Interview with independent author Dan Alatorre

Dan Alatorre

Today, I have have a real treat for you on Writing to be Read. My interview today is with a very funny guy, who is a successful independent author. He’s a family man, with a background in business, so book marketing and promotion is just another part of the  job for him. He’s got two books which have both been recently released, Poggibonsi: An Italian Misadventure? and The Navigators, which we will learn more about right here.

Dan has so much to share with us that I’m going to structure this interview a bit differently than I have on interviews in the past. The first part will allow us to get to know Dan a little as a person. The second part will delve into his marketing knowledge, followed up with the last section which will probe into his writing techniques, what writing means to him and questions on craft. So, without further ado, let me introduce to you, independent author Dan Alatorre.

Kaye: You are a family man, Dan. What are your secrets for juggling writing with family?

Dan: I think if you are a writer you need to prepare yourself for the inevitable “you spend too much time on the computer” conversation/argument.

That’s just how it works.

So, my recommendation is, give work its proper due and give family its proper due and give writing its proper due. How you balance that is, you have to decide whether or not spending time with your young children is important or not. (Answer: IT IS.)

When my daughter goes to her dance class or a Girl Scout Daisies Troop meeting, that’s writing time for me. When she’s going to one of her little girlfriends’ birthday parties, that’s writing time for me. However, I make pizza from scratch every Friday afternoon for my family and that’s family time. I don’t write then. When she was younger, I would write after she went to bed at 8 PM, but often that is time that should be spent with the spouse. Adult time.

Me, I get up at 4:30 in the morning to write for a few hours. That’s how I manage it. I also watch very few TV shows, and the ones I watch are all recorded so I can skip all the commercials. In other words, I utilize a lot of time saving devices but I am also thinking about my stories pretty much all the time, so when I sit down to write I’m ready to let loose. If we are at Busch Gardens and I get a good idea, I will excuse myself for a moment and tell the idea into my phone – and then get right back to the family. So they lose me for a minute or two but I got my idea captured.

And I’m not talking about being there half-hearted – you need to be there 100% for your kids especially when they’re young. But there’s always two minutes here and there if you have a great story idea. Nobody’s going to complain about that. What they complain about is when you take all that family time for your writing and then keep doing things like excusing yourself at Busch Gardens. That’s not gonna fly.

Now, with all that said, every spouse of a writer is going to understand occasionally you are in the zone and you just have to keep going. Whether that is getting up early or working late or whatever for a few days or a week, they get it. They can see it on your face and every time you talk to them you are excited about it. I’m just saying, if you are willing to give them what they need, they will give you what you need. Be generous with them and then be very selfish when you need to be. That also works.

Kaye: A lot of your stories come from your own experience as a parent, things you learned from your daughter, Savvy, and they make us laugh. Do you have a knack for finding the humorous side of things to use in your stories, or is it something you have to work at?

Dan: Both. (I hate when you offer somebody a choice and they choose both things, but in this case it’s really true.) I’m a funny guy. I have a knack for finding the funny things in life, and that’s rampant in certain characters in my stories. Sam in Poggibonsi is a scream – she steals the show. In Savvy stories, my daughter does.

I’ve always had a good sense of humor and I have always been able to make people laugh. When I was a child – I have six brothers and sisters – so around the dinner table it was tough to compete for mom and dad’s attention. Cracking a joke or being able to slip in a funny comment was a way to bring the house down and get a little recognition. I was not a class clown in school, though! Okay, maybe a little. But I was the guy who would do a stand-up routine at the variety show or write stuff for the newspaper.

Before I started writing a blog, I was putting stories on Facebook for my wife’s friends and my friends. I would put a post up at five in the morning and by dinner time there would be 100 comments saying how I made everybody cry before they went to work! Other times they would be a bunch of comments saying how hilarious that story was and that I should write a book. Eventually I listened to them.

But the subject matter of those early stories was my daughter – and anybody who spends five minutes around little kids either decides they’re a pain in the ass or they are amazing and brilliant and hilarious. I fit into that second category. My daughter cracks me up and now that she knows she can, she has her routines that she does that bust me up every single time. So she inherited a funny bone from me and from her mother. My wife is very funny, too.

Kaye: What is the one thing you hope to teach your children?

Dan: It’s a little early to try to teach them this particular lesson, but I have been fortunate enough to come from a large family so my nieces and nephews have gone through college and are making their way in the world. The advice I give to them as young adults is: pursue your passion. Whatever gives you joy in life, do that for a living. Don’t worry about the money, because if you hate your job you will be spending your money on being happy. If you do what you love, you can get by and a lot less money.

Nobody listens, but that’s the advice I give.

At her young age, my daughter enjoys ideas of being a fashion designer and a singer and a writer. Right now she can keep all those thoughts in her head. When it gets closer to the time when she actually has to decide, I hope I am able to be behind her 100% in whatever she chooses. And I hope she chooses with her heart as much as with her head. I work with too many new authors who are 35 and 45 and 55 finally started writing, when they wanted to do it their whole lives. I think we need to follow our passions much earlier in life. I’m not sure Americans foster that in our children.

Kaye: How would you describe yourself in three words?

Dan: Hmmm… only three?

Intense. Hilarious. Smart.

But I think not in that order. I think if you asked three or four people who have read my stories, like three or four of my critique partners that I use all the time, they would say smart and then funny and then prolific or something. I don’t know if they would go with intense.

Kaye: What did your road to publication look like?

Dan: Bumpy.

I found an agent through a friend and the agent kind of started doing things along the traditional path of publication, which is known to move at a glacially slow pace. I came from the business world of Fortune 500 companies, and business moves fast. If you say you’re going to read something in six weeks, I need to be able to call you at six weeks plus one day and get your thoughts on it.

Traditional publishing doesn’t work that way. They they say six weeks, and then you call after six weeks and they say they need another six weeks. That’s why books take two years to come out. I’m not saying my way is better, I’m just saying after being exposed to that type of a slow process, I realized it was not for me. I have no problem working on a project for two years and polishing it, I just have zero patience for giving someone your finished product, a book that is ready to go – and letting them sit on it for two years.

So the agent and I parted ways and I have not really considered going traditional since then, but I am not adverse to it. It is good for certain stories and it is not good for really unique or groundbreaking stories. That may change, but right now that’s the case and that’s been the case for a few years. I don’t really see it changing, but I do see the role of traditional publisher changing. In my mind, they have to get quicker. To Kill A Mockingbird doesn’t come across their desk every day, but then again maybe it does. There sludge piles are so big they’d never know. They’re never getting to a lot of the good stuff, and since the majority of trad books don’t earn back their advance, I’d say their selection process sucks and their competency level is questionable at best.

Kaye: With your background in business, it seems like promotion and marketing are pretty second nature for you. In fact, we found each other because you were looking for authors to swap interviews with, because you know that interviews are good marketing tools. What was the most fun interview you’ve ever done? Why?

Dan: I did an interview with Kathleen Townsend that was just hilarious. That was probably my best written interview prior to this one, but it was done for a different reason. I was just trying to make her laugh and her readers laugh. In this interview, I’m trying to cull a little more in depth because your readership skews different from hers. I hope authors understand interviews are certainly done to sell books, but sometimes they’re done to educate and sometimes they’re done to entertain. The best ones are a combination of all those things.

Anyway, one of the best interviews I ever did was when Jenny and Allison interviewed me for the release of The Navigators. We set up a three-way video call that we recorded. That was really a lot of fun.

The interview that hands-down was the funniest interview I ever did was interviewing the author of the bestseller The Fourth Descendant for a trilogy she was releasing called Project Renovatio. We probably spent two hours doing the interview and we probably laughed hysterically for one hour and 50 minutes of it. The 10 minutes when we weren’t laughing is most of what we used for the interview. The other 90% was just a hilarious good time. We became great friends – we were good friends before that interview but we were great friends after that interview. It was just nonstop laughter. Completely unusable, and it wasn’t outtakes, it was just making jokes and laughing.

One of my great joys in life is I can go to that interview if I’m having a crappy day and I can look at the outtakes and within 10 minutes I’m laughing my butt off. There’s a snippet of it on YouTube. Most of the time she (the interviewee) is laughing and wiping her mascara out of her eyes because she’s laughing her so hard she’s crying. Great interview.

Kaye: What’s your favorite social media site for promotion?

Dan: Specifically for promotion? Probably Facebook, and in that, Facebook ads. It depends on what you’re trying to do. New authors need to build an author platform, and Facebook is really good for helping do that, but there are a million ways to waste your money when you are trying to pay for advertising.

Probably for every good add source I paid for, I have paid for 10 bad ones. My advice to people is this: track everything. Look at your reports every day and when you run an ad try to the best of your ability to only run one ad with one promoter at a time. If you run five ads on Mother’s Day and do well, how do you know which one sold all the books? You don’t. If you run your ads one at a time and track your results, you will. Then you can replicate your success, if it’s replicate-able.

That’s not always possible, but to the extent that it’s possible please try to track your results. Quit giving to the people who don’t give you results.

Kaye: What do you do for cover art? DIY, or hired out, or cookie cutter prefab?

Dan: I had the great pleasure of working with Perry Elizabeth for many of my early book covers. Perry designed a number one bestseller for me, as well as designing a number one bestseller for a friend’s debut novel. She designed maybe six of my first seven book covers. She’s brilliant. She has a gift.

Like many things (I came from a business background having gone to the president circle with two different Fortune 500 companies) and in that world the saying “If it’s not broken, don’t fix it,” doesn’t apply. They would say, “If it’s not broke, fix it so it’s even better.” Something like that. Maybe I should’ve paid more attention in all those meetings.

Anyway, when you have good success you have to look if you can make bigger success. Sometimes the answer is yes and sometimes the answer is no. In the case with Perry, she is very devout in her religion, and I knew some of the risqué subject matters in my stories would not be something she would appreciate her name being associated with. So I had to take it upon myself to find other people to work with for those. I can’t put one of my partners in that position, you know? So I had to put other titles with other artists – and I am very fortunate they’ve done a terrific job, too! Look at how eye catching The Navigators cover is. That’s all part of it, making your book stand out. I’ve been very fortunate to work with so many skilled people.

Now, I have on occasion tried to design my own book cover or to buy an image and work with that, and I have had some decent success with it. But here’s a tip for new authors: even if I know exactly what I want the cover to look like, I still roll it out on my fans.

How did I find cover designers? I joined author groups and asked everybody for referrals. I looked at books I liked and saw who did the covers. I shopped. You can spend hundreds of dollars (and occasionally under a hundred) on covers that look as good as ones that cost thousands, and usually for new authors money is in short supply.

For example, The Navigators I bid it out. I didn’t really know what the cover should look like, so I gave a brief synopsis to three or four cover artists, and then I posted their mock-up results on my Facebook page so my friends could vote. One cover jumped to the front, hands down – and that’s the one I went with. And it was very successful.

With Poggibonsi, I pretty much knew what I wanted from the get go. I wanted to portray sex and humor in a single image that could potentially be iconic. If you ever saw the poster for the movie M*A*S*H, or Jaws, or The Godfather, we know that when something is a hit it tends to own that image. And with Poggibonsi, I knew that the cover would convey very simply and easily a large portion of what the story was about. Additionally, like the name Arnold Schwarzenegger, Poggibonsi is not easy to say or read or pronounce. My thinking was what Arnold said: it’s hard to say but once people hear it they can’t forget it. And I think that’s the case with this title, too.

Poggi cover FINAL

Kaye: Poggibonsi: An Italian Misadventure just came out last month. What can you tell us about it?

Dan: Poggi jumped into the cold cruel world on April 20, and it’s burning up the charts! I’m so happy. Poggibonsi is without a doubt my funniest book I have ever written. It’s going to do amazing because it’s just knock-down drag-out funny as hell.

In the story, I take on so many things that are just absolutely not funny! Infidelity, death, getting fired, you name it. And in the process I make you laugh at every single step. Some of the characters are the funniest people you’re ever going to meet, and one in particular absolutely steals the show. On the other side, it is in insanely romantic romance story! And it’s hard to make a romance that’s really romantic while also being funny, but I think I threaded the needle pretty well on this one.

Kaye: What is the strangest inspiration for a story you’ve ever had?

Dan: Hmm. Strangest.

Hmmm…

I was talking to an author friend of mine the other day and I was explaining to her that she was very creative in setting up a new world or a situation that is different from our current existence. I, on the other hand, have taken things that we are all very familiar with and looked at them from a very, very different view point. I’ve never tried to create a fantasy world like she has. So my complement to her was how creative she is at that, and she’s great storyteller in addition. My complement to myself was that I can take things that everybody knows and all of a sudden they are questioning everything about it and laughing their butts off or crying their eyes out or being scared to death of these things that they already knew.

Now, as far as the strangest places I’ve drawn inspiration, if you start with the premise that I have pretty much dealt with the world as we know it, then the inspiration has been unique insights on things that are common place.

So, my inspiration has come from everywhere, which doesn’t help anybody who’s reading this to figure out what inspires me, but I am inspired by the same things that I find humor in. The common situation or as Alfred Hitchcock used to do to Cary Grant, taking an ordinary man and putting him in extraordinary circumstances. Having an ordinary situation with ordinary people become somehow extraordinary. Taking your life as you know it and turning it on its head and giving you a roller coaster ride but doing it in such a way that you like the characters and  you’re rooting for people to succeed – and at the same time, with my stories nothing is what it seems. All of a sudden you have skated out over the thin ice and there are there you are being blindsided by things you didn’t know were coming.

In Poggibonsi, you think a certain situation can’t get any worse, and it gets so, so, so much worse, and people are sending me emails saying, “I did not see that coming!” They love the roller coaster ride. I try to give them a good one every time.

Kaye: Did you always want to be a writer?

Dan: I think so, yes. My direction in life was to create a career and then do the writing in your spare time. That’s probably how most people do it and that’s what I would recommend, too. As long as you make time for everything, you’ll be okay. If you don’t make time for everything, you’ll be very frustrated that you’re not doing your writing – so make time for everything!

But like I said, I went to work in business before I started writing in earnest, and once I started writing in earnest I didn’t want to do anything else.

Kaye: Are you a plotter or a pantser?

Dan: I am absolutely a plotter, but let me explain.

Before I really start writing a story, I will percolate on it for a while to get some ideas going. Before I start writing in earnest, I am throwing ideas into a folder. Once I sit down I have a beginning, a middle, and an end. The that’s my outline –  sometimes nothing more than that.

But just because I have AN ending does not mean that is the way the story ends. It simply means that that’s the direction I’m heading in; that’s the way I intend to go. If I get a better ending, I am absolutely taking the story there, but if I don’t come up with something better, this is the destination I’m going to end up at.

That gives you the best of both worlds. You can be as free and crazy as you want and you still have a path to get you back on track. Or, if you really find some new destination, you go there.

But it’s been my experience that probably 75% of the books that never gets finished by the writers don’t get finished because they got excited, they started writing, they had a couple of good ideas – and then they ran out of steam. Jim Patterson – yes I call James Patterson “Jim” – said it’s better to spend an extra month on the outline then it is to start the story not know where you’re going with it.

Having a goal and having a destination, that will help you finish your story. I think 90% of writers block and unfinished stories happens because of the lack of an outline.

But again, it is not locking you in a cage, it is simply directing your creativity. Having an outline does not stifle your creativity, it directs it.

Kaye: What’s the best piece of advice you were ever given?

Dan: I wrote a blog post once where I put like 20 memes in it and then I explained what each of them had meant to me at different periods. One of them was Hemingway saying write every day. Every day, get up and bite the nail. That’s so important because the more you work at something the better you get at it, so don’t stop.

The other was something along lines of, “Every great story is this: nothing is as it seems.”

I thought the simplicity of that second one was overstated. Like almost like it’s too simple so it’s stupid. And then all the sudden I read it like a second or third time and I was like oh my God it’s brilliant.

So those two are good. The best one is: the reader is your willing accomplice. On that one, if you set a realistic world and you work hard to make a good story, the reader will go along with you. As long as you do a good job, you can do whatever you want. And once you do it well, you can play the reader like a piano. You have the power and they want to go on the ride. Willing accomplice.

TheNavigatorsFinal

Kaye: The Navigators also came out recently. Would you like to tell us a little about that one?

Dan: Gosh, I’m so proud of Navs. The Navigators is a great story involving time travel. Five graduate students in paleontology accidentally discover a strange machine, and right off the bat they have to figure out what it is they discovered. As they conclude it’s a time machine, each of them has a different idea of how they should use it – so there’s immediate conflict. There is a lot going on with the characters in the story. Pretty much nothing is what it seems, so there is intrigue at multiple levels, plus it’s a real page turner. People who start reading this book have reported back that they are just unable to put it down. I’m very proud of that. It’s a real home run.

Kaye: How do you decide the titles for your books? Where does the title come in the process for you?

Dan: Man, titles are hard! They shouldn’t be, but they are.

Originally, Poggi was going to be called something like “My Italian Assistant”, but that all had too much of a schlocky 80s sex romp feel. This is not that. This is a story that goes deep in everything it pursues. The humor is outrageously funny. The romance is deeply passionate. You will laugh and you will cry and your heart will break. As a result, it deserves its own unique word.

Now, I’m not a fool. I gave it a pretty simple subtitle to explain what was going on. But most of my critique partners said I couldn’t call it that. Well, after they got used to reading a few chapters and calling it by its name, they were cool with it – and they wanted me to keep the tile as Poggibonsi.

So you have a unique title and a unique cover for a unique story. That’s either going to be a home run or a complete strike out. Right now if I can convince people to start reading it at all, they end up loving it. There are so many toys twists in surprises and absolutely hysterical moments, really some unforgettable stuff and some unforgettable characters, it’s a rare treat that readers around the world are loving.

With Savvy stories, I kicked around a lot of ideas and I was told many times not to use that title. To me, it was a double entendre. Savvy stories are stories about Savvy, which is the nickname of my daughter Savannah. I also gush about how smart and amazing children are, so savvy stories also means stories about people who are street smart. Which is probably the wrong way to describe infants and toddlers, but you get the idea.

The Navigators really required a different formula. I was writing the story and I was calling it The Fantastic Five as its working title – which is just awful – and everybody who saw it kept saying, “You can’t call it that! Find something else.”

The reason it was the “fantastic five” was because they were five characters and each did something kinda fantastic. I knew that would never be the final title but I just couldn’t think of anything good. I was just stumped. It happens.

Anyway, I was in the middle of a scene and the characters were debating about flying the time machine somewhere, and one of the characters said they were thinking about it all wrong. He said, “We’re not really driving it, we just are setting the destinations and the times.”

So the first character said, “Oh, so we are the navigators?”

Again, there is a double meaning to that.

The time machine is something they really haven’t figured out when they start testing it so they are putting in longitude and latitude and a time, and letting the device take them on an adventure. It also refers to the young lady in the story who is kind of drifting along doing the things that people probably wanted her to be doing as opposed to choosing her own life. So she too is also not a pilot yet. She’s not making the decisions yet. In the story, she ends up becoming the main character and really growing into a leadership role.

That was important because I have a young daughter, and it’s kind of a projection of her where she might be 15 years in the future.

Many of my stories are written on multiple levels. I had one beta reader asked me if a certain scene was a metaphor for the guy’s marriage. It was. Other scenes were reflections of other things, too. There’s only a little bit of that (and a little goes a long way) but when somebody discovers it, it’s like a brilliant flash of joyful light to me.

The Water Castle and An Angel On Her Shoulder came about in similar fashion. The water castle is the way a young child refers to a landmark that the story kind of takes place around. And “an angel on her shoulder” is a remark that a doctor says about the child who got diagnosed with a rare but potentially fatal heart condition in my paranormal thriller.

So, I guess when I need to come up with a title, I have my characters express it in dialogue! There you go. That’s my secret. Have a character open your mouth and hope a title pops out.

Kaye: What is the single most important quality in a novel for you?

Dan: I have to care about the characters. There are a lot of different ways to achieve that, but readers are kind of generous. They will give you a little while to make them care about a character, but you have to make them care. If you don’t, nothing else matters.

In The Navigators, I thought about starting the book at the landslide where one of the characters almost gets killed. Aside from it being some obvious action, I knew in my heart that we just wouldn’t care if somebody got killed because the readers hadn’t gotten to know anybody yet.

By contrast, in An Angel On Her Shoulder, it starts with an action scene where the wife is beginning to wonder if her husband and child have been accidentally killed, and the chapter ends with her being frantic – asking that question – but we don’t know.

Because I have the wife being concerned about her young daughter, and because I have her emotions jumping from she doesn’t know what’s going on to “Oh my god what’s going on?” – and all the people around her are saying “Oh my god look at all the blood, there’s no way somebody could survive that,” she is getting more and more frantic…

The reader cares because the character cares. She is really getting frantic and she is really nervous and we can’t help but be empathetic and then therefore we care also.

Then I’m really mean. I jump into a flashback that took place several decades before, and you have to float through that for a few chapters – so that you kind of forget about the frantic scene –  and then we end up right back in that opening scene a few minutes before it happens. I know flashbacks are persona non grata, but I got to tell you, this is an amazing roller coaster ride that readers love! The way I played it, it was a stroke of genius if I do say so myself. I love that story.

Kaye: Which author, dead or alive, would you love to have lunch with?

Dan: Mark Twain, because he was very, very funny and very, very smart and apparently liked to drink. I just think sitting down and having lunch with him would involve lots of drinks and lots of laughs, and I’m not sure there’s a better lunch than that.

Hopefully one day some kid will say they want to have lunch with me, and I will fly to where they live and we will go get hammered and have the most awesome lunch ever.

Kaye: Have you ever had places that you travel to end up in your books?

Dan: Kind of. When I was going to Italy for a vacation I kept telling myself I knew I’d find a story there. And I loved Venice and I loved Rome – I loved everywhere we went in Italy. Gelato is amazing, the pizza is amazing, the women are amazing, the art and the architecture is amazing. Italy is amazing.

And I was really trying to force it. I was really saying okay, is this story? Is that a story?

It doesn’t work that way. On the plane ride home I got the idea of a man going on a business trip to Italy so I could explain a lot of the things I saw through his eyes, and then I wanted it to be a romance but I wanted it to be a comedy, too. There’s lots of things to find funny about traveling, but the romance was going to be an unconventional one, and from that little spark, I said there’s the story.

Many of the people who read it have told me I made the country of Italy into a great character in the story, and that is very high praise. I have an Italian translator who I have worked with translating my other books and she read it and she love the way I depicted her country, so I am absolutely satisfied with how that story came out. It’s an absolute home run on every level.

Kaye: What is the hardest part of being a writer?

Dan: Many people, most in fact, struggle with being able to finish their first story. They want to fine-tune it forever and they are afraid of publishing it. Whatever it is, they struggle to get the first one done. Once they get the first one born, they realize what a huge weight has been lifted off of them and they become much more at ease with writing and everything else. Unfortunately, just as many people suffer from the opposite affliction, which is thinking something is a masterpiece. What it really needs a lot of work, and they publish it too soon.

That’s not a very helpful answer, is it? But it explains this: the hardest part is knowing when the story is ready. The people who release it too soon don’t know when it’s ready, and the people who polish it forever don’t know when it’s ready.

How do you figure it out? You write what needs to be said, you give it to trusted critique partners who will tell you the things you said that did not need to be said, and then you trim out the stuff that doesn’t need to be there – and release it.

Then start writing your next one. After you do this a few times you will not be afraid to release a story and you won’t be afraid to take input from people who have your best interest at heart. You’ll have a thicker skin and a bunch of other things. That’s when you – most of you – will become really good writers. A few people do it on the first shot; most don’t.

If I could give you one thing, it would be not just confidence but enough confidence. Tell your story and don’t be afraid to be passionate and to be emotional and to really put your soul on the page. Expose yourself. Writing is the equivalent of standing naked on a stage, prepared to be laughed at and humiliated – and doing it anyway.

Write from your heart and don’t hold anything back. Not the pain, not the love, not the fear, not anything. When you put it on the page from your heart, the reader get it. They connect. The more personal you make it to yourself, the more universally understood it is. That’s where too many authors make their mistake. They don’t open up and let it pour. They write the words but they don’t write the heart. They tell a good story when they have a great one within them. They hold back because they’re afraid of what people might say or might think, or that their mom right read it or that their friend might hate it or whatever. When you can let go of that and stand naked on the stage, that is where the great stuff comes from. You may fail miserably, but you will have given it your all. That’s confidence. I wish I could give you enough of that to make you put your soul on the page. When you do, you will be greatly rewarded for it.

I want to thank Dan for joining us today and sharing his knowledge and experience with us. I couldn’t help but chuckle as I went over your answers. It’s been a lot of fun. To learn more about Dan and his books, drop by his blog.

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A Published Author At Last – Now It’s In My Readers’ Hands

Delilah Cover

The exciting news this week is, Delilah is now available in digital format! It’s something I’ve been waiting for for quite a while, so of course, I am ecstatic. But, something many aspiring authors may not realize is that publication isn’t the end of the road. No, it’s actually just the beginning of a new chapter in the book of writing, this one titled Sell that Book.

For those of you who aren’t familiar with my road to publication, I started Delilah back in 2012, when I entered the M.F.A. in Creative Writing program at Western State Colorado University. The assignment given by my instructor, Russell Davis, was to write an excerpt in a genre outside our comfort zone. I was assigned to write in western genre, and low and behold, I found not only am I good at it, but I like writing western. Four years later, that small excerpt, grew into a 60,000 word western novel which I’ve been trying to find a publisher for over the past year.

You see, writing the book, while a great accomplishment unto itself, is only half the battle. It doesn’t do any good to write a story, if no one ever reads it. In order for that to happen, the book must be published, and while I could self-publish, (I had considered it), I held out hope of finding a publisher, and in the end my persistence paid off.

So, now that I got Delilah published, with the help of Dusty Saddles Publishing, I must get the word out through marketing and promotion. I must get people to read, and maybe more important, write reviews.

Reviews are where it’s at these days. According to Amazon, reviews are how you get your book promoted, and I just read somewhere that Amazon has recently increased the number of reviews needed for them to promote your book, from thirty-five to fifty or one hundred.

The question is, where do I get reviews from? Although I do honest reviews here, on Writing to be Read, I don’t know many other bloggers who do. So, it comes down to appealing to you, my readers, to buy Delilah, read it and then go onto Amazon and Goodreads, (Delilah will be listed there soon -another thing I still need to do), and leave a review.

If you are willing to go to the trouble of doing all that, I thank you, but I also ask that you leave a review that is honest. While I would love you to leave a review which sings Delilah’s praises, I want it only if it is heartfelt. If you see problems with my story, I need to know what they are, in order to improve my writing of future books, so I am asking for honest criticism, if you are kind enough to leave a review at all.

In the end, it’s up to you, the reader, how successful Delilah, or any book, will be. So, buy the books you want to read, (which I hope includes my debut novel), and be kind. Leave an honest review.

 

Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.

 

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Rethinking the “Playground for the Gods” series… again

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There are many of you out there who have been following the progress of my science fantasy series, Playground for the Gods. For those who don’t know, it’s about an alien race that comes to Earth and pose as deities, and the power struggles and conflicts that arise. It’s based on the ancient mythologies and religions, with colorful characters who get up to some hilarious antics. You can read an excerpt on my Playground for the Gods Facebook page. If you’re interested, you’ll find an update on the writing processes going into these books below.

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In last month’s post, “It’s All in the Finding the Right Market“, I talked about looking at a different market for my Playground for the Gods series. Specifically, I was looking at the Young Adult and the New Adult markets. I was looking to see if perhaps these books were directed toward the right audience, or if perhaps, they might be marketed to a different audience, with revisions, of course.

After attempting said revisions on Book 1: The Great Primordial Battle, and sending it off to my alpha reader, and revising what I had for Book 2: In the Beginning, and writing some the parts of the story that were still needed, I’ve come to the conclusion that this series is not for the light of heart, or a not fully matured audience. The cuss words could be replaced easy enough, but there is just too much sex that is vital to the plot. Removing it would change the entire story.

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For heavens sake, my characters are self-indulgent beings posing as goddesses and gods. Self-indulgent behaviors are what landed them on Earth in the first place, and they are what the whole plot, as well as the individual story lines of each book are hinged upon. The indulge, many in excess, in all of the vices, including sex. They are sensual, and most are promiscuous, prompting plenty of jealousy and rage, providing a lot of the conflict in the series. In other words, I decided the sex was a necessary element that the series couldn’t do without, so YA or NA would not be a good audience for this series.

So, what’s next? Well, I’m going to finish writing the first draft of Book 2, and revise Book 1 when it comes back from my Alpha reader with suggestions. But I will be doing this with the science fiction and fantasy markets in mind, the original markets I was looking at for these books.

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Once the revisions are complete, I’ll send out submissions once more. Hopefully this time, I’ll get better results. (An acceptance letter would be nice.) Ideally, I’ll be doing this at the same time that Book 2 is with my Alpha reader, and I will be working on Book 3: Inanna’s Song, adding to the few chapters I already have written for it, and working up the outline for Book 4: Enki’s Folly. But, we all know how often things work out ideally, so I’ll just look at these task as goals to aim for and hope for the best.

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“Horror 101: The Way Forward” Offers Good Advice for Authors and Screenwriters

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This is the longest book review I have ever written. This book was so packed full of useful information for rising authors and screenwriters that I felt I needed to cover it all. If you are an upcoming horror author or screenwriter, trying to figure out how to get a foot in the door or where to start in the matter of launching your career, Horror 101: The Way Forward offers “career advice by seasoned professionals”. Different writers will find different essays useful, so I’m giving you a rundown on all the informative essays included.

Compiled by Crystal Lake Publishing, this collection of essays has something for every writer. The anthology features quotes from the masters such as Stephen King, Ray Bradbury, Isaac Asimov,  J.R.R. Tolkien, Jack London, Clive Barker, H.P.Lovecraft, Edgar Allen Poe and many others. Advice from professional writers and editors covers all aspects of the horror writing business, and the business of writing, in general. From submitting your work, to marketing and promotion, to self-publishing and building your writing business, to crafting your work and the writing process.

The answers to many questions on the topic of submissions and all other aspects of writing as a business are found within its pages. Not getting positive response from your queries? First read Rejection Letters – How to Write and Respond to Them by award winning author Jason Bark, which offers an attempt to write a rejection letter that doesn’t sting, (at least, not so much). Then, flip to Seven Signs that Make Agents and Editors say “Yes!” to learn what agents and editors look for. Buttoning Up Before Dinner by horror author Gary Fry also offers advice to put you in the good graces of publishers and editors and create well-written stories.

Unsure how to submit your work? Submitting Your Work: Read the F*****g Guidelines by freelance writer and editor John Kenny offers tips for making a professional submission from an editor’s perspective. And What a Short Story Editor Does by horror, fantasy and science fiction editor Ellen Dallow explains the responsibilities of short story editor.

Looking for sound career advice? Be the Writer You Want to Be by television writer and novelist, Steven Savile recycles the best writing advice the author was ever given. The Five Laws of Arzen by award winning dark fiction author Michael A. Arzen offers hints to help you survive a writing career. How to Fail as an Artist in Ten Easy Steps: A Rough List Off the Top of My Head, by Confirmed Failure… by horror author John Palisano provides a reverse list of things you should do to be a successful writer.

Wondering if you need an agent to get your work in front of editors and publishers? Do You Need an Agent? by author Eric S. Brown is a discussion about the need, (or not), for an agent and relates the personal experience of how the author became successful without one. Also included are essays on building your writing business in Balancing Art and Commerce by author and screenwriter Taylor Grant , offering a look at various mediums one can write in and earn a living & advice in the business of writing. There are even essays offered on the lucrative business of ghostwriting, with a personal experience as a ghostwriter shared by dark fiction author Blaze McRob, and Ghostwriting: You Can’t Write it if You Can’t See It by award winning author Thomas Smith instructs on how to step into the author’s shoes and write like them.

If you are hoping to find some help muddling through the vast world of marketing and promotion, The Year After Publication by horror & thriller novelist Rena Mason offers an account of what to expect once you publish your first book and a walk through the exhaustive process of book marketing. How to be Your Own Agent, Whether You Have One or Not by horror writer, editor and publisher Joe Mynhardt offers tips for marketing your stories and yourself.  Reviewing by founder of Ginger Nuts of Horror, (one of the most viewed resources in horror fiction), Jim McLeod discusses getting your book in the review pile & what the writer should do while awaiting publication of the review.

If you’ve  not attended a conference or convention before, Pitch to Impress: How to Stand Out From the Convention Crowd by editor R.J. Cavender provides a guide to making a pitch that will snag agents’ and publishers’ attention. Tips for networking at conferences are offered by dark fiction author Tim Waggoner in You Better (Net)Work, and Networking at Conventions by Bram Stoker Award winning author Lucy A. Synder offers a look at the benefits conventions have to offer and a breakdown on some of the major ones for horror writers.

There is a plethora of advice offered on publishing, including a comparison of traditional publishing vs. digital publishing in Weighing Up Traditional Publishing and Ebook Publishing by award winning author Robert W. Walker; Publishing by editor and publisher Simon Marshall-Jones compares publishing in the digital arena with the way it was done in the past & how to become an independent publisher; and Glenn Rolle Toes the Line with Samhain Horror Head Hancho, Don D. Auria by Glenn Rolle with Interview that maps Auria’s rise to the top.

The arena of self-publishing is also explored in Make Your Own Dreams by horror and suspense novelist Iain Rob Wright. Besides being a plug for self-publishing’s evening of the playing table. It relates personal experience and advice for self-publishing, walking us through the self-publishing process. Self-Publishing: Thumb on the Button by author Kenneth W. Cain gives a list of things to think about before you choose to self-publish.

Also included are essays on the different mediums for horror: Poetry and Horror by Blaze McRob, and Horror for Kids: Not Child’s Play by novelist Francois Bloemhof offers guidelines for writing horror for youth. Several essays on comics and screenwriting, (one of the biggest outlets of horror today), are also included.

Horror Comics – How to Write Gory Scripts for Gruesome Artists by novelist Jasper Bark discusses the craft of writing horror comics and the relationship between writer and artist. Some Thoughts on My Meandering Within the World of Dark and Horror Art by artist Niall Parkinson offers thoughts on creating dark and horror art. So You Want to Write Comic Books… by novelist C.E.L. Welsh discusses what goes into the making of a comic book.

From Pros to Scripts by author and screenwriter Shane McKenzie talks about the many challenges of screenwriting. Writing about Films and For Film by award winning writer, editor and screenwriter Paul Kane gives the story of the author’s rise to success and tips for learning the lingo of the business. Screamplays! Writing the Horror Film by award winning author and screenwriter Lisa Morton offers the basics of screenwriting, description and dialog, and tips for getting your screenplay made into a movie. Screenplay Writing: The First Cut is the Deepest by author, director and editor Dean M. Dinkel recaps of the author’s experience at the Cannes Film Festival.

Essays on writing a digital world include Running a Webserial, or How to Lose Your Mind, One Week at a Time by Southern author Tonia Brown, providing a brief history of serials and a rundown of what goes into running one on the web; Friendship, Writing, and the Internet by Bram Stoker Award winning novelist Weston Ochse with reflections on online connections with like-minded writers, and Audiobooks: Your Words to Their Ears by horror novelist Chet Williamson discusses what it takes to create and audiobook and what to expect from the effort.

Of course, there is also plenty of advice on crafting a quality story. What is Horror? by author and novelist Graham Masterson offers general writing advice which could be applied to any genre and instructs on how to push your writing to the edge. The Journey of “Rudy Jenkins Buries His Fears” by author Richard Thomas takes us on a walk through of the writing, editing and submissions process of a story. Writing Short Fiction by horror and thriller novelist Joan De La Haye offers tips to tighten your writing and move the story forward, and discusses where to look to sell your story and how to choose where to submit. Ten Short Story Endings to Avoid by Scottish horror novelist William Meikle supplies a valuable list, if you want to avoid having readers feel cheated. From Reader to Writer: Finding Inspiration by publishing and editing consultant Emma Audsley  offers advise for attacking the blank page. Writing Exercises by horror writer Ben Eads  provides exercises in description and dialogue. Writer’s Block by short fiction writer and novelist Mark West discusses how to keep the creative juices flowing. Editing and revision are covered with Editing and Proofreading by author and editor Diane Parking presents good reasons not to send out a first draft, and How to Dismember Your Darlings – Editing Your Own Work by Jasper Bark gives a brief guide on how to self-edit.

A few essays outline the needs of a writer and suggestions on how to meet them. Filthy Habits – Writing and Routine by Jasper Bark  offers a look at the benefits of creating a daily writing routine. A Room of One’s Own – the Lonely Path of a Writer by horror and fantasy writer V. H. Leslie discusses the need for solitude and space to write in. Writing Aloud by screenwriter and author Lawrence Santoro outlines the benefits of reading aloud as a part of the writing process.

Also included are Partners in the Fantastic: The Pros and Cons of Collaborations by novelist Michael McCarty, which looks at the views of various authors on collaborations, and Writing the Series by series author Armand Rosamilia, which explains why Rosamilia writes series.

Several essays offer advice specific to writing in the horror genre. Making Contact by award winning novelist Jack Ketchum discusses how to turn what you know into a horror show. Bitten by the Horror Bug by horror author and screenwriter Edward Lee looks at what motivates us to write horror. Reader Beware by author Siobhan McKinney explores the role fear plays in horror. Bringing the Zombie to Life by author Harry Shannon maps out four components of a good zombie story. The Horror Writers’ Association – The Genres Essential Ingredient by author and President of the Horror Writers’ Association (HWA), Rocky Wood gives  a rundown on the HWA

What’s the Matter With Splatter? by horror writer and Vice-President of the AHWA, Daniel I. Russell discusses the use of blood, gore and splatter in horror fiction or screenwriting, gives tips on how to use it to gain the desired effect, and discusses why some gore doesn’t get a second thought. Avoiding What’s Been Done to Death by British horror writer Ramsay Campbell defines good horror fiction & emphasizes originality. The (Extremely) Short Guide to Writing Horror by dark fiction author Tim Waggoner offers an introduction to writing horror, including techniques and brief definitions, and a list of good resources for horror writers. Growing Ideas by horror writer Gary McMahon offers a look into the author’s writing process. Writing Horror: 12 Tips on Making a Career of It by horror novelist Steve Rasnic Tem instructs on building your own writer’s toolbox and advice for entering the profession of writing horror. The Cheesy Trunk of Horror by international best selling author Scott Nicholson provides a look at both writer and reader perspectives on horror and dark fiction. Class: Vaginas in Horror by science fiction, urban fantasy and horror novelist Theresa Derwin offers an overview of women in the horror industry. And the afterward by Crystal Lake Publishing’s editor, Joe Mynhardt, includes his own advice for writing horror.

Horror 101: The Way Forward is based on the sound advice of seasoned professionals that is useful to horror writers in any stage of their careers. I recommend it with four quills for anyone who wants to write horror in either fiction or screenwriting.

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Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.


It’s All in Finding the Right Market

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My friend and cohort, author Jeff Bowles wrote a post Choosing to Become a Better Writer vs. the God Complexwhere he offers advice on what to do when your novel hasn’t been picked up by a literary agent as soon as you’d hoped, as is currently the situation with his thesis novel. I had to chuckle when I read this, not because the post was meant to be funny, (it wasn’t), but because of the timeliness of the post, as I find myself in the same situation and I have been pondering what to do with my own thesis novel, Playground for the Gods: Book 1: The Great Primordial Battle.

Jeff’s advice is sound. Revise. Submit. Repeat. And he’s right in saying that to achieve success in writing, as in most things in life, you must persist in your efforts and endeavor to persevere. In fact, I’d decided on the same course of action for my novel, with a slight twist and a lot of determination. So, my first 2017 New Year’s writing resolution is to get my thesis novel published in the coming year.

Since completing my thesis novel, the first novel in my science fantasy Playground for the Gods series, I’ve submitted it to seven publishers and four literary agents. It was rejected by two agents and four publishers, and is still waiting for word on three publishing houses and two agents. I don’t hold out hope of hearing from the agents, many don’t even bother to respond unless they’re interested, but the publisher who has had my submission the longest has had my submission for six months. There may still be hope there, but I have to wonder.

I’ve been feeling a bit discouraged with these results, so I started thinking about why my novel wasn’t catching the interest of publishers or agents. e first thing I looked at were my query letters. So, the first thing I looked at were my query letters. As I said, I’ve sent out multiple queries for the first book and been rejected multiple times. I looked at all my queries to see if the problem might be in my presentation.

The query letter is an author’s introduction and it is very important. It’s the first thing an agent or publisher sees, and it determines whether they chose to get to know you and your work better. A query should look professional, and it should tell the publisher or agent about the work you want them to buy into and about the author. It raises their interests and gets them to ask for more than just the excerpt you sent with it. A request for a complete manuscript is the ultimate goal.

Some of you may know the story behind this novel, but for those who don’t I’ll relate it briefly. The summer I presented the proposal packet for my thesis novel was the worst summer of my college career. I had this great idea for a story about a species from a different planet, who come to Earth and present themselves as deities. It was to be a science fantasy novel with a strong female protagonist, Inanna. I presented my idea to my cohorts and nobody got it, (this was partly because I was trying to cram way too much into one book, but at the time it just felt to me like the idea wasn’t well received and I was crushed). So, maybe publishers and agents weren’t getting it now, the same way my cohorts and instructors didn’t get it then?

This led me to take a hard look at the audience which I thought I was writing for and the types of agents and publishers I’ve been pitching to. I’ve sent out my queries for my science fantasy novel to publishers and agents who handle both science fiction and fantasy. Something I had overlooked was that the biggest audience for science fiction and fantasy are young adult readers.Epiphany! I’ve been pitching to the wrong audience!

Because of the summer from hell, mentioned above, my thesis novel has turned into a four book science fantasy series, Playground for the Gods. Book 1: The Great Primordial Battle shows the destruction of the Atlan home planet, which explains the reason they are searching for a new home and chose Earth, and how it was almost destroyed before they could make it their home. Book 2: In the Beginning tells the story of how the Atlans made Earth their home and cohabited with humans, and how Inanna becomes the goddess of war and love, forcing her to deal with the dualities within herself. The hero’s journey that Inanna takes in my original story will now be the Book 3: Inanna’s Song. In Book 4: Enki’s Folly, Enki, (the sort-of anti-hero), tries to fix his past mistakes by traveling through time.

By the end of my courses, I had Book 1 and it’s complete submission packet, Book 2‘s chapter outline, synopsis and partial first draft, along with the outline, synopsis and a few chapters of Book 3 completed. If I could do that major transformation in less than a year’s time, I’m thinking I should be able to transform my books into a YA series with minimal revision.

Next, I took another look at the story itself, and I realized that aside from a few instances of harsh language, this book almost reads like a YA novel. Most of the characters are teens, although Atlans don’t experience time the way humans do, (what passes for a year for us is comparable to a millennia for them), and still, some are more mature than others. The series has many of the YA tropes already: a young female protagonist who is idealistic,  (Inanna); a perfectly perfect Mary sue character in Inanna’s BFF, (Ki);  missing, or at least distant parents (Atlan familial units are pretty messed up); plenty of half-human/half-something else characters – mermen and Minotaurs, the characters are diverse;  and there’s a rebellion against the existing power structure, (in reverse).

The one thing that might prevent Playground for the Gods from becoming a successful YA science fantasy novel is the degree of sexual content, which is actually vital to the story line. We’re not talking about unnecessary sex here. We are talking about the story doesn’t work without it. Although it could be toned down some, I imagine I would have several parents who were hot, should I try to market this series as YA, even though it has a lot of the expected tropes. So, I had to look once more at audience, where I took an in-depth look at a market called New Adult.

New Adult has protagonists aged 18-24, and is aimed at audiences aged 18-30, but may appeal to readers of 30 or more. Just as some YA may appeal to adult readers, so New Adult may appeal to older readers, as well. It carries steamier sexual content, that you probably wouldn’t want your thirteen year old reading, but is perfectly acceptable for older readers. In a 2014 article on Book List Online,  YA or NA?, by Michael Cart, Harliquinn Senior Editor Margo Lipschultz points out that “NA rose to popularity as a subgenre that bridged the gap between contemporary YA and contemporary romance, it’s gradually expanding… ” NA is not just a romance market any more, and I’m thinking that the steamier scenes in the PfG series could find a home there.

Another 2014 Book List feature article, What is New Adult Fiction?, by Gillian Engberg, Donna Seaman and others quotes Neil Hollands, adult services librarian at the Williamsburg (VA) Regional Library as stating,

“…librarians talking about NA are often thinking of books that appeal to “both male            and female readers, in their late 20s and 30s. The books we’re looking for try to capture        the feel of a generation, including integrating technology’s effects on communication          and relationships, new outlooks on a range of political and social issues, and more                  recognition and blending of the genres that younger readers are most familiar with.”

Now that sounds like my series. While it still has some of the YA tropes and qualities, it also has more mature content and deals with social and relationship issues, the value of technology for better or for worse, and characters in the right age bracket basically, (give or take a few million years), and would appeal to an older audience of new adults.

From my very first M.F.A. class it was drilled into us the important of knowing your audience and doing the research. And I did do my research in the adult market, and now I’ve done my research in the YA market. But, after discovering that it’s a little too steamy for YA, I’ve gone back to research the NA markets, and I’m currently revising The Great Primordial Battle for an NA audience. When I’m done, I plan to promote to the NA markets with high expectations, while I get busy on Books 2 and 3.

Leave a comment to let me know if you think I’m on the right track with PfG: Book 1: The Great Primordial Battle.

You can find updates on the Playground for the Gods series on its Facebook page, here.

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Looking Back Over 2016

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This will be the last reflective post of the year. Next Monday’s post will find us in 2017. For my writing career it has been a slow take off, but I’ve seen progress. In July, I completed my Master of Fine Arts degree in creative writing. With emphasis in both genre fiction and screenwriting, and two completed novels, Delilah and Playground for the Gods Book 1: In the Beginning, two full feature film scripts and one comedy series pilot script in hand, I eagerly jumped right in to get my feet wet in either the publishing and/or screenwriting industry. I began submitting my work to agents, publishers, and competitions like crazy. I received mostly rejections, as expected, and although I still haven’t found a home for either novels or scripts, I did manage to find a home for two poems and two short stories. Not too bad. While the poems, Aspen Tree and Yucca! Yucca! Yucca!, appeared in print, (in Colorado Life (Sept.-Oct. 2016) and Manifest West Anthology #5 – Serenity and Severity, respectively), my short story,  I Had to Do It was published on Zetetic: A Record of Unusual Inquiry, and my not so short, short story, Hidden Secrets was published on Across the Margin.

2016 has been a pretty good year for Writing to be Read. The revamping of the blog site was completed in March, I’ve managed post things on a fairly regular basis, we were honored with guest posts by my friend Robin Conley, and my visits and page views have risen, with almost 2000 visitors and over 2,500 page views. Looking at this, makes me feel pretty good about the blog, as a whole. Another good change is the addition of screenwriting content, which I believe has drawn a larger audience by widening the scope of the content.

13595804_10208551605339796_604487774_nThe top post of 2016 was my book review of Simplified Writing 101, by Erin Brown Conroy, which is an excellent tutorial on academic writing, including writing advice that every writing student should know. After that, the reflective post Writing Horror is Scary Business would be second in line. Other popular posts include my four part Making of a Screenplay series,( Part 1, Part 2, Part 3, and Part 4), my Tribute to My Son, and What Amazon’s New Review Policies Mean for Writing to be Read. More recently, my ten part series on publishing, Pros and Cons of Traditional vs. Independent vs. Self-Publishing gave me the opportunity to interview some awesome names in the publishing industry: self-published authors, Jeff Bowels, Tim Baker and Art Rosch; traditionally published authors Stacia Deutsch and Mark Shaw; independently published author Jordan Elizabeth; and children’s author Nancy Oswald, who has published under all three models; as well as Caleb Seeling, owner of Conundrum Press and Curiosity Quills Press – with the final installment summarizing the conclusions made from those interviews. Snoopy Writing

Many of my posts were reflections of my own writing experience. These included: Why Writing is a Labor of LoveFear is a Writer’s Best FriendI’ve Come A Long Way, BabyWriting the Way That Works For YouCreating Story Equals Problem SolvingWhat’s A Nice Girl Like Me Doing Writing in a Genre Like This?; Acceptance or Rejection – Which Do You Prefer?; A Writer’s Life is No Bowel of Cherries; Write What You Know; Discouragement or Motivation?; What Ever Happened to Heather Hummingbird?; How You Can Help Build a Writer’s Platform; and Why Fiction is Better Than Fact.

2013-03-16 Ice Festival 014Sadly, I only attended two events that were reported on, on Writing to be Read in 2016 – the 2016 Ice Festival in Cripple Creek, and the 2016 Writing the Rockies Conference in Gunnison, Colorado. What can I say? I’m a starving writer. This is something I hope to improve on in 2017 by attending more events to report on. One possible addition to the 2017 list that I’m very excited to think about is the Crested Butte Film Festival. The details are not ironed out yet, but I’m keeping my fingers crossed.Fear of Laughter

Screenwriting content included this past year seemed to be popular. In addition to my Making of a Screenplay series and Writing Horror is Scary BusinessWriting to be Read also featured Writing Comedy for Screen is a Risky Proposition, and a book review for Hollywood Game Plan, by  Carole Kirshner, which I can’t recommend highly enough for anyone desiring to break into the screenwriting trade. Robin’s Weekly Writing Memo also included several writing tips that could be applied equally to literature or screenwriting.

Another project I’m particularly proud of is my ten part series on publishing, Pros and Cons of Traditional vs. Independent vs. Self-Publishing, which I just finished up last week. In this series I  interviewed nine professionals from within the industry to get the low down on the three different publishing models. My interviews included self-published authors Jeff Bowels, Tim Baker and Art Rosch, traditionally published authors Stacia Deutsch (children’s books) and Mark Shaw (nonfiction), and independently published YA author Jordan Elizabeth. To balance things out a bit, I also interviewed children’s author Nancy Oswald, who has published with all three models, Clare Dugmore of Curiosity Quills Press and Caleb Seeling, owner and publisher at Conundrum Press.

bottledOne of the great things about doing book reviews is that you get to read a lot of great books, in with the okay and not so great ones. In addition Simplified Writing 101, my five quill reviews in 2016 included Jordan Elizabeth’s Runners & Riders, Mark Shaw’s The Reporter Who Knew Too Much, Nancy Oswald’s Trouble Returns, Carol Riggs’ Bottled, Jeff Bowles’ Godling and Other Paint Stories, Janet Garber’s Dream Job, Art Rosch’s Confessions of an Honest Man, and Mark Todd and Kim Todd O’Connell’s Wild West Ghosts. I don’t give out five quills lightly and every one of these books are totally worthwhile reads.

Point Break 1Of course, not all books get a five quill rating. Other books I reviewed that I recommended with three quills or more include three short story anthologies: Chronology, Under a Brass Moon, and Cast No Shadows; two poetry collections: Suicide Hotline Hold Music by Jessy Randall and Walks Along the Ditch by Bill Trembley; Escape From Witchwood Hollow, Cogling, Treasure Darkly, The Goat Children, and Victorian by Jordan Elizabeth; Dark Places by Linda Ladd; Chosen to Die by Lisa Jackson; Wrinkles by Mian Mohsin Zia; Full Circle by Tim Baker; The 5820 Diaries by Chris Tucker; The Road Has Eyes: An RV, a Relationship, and a Wild Ride by Art Rosch; Hollywood Game Plan by Carol Kirschner; Keepers of the Forest by James McNally; 100 Ghost Soup by , and A Shot in the Dark by K.A. Stewart. I also did two movie reviews: Dead Pool and Point Break.

I feel very fortunate to have had Robin Conley join us with her Weekly Writing Memo and her guest movie reviews. The useful writing tips in her Weekly Writing Memos covered a wide range of topics including critiquing, using feedback, ways to increase tension, Relatability or Likeability?, 3 Types of Plot, story research, what to write, making your audience care, world building, handling feedback, writing relationships, establishing tone, editing, word choice, How to Start Writing, endings, queries, Parts of a Scene, making emotional connections, the influence of setting, Building a Story, Inciting Your Story, movement and dialog, Writing Truth, time, Overcoming the Blank Page, Networking, character names, theme, set up, cliches, parentheticals in screenwriting, horror inspiration, and Learning to WriteRobin’s guest post movie reviews included Pride and Prejudice and Zombies, Batman vs. Superman, Miss Perigrin’s Home for Peculiar Children, and The Neon Demon13624744_10104024218870042_2001375168_n

I am thankful for Robin’s valuable content and am glad that she will still be contributing Memos on a monthly, rather than a weekly basis. Although I was sad to lose her weekly content, I am happy for her as she moves forward in her own writing career and I wish her well in her writing endeavors. For those of you who looked forward to her weekly posts, you can catch more of her content on her own blog, Author the World.

2016 was a great year for Writing to be Read, even if it was kind of rough for the author behind the blog. You readers helped to make it a good year and I thank you. Now it’s time to look ahead and see what’s in store for 2017 Writing to be Read. I mentioned some of the things I hope to achieve above: more posts pertaining to the screenwriting industry, and coverage of more events throughout the year are two of the goals I have set for my blog. I also plan to add some author, and hopefully, screenwriter profiles into the mix. I had good luck with author profiles during my Examiner days, and I think they will be well received here, as well.

I also hope to bring in some guests posts by various authors or bloggers, or maybe screenwriters, just to give you all a break from listening to me all the time. I believe Robin plans to continue with Monthly Writing Memos, which will be great, too.

I look forward to all the great books that I know are coming my way in 2017, too. The first reviews you have to look forward to are a short memoir, Banker Without Portfolio by Phillip Gbormittah, a YA paranormal romance, Don’t Wake Me Up by M.E.Rhines, a Rock Star romance, Bullet by Jade C. Jamison and a short story, How Smoke Got out of the Chimneys by DeAnna Knippling.

Happy New Year

I hope all of you will join me here in the coming year. Follow me on WordPress, or subscribe to e-mail for notifications of new posts delivered to your inbox. Have a great 2017 and HAPPY WRITING!


Pros and Cons of Traditional vs. Independent vs.Self-Publishing (Part 10): Conclusions

Red Quill

This series on publishing has been a lot of fun to create, and I hope maybe there are some of you who have read all of parts 1-9. I started it because I found that while those in my academic career seemed to be in favor of traditional publishing, with many instructors providing information about self-publishing as an option only reluctantly, while authors all around me were getting their work out there by self-publishing their books.

As I looked into the topic more, I found that some folks used the terms independently published and self-published as if they were interchangeable, while independent publishers are really smaller independent publishing houses that are not among the “big five” traditional publishers. As stated in Part 2, for the purposes of this series that is how I will refer to and view independent publishers.

One of the reasons I enjoyed writing this publishing series was that I am fortunate to know many authors, from all three publishing models, and I was able to gather many different viewpoints, examining it from all sides. Overall, I was able to obtain a pretty healthy balance between the three models. I interviewed self-published authors Jeff Bowles, Tim Baker and Arthur Rosch. In the traditional publishing arena, I talked with children’s author, Stacia Deutsch and historical and biographical author, Mark Shaw. I was only able to interview one independently published author, YA author Jordan Elizabeth, but to even it out, I also interviewed two independent publishers, Curiosity Quills Press and Caleb Seeling, owner of Conundrum Press. And for a nice rounded point of view, I spoke with my friend and children’s author, Nancy Oswald, who has published under all three models.

Now is the time to look at the series as a whole and see what conclusions can be drawn. While I think all authors secretly long for a traditional publishing deal, because being picked up by a major publishing house is ingrained in us as a symbol of success, I see independent publishing houses as a feasible alternative to holding out for the big boys, which can take a long time and for some of us, may never pay off. In some instances, debut authors have a better chance of being picked up by a smaller independent press. With both these options identifying markets which would be a good fit for your work, preparing submissions, writing cover letters and queries, synopsis and outlines will take up a lot of time which might be better spent on writing stories. Once accepted by either a major or a smaller publishing house, the author may be expected to do a good portion of the marketing and promotion, as well, although services such as editing  and illustration may be provided.

The upside to signing with a traditional publisher is that the major publishing houses pay out an advance on projected royalties, so major money can be seen in your near future. Independent houses may also pay out advances, but they won’t be nearly as big, and some do pay out a higher percentage of royalties. Of course, as Tim Baker pointed out in Part 2, the flip side to collecting a sizeable royalty is if your book flops. It would be a drag to have to pay it all back. Independent houses may also pay out advances, but they won’t be nearly as big, and some do pay out a higher percentage of royalties.

For self-published authors, there are no advances, but they keep a higher portion of their royalties than with traditional or independent publishing houses. Still, there is no big money now, and no guarantee that there ever will be. Authors may be waiting a long time for their writing to pay off.

As Stacia Deutsch mentioned in Part 4 of the series, traditional publishers provide professional editing and illustrators, to be sure your final product is of good quality. I believe this is true of independent publishing houses, as well, but you won’t find it available through the self-publishing process; one reason self-publishing carries with it such stigma. Gatekeepers insure the book you put out will be the absolute best it can be.

Despite the stigma surrounding self-published authors, due in part to a few self-publishers who like to take short cuts in lieu of putting out a quality product, there are some very good self-published authors out there.  As Jordan Elizabeth pointed out in Part 6, self-publishing has a lot to offer. Self-published authors have a lot more control over their work than traditionally published authors, who do not chose their own cover art, and may not even get to keep their own title.

As Jeff Bowles pointed out in Part 1, another possible advantage to self-publishing is the ease and relative inexpense for today’s authors. You can publish a book with Amazon almost for free, and collect either 35% or 70% of your royalties, depending on the price you place on your book. I can attest to this as it is what I did with my short story, Last Call, and it didn’t cost me one cent. At least that way, if my story doesn’t rise to the top of the best sellers lists, (which it hasn’t), I really haven’t lost anything. The important thing to remember when self-publishing is that you need to put out a quality product. It is worth it to find a good editor, and for all of us starving writers out there, an editor can be employed for a minimal expense. I also suggest utilizing a good critique partner when funds are low, but be sure to have some type of editing done, by someone other than yourself, before publishing your book.

Although Amazon has made publishing extremely easy and inexpensive for authors, they have also monopolized the industry and are making it more difficult for independent publishers, as Caleb Seeling explained in Part 8. Learn more about the negative effects Amazon has had on the publishing industry in the Institute for Local Self Reliance’s report, which emphasizes, from a consumer standpoint, the need to buy local and battle monopolization. If readers heed this warning and buy their books from local independent, or chain, bookstores right down the block, the publishing industry may change yet again.

Amazon’s monopolization affects authors and reviewers as well, as is discussed in What Amazon’s New Review Policies Mean for “Writing to be Read”. As much as Amazon’s review policies effect the reviewer, they also effect the authors who are depending on those reviews to get their books sold.

Author Mark Shaw gave us a heads up about vanity, or subsidy publishers, charging unsuspecting authors exorbitant fees to publish their work as Mark Shaw warns in Part 5. They prey on authors who desire to get their work published so bad that they are willing to empty their coffers to do so. These publishers can get outrageously expensive for authors, so don’t be drawn in. The kicker is that even if you publish on Amazon or Create Space in order to fit your budget, you still may need to spend quite a bit of time and/or money on marketing as Art Rosch tells us in Part 3.

Independent publishing houses, also referred to as small or medium-sized presses, work along the same lines as traditional publishers, but they don’t publish as many books each year as the big five do. In addition, they tend to be more specific in what they are looking for, with most having very specialized niches that your book must fit into to be published. Although all independent publishers may not follow this practice, publisher Caleb Seeling says he actually seeks out authors whose work fits into his niche. In any case, authors should be familiar with submission guidelines of the publishing house they are submitting to, whether large or small. In her article, How to Smartly Evaluate a Small Publisher, Jane Friedman, of The Hot Sheet, (the publishing industry’s news letter for authors), offers some great tips on what to look for.

In Part 7, Nancy Oswald points out one of the big advantages to publishing with a small press is the more personal relationship between author and publisher. Whereas a traditional publishing house may not be able to put a name with a face, independent publishers work closely with their authors because they only have a few at any one time. Independent publishers may also have a shorter wait time for publication than traditional houses, which can be quite lengthy.

And then there are the new kids on the block, like Curiosity Quills Press, which are hybrid publishers, offering various combinations of traditional percs with self-publishing author responsibilities. These small independent presses may charge authors for some services, like subsidy publishing, but they also provide a certain amount of author copies at no cost, provide author support, and the services they do charge for are optional. You can find out more about this new model of publishing in my post, Hybrid Publishers: What are they all about?

After hearing from the experts, it seems no matter which model you choose to publish under, there is still a lot of non-writing activities required of authors, including marketing and promotion, resulting in the need for Today’s Authors to Wear Many Different Hats. Of course, you can also do as author Jeff Lyons suggests in his interview with Arwen Chandler, and hire a third party to handle such tasks, so we, as authors can get down to the business of writing. The only problem I see with this is that you must make money before you can spend money, paying someone else to do the tasks that don’t come as naturally as writing does.

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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 2): Interview with Self-Published author, Tim Baker

tim-baker-books

Today I want to talk a little about definitions, because people often independent publishing as an umbrella term to cover authors who are self-published, as well as those authors who are published through an independent publishing house. I’m guilty of this, too, as the title for this article series does not differentiate, although the series will be looking at all three options. From here on out, I will differentiate between self-published and independently published authors, and refer to smaller presses as independent presses vs, the larger publishing houses, which shall be referred to as traditional publishers.

 

In Part 1 of this series, I interviewed self-published author Jeff Bowles to get his thoughts on the publishing industry as an emerging author today. Today’s interview is with Tim Baker, the author of nine novels, two novellas, and a collection of short stories, all self-published under his own brand, Blindogg Books. I’ve had the privilege of reviewing many of those books and can tell you he writes a well crafted story. His publishing credits include Living the Dream, Water Hazard, Backseat to Justice, No Good Deed, Unfinished Business, Eyewitness BluesPump It Up, Full Circle, Dying Days, with Armand Rosamillia, and Path of a Bullet. You can contact Tim Baker or find out more about his work by visiting his website at blindoggbooks.com.

 

Kaye: Would you share your own publishing story with us?

Tim: My love for reading came early in life when I discovered Treasure Island and The Adventures of Huckleberry Finn at the age of ten.

A high school journalism class and a creative writing course in college turned my love of reading into a love of writing. In 1988, I began writing a book called Full Circle, which combined my love of writing with my interest in Karma. A chain of events caused the unfinished, handwritten manuscript to be tucked into a box. During the ‘90s, my time was divided between raising my son, owning a home and building a career in engineering, leaving no time for writing. It remained untouched until February of 2015 when I dusted it off and completed it for release in November 2015.

By the time I moved to Florida in 2006, my dream of penning a novel was all but forgotten…until one night when a dream rekindled my passion for writing.

Then, in April 2007, I had a dream about two old friends and a submerged box of gold bars. The next day I found himself trying to figure out the story behind the dream. By the end of that day, the impetus of a story had formed and I had scribbled out two chapters in a spiral notebook.

One year later, my first novel, Living the Dream, was complete and the dam had burst — I soon followed up with my second novel Water Hazard.

Kaye: When did you know you wanted to be an author?

Tim: The funny thing is that I never really wanted to be an author – at least not consciously.

Even though I’ve always enjoyed reading and writing…it wasn’t until after my first book was published that I realized I was an author. All of a sudden I was an author – which was fine, because by then I had come to the realization that I loved writing.

Kaye: What made you decide to self-publish?

Tim: It wasn’t until after I completed the manuscript for my first novel (Living the Dream) that I started thinking about having it published. After a year of research I had learned a great deal about the differences between traditional publishing and indie publishing, and I decided that indie suited me better – primarily because I had read dozens of accounts about the overwhelming odds of landing a traditional publishing contract. I was not thrilled with the prospect of putting the fate of my novel in the hands of somebody who could shoot it down for any reason at all. This just didn’t seem fair.

Kaye: How did Blindogg Books come about?

Tim: Blindogg Books came about because my research taught me that indie authors need a brand for marketing purposes. I also learned that there are at least 3 other published authors named Tim Baker…so I decided to go with something other than my name.

During the 90s I raised and socialized puppies to be guide dogs for the blind…eventually I picked up the nickname “blind dog” which was changed to blindogg for internet identity reasons. When I needed a name for my brand I thought Blindogg Books had a nice ring to it. (for more info on this go to my blog)

Kaye: What do you see as the pros and cons of independent publishing?

Tim: I’ve had this conversation with many people and I like to sum it up this way;

Independent publishing is a “good news/bad news” situation. The good news is that anybody can publish a book – the bad news…anybody can publish a book. The vast majority of indie authors produce quality work, however the fate of their work depends on the book buying public, so when potential readers read one of the few indie works that just wasn’t ready for publication (for whatever reason) they tend to paint all indie authors with the broad brush of low quality. So even though it’s very easy to have your work published, it’s very difficult to convince readers who have had a bad experience that your work is worthy of their money.

Kaye: What do you see as the pros and cons of traditional publishing?

Tim: Not having any experience in the traditional world I can only speculate. I have to think that having the power of a large publishing house behind you for promotion and advertising is a nice relief from self-promotion. I also think it would be nice to get a big advance for a book. On the down side, I wouldn’t want to work under a contract which dictates when I have to finish a book. I’ve also heard that those big advances are only good if you sell enough books to cover the amount advanced. Obviously we all think our work will sell – but if it doesn’t (for whatever reason) I’d hate to have to give money back!

Kaye: What do you see as the pros and cons of independent publishing?

Tim: I’ve had this conversation with many people and I like to sum it up this way;

Independent publishing is a “good news/bad news” situation.

The good news is that anybody can publish a book – the bad news…anybody can publish a book.

The vast majority of indie authors produce quality work, however the fate of their work depends on the book buying public, so when potential readers read one of the few indie works that just wasn’t ready for publication (for whatever reason) they tend to paint all indie authors with the broad brush of low quality. So even though it’s very easy to have your work published, it’s very difficult to convince readers who have had a bad experience that your work is worthy of their money.

Kaye: How much work do you contract out? Book Covers? Editing? Etc…?

Tim: Everything!! I write it – then let others do the things I’m not qualified to do. This includes editing, formatting (for kindle and paperback) and cover design/layout. Many indie authors try to do these things themselves, but I would rather pay somebody to do it because I know they’ll do a much better job than I will and I won’t be wasting my time doing something that somebody else could do in half the time, leaving me more time for writing and marketing.

The most important one of the lot (in my opinion) is editing. Any money spent on a qualified editor is money well spent. Hiring your high school English teacher or a friend/relative who is “really good at English and reads a lot” will not give you a professional quality job.

Nobody knows more than me how difficult it is to fork out hundreds of dollars foran editor, but I want my books to be the best they can be.

Kaye: So, you’re saying self-published books that aren’t of good quality stigmatize the reputation of independently published books in general?

Tim: Yes. Readers, like all consumers, don’t want to waste money on sub-par products, so if they buy an indie book that is poorly written, edited or formatted they are likely to assume that this is the level of quality for all indie books.

Kaye: Do you think one of the major contributing factors to this stigma is authors who don’t want to spend money to have their books professionally edited? Or do you see other causes?

Tim: Absolutely. This is one of my biggest pet peeves. As I said above, many indie authors think editors are like dentists – a necessary evil. I think a qualified editor is more like a good tailor. You can buy a suit off the rack and it might look decent, but a suit that is professionally tailored will make you look outstanding – and people will notice the difference!

This is not to say there aren’t other causes.

People who write a book without trying to learn even the most basic “rules” lower the bar for all of us. I hate using the word rules, let’s say guidelines…whatever you want to call them – they are critical to producing a book that will make people want to read your next one. These days there is no excuse for not learning how to write a good book. There are a gazillion websites and blogs out there devoted to teaching people how to write – use them. Most of them are free.

But – the best way to learn how to write is to read. Learn from the good books as well as the bad…

Kaye: How much non-writing work, (marketing & promotion, illustrations & book covers, etc…), do you do yourself for your books?

Tim: I don’t have an exact number, but my conservative estimate is that for every hour I spend writing – I spend three hours marketing. I tell people all the time – writing the book is the easy part…selling it is where the work starts.

Kaye: Would you recommend your chosen path to publication, to emerging writers? Why or why not?

Tim: I’m not sure how to answer that – mostly because my path wasn’t chosen as much as it was found. I had no idea what I was doing – so I did lots of research – the most valuable of which was learning from other writers. So for any emerging writers who may be reading this I can only say this…there is a ton of information at your fingertips. The internet and especially social media can help you find the path best suited for you. Get out there and tap into it. Ask questions, do your research and learn from those who went before you.

I want to thank Tim for sharing his thoughts on the publishing industry and his advice with us.  Be sure to check out next weeks interview with self-published author, Arthur Rosch, on Writing to be Read.

 

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The Basics of Marketing Your Book

Last week my friend and fellow author, Chris Keys gave us a guest blog post on the basics of marketing your book, filled with so much information that it had to be broken into two parts. This week I bring you the second part of that post from a modest guy, that doesn’t give himself near enough credit as a writer, or as a marketing professional. So here is the rest of his excellent advice on how to sell that book and I thank him kindly for sharing it with us.

The Basics of Marketing Your Book (Part 2)
by Chris Keys-Author of The Fishing Trip-A Ghost Story and Reprisal! The Eagle Rises!

You will next need to develop your own website. Yep, you need a website. It’s not as hard as it seems. There are several free website building sites and many, when they do charge for hosting are very inexpensive. Mine currently is only five dollars a month. I’m using Intuit-Homestead.com.
There are dos and don’ts, to having a website. A few of the major things to keep in mind: Your website needs to be user friendly and it needs ask the reader to buy your book(s), blog collections and /or your branded collectables. Yes, your website will be your book store, where you’ll sell your books and maybe posters, coffee cups, ball caps, pen sets etc. plus you’ll post excerpts from your books, info about yourself, maybe links with other authors and ads from Google and Yahoo to help pay for your host fees.
There are going to be some expenses in promoting yourself and your book for things like travel to book signings, book trailer video, book marks with your info, picture, book title and or other info you see fit to put on it, editing, book covers and listings on the right lists to insure that your book(s) are available to libraries and the major booksellers.
Now some of these costs you’ll avoid if you are lucky enough to get a traditional publishing contract, but if your like the vast majority of us new writers, you’ll be self publishing until you develop enough of a following to ensure a strong likelihood that the publishers will make money off your book. By then though, you may not want to be with a publisher who is only willing to pay you 20% of the profit when you can get 85% of the profit when self publishing. Just a little something to remember as your writing career develops.
You’ll also want to learn all you can about virtual book tours, developing links with other authors by helping to promote them with blurbs about them and their books. Most of the other authors will gladly trade blurbs, which helps both of you. You need to develop friendly relationships with as many other authors as possible. Your success, as well as theirs, is dependent upon getting as many other people talking about you and your work as possible. Don’t worry if the other authors are new or old pro’s, because you never know who someone else knows, and who they might introduce to your writing, and where that might go.
I’ve mentioned a number of things so far and none of it is too taxing on your time or your wallet, but you still have couple of things to do. The last clear marketing item you need to be aware of needing to do, is also the first thing that you need to do — ask for the sale! Ask on your blog, on your website, on your book marks, your book covers your email, your social interaction sites, everywhere. If you don’t ask, you won’t get. There are a few ways to ask for the sale, and it takes a mix of the methods to be successful in making the sale. Those ways are, directly, indirectly and the stealth way. To be honest, the stealth way is part of the indirect way. The direct way is when you come out and just ask some to buy your book. You know, “Hey, you should buy my book.” The indirect way is showing the picture of your book cover with a note about how you can use pay pal to buy it. The stealth way is showing a picture of your book cover and have a person reading it with a big smile on their face. You don’t actually ask them to buy it, but infer they will be happy if they do. Which if you have really good vision, that’s exactly what I’m doing in the background of this very page. There is a good looking man or woman, which ever works for you and their reading my newest story, The Fishing Trip-A Ghost Story and they’re wearing a great big smile. Well ok that’s not quite true, well actually it’s a lie but you get the general idea right?
So now you have the very basics for developing your self promotion and marketing plan, destined to make you a household name and get your books read by the largest possible number of readers, except for the actual book itself. When you get ready to publish, you need to be sure you are offering the very best possible product you can. Make sure you have had the work professionally edited, that the cover art is very professional, that the books layout is crisp clean and easy to read and that story itself is one that’s worth while for someone other than you to read. Five hundred pages about how your pet frog likes to eat fruit flies, instead of house flies just won’t draw as many readers as a rags to riches story of a handicapped individual who overcomes impossible odds to become the President, and then the U.N.’s leader, when all hostilities ended between Arabs and Israelis. If the work you’re selling isn’t very well written, or the story isn’t compelling, then at best you’ll only sell a few copies even if you have the absolute greatest marketing campaign ever conceived. The word of mouth of how bad it is will kill it. Unless of course that’s the niche you’re trying to fill, then maybe by telling people it’s so bad they need to read it, just might be the best way to market it.
Thanks for enduring, Chris Keys the author of Reprisal! The Eagle Rises!, The Fishing Trip-A Ghost Story and The Motor Home-God Does Work in Mysterious Ways! Look for all three books this summer as Ebooks and POD’s. Follow Chris on Blogspot, Facebook and Twitter, as well as, Writer’s World.
Books are what is meant to fill the space between your ears! You should read one or all of mine!


The Basics of Marketing Your Book (Part 1)

As I said in my last post, The Changing World of Publishing, the world of publishing is rapidly transforming with the entrance of digital technology entering the scene. The debut of digital media has increased opportunities for writers, to be sure, but it has also changed the way things are done in the publishing industry, taking control for marketing our writing out of publishers hands, and placing squarely on the author’s shoulders. This gives authors more control over their books, even if they are not self-publishing, (which more and more authors are these days), traditional publishers may be more motivated to work with authors, that know how to promote their work to give it maximum exposure. I’ve invited my friend and fellow writer, Chris Keys, to do a guest blog for us. Chris is a fledgling author, making an impressive first flight, but he has a lifetime of experiences behind him, including extensive sales and marketing experience. I’ve asked that he draw on his marketing knowledge, as it applies to digital media, and to share some of the ideas that he has for self-promotion and marketing your writing. Chris has graciously come up with a blog post packed with so much good information, that we decided that it should be split into two posts. Today’s post will be the first of the two installments of:
The Basics of Marketing Your Book (Part 1)
by Chris Keys-Author of The Fishing Trip-A Ghost Story and Reprisal! The Eagle Rises!

I’d like to thank Angel1 for subjecting you…er, rather allowing me this opportunity share with you my limited expertise in the field of book marketing. However, I do have over twenty five years of experience in the field of self promotion, and marketing of small businesses on less than shoe string budgets. My latest opportunity to practice my skills in self promotion and small business marketing is with my own writing career.
What? Did I just say, “Self promotion and small business marketing in the same sentence as writing career?” What? This is usually followed by the standard line of, “I’m not in business, I’m a writer!”
I’ve heard that line only a few hundred dozen times and I’ve only been blogging about the subject about six months. What many would be writers don’t realize is that writing is a business. A small business with potential of being a very big profit maker, but few of us go into writing worrying about how much money we’ll make writing our poems, short stories or even novels. We go into writing because we believe we have something to say or we can help people or we just have great story to tell. But the house hold names from the literary field, Grisham, Clancy, King, Roberts, Cussler, and several dozen more, did go into it realizing up front they wanted top make a living writing books and they approached it that way.
As a non household name, you need to stop and first of all, decide where you see your writing going. Do you see it as just a hobby or would you really like to have it make so much money you could quit your day job and write full time. For simplicity, we’ll assume that you want to be a household name. You want to be read in mass by the public and you want to be showered with acclaim as the next great literary genius. You just know you can stand on top of Hemingway and crush him…sorry. I get carried away when I start thinking about how my new novel due out this summer titled “Reprisal! The Eagle Rises!” could be the next great American novel.
But let’s get back on track here. You want to be more than just someone who hides in the spare room, yelling at the kids now and then to be quiet, with a shelf full of manuscripts that need dusting. This is where self promotion and marketing come in.
Sending off your manuscript to a publisher for their consideration is self promotion. It is also marketing. You’re getting your name out in front of the publishing company’s gate keeper, the person who does a cursory review of your manuscript and decides if it gets a closer look by someone else higher up the food chain. It is also marketing, in the most minimal of ways because your asking them to buy to your book. Maybe they will, but in the current market place, they probably won’t. The market is just too packed with good and or great stories and the only ones given serious consideration without the author providing proof of a following, by way of a career in the writing field in non fiction, such as reporting or commentary are celebrities. The Paris Hilton’s of the world or rock stars, former politicians and movie stars. If your not one of those people it doesn’t mean you can’t grow that following, create that buzz about your book or you can’t make money from your book. It just means you have to get serious, about self promotion and marketing.
Three paragraphs back, I joked about my desire to be a household name and of standing on top of Hemingway to get there, you of course groaned, but I got the name of my upcoming book in front of you. Quick what’s it called? Made you look. That’s a marketing ploy for getting the title of your work known. The New York ad men don’t usually use that style of plug when they do their multimillion dollar budget ads but then I’m on half a shoe string and even that maybe more than my budget can stand. The whole idea is to get exposure for you as a writer and for what you have written.
Everything you do, from this moment forward needs to be directed at developing a following for you, and here is a very basic plan for doing that. I can expand upon the different ideas here later, after you’ve enjoyed some minor success following the plan and have tuned your mind to the required setting to be able to shamelessly plug your book without making too many people barf and run away. That’s the real trick, doing it in a way that no one realizes it’s happened. I hereby claim the coinage of the name, “Stealth Marketing” But that’s only part of the plan.
Things you’ll need in order to be serious about marketing yourself and your book start with joining social networking sites. It’s easy and painless so just jump right in and start posting your opinions. Be sure to join a few of the sites to start with and then change sites, add some, lose some as you grow in confidence that you can write well enough to get your point across. That’s what the sites are for. Writing practice! So practice.
Then you want to get yourself set up with a blog. I was very hesitant to start blogging, myself. I knew it was a good way to get people to know about my work but I had no idea what I would write about. I knew I had a good story and I thought I had a publisher, so I wasn’t in any big hurry to blog.
Then my publishers announced that they wanted me blogging. They didn’t care where I did it, just that I did it. It was one of the ways they wanted me to get exposure and it was hoped that after a while, I’d develop a following. It was part of their marketing plan for any books they published. So get blogging. I’m currently blogging on Blogspot. Writerchriskeys.blogspot.com, check me out and become a follower. It’s a very easy site to set up your blog on. You can also get paid to blog and there are several sites where you can do that. A couple of pay per blog sites are, Today.com, Fanbox.com, and Hubpages.com. They will all pay depending upon the number of hits your blog receives.
One of the biggest social websites is Face Book. You’ll want to be setup there, for sure. Once you’ve opened your Face Book page you’ll want to start seeking as many friends as you can get. One of the ways I’ve been able to develop friends on Face Book is to ask friends that I already have to recommend friends that I can ask to be friends. On Face Book, you’ll post your excerpts, blogs, info about you and your writings. Don’t get too personal but do try to provide some insight into the inner workings of your creativity.
Then you’ll want to open a twitter account. I have to confess, I’m struggling with twitter. I’m unsure what to talk about and how to limit my word usage to 140 characters. After all I was politician and I am trained to expound upon a subject until at least fifty percent of the audience falls a sleep. I have trouble being brief, but I’m a reformed politician. Really I am. Honest you can trust me. To get a good handle on twitter, I’d suggest you check out a web friend of mine, Tony Eldridge, author of, “The Samson Effect” soon to be a major motion picture. He has a website dealing with marketing for authors, titled “Marketing tips for Authors”. I whole heartily recommend you sign up for his news letter, lots of great marketing tips.