.99 Ebooks by Shawneda Marks

CNET turned the spotlight on indie authors in a way that made me smile despite being hurt because a fellow author said it made them want to cry. In years past this would have left me upset for days. My mind would be riddled with questions of why? Apparently I’ve grown because I had none of my past reactions. It’s easy to recognize how new technology, if untapped, could be seen as a threat to traditional authors and publishers who benefit from the elite and exclusive atmosphere of the publishing industry before the invent of POD and ebooks.

While speaking as a panelist on the future of publishing at the 10 Year Anniversary RAWSISTAZ Affair, we talked about the potential impact of ebooks. Several of the attendees who owned first and second generation Kindles said they would give unknown authors a chance if they lowered their price point. I lowered my prices that evening! Over the course of several weeks and now months something amazing happened. People started reading my books.

My love for reading and writing is something I learned existed right after walking. I couldn’t stop if I wanted to (because believe me I’ve tried). Once I accepted this, I prayed, fasted and sought God to show me a way to share my words not only with those my short arms could reach but all the people He wanted me to reach, with the resources I have now. When the newest evolutions in ebooks happened I realized the digital revolution that liberated independent artists in music and movies had finally arrived in the publishing world.

The interesting thing is my desire initially was to give free copies of my books. For some reason only the corporate execs at BN and Amazon know this is an option unavailable for direct content publishers. Now in addition to my books being read (which to me as an author is most important) I’m also receiving a small financial benefit from it. There are those independent and traditional authors who say they work too hard to sell their books for so little. When you have thousands of readers enthralled with your characters and anticipating your next work this may be an attitude you can choose to take. I on the other hand work too hard to create stories to let something like money keep me from connecting with the truly important people in the literary community, readers.

Shawneda Marks is an avid reader, book reviewer and author. Her third Christian fiction awareness novel, My True Essence, released summer of 2011. She lives in metropolitan Atlanta with her husband and daughter.

STAY CONNECTED

Website: http://www.shawneda.com
Twitter: http://www.twitter.com/Shawneda
Facebook: http://www.facebook.com/ShawnedaMarks

To ePub or not ePub… that is the Question

Written by L.A. Banks

Those of you who know me, also know that I’m curious to a flaw and I’m always doing stuff I probably shouldn’t be, LOL!  However, this time I think I may have stumbled upon something really cool (even if I’m a little late to the party.)  Yeah, yeah, curiosity killed the cat, but satisfaction brought her back J Well, this time, watching the changing landscape of publishing and how it is becoming less and less favorable to authors in general, made me do some research into ways I could do my thing the way I wanted to do it (and get paid properly)… and lo and behold, the Universe messed up and threw me a bone—BIG SMILE!  Necessity is always the motherhood of invention.

Once again technology is leveling the playing field in the world of self-publishing.  With the advent of eBooks, an author can literally launch their title into cyberspace for under a thousand dollars (ask me how I know)—whereas in the past self-publishing a book was at least a $25,000 endeavor with a whole lot of inventory management involved.  You’ve heard about or maybe even remember the nightmare of schlepping cases of books into your garage or basement, to then go into your trunk, to then drag around to all kinds of vending festivals because major bookstores wouldn’t have you… only to then find yourself chasing down small independent bookstores for your money, if you’d left your books there on consignment—right?  So when was “the writer” going to write?

The prospect of that gave me the shivers, even though the margins of publishing your own title were always much better than dealing with a major house, advance notwithstanding.  But I confess that I didn’t want to deal with the “process” of it all, if I didn’t have to.  To me, self-publishing was a daunting feat.  So the concept was one I’d always shied away from.  You’d have to become sales, UPS Logistics, collections, freight and storage, and sometimes an enforcer (to get your cash.)  Crazy.  But for many people, that was the only option back in the day, and a lot of folks did it and excelled, finally bootstrapping themselves up into the major houses with phat contracts. Much respect.

However, for many others, the process was so overwhelming and the results so frustrating that, they could never break the glass ceiling.  Making the transition had the same odds as trying out for the NBA.  Sure, some folks definitely made it… but there were a WHOLE LOT that didn’t.  Wisely, the ones that didn’t kept their day jobs, throttled back their enthusiasm, and sadly their dreams died by the side of the road after a few titles went bust.

Those stories were/are heart-rending, and the frustrations are very real.  We’re not gonna even talk about the whole issue of having one’s money tied up in account receivables, or jacked up in inventory sitting in the trunk of one’s car.  Under that old model, the drama of being an “entrepreneur” left little time to sit and write and develop a solid project, because if you were self published, you had to be “on your grind” to get your danged investment money back; you had to hustle, no two ways about it

Times have changed.  Today, with technology leveling the playing field, all one literally has to do is have someone format the MSWORD manuscript into epub format ($200 if you go to Rob Siders – rob@52novels.com), and have cover art developed (my cover for Shadow Walker—which I love–cost $300 through Carl Graves, cgdouble2@sbcglobal.net .)  Of you need a back cover, spine, and the layout done for POD (print on demand), Cheri Perez will hook you up for about $300 (perezcher@aim.com) – conversely, if you have your own hook-up or skills, you can get it done on your own terms for less.  [Editing is another issue and a quality control factor you want to employ; for that, prices vary. But you see my point.  We are not talking a gazillion dollars of investment.]

So now with Amazon’s Create Space—that allows for actual paper, print on demand books as well as the famed Kindle eBook version, B&N’s Pubit (for the Nook), and Smashwords—that puts your title in Sony Reader, iPad, Kindle, PDF, text, and smart phone formats… the world is your oyster!  These cutting edge publishing options also PAY.  Yeah, you heard me.  They pay a hefty 70% royalty against sales, and they deliver the check to your bank account MONTHLY.  Folks, I’ve been in publishing since the mid-nineties and never once was my royalty check delivered with that cut of the deal or that fast!

In addition, these on-line avenues offer full service, publishing business turnkey solutions.  You don’t have to come out-of-pocket upfront beyond like a $75 set up fee or less.  Unlike going to a traditional print on demand place like Lightening Source, Inc. – which does NOT do third party billing – you do not have to pay for books ordered by bookstores, libraries, and schools up front.  Create Space has an app for that, LOL.  Seriously.  They have a reseller program, a library program, and a school program in their distribution options, and the institutions pay them directly.  You just wait a month for your commissions/royalties on what’s been sold.  Okaaaay… are you hearing me?

Therefore, if some library orders books by the case, you aren’t going broke and waiting for the state or city library system to cut you a check.  Once I compared Create Space to LSI, I was like… really?  Are you playin’?  I would NEVER go to a place that doesn’t do third party billing to tie up my cash.  Create Space will give you your own ISBN#, everything is turnkey, down to the barcode on the back of your book.  You upload two files—one JPEG of your cover flat and one of your PDF that has your book contents (formatted for print or eBook or both.)  You set your pricing.  You push send.  They review your title (takes a couple days to make sure your content is cool), and then they ask you to order a proof to review.  Once you approve your proof, your title is launched.  Five days later you show up on Amazon.  Six weeks after that you’re in the Ingram and Baker & Taylor distributor’s catalogs like anyone else.  Voila.

The other upside is—NO INVENTORY!  You do not have to ship jack, deal with customer service yang, none of that.  If somebody wants a refund, it goes back the way it came—through Amazon and debits out of your sales.  Period.  Clean.  No hassle.   You are left to your own devices as a writer, which is the manufacturing of a top shelf product—the book.  You now don’t have to be all the back office of the business.  Sales can be done on-line through social media and your website.  But all that running around dragging books in wheelie suitcases is history (unless you just feel you must, smile.  Some habits are hard to break.)

However, what you do have to do is become savvy about pricing, and to understand the laws of volume, loss leaders, and doing fire sales.  There is a lot of noise on-line, namely a lot of things competing for your readers’ dollars in alternate forms of entertainment.  So why would someone pay $9.99 for your eBook title when you don’t have a presence in Barnes and Nobles or Borders, and New York Times Best-sellers are on the racks for $7.99?  Be serious.  Know the game.  You’ll make more money if you drop that title down to $1.99… $2.99… tops $3.99, and if you don’t have a base, a .99/cent title will get you a bunch of new readers exposed to your work, then you can slowly escalate your pricing.   But if you stay in the old mentality of the way it was done under yesteryear’s self-publishing models, the authors with name recognition are gonna smoke you when they jump into this game—and they are by leaps and bounds, trust me.  Just sayin’.

That’s my two cents for the day about the changing landscape of publishing.  Joe Konrath is “the Yoda Master” on this thing.  Check out his blog on his website at JoeKonrath.com.  He taught me, I’m passing on the knowledge.  I call him my hero, because one bad contract taught me to have a back-up plan in place, even with 40+ titles under my belt.  That one YA book, Shadow Walker, earned out in the first two weeks and has been climbing with the bullet.  On Joe’s last blog that one of my fellow sister authors sent me, he posted a list with people who were selling 2,500 units, 5,000 units, 10,000 units, then 30,000, and ultimately 100,000 units in a single month.  If they got just ONE DOLLAR off each of those titles… dayum… you do the math.  This is the direction folks are going; this is the direction the industry is going.  Don’t sleep this, people.  Do not sleep this change in the wind.  Just because it’s getting tougher to get into a major house and it seems like that door is closing, keep your eyes peeled for the new door opening on the horizon.  Opportunities for success still exist!

GOOD LUCK!

Bio:

Ms. Banks is a New York Times and USA Today Best-selling author and has written over 42 novels and contributed to 23 novellas.  As a novelist, she fluidly moves between the genres of YA/Fantasy, Romance, Suspense, and Urban Fantasy, but is also skilled in comic script writing and screenwriting.

Banks is a proud member of The Liars Club of Philadelphia, is a Board of Trustee member for the Philadelphia Free Library and serves on the Mayor’s Commission on Literacy.  Banks is a graduate of The University of Pennsylvania Wharton undergraduate program with a Master’s in Fine Arts from Temple University. She is a full-time writer living and working in Philadelphia.

Visit her on the web at www.vampirehuntress.com or at www.LeslieEsdaileBanks.com.

Remember the days of old when professionalism was an automatic notion?  Where have those days gone? You know what I’m talking about, the days where in spite of one’s differences, manners were a must. Can this old art form be recovered?

I was flabbergasted during a recent trip to a local department store. In times past a sales associate would rush to my aid to take care of my every need. For he or she knew that in addition to gaining a new sale, good salesmanship and professionalism could only help their commission prospects. To my surprise, after ten minutes of perusing the store, none of the available sales associates bothered to offer me any assistance. I decided against the large purchase which was my sole intention for the visit and opted for a pair of stocking instead.

I was even more floored when I approached the checkout stand and two cashiers were yelling across their registers expressing hatred for their jobs and how they would be calling in on the next day. I stood for a moment waiting for a manager to appear and immediately fire the young ladies on the spot, but it never happened. The young lady who rang up my items never acknowledged me and never even looked at me, even when she gave me my credit card receipt to sign – let alone a “Thank you for your business.”

Recently a colleague expressed her frustration as she held the door for three men, who in turn never gave her a thank you.  Are you kidding me?

My experiences don’t stop there, so imagine my frustration with the lack of professionalism I’ve come to find in the literary industry. In my lifetime, I’ve worked in many career fields – from being a nursing assistant to a stock broker, from a bill collector to a private investigator. No matter what my job title, I always practiced professionalism.

Professionalism has been one of the pillars in which successful careers have stood on. So why don’t we as literary representatives take our positions seriously and professionally?

Being the owner of Literary Wonders! and Bryant Consulting, I’m always getting submission requests, review request, critique requests, editing and other literary requests. Far too many times I find that the people making these requests have seemed to have forgotten what professionalism is; or had no idea in the first place. In which case, let me help you out here.

A simple ‘please’ and ‘thank you’ can take you very far. The mere acknowledgement of the person or entity that you are asking to do something for you can be a matter of acceptance or rejection. I often find myself frustrated at someone who has asked for a friend request via a social network such as Facebook, who immediately appears in your chat book after you’ve accepted their request, only to ask you have you read their profile yet or looked at their web page. Or better yet the person that blindly sends you their manuscript via e-mail, of course expecting you to edit or critique it, with no introduction. They totally ignore the fact or never even look at the disclaimer on the LW! site that says we do not accept blind inquires and that we do not accept emailed manuscripts unless prior approval was granted. These requests go directly into my file 13.

Instead of bombarding someone with your work because YOU think they should drop what they are doing and honor your request try this on for size:

1. Introduce yourself. We don’t know who you are. And if we do, you still need to introduce yourself.
2. State your request clearly.
3. Before you even attempt step one or two, research the person, company or entity that you are making the request to find out their rules
4. Don’t assume anyone owes you anything because they don’t.
5. End with a simple thank you or some words of appreciation.

Now that wasn’t so bad was it? I’ve heard many wise people say, “You’ll catch more bees with honey than vinegar.” What does that mean? Simply put, be pleasant and professional and courteous.

In this literary industry, as in any field, it is also important to remember to put your best foot forward because what you give out is a representation of you! If you put forward sloppy work, people will not take you seriously and therefore not utilize or consider you for anything.

It’s the same as applying for a job using a resume. Would you turn in a sloppy, unprofessional resume, riddled with errors to a potential employer? I should hope not. I recently interviewed reviewers for LW! I asked for a sample review, and I tell you I cannot believe what I received. I had to ask myself, was this person serious? Certainly they couldn’t be.

I’ve gone to networking events where I have exchanged business cards with other networkers. In one instance someone passed me someone else’s business card and hand wrote their information on the back. I’ve had instances where others have torn off a piece of paper and even a napkin after they printed their contact information on it. Again, are you serious? How am I supposed to take you serious?

I can go on and on about this issue, but I think you get the idea. If you are a writer, it is okay to fake it until you make, however, you have to put the best possible foot forward. There is no reason you shouldn’t have a website. In this day and age, they are extremely cheap. Your website should be www.yournameorcompany.com not www.yournamandcompany.bravehost.com. And your e-mail address should be whatever@nameofyourcompany.com not yourname@yahoo.com.

If you don’t know how to build a website, hire someone to do it for you, learn how to do it yourself (there are several online tutorials that are FREE) or barter with someone. Secondly, there is no reason you should NOT have a proper business card. If you can’t afford them right now, companies like Vista Print (www.vistaprint.com) Will give you 250 FREE cards – you just pay shipping and handling. Even with a decent printer and business card paper, you can make one on your own personal computer.

When corresponding with someone for the first time, introduce yourself. Do your research. I cannot stress the importance of research.

And finally if your professionalism and courteousness does not render your desired result, still, remain professional and courteous. You will never know when you might need a favor somewhere down the road.

What tangible milestones can I bring back to my clients that shows that we are moving steps forward on our book marketing campaign?

There are a few deliverables that make the grade for authors:

• print media placements
• broadcast interview placements
• retweets with links attached
• click thrus on buy back buttons
• book festival placements
• public library requests
• bookclub president rtps
• many others

However, before I bore you with tips on obtaining such desirables, I want to have an honest conversation with you about book marketing. If you let me…

The purpose of book marketing [social network/online marketing included] is to obtain and maintain your ideal customer: book buyers. Period.

So ask yourself this.  Is what I’m doing online helping me obtain and maintain my ideal customer?

Let me throw you a life-line. These things below will not:

1. Adding your graffiti [Facebook Notes] to a friend’s Facebook wall that looks like this: “please buy my ____ book…you fill in the blank)

That’s advertising.  It’s improper to advertise on someone’s wall without their permission.

2. Adding uninvited strangers, whom you’ve stalked on another author’s guestbook to your email list, then spamming them with #9.

3. Begging.

Newsflash: Book buyers purchase books and donate to charities. Decide which one you are, then act accordingly

4. Complaining about bookstores online.

5. Complaining about book reviewers online.

6. Tagging someone who is not in your picture or video.

Tagging inappropriately is backdoored spam and can get you kicked off Facebook.

7. Bad-mouthing other authors  and cat-fighting with other authors online.

Really?!

8. Not having buy buttons on your site and Facebook fan page.

I’ve lost count of the evites and blog tours that don’t have a Buy Now button on them. Come on You’ve convinced us now close the sell.

9. Sending boring email newsletters.

That includes Facebook Notes. Learn how to craft better copy or hire someone. Pam Perry, Ty Moody, LaShaunda Hoffman, and Marina Woods are great at this.

10. Forgetting that authors, bookstore manager, librarians, publicists, editors, and book reviewers buy books, too, so be careful, who you alienate online

Now, if you honestly don’t know whether your book marketing efforts are working, hit me up in the comments. I’ll tell you, honestly. And come back later this fall; I’ll tell you what things work. Also, check out my E-lunch show Media Candy Radio which airs every Wednesday at noon at http://blogtalkradio.com/mediacandy. It’s devoted to marketing techniques and answering your questions live. Also subscribe to our station for news about our other shows. Dee and Marina return this fall, as well as a new fun show with Dee and Martin Pratt of Rolling Out Magazine.

-Dee Stewart

I’m a mom, pr boutique owner, editor, book critic, and published author (Miranda Parker.)  Google me or Find me

In How to Survive and Thrive as a Literary Entrepreneur in a Down Economy, Maxine covers how an author can:

• Find ways to make money as a writer
• Develop multiple streams of income
• Use the Internet and sell books

An excerpt of Chapter 1 is included below and she’ll be stopping in throughout the day to answer questions and share more tips from the book.

CHAPTER 1

Are you angry about the economy? I don’t know about you, but I get angry in this down economy. Why? Because it has a trickle-down effect on all small businesses.  In my case, particularly as a literary service provider, some clients don’t
pay when they should because someone hasn’t paid them.

In the spring of 2008, gas hit over $4.00 a gallon here in Los Angeles so you had to make your next move your best move, and that includes going to much needed conferences (which included the Book Expo of America, The Leimert Park Book Fair and the Los Angeles Black Book Expo within the next month here in L. A.). Not to mention the high prices of food—well, that’s the subject of another column.

Just as the actors in Hollywood and the technicians have had to adjust since returning to work after their 2007 to early 2008 strike, we, as literary entrepreneurs, must adjust our marketing strategies.  But, instead of getting angry, how about if we get busy? How about if our anger could move us to another level? A level of action.

Let’s look back in history. During the depression, women found ways to make it for their families by cooking, sewing, quilting, washing and ironing clothes for other families, etc.  I grew up during a recession in the fifties, and I look back. How did my parents survive with six children? To supplement my construction worker father’s income, my mother did what we called “day work”—cleaning for white women. We often had filling meals of beans, soup, chili. We were seldom
sick—later I found out we didn’t even have health care, which is happening a lot today because of layoffs. So I know, with God’s help, we can make it through this economy. It is something our ancestors always did. Make a way out of no way.

In times like this we need to examine ourselves:

• 1) Find your strengths.
• 2) Find your core competencies.
• 3) Get around others who are strong where you are weak.
• 4) Build your teams.
• 5) Get people to fill in your gaps.
• 6) Find multiple streams of income from your book, such as speeches, workshops, seminars, teleseminars, webcasts, podcasts, blogs.

Ask yourself, what can I do to give people hope?  Believe it or not, it starts with giving away what you have that has value. How can we be of value and how can we provide service to others?  What do you have of value which you can give away? Can you build business relationships which are mutually beneficial to yourself as well as others? Can you teach what you learn as a literary entrepreneur?   Can you provide sales, marketing on line, coaching, or seminars first
locally, then around the world? How can we get financial freedom?  We must take consistent action every day in our business.

On one day a week, work on your business rather than in it. Have meetings to brainstorm with your team as to what your next steps will be.  The words we communicate to ourselves and to others will pay dividends to you. It will help you and others solve a problem.

Right now, people are hungry for freedom. People want to get into sales and people want to write at least one book.
What are sales ingredients? First of all, you have to believe that the book you are offering has value.  Ask your readers what do they like to read? Sell them on the benefits of your book. Find out what pains them.  Often you’ll find readers who want to write a book themselves. This is how I started my literary services, then later my literary agency. I also have done Internet radio since March 5, 2002 (currently on Artistfirst.com) to provide writers with an international platform to market their book.

What was the painful motivation? People were tired of not seeing their words in print, then tired of not being able to get their books out to the market. So find what pains people enough to move them to action and you will be able to make the sale.

————-

Dr. Maxine Thompson is a novelist, poet, columnist, short story writer, book reviewer, an editor, ghostwriter, Internet Radio Show Host, and a Literary Agent. She is the author of The Ebony Tree, No Pockets in a Shroud, A Place Called Home (A Short Story Collection), The Hush Hush Secrets of Writing Fiction That Sell, a contributor to bestselling anthologies Secret Lovers, All in The Family, and Never Knew Love Like This Before.  Hostage of Lies is her latest fiction novel.  Visit her online at http://www.maxinethompsonbooks.com.

Whoever said imitation is the greatest form of flattery lied. Or they haven’t been on the receiving end of someone listening to your plans and ideas, in confidence, and using them for their own, personal gain.

A recent experience had me livid. I wanted to jump through the computer and practice my best old school Taebo moves or pull off my earrings and apply some Vaseline to my face.

I know…I’m being a bit extreme but I was having a moment.

My emotions fluctuated from anger to rage and they settle quite comfortably at disappointment. You see, in this literary game there are a lot of players, but I believe there are very few innovators, especially in the area of Black books.

It’s my goal as a book marketer and writer to be ranked as one of the innovators because I am known for creating signature events and unusual promotional campaigns. And after sleepless nights, hours of research, crazy budgets on technology, and custom styling, I have found myself…swagga jacked!

I had my hissy fit, and I felt like calling my girls (which I did) and have a whining session (Thanks Tee!) but when the smoke cleared, I wondered when is duplication flattery and when is it fraud?

Instead, of going down the slippery slope of the legal ramifications associated with intellectual property, or catching a criminal case for assault, I thought I’d consider the true issue I had when I felt like one of my campaigns was “imitated.”

Professional Integrity

Professional integrity calls on fundamental goals and standards practiced within a profession. It’s about how professionals will conduct themselves and if we handle matters with grace and professionalism we will benefit our industry, businesses’, brands, and clientele. Professional integrity also requires that we hold each other accountable for behavior that reeks of poor judgment and poor values.

Well, Dana, what is swagga jacking? I’m so glad you asked. Have you ever considered “borrowing” an event title because it’s cute? Or have you listened in on a conference call just to use the content, in the same manner, for your personal gain (i.e., using it in your business)?

I believe swagga jacking is when you utilize someone else’s ideas in the same manner or carry about it in a way that it appears closely similar or identical to the work of another person and pass it off as your idea or work. Somewhat like plagiarism.

Now, I want to be clear, very few ideas are original — I get that. However, what I won’t concede to is blatant disregard for the time and work that another person puts into their business and end product.

My friend’s grandmother would say “If you’ll lie, you’ll cheat. And if you’ll cheat, you’ll steal. And if you’ll steal, you’ll kill.” One little mishap will lead to others and then you’ll find yourself staring at a cease and desist letter. But for many professionals it really isn’t necessary since one of the ways for building a brand and audience it through collaboration.  Other professionals do it, and we can too.

Skimming Karma

In that moment, I believe a little birdie sits on his/her shoulder and whispers, “if it worked for her, it could work for you.” I’ve heard it call skimming karma, when you believe that you will have the same results as another person because you do the same things they did.

Life, my friends, just doesn’t work like that. And if that little birdie has you convinced here’s what you do: Call her up. Yes, call up him/her and see if they are willing to collaborate or bring an event to your town. They could surprise you.

For example, I host an event in Houston called “Books, Beauty & Banter.” I’ve collaborated with two groups taking it to other cities. We had a great time. The group had a wonderful turn out, and I’m sure we will work together again in the future. They held the event and I had an opportunity to expose a new audience to one of my signature events.

If You Can’t Beat Them

In the past we heard “if you can’t beat them, join them.” Well, I think the new saying is “if you can’t beat them swagga jack them”. But don’t do it, it’s not worth it, and consider how you could negatively impact your name and business brand by simply appreciating a good idea, that’s not your own.  Instead expand your professional reach and consider collaborating, or reach deep down inside can create your own stamp on the industry and you too may find yourself…swagga jacked.

* * *

Dana Pittman is the marketing strategist for Nia Promotions. She has worked with authors such as Anita Bunkley, TL James, Jean Holloway, Evelyn Palfrey, and she recently established S.I.R. Authors, a book marketing promotion group. Books are her passion and marketing is her lifeline.

For more information visit www.danapittman.com and www.sirauthors.com.

In a society of, “I want it now,” it can be hard to develop patience. Patience for writers is like ink to a pen—you can’t survive in this business without it.

As a new author, it can be hard to be patient as you’re building your audience.  You go to a bookstore and pick up a book by a veteran author (insert name here) and think, “They have it so easy! They have readers clamoring to get a copy of their new book.”

While it is true that some veteran authors do not face the problems of gaining readers like us newbie authors, they do have the problem of expectations.

Readers can be very vocal about what they like or don’t like about your books.

“Your new book lacked the spice of your other novels.”

“This book was different than your other books. I like the older books better, why did you have to change things?”

When readers follow you, they grow with you. As such, they begin to expect certain things from you. If you write romance—they want you sticking with that genre. Write thrillers? Expect a lot of feedback if you choose to switch to romance. Readers want whatever made them pick up your book in the first place. The more experience you gain in writing, the more you have to remember your readers. Without losing you, you have to write for them.

Case in point. Beyonce’s latest album had two disks—her spicy, Sasha Fierce side, and the more personal, Beyonce side. Why did she do that? While wanting to reach out to do more ballads—a song that she could relate to—she had to remember her fans—the people who made her famous in the first place.

The expectations put on writers by their readers, editors, agents, critics, can be crippling. Many big-time authors have mentioned the stress of delivering a book that can meet everyone’s high—and sometimes unreachable—expectations.

So what does this teach us newbies? Well, we share a struggle to be heard, but with that struggle, we have something to be treasured.

Freedom.

We have the freedom to write without voices in our head, chanting about what our readers want. If we have never been published we have no readers. (Save for a few family or friends.) If we’re newly published, we are fighting to gain readers. With each book signing, tweet, or blog post, we are screaming to be heard.

“Pick me!” we scream as readers roam already crowded bookshelves. And several times we are heard when someone picks our book up. What though do these new readers expect of us?

“I hope this book is good,” they think as they walk to the register, our book clutched in our hands.

Hope. That is their only expectation—they hope that our book will be good. They hope that they haven’t wasted hard-earned money on our book. They take a risk on us, a gamble as it were. They do not pluck down their hard earned money with confidence. We have not earned that confidence, and that would require an expectation of us that we have not delivered yet.

So, fellow newbies, lets revel in this freedom. Don’t be jealous of the veterans—the ones whose work has been tested again and again and continue to live up to their readers expectations. Remember, they too were once in our position. And they remember fondly, when they were able to write with freedom.

The Author Press Kit by Yolanda M. Johnson-Bryant

Marketing is very importing to an author, so it goes without saying that every author should have a professional press kit in their possession. Obtaining and building a press kit is not that difficult, but can range anywhere from low priced to high priced. If you are on a budget, it’s okay to compile your own press kit, just make sure it is simple and professional.

My personal suggestion is to always start with an author bio. Keep it simple. What is simple you say? I’m glad you asked. You will be fine by simply addressing: Who? What? Where? When? Why?

You will then want to add a nice glossy 8×10 author photo. This photo can be color or black and white and should be limited to a head shot or from the waist up. I understand that everyone cannot simply afford a pricey photo, however there are other ways to obtain a high quality photo at a low cost. Have someone take a photo of you with a digital camera in a nice park setting, or an office setting. A nice touch would be in a library with a shelf of books as your background, maybe a nice piece of art. You can also take a photo on a solid color wall with a nice picture in the background or perhaps a nice large plant. One just has to be creative and know how to use basic photo editing software.

And if you absolutely MUST take a photo with a cell phone, please consider the picture quality and background. I currently own a Blackberry Storm and it takes awesome photos. Keep in mind that it is not professional when a door, clutter or other people are in the background of yout photo. If you have taken a picture with a cell phone and your arm looks like you are reaching to take the photo or it looks like you are in a bathroom stall or in a club, you may want to leave that photo on your cell phone.

Next include a nice cover photo of your book or books. Make sure that the photo includes the books ISBN number and other publishing info on the bottom right hand corner or bottom left hand corner of the photo.  If you have more than one book, be sure to include information on all your books and not just the current one. Remember your press kit is your resume and your marketing tool. A suggestion would be to have a color photo of your book(s) and on the back of that photo have a printed synopsis of your book.  Make sure to include past and present press releases.

Next, include any newspaper articles, interviews or reviews you may have received. Also include any awards or nominations you may have received for your work.  It doesn’t hurt to include a resume that is limited to your writing history, literary associations and literary accomplishments, but this is not required.

Make sure your press kit includes books marks, flyers and post cards. You may find that those interested in your press kit sometimes like to have something smaller to glance at. As an author, there is no reason you should not be without bookmarks and/or business cards.

To tie everything together, house your press kit in a nice pocket folder. Make sure there are pockets on both side so that when your press kit is opened the right hand side will display your photo and your business card and the right side displays your bio.

It’s that simple! Remember that you are a walking billboard. Present yourself in a professional manner and make sure that your press kit does the same.

Part 2 – Selling Out or Making a Sell by Dyanne Davis

Let’s move it a bit past the super explosive to the not as explosive. The manner of publication also garners much attention and sadly I might add with each group thinking they’re a bit better for whatever reason: For not making concessions, for doing it themselves. For not giving up knocking on doors until a mainstream publisher wants the work. The truth of the matter is there is no right or wrong way. Each writer has to make that decision for him/herself.  Let’s face it no matter the method some readers will like it and some will hate it.

In the past months heated debates have been sparked across the internet about the legitimacy of e-publishing, self-publishing and vanity publishing. (I won’t go into the differences about self-publishing and vanity publishing.  That would take at least another page.) One of the largest romance organizations Romance Writers of America, (RWA) is in the middle of the fray. Self-publishing and vanity rendered a writer as unprofessional by their guidelines.  And until recently so did e-publishing. None of this is important unless you’re a member of the more than 10,000 member organization.  I’m mentioning this here because in order to make a sale many RWA members turned to these forms of publishing. Were they selling out?  And if so whose business was it?

In November 2009 one of the largest major romance publishers, Harlequin made a decision to go into a joint venture with a vanity publisher. They would refer the aspiring writers who submitted to Harlequin and was rejected to this company. The company would then, for a very substantial amount of money, eventually publish the work. Harlequin would receive 10% referral fee from this company for any aspiring writer they referred, who then purchase the service of this company. The writers were told Harlequin would be watching the sales very carefully and that maybe some of the writers would be brought over into the legitimate Harlequin.  That’s the carrot that is dangled in front of the aspiring author who has work in the slush pile and will be or has been rejected by the romance giant.

This decision led to Romance Writers of America to place Harlequin on their not approved publisher’s list. I’m sure that before it’s done it will become known as the sound that rocked the publishing world.  Traditionally published and non-published alike wondered what this move would mean for them. Agents were fielding frantic calls from their clients. Writers were weighing in with their opinion. The question of self publishing and vanity publishing was discussed at great length. Internet fights broke out, complete with name calling. (Seriously)

And with every day that passed as I worked on this article trying for the most part to keep out my personal opinions on the decision, to not be contrary. To not be me. The fights did lead me to post a couple of times that their beliefs in the quality of self-publishing had led me to a decision to do it myself. I was emailed off loop by several well-meaning readers trying to dissuade me. My question was this: If I wrote a book and it was edited by the same editor how would said book be of any lesser quality?

I swear writing is a crazy business where the public at large obviously feels justified in making decisions they don’t have the right to make. How dare anyone down a writer for making their own choices for their careers. If they do not choose to write a certain genre or to tell of the plight of people of color shouldn’t that be their choice? If they decided to sell to publishers their peers may not like, shouldn’t that also be their choice? If they decide to publish their own work shouldn’t that also be their choice? Why should the question ever be asked, Am I selling out or making a sale?

Okay, as you can see I got a little sidetracked there. For a moment I was rereading some of the nasty posts in my mind concerning different forms of publishing. As we all know the publishing world is ever changing. Sometimes it takes someone with a big enough name to make a difference and to turn the tide. This came in the form of Donna Hill, a respected author and pioneer in African-American romance.  It was announced in Publisher’s Weekly that Donna has launched her own ebook publishing company. In recent weeks I’ve talked to several multi-published authors with mainstream publishers who have future plans for striking out on their own and doing what Donna has done.

That still leaves writers who write for Harlequin and those who want to worried about how all the publishing changes will affect them.  With all of the changes in the publishing industry, I and many more writers will be asking ourselves, ‘Do we want to make the sale?  How badly to we want to do so and if so are we selling out?  If we sell to a certain publisher say for instance Harlequin, are we selling out? What if it’s a publisher we’ve had problems with in the past? Are we selling out? What if we decide to see if it makes a difference if we change our names and write characters who do not share our ethnicity whatever that might be? What if we go with an e-publisher? What if we self- publish? Do we take in to account that writing is an expensive endeavor? A lot of money is spent on writing, computers, the latest software, conferences, printers, ink, toner, paper. How do we pay for just the supplies if we don’t make a sale?

Why do we write, to sell, or for our enjoyment? I’ll leave you with this thought: Each writer will have to make the determination for themselves.

My personal opinion:

It doesn’t matter which medium a writer chooses to bring their work to the public. It only matters the quality of the work that’s produced. If you were a respected Harlequin author before Harlequin partnered with a vanity press, you’re still a respected author.

By the way if you’d like to catch Donna Hill live or whatever you call it when you watch a show via the internet (smile) you can catch a portion of an interview I did with her on my cable television show when she came to Chicago.  It’s posted on the home page of my website: http://www.dyannedavis.com. I posted the section where she’s giving tips for writers and telling what work she’s looking for.

Take care everyone.

Dyanne

This article is about the little concessions that most writers make to have that contract that we all crave—to see their work in print.  How do we as writers view the choices we make?  How do the readers view them?

This is an opinion piece. But it’s also a topic I’ve wanted to broach for several months. Seriously, it has taken me longer to write this article than it has to write a book. I’ve rewritten it so many times because I’m fully aware of the implications of some of the things I wrote. Just this morning when I was reading the printed copy of this to edit for mistakes it just wasn’t doing it for me.  I then went to “My Documents” to see if I had anything already written that I liked. I looked at a blog that I did for Parker’s blog last Feb, Why do Writer’s Write? I still liked and agreed with what I had to say. I then reread an article I’d saved (probably from RAW) Are You Token Negro Romance Queen Material?

This was perfect. It was just what got me fired up again. It detailed all the reasons I shouldn’t be submitting this article.  First off, I really like the ‘Token’ article, or I wouldn’t have kept it. But like my Parker blog post said, “I write because I’m contrary. So… remember that going in and treat this article like a buffet. If you like it fine, if not, ignore and see if what I write next is more appealing. I like a bit of dissension from time to time, something that makes you think.

Because I know that the members of RAW (and RAW4ALL) are members of every conceivable racial group I’ve tried to write this article being politically correct.  My aim is never to offend. But in working so hard to achieve that goal the article was hard to write and I’ll admit it, it was downright boring. But I think I’ve figured out how to finally finish this.  I’m sure you’ll let me know later.

Since a good portion of the RAW family (specifically RAW4ALL) are writers I’m thinking that at least a few of you have had this issue. The idea for writing this article started at least a year ago when several friends said to me that they believe they’d sold out their muse for money. I just about had this article where I wanted it to be when I received an email from a friend yesterday saying the exact same words.  So I threw out a lot of what I’d written and started over.

The message from the friend took me back to my original point for the article. I know dozens of writers who would give anything to be in this particular friend’s shoes, me included.  But that doesn’t make her feelings on the subject any less valid. Yes, she’s having four books a year published by major publishers, but she’s not happy. She’s had to make concessions in her work that warred with her inner spirit. In essence she feels she’d sold out her muse.

Several writer friends and I have discussed at great length writing under a pseudonym and writing about characters that did not resemble us or share our experiences. We’ve wondered how the work would be received and how it would affect sales. Would we in fact be selling out, or trying to make a sale? In other words we talked of writing strictly fiction.  Would writing fiction move us into the sell out phase?

As writers are we under an unspoken obligation to tell the stories of people of color? Are we allowed the freedom of writing simply to entertain? What if we’re writing to put food on the table?  (Okay, for most writers that’s a big laugh) Still, the worry over what our peers and readers would think colored our conversation thus the talk of writing under pseudonym. That in itself produced another problem. If we started over we’d have to start with building a new fan base. If we were in fact selling out would doing so in that instant to make a sale be worth it? Would we be stalling the progress other writers had made in staying true to their muse. Would we be selling out if we wrote something that the mainstream publishing housing would find acceptable?  Is it our responsibility as writers to try and uplift people of color by the kind of stories we write? If we write to make a sale how much damage will we do to our own cause and to the cause of future generations? In 2010 and beyond is this the writer’s burden to bear?

There was a time when many major publishers rejected out of hand stories from writers of color simply because the characters were people of color. It wasn’t uncommon.  Still, some writers were given a choice—change the ethnicity or forget it.  Some did. Some didn’t.  I’m sure those writers wondered the same thing, is making concessions, even major life altering concessions selling out or making a sale? Now here we are in America with significant changes all around us. There is an African American family living in ‘The White House.’  Our president is a man of color.  Yet and still, I find the need to ask the question: If the stories we write would become an instant NYT Bestseller if we changed ‘Something’ (I’m leaving that to your imagination) would we be selling out or making a sale?

We all know this isn’t the first time this question has been talked about by a group of writers. Who knows maybe that’s one of the reason many writers have chosen in the past to self-publish their work. Perhaps it was in order not to make concessions. But what of the ones who have not chosen this path? If they make a different choice will they not only have to deal with their own conscience but the voices of their peers reminding them of the struggle? Will they hear words much to the effect that what harms one of us harms us all?

To be continued…

-Dyanne Davis

Look, the most important thing to do is to just write. Whether you use pen and paper, use a computer or tape yourself telling the story, just get the basics down. It has been my past experience that the longer you wait to put your ideas down , the better the  chance that you will lose the information.

I, myself, am an electronic and sticky kind of gal. I like to see the writing flow onto the screen as I type, which makes it easy for me to go back and make changes. Have you seen my handwriting? I also keep a tablet and a pad of sticky notes in my night stand, next to my bed. That way if I awake in the middle of the night, I can immediately jot down my idea, because chances are, I won’t remember it in the morning. It’s not a bad idea to keep a small tablet with you in your purse and/or pocket for those times when you are on the road and need to write down your idea. A tape recorder is also an excellent idea.

For now, don’t worry about putting your writing in any particular order. Just get it down. You can always go back later and re-arrange parts so that they flow together. Then your editor will work with you to make sure that the grammar and flow is going the way it should.

Speaking of editors; if your intent is to bypass and editor on your project, bad idea! One has to understand that although we think we can edit our own work, which we do several times, we will almost always come up short. Allowing an editor to have the final say in a manuscript is key. When an author edits his/her own work, it will flow as the writer remembers the story in their mind, which makes it very easy for a writer to miss errors. It is always good to have a fresh set of eyes to go over your work. And when I say fresh pair of eyes, I mean an editor and not your cousin Louie. I speak this from experience. There are several short cuts one can take in publishing their book, but editing is not one of them.

So put that anxiety on the back burner and ‘get to writing’. Don’t sweat the small stuff. Trust me, you’ll have plenty of time to worry about in the later stages of completing your project.

Yolanda M. Johnson-Bryant
Author, Writer and Publisher
2009 Presenter for the Women’s Entrepreneurial Learning and Leadership Conference
www.literarywonders.com
www.yolandamjohnson.com
www.bryantconsultingonline.com

In the past months I’ve been researching where to send shorter pieces of fiction.  I’ve decided it’s time to find out more about markets that would pay for our work.  I began with purchasing the newest edition of  Novels and Short Stories Writers Market.  It wasn’t until I reflected on my own work that I’d already began my journey into short stories.

Several years ago while at the RWA National Conference in Atlanta an Amazon representative  gave a talk and told all about Amazon Connect where you wrote a prequel or sequel to your novel that was available on Amazon. It was an opportunity to get your work before people who’d never read you for a reasonable price. of .49 (cents).   I can’t remember now what I wrote, but was surprised when I got the rejection.  Before you go there, let me tell you it wasn’t ego that made me surprised, but I’d thought I could just write what I wanted as long as it pertained to the book that was coming out.  I was trying to tell a little without giving away too much from the book. After a few emails with my contact person he told me what was needed was a complete short story. It had to have a beginning, middle and an end.

The work had to be accepted.  The challenge still remained of introducing the characters and giving a flavor of the book that would hopefully have readers wanting to buy the latest book.  Word count was generous, 2-10,000 words. I redid the rejected story following the guidelines and had three accepted.  I didn’t think too much of it at the time that I was writing a short story.

(At this time the Amazon program is no longer doing the shorts.)

I didn’t even think of it a couple of years later when once again my novel was turned in with 11,000 words over.  Sidney was given the job of cutting out 10,000 words.  After we were done with the first edits I was now 15,000 words over and my editor said she had no idea how to cut anymore. The reason:  Well, I’d cut the things she suggested but new scenes cropped up as I did the cutting.  Since the book was the beginning of my vampire series, the scenes were part of the foundation I’d need for the rest of the series and therefore needed.

Shortly after that I received an email from the publisher of New Love Stories magazine asking me to contribute. Being in the middle of edits for another book I didn’t have the time nor  the inclination.  The publisher and I exchanged a few emails. I told him that I didn’t do short stories, but as soon as my scheduled permitted I would attempt one. I mentioned this to Sidney.  We’d worked on fourteen novels by this time.  She and I were having a back and forth email conversation and I told her I was thinking of writing a short story. She said she didn’t think I had a short story in me.

Challenge. Someone telling me what I can’t do.  Hmm. Not going to happen.  I was still way too busy to write anything at that time, but a light bulb went on. Sidney was wrong, wrong, wrong.  I’d already written a short story for another purpose. A large group of writers were each doing a short story for inclusion in a book.  The publisher was set, the contracts were signed and as oftentimes happen in the publishing world, things changed and the book was not going to be done.  Around the same time one of the groups I belonged to asked me to participate in a holiday round robin.   I started thinking about the fact that I had written two short stories without thinking too much about it. Then it hit me, submit the two stories to the magazine. Both stories were bought and the one for the round robin appeared in the premier issue of New Love Stories. For me personally I enjoyed the physical act of submitting something myself. Having an agent limits the works I can submit on my own. The short story market gave me a chance to be on both sides of the fence at once.

During the twelve months of waiting for the first issue of the magazine to come out I begin researching the short story market. I discovered that in this market, it was possible for a writer to actually make a living.

Make a living, a consistent living.  That had a nice ring to it.  It was now time for me to kick the research up a notch.  I scoured the bookstores for books on where these markets were,  took online classes, bought ebooks that claimed to be filed with this information. I will admit that if you look hard enough you might find one or two things that might interest you. Don’t write it off, it’s a start and you get to take the cost of the material off your taxes.  There are two items that are more than worth the purchase, The 2009 Writers Guide to the Short Market and Writers Magazine.

Matter of fact there was in article in The Writer that touched on what I was planning on writing.  (See what I mean?  Research is never wasted.) There are lots of how to markets and markets wanting articles and blogs and some of them pay extremely well.  The side benefit is that most of the magazines hold first rights, meaning you can sell the story again and again. There are also a few markets (mainly children markets) that will pay each time they reuse an  article. When the writer of the article mentioned making $10,000 from his one article, my interest soared.

Of course you’re aware that not everything connected with writing is all about the money. If it were, so many writers wouldn’t continually say they don’t write for the money but the love of writing. So on the other end of the spectrum I’ve discovered what writing for the love of it truly means. Through my research I’ve discovered tons of literary magazines that will enable writers to get their name before the public. I purchased Most of these magazines are basically salve for the soul as they pay in one to two copies of the magazine.

Suffice it to say that while I’ve been researching the market, studying the types of stories that they buy  (EXTREMELY IMPORTANT) and graphing my progress, I have gained untold respect for the writers who have mastered this.  My rejection pile is getting high, but you can’t sell if you don’t write.

Two pieces of good news. And yes, even in rejections there can be good news.  I’ve received two handwritten notes from an editor of one of the markets I’m trying to break into. The first one she told me how much she loved my story and my voice. But sadly they didn’t accept stories where there was marital strife of any kind, even if there was a HEA. Last week I received another handwritten note that said, she really loved another of my stories, but they didn’t publish political stories. Keep trying, she said, keep studying the weekly issues for the types of stories we publish. You’re getting close.

So I leave you with this: Short stories can be used as a kind of pallet cleanser. They’re fun to write and a challenge if you’re used to overwriting as I am. They are also a very lucrative market.  Just don’t go into it thinking it’s just fluff and you need not do anything but write.  That’s a huge mistake.   (THIS PART IS INTENTIONALLY REPETITIVE) You should always research your market and definitely research the publisher you’re submitting to. Read what they publish and learn their needs.  Until then do your homework and don’t write off the short story market. There are many things you can do while waiting to make the sale. Do your homework:  Work at finding the Right Markets, finding story Ideas, developing and writing your stories. Follow the rules of each individual magazine publisher, query them first if that’s what they want. Learn what happens after you submit your story or article. What’s the wait time?  How about your rights? What does the contract state?  Will you get paid, if so, when and how much?

While the writing might be a lot shorter for the short story market if you’re a professional writer it’s still a business and you should treat it as such. Have fun with it and never ever give up.  When I finally figure out what it is they want and make my first sale, I will come back and share.

Dyanne Davis —- http://www.dyannedavis.com

To Curse or Not to Curse? That is the Question

• “Get your %&* off the couch and do the dishes!”
• “Get your butt off the couch and do the dishes!”

Which sentence is better? In truth, that’s like comparing apples to oranges. It really depends on the opinion of the writer. Writing is difficult, with or without the curse words. But if you choose not to use profanity in your writing, you’re in a whole different ball game. There are good things and bad things about the decision not to curse, and I will point out a few.

1. It puts limitations on your characters and the settings you use in your writing. I personally do not use profanity in my writing. So there are certain things I cannot write about. Writing a book about one of my characters being in prison, for example, would be something I couldn’t do. To write that book profanity would be mandatory. Not using profanity would be extremely difficult to maneuver. (I don’t like to say impossible, because in fiction, anything is possible.) I don’t mind having this limitation on me. Every writer has lines that they will not cross in their fiction and for me profanity is one of them. For you it may be death, or child abuse, those topics you may not want to touch. But for many writers, they want the freedom to write about whatever they want, without restriction. If you’re one of them, then omitting profanity could be a problem.

2. Your book has to be filled with enough tension, emotion, and drama that your readers don’t notice that they haven’t read one curse word. If you choose not to use profanity, you have to inject your novel with other punches of color. You don’t want your readers to close your book and think, “Wow, that didn’t have any curse words.” No, the trick is to have your book so exciting they don’t even notice. Let’s look at these too sentences:

• “What the @$%* you lookin’ at?”
• “What you lookin’ at?” he asked. He belched, then scratched the stubble under his chin, grating his fingers back and forth against the coarse hairs until it emitted a sound similar to sandpaper on wood.

Both sentences are up to the writer’s discretion and what they choose to do. But notice in the second sentence the extra punch I added. Both sentences show a side to this character that the writer may want to express, but if you decide against using profanity, remember that you have to add a little bit more oomph to express your characters fully.

3. You will offend less readers. I know, I know, a lot of you may say, “Who cares if they get offended! I want to write the book I want to write, and portray my characters the way I want to them to be portrayed.” And that’s fine. But I’m sure many authors receive reader e-mail or Amazon reviews that said they liked the book but they could do without all the F-bombs. If that sort of thing doesn’t bother you–great. But if it does, then think again before writing that expletive.

The fun thing about writing is that you get to create worlds that you control with the flick of your wrist. The language the author chooses is their prerogative. So I ask, which do you choose when writing, to curse or not to curse?

Hopefully you know me well enough by now to know I’m pulling your leg. If not I hope you know the publishing business well enough to know there are NO secrets, just timing, luck good writing and perseverance.  That said I will give you some tips that I have received from interviewing authors, agents and editors.  Most recently, I interviewed the managing editor of Red Sage for my cable television show.  I tried to ask her questions I thought you’d want the answers to. As soon as it’s edited I plan to put a clip on youtube.

As for the tips below, just remember I’m not saying these are the only things that work, just some.

1.  Never, ever, ever send in a rough draft to an agent, editor, or contest. Once you’ve written The End to your manuscript it simply means you’re done with your rough draft. You have to leave it alone for a time (a month works for me) then go back to it and do clean up.

2. Learn how to write a good synopsis. Think of it as a tool.  An editor uses it to see if you the author told the complete story. They are not judging your story on the synopsis alone.  (At least not your voice.)

3. Editors will buy a story that is not perfect, but that they see the potential in. A good story can be fixed.  They will also not buy stories that are written perfectly.  I was told they’re looking for substance and magic over perfection.  (I kept trying to get the answer to what is magic and even with the explanation I still have no idea what that is.  I think it’s an elusive something that speaks to the particular editor or agent reading your work. That may also be the reason why when an agent sa work by an author that they love it’s rejected.  The work spoke to the agent, but not to the editor.  (I hope that helps)

4. Do not get upset from form rejections.  There are many reasons why your work could have been rejected and some of it does not involve your writing.  I specifically asked this of Theresa she said, sometimes the story is 90% there and fixable. But they have learned from past dealings with authors that they tend to not take any kind of constructive criticism or become defensive and angry or try to establish personal relationships with the editors in hope of having their work accepted. To deter this, editors sometimes will not comment even when they want to.  Just continue to send your work out.

5. Learn to write a good query. Your query is intended to give the editor or agent information about you and your qualifications to do the story you’ve written.  Give them your publishing credits if you have them. Tell of contest wins and affiliations with any professional organizations.  Talk about one book in your query.  Make sure you give the word count and tell if the book is finished.  (It should be)

6. Because industry people do read your blogs and such, try and limit your personal attacks. (None would be nice.) Also you might want to avoid putting up entire stories for free reads if you intend to try later to sell them.

7. Figure out what your strengths are and use them. Never lose them.
(Anytime someone in a contest or critique mentions something you do well, hang on to that.   Hold onto the knowledge that you do have power and skill and make use of those skills).

8. Figure out what your weaknesses are and improve them.

9. Learn the difference between conflict and arguments. Learn the difference between internal and external conflict.  All stories need conflict. The genre you’re writing in doesn’t matter.

10. Make your first sentence count. You want to grab the attention of the editor immediately. Get to the heart of the story (the focus of the story) and stay there.  When you start wandering away, you lose the reader.  Sure you know what you’re talking about, but the reader needs to know also.

11. Decide if you’re writing a plot or character driven book. Ask yourself why the reader should like your characters and then make sure those reasons show up on the page.

12. Don’t let your secondary characters take over your book, even if they are fun to write. (I’ve made that mistake but I gave the secondary characters their own book.  You can too.)

13. There must be a change in your characters from the beginning to the end. Otherwise, why write the book? It matters.  Your character may start out whiny, unlikable or too rough.  In the end your readers have to like or understand them. (Personally, I like writing real characters, people whom you may never like. But I have to force myself to remember I’m writing for the reader so I have to have them change also.

14. When writing a synopsis, get to the heart of things right away. Make sure it’s clear what your hooks are (and by hooks I simply mean anything that sets your book apart from the rest and makes the reader pick it up).  Make sure your conflict is clear and that it’s obvious that your characters are compelling.  If possible, I would try to get those elements in somewhere in the first half page of the synopsis or at least by the end of the first page (but that might just be my way, so take that however you will).

15. Make sure you hit the ground running when the book opens.

16. Become a student of the market and use your knowledge. Know what’s selling and why.

While getting this article ready I read an interview with Jayne Ann Krentz. She spoke of the many times her career tanked and the reason for adding a pen name. She kept up with the market and made adjustments by studying her own writing style and writing a book that would fit in with the market versus what she really wanted to do.

Okay, stop throwing things at me and cursing.  I’m not telling you to follow the market trends.  I’m saying know what’s selling.  See if with a bit of tweaking if your work could fit another niche.  Just give yourself and your work every opportunity to get published.  Leave no stone unturned.

17. Be professional at all times. (Complaining is for your friends or family).  Editors and agents really do appreciate an author who realizes that publishing is a team experience, who appreciates her aid and expertise and who recognizes that she has the same ultimate goal (a winning book) as you do.  Please remember your agent does not have the power to force an editor to buy your book.  They want you to make a sale.  They work for months and sometimes years on your behalf without seeing a dime.  Know this and appreciate them and their time. You’re not their only client. They have a life. And above all, as long as they submit your work that is about all that they can do until someone says, “Yes, I want to buy your client’s work.

18. Develop coping strategies for the difficult times (exercising, shopping, yelling at the mirror, crying in the shower, watching sad movies, whatever works for you). Give yourself some time to deal with rejections, revisions or disappointments.   (Personally, I give myself no more than three days. And that has to be for something really big. I’ve found if you’re always working on something you don’t really have a lot of time to feel sorry for yourself. You just keep working, keep trying and thinking positively.

19. Learn to be brutal with the red pen. Write tight.  (This one may make some people cringe, so take it with a grain of salt.  I love seeing red on the page—at least, when I’m the one who has been wielding the pen—because it feels like progress to me.  I’m getting rid of extraneous or repetitive words and phrases, improving the flow and heightening the emotion and the tension).  I try really hard to find my own holes before my editor does.  Her red ink is not as pleasing as my own. (smile)

20. Recognize that you will have some bad habits that you can’t seem to get rid of…but still, never stop trying to change those habits. (One of mine is overuse of well.)

21. Be kind to yourself. You are, after all, the only one who can write your book.  Your manuscript needs you, so don’t beat up on yourself.  We’re all still learning, every one of us.

22. Figure out what writing/editing techniques work for you and don’t let anyone tell you that your way is the wrong way (because theirs is the right way). (If you need to write all your books in the bathtub using markers on a white board while you wear your special favorite hat, go for it).

23. Give yourself breathing room, family time and play time.  Engage in new hobbies. Never stop learning about things other than writing.  All of this will add to that well we all draw from.  Furthermore, knowing that you don’t have to live the book twenty-four hours a day will help you stay fresh and focused when you are writing.  Enjoy!

Story Structure: Getting Started

A few years ago, I was talking with a woman from my church. I made the mistake of confessing to her I wanted to write a book. She proceeded to ask me a question that put a damper on my spirit. “But Ty, there are so many books in the world, what could you write that’s any different?” Yeah, that’s a real “encouraging” statement. Thankfully, the pull to write led me to start developing stories anyway. 

There is really nothing new under the sun. As an avid bookworm, I’ve read books that are really quite similar as far as story structure, but each author added their own unique way of telling the story. So, if you’ve been discouraged about writing a book, this article will hopefully spark you to get that story out of your head and on paper.

Creating a Story (Main Plot and Subplots)

The main plot consist of the series of the events that drive the reader to turn the pages of the book. If you have a story idea and you are also a reader, you might have noticed there are quite a few similarities in most stories. Let’s look at two popular genres below.

1)      Romance

Boy meets girl. Boy falls in love with girl. Girl break-ups with boy. Boy and girl make-up and get married. How original is that story? Well, that’s the underlining plot for most romance novels. Still, romance remains the most popular genre.

2) Mystery/Suspense

Same with mystery. Somebody was killed. Several people are suspects. The real murderer is found.

According to some research, there are only 36 basic plots. Those novels that get published have something about them that set them apart from ever other story. Paying particular attention to your character development and adding subplots that support the main plot can set your future novel apart.

Exploring Writing Processes

Once I started letting people know I finished a manuscript, they wanted to know how I did it. In all honesty, just like DNA everybody has their own particular process for structuring a story. I discovered a process that worked for me, and made all the difference when it came to writing the second manuscript.

There are two main writing processes and in some cases the processes will overlap depending on the writer. Now what I’m introducing does not include all the little bitty “things” a writer might do (playing music, writing in a coffee shop, morning vs. night writing, etc.) to really set their process apart from another writer.

A. Seat of the Pants (Pantser)

This style I can say is NOT me and also happens to be the format I started with for the first manuscript. I think it’s safe to say most writers start out this way when presented with a blank screen or notebook paper. With this process, the writer types up the scenes as they appear in their minds. They can sit at the keyboard for hours and write a reasonable set of chapters. Somehow the action flows from one scene to the next, making up a believable story. 

I admire writers who write not really knowing what’s coming next. For the past few years, in November, I’ve tried this style for the NaNoWrimo contest.  Each time, I cranked out three chapters and then quickly ran out of steam. The reason. I am NOT a seat of the pants writer. I fit in the other category and you may too.

B. The Plotter (Planner)

I write mysteries. It’s important to keep up with clues and suspects. Some of those clues point to the real suspect, while other clues, known as red herrings, point to possible suspects.  It took me a while, but I learned it helped me to keep track of the main plot and subplots by keeping a detailed chapter outline. Now when I start a manuscript, I have a pretty good idea of how many chapters and scenes I will need.

Now remember, I said earlier that sometimes the processes overlap. While I outline the chapters, I still have a blank canvas in front of me. This means my characters are still going to tell the story. They might decide to throw a wrench in the plot. That’s okay, I will stop and refer back to the chapter outline and make adjustments.

So, Let’s Do This!

I encourage you to grab a notebook and write down a few ideas. Write a few chapters. It’s okay to write badly. Don’t worry about editing.  You may start to notice a pattern or a sense of ease as you write.

• Does the story flow easily from one scene to the next (seat of the pants)?
• Do you need to think about the scenes a little more with a chart or an outline (plotter)?

Once you have established the style of writing that works for you, writing a manuscript will not be quite so daunting.

ABOUT THE AUTHOR

Tyora Moody is the editor of WrittenVoicesBlog.com where she features “African American Literature that Edifies the Soul.”  Known simply as “Ty” in many circles, she’s also a writer, blogger, and the owner of Tywebbin Creations, a marketing and design company.  Follow her journey to publication on TyoraMoody.com.