the final cost of the book, the more important cost is performing the editorial and production process on the larger number of pages. When you’re writing for self publication, especially if you are using print on demand, the printing cost rises far more rapidly than your ability to raise the cover price while keeping the book competitive with similar titles.

As a self publisher, you have 100% control over what you write, and that includes the ability to make changes during the editorial process. I can’t tell you how many self publishers I’ve corresponded with who were planning to follow my print on demand model, but who changed to short run offset at the last minute because they couldn’t leave out a beautiful color photograph that they referred to in the text or an accompanying DVD of photographs, audio or video. My advice to make a minor edit in the text and leave out the spoiler falls on deaf ears. Authors who have never written or published a book become married to the notion that the "something extra", the color, the DVD, the odd shaped book, adds value that will make their book sell. In my experience, the "something extra" wouldn’t help sales even at the same price point, much less when it doubles the cost to the customer.
 

Read the rest of the post on Morris Rosenthal’s Self Publishing 2.0 blog.

We Are All Writers Now

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This article, from Anne Trubek, originally appeared on The Economist’s More Intelligent Life site on 6/26/09.

Blogs, Twitter, Facebook: these outlets are supposedly cheapening language and tarnishing our time. But the fact is we are all reading and writing much more than we used to, writes Anne Trubek …

The chattering classes have become silent, tapping their views on increasingly smaller devices. And tapping they are: the screeds are everywhere, decrying the decline of smart writing, intelligent thought and proper grammar. Critics bemoan blogging as the province of the amateurism. Journalists rue the loose ethics and shoddy fact-checking of citizen journalists. Many save their most profound scorn for the newest forms of social media. Facebook and Twitter are heaped with derision for being insipid, time-sucking, sad testaments to our literary degradation. This view is often summed up with a disdainful question: “Do we really care about what you ate for lunch?”

Forget that most of the pundits lambasting Facebook and Twitter are familiar with these devices because they use them regularly. Forget that no one is being manacled to computers and forced to read stupid prose (instead of, say, reading Proust in bed). What many professional writers are overlooking in these laments is that the rise of amateur writers means more people are writing and reading. We are commenting on blog posts, forwarding links and composing status updates. We are seeking out communities based on written words.

Go back 20, 30 years and you will find all of us doing more talking than writing. We rued literacy levels and worried over whether all this phone-yakking and television-watching spelled the end of writing.

Few make that claim today. I would hazard that, with more than 200m people on Facebook and even more with home internet access, we are all writing more than we would have ten years ago. Those who would never write letters (too slow and anachronistic) or postcards (too twee) now send missives with abandon, from long thoughtful memos to brief and clever quips about evening plans. And if we subscribe to the theory that the most effective way to improve one’s writing is by practicing—by writing more, and ideally for an audience—then our writing skills must be getting better.

Take the “25 Things About Me” meme that raged around Facebook a few months
ago. This time-waster, as many saw it, is precisely the kind of brainstorming exercise I used to assign to my freshman writing students decades ago. I asked undergraduates to do free-writing, as we called it, because most entered my classroom with little writing experience beyond formal, assigned essays. They only wrote when they were instructed to, and the results were often arch and unclear, with ideas kept at arms length. Students saw writing as alien and intimidating–a source of anxiety. Few had experience with writing as a form of self-expression. So when I stood in front of a classroom and told students to write quickly about themselves, without worrying about grammar or punctuation or evaluation—”just to loosen up,” I would say—I was asking them to do something new. Most found the experience refreshing, and their papers improved.

Today those freewriting exercises are redundant. After all, hundreds of thousands of people wrote “25 Things About Me” for fun. My students compose e-mails, texts, status updates and tweets "about seven hours a day," one sophomore told me. (She also says no one really talks to each other anymore). They enter my classroom more comfortable with writing–better writers, that is–and we can skip those first steps.

Read the rest of the article on More Intelligent Life.

Ain't That A Shame

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This post, from Justine Larbalestier, originally appeared on her blog on 7/23/09.

In the last few weeks as people have started reading the US ARC of Liar they have also started asking why there is such a mismatch between how Micah describes herself and the cover image. Micah is black with nappy hair which she wears natural and short. As you can see that description does not match the US cover [Publetariat editor’s note: cover image included after the jump].

Many people have been asking me how I feel about the US cover, why I allowed such a cover to appear on a book of mine, and why I haven’t been speaking out about it.

Authors do not get final say on covers. Often they get no say at all.

As it happens I was consulted by Bloomsbury and let them know that I wanted a cover like the Australian cover, which I think is very true to the book.1 I was lucky that my Australian publisher, Allen & Unwin, agreed with my vision and that the wonderful Bruno Herfst came up with such a perfect cover image2.

which is why I was a bit offended by the reviewer, who in an otherwise lovely review, described Micah as ugly. She’s not!3

The US Liar cover went through many different versions. An early one, which I loved, had the word Liar written in human hair. Sales & Marketing did not think it would sell. Bloomsbury has had a lot of success with photos of girls on their covers and that’s what they wanted. Although not all of the early girl face covers were white, none showed girls who looked remotely like Micah.

I strongly objected to all of them. I lost.

I haven’t been speaking out publicly because to be the first person to do so would have been unprofessional. I have privately been campaigning for a different cover for the paperback. The response to the cover by those who haven’t read Liar has been overwhelmingly positive and I would have looked churlish if I started bagging it at every opportunity. I hoped that once people read Liar they would be as upset as I am with the cover. It would not have helped get the paperback changed if I was seen to be orchestrating that response. But now that this controversy has arisen I am much more optimistic about getting the cover changed. I am also starting to rethink what I want that cover to look like. I did want Bloomsbury to use the Australian cover, but I’m increasingly thinking that it’s important to have someone who looks like Micah on the front.

I want to make it clear that while I disagree with Bloomsbury about this cover I am otherwise very happy to be with them. They’ve given me space to write the books I want to write. My first book for them was a comic fairy book that crossed over into middle grade (How To Ditch Your Fairy). I followed that up with Liar, a dark psychological thriller that crosses over into adult. There are publishers who would freak. No one at Bloomsbury batted an eye. I have artistic freedom there, which is extraordinarily important to me. They are solidly behind my work and have promoted it at every level in ways I have never been promoted before.

Covers change how people read books

Liar is a book about a compulsive (possibly pathological) liar who is determined to stop lying but finds it much harder than she supposed. I worked very hard to make sure that the fundamentals of who Micah is were believable: that she’s a girl, that she’s a teenager, that she’s black, that she’s USian. One of the most upsetting impacts of the cover is that it’s led readers to question everything about Micah: If she doesn’t look anything like the girl on the cover maybe nothing she says is true. At which point the entire book, and all my hard work, crumbles.

No one in Australia has written to ask me if Micah is really black.

No one in Australia has said that they will not be buying Liar because “my teens would find the cover insulting.”

Both responses are heart breaking.

This cover did not happen in isolation.

Every year at every publishing house, intentionally and unintentionally, there are white-washed covers. Since I’ve told publishing friends how upset I am with my Liar cover, I have been hearing anecdotes from every single house about how hard it is to push through covers with people of colour on them. Editors have told me that their sales departments say black covers don’t sell. Sales reps have told me that many of their accounts won’t take books with black covers. Booksellers have told me that they can’t give away YAs with black covers. Authors have told me that their books with black covers are frequently not shelved in the same part of the library as other YA—they’re exiled to the Urban Fiction section—and many bookshops simply don’t stock them at all. How welcome is a black teen going to feel in the YA section when all the covers are white? Why would she pick up Liar when it has a cover that so explicitly excludes her?

Read the rest of the post on Justine Larbalestier’s blog.

1. I didn’t see the Australian cover until after the US cover was finalised.
2. Yes, another protag of mine who looks like a WNBA player. What can I say? I’m a fan.
3. If you’re interested, I imagine another character in the book, Sarah, as looking like a younger Rutina Wesley, who’s not a WNBA player.
 

Giving A Reading: Some Thoughts On Presenting Your Work

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This post, from Kimberly Davis, originally appeared on her Kim’s Craft Blog on 7/5/09. In it, Ms. Davis offers some sound advice for giving an effective live reading. While Ms. Davis is addressing live readings before an audience specifically, the guidance given here is equally useful when creating an audiobook or podcast.

If you are a writer, sooner or later you are going to be asked to get up and read your work before a live audience. If there is a more anxiety-producing moment in the life of an aspiring writer, then I don’t know what it is. Even for a more seasoned writer, having to get up and present your work can be a challenge.

Yesterday I participated in the reading up here at the Summer Writers Conference at Skidmore College. Previously, I had done two Faculty Readings this spring at the Cambridge Center, and yet I still found myself getting nervous and struggling a bit. Some of this was the material. The poems I was reading are at the difficult end of the scale, depending as they do on speed, tone and some athletic line-breaks. Also it was a different (and larger) audience than I was used to, and I hadn’t rehearsed beforehand. At the end of the reading, I found myself making a mental list of "what to do next time"–which I thought I would share.

Slow Down:  I was struck yesterday by how many of the writers read too quickly. There were a lot of writers on the program, and so everyone was laboring under some rather strict time limitations. This is not unusual. At most readings, you will be presenting alongside other writers, and you will be given some sort of time allotment. The trick is to pick something you KNOW will fit within the time you have so you don’t have to rush. There is nothing that ruins a reading like speeding through your carefully selected words.

Read Like You Mean It: By the time you get up to read your work, you are probably going to be sick of it. Whether you are reading poetry or prose, chances are good that by the time you present it to an audience, you’ll have revised it a thousand times, and a lot of the emotion will have gone out of it for you. You’ll now see all the changes you’ve made, the things you still don’t like about the piece, the places where you’re going to have trouble reading it. But that’s not what the audience wants to hear.

What you need to present to your audience is the original emotional energy that made you write the piece in the first place, six months or six years ago. Somehow you need to find your way back into the feelings behind the piece, so that you can communicate them to the audience. I don’t think this is an easy thing for a writer to do. Most of us are not natural performers by nature. If we were, we would have gone to acting school, right?

Still, at a reading we are in essence being asked to "act out" our poems and stories–and to lead the audience through them. The way I like to think of this is that–when we read a poem or story–it becomes a "lived experience," so that as you read, you need to be aware of this and leave enough time and space in your voice and tone for the audience to experience each emotional turn and shift that you take them through.  

Read the rest of the post on Kim’s Craft Blog.

Book Publishers Exploit Stars

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This article, by Ruth Mortimer, originally appeared on Marketing Week on 7/23/09 (in the U.K., where it’s already 7/23 as this article is being posted, 7/22 here in the U.S.). File this one under ‘games some publishers play’.

These may be hard times for publishers, but using a star author to sell another less well-known writer’s book is lazy marketing.

The word “deadline” tends to catch my eye. As a journalist, it’s the term that defines your weeks, days and hours. So browsing in WH Smith recently, I was intrigued to see that Dan Brown, author of megahit The Da Vinci Code, had written a book called Deadline with the intriguing (and horribly familiar to all writers) tagline: “Time Only Matters When It’s Running Out”.

I didn’t think The Da Vinci Code, which is a crime-thriller-cum-religious-tale, was a particularly well-written book when it first came out in 2003. But nobody can deny it has mass appeal and its racy and pacy plot has spawned a whole set of imitators. With more than 81 million copies sold so far and two hit films based on Brown’s novels, it’s one of the publishing successes of the century.

So I picked up Deadline. Would it be the story of a young female journalist struggling for the scoop of the decade against the odds? At which point, I noticed someone else’s name on the cover beneath Dan Brown’s: Simon Kernick. “Aha,” I thought, “The title is actually ‘Simon Kernick: Deadline.’ Perhaps Kernick is the fictional detective starring in this novel?”

But as I looked closer, it dawned on me that in fact, Brown had not written this book at all. And Kernick is not the detective hero of the piece. The front cover, which proudly boasted that it was “exclusive” to WH Smith, bears the legend: “Dan Brown. If you like your thrillers as fast, furious and unputdownable as Dan Brown, then we thought you’d enjoy…Simon Kernick. Deadline.”

I had got it entirely wrong. Kernick is, in fact, the author of Deadline. Brown is not.

Deadline (SIGNED Summer 2008)Publetariat Editor’s Note: this story comes from a U.K.-based site, and apparently, the ‘Dan Brown’ cover isn’t being released here in the U.S.  The cover on the left is the U.S.-edition hardcover.  

This is selling one author’s book with the name of another author as the hook to draw in the shopper. Rather than simply referring to Dan Brown on the cover notes, suggesting similarities between the authors’ styles, at first sight it seems that Brown is the main writer.

The whole top two-thirds of the book is dedicated to Brown, rather than Kernick. Careless shoppers, like me, could quite easily buy it thinking it was Brown’s own work and only realise their mistake when they’d parted with their cash. 

Read the rest of the article on Marketing Week. Also see this additional commentary from Sarah Weinman on Confessions Of An Idiosyncratic Mind, and the Simon Kernick is Awesome photoshop contest on Smart Bitches, Trashy Books. 

Interview With Indie Author Alan Baxter

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Alan Baxter is the author of the supernatural thrillers RealmShift and MageSign, and also a regular contributor to Publetariat.

Why have you elected to go indie with your books?

My first book was almost published traditionally but fell over at the eleventh hour. Rather than go through the whole submission process again I decided to self-publish it and see what happened while I got on with the next book. I therefore discovered the joys of indie publishing and haven’t looked back.

You’re very active in terms of author platform; which strategies do you feel have paid off, and which have not?

By far the most important thing is to have a website that acts as a hub of all my online and promotional activity. My website is both a blog and a place where people can read all kinds of examples of my writing – I have short stories, flash fiction and a serial novella there, as well as the first three chapters of both novels, RealmShift and MageSign. That gives people something to do there, and I regularly update the fiction pages. When I get anything published in magazines or online I post links and reprint the stories on my site when the publishing rights expire. I blog as often as possible about all things writing and publishing related, not just my own writing. All these things give people a reason to come back and learn more.

That website then becomes the central station of my online presence and all the other things like Twitter, Facebook, Goodreads and so on are linked to it. That’s what works for me.

Many indie authors view corporate giant Amazon with a mixture of suspicion and contempt, but you’ve been a very outspoken supporter. Why?

Amazon gives indie authors something they’ve never had before – the chance to put their books in the same place as every other book from every other publisher. That’s unprecedented exposure. Amazon certainly have their quirks and there’s a lot about them that I’d change given the chance, but there’s simply no denying that the opportunities that Amazon presents to indies far outweigh any niggles in their professional practices.

Having published both in print and ebook editions, do you find your ebooks selling more, less, or in about the same numbers as your print editions?

Currently my books are selling better on Kindle than any other format, but it fluctuates. I think ebooks are certainly going to become mainstream very soon (if they aren’t already!) and will probably begin to account for the bulk of indie author sales. But there will always be people that love the physical book and POD means that the physical book will always be available. I’ve already had readers that have told me that they originally read my books as ebooks, but then went and bought trade paperbacks to have them on the shelves at home. One format holds up the other it seems.

You’re an Englishman who’s now settled in Australia; are the two cultures very different in terms of writing and writer communities?

English and Australian culture is very similar. If anything, Australia is more influenced by American culture than Britain is, but otherwise they’re pretty interchangeable. The same applies to writers and writing communities. Sadly, Australia suffers from one of the things that makes it so great. There are only around 20 million people in Australia, which is why we have so much space and so much natural beauty, but it also makes us a bit of a backwater when it comes to publishing and sales. Compared to somewhere like the US with around 300 million people, no one is really interested in building up their presence in Australia – we don’t even have an Amazon.com.au for example. As an indie author, that causes problems, but time is slowly seeing some changes and I’m optimistic for the future. And I also love our wide open land, so I’m not in a hurry to see us have a population like the US or Europe!

In a nutshell, what are your books, RealmShift and MageSign, about?

RealmShift follows the trials of a powerful immortal by the name of Isiah. Isiah is tasked with trying to keep some level of balance between all the gods and beliefs of people. In this instance he has to track down a murdering blood mage by the name of Samuel Harrigan. Isiah needs Samuel to complete a task he began – if Samuel fails to fulfill his destiny it will have ramifications on a global scale. The trouble is, Sam has reneged on a deal with Devil and has gone into hiding, so Isiah has to keep the Devil at bay while he tracks down Samuel and convinces him to finish what he started.

MageSign is the sequel to RealmShift and sees Isiah trying to find and bring down Samuel Harrigan’s mentor, a man known only as the Sorcerer. Isiah is keen to make sure that no new prodigies like Samuel are moulded, but his investigations lead him to discover that the Sorcerer has far more followers than he ever expected and an audacious plan that will change the world if Isiah can’t stop it.

Both books are rollicking dark fantasy thrillers with lots of magic and action, demons, gods, monsters and all that good stuff. You can learn a lot more about them, as well as read reviews and excerpts on my website.

The covers for the books are very attractive. Did you design them yourself, or hire a cover artist?

I’m lucky that I have some ability with Photoshop and a decent eye for design, so I did them myself. I heartily recommend hiring a cover artist if you don’t have the skills though – people really do judge a book by its cover. I’m glad you think my covers are good!

Do you have plans to continue the series? Why or why not?

I originally wrote RealmShift as a standalone novel. During the writing I came up with the idea for MageSign and it was something that I really wanted to explore, so I wrote that too. It turned out to be better than RealmShift in many ways and I’m very proud of both books. I don’t really have any plans to continue with another Isiah book, but a lot of people have asked me if I am. In fact, several people have insisted that I do! I’ll only write another one if a really good idea comes to me – I won’t just churn out another for the sake of it. In the meantime I’m working on a new novel, completely unrelated to RealmShift or MageSign. There may be an occasional cameo or two though.

You’re also a Kung Fu instructor. How does the discipline instilled by this martial art inform your work, or work habits, as an author?

Well, I write good fight scenes! I’ve often been complimented on the fight scenes in my writing and have been invited to present a workshop on writing and the martial arts at Conflux this year (Australia’s biggest speculative fiction convention) which is very exciting. Otherwise, I suppose that I see the path of martial arts and the path of writing as very similar in one particular way – when you study martial arts for a long time (nearly 30 years in my case) you realise that the more you learn, the more you have to learn. No matter how good you get, you’ll never stop learning or improving. The same can be said of writing – the more I write, the more I realise how much better a writer I can become. And just like martial arts, where you have to practice every day to maintain and improve your skills, a writer has to write every day for the same reasons.

Alan Baxter is the author of the dark fantasy thrillers RealmShift and MageSign. Both books are available from indie publisher Blade Red Press through Amazon.com (print & Kindle editions), Amazon.co.uk (print editions), and Smashwords.com (multiple ebook formats). Learn more about the author, read Alan’s blog and read lots of free short fiction, a novella and the first three chapters of both RealmShift and MageSign at Alan’s website.

Five Of The Most Commonly Misspelled Expressions In The English Language

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This article, from David Halpert, originally appeared on the Writinghood site on 7/21/09.

Not only is the English language one of the most complex languages on the planet it is also one of the most verbose, awkward, and contradictory. That being said here are the five most commonly misspelled expressions in the English Language.

Pored over texts, not poured over texts

This one probably stuck with me the longest in terms of misspelled expressions but among the public it’s also one of the most misspelled expressions as well. Want to know what “pouring” over texts has to do with water. Absolutely nothing. While it’s easy to assume that one might pore over a document the way water pours over a surface, the two have nothing in common. In this case, “pore” means “to read or study with steady attention or application“.

Just deserts, not just desserts

A lot of people think that when you say to someone they will get their just deserts, it somehow relates to a giant sundae you will get to eat and the other person won’t, but actually the expression “just deserts” relates to the way you’d spell an arid piece of sandy land. “Deserts”, however, can also mean “‘that which is deserved” from the Latin desiree meaning to get one’s come uppance. Don’t fall into this common trap.

Wreak havoc, not wreck havoc

When spelt “wreck” (pronounced reek) the general public believes to wreak havoc is synonymous with taking your car out on the highway and wreaking havoc on the road, and while “wreck” means to destroy or cause chaos it is used completely out of context. Havoc itself as a noun means chaos, destruction, and general disorder, but so does wreck when used as a verb. To be used beside one another would be a double negative, for example, to cause destruction to chaos, meaning in the wrong sense, to cause order. In the correct version, “wreak havoc” means “to inflict or execute (punishment, vengeance, etc.)“.

Read the rest of the article on Writinghood.