I've been back from the Southern California Writers Conference for almost a week now, and I can only report what I always report: it was fabulous, energizing, inspiring, and fun. (Helpful hint: the way to tell you've been to a good conference is that you come away from it NEEDING to write.)
There will be another conference in February in San Diego (http://writersconference.com/sd/), and I'm already thinking of workshops I can propose that will benefit as many people as possible.
Although, frankly, if I can help one person, I'm a happy gal.
In the meantime, in a twist of being in the right place at the right time, I'm teaching a workshop about self-publishing at the Placentia Library. This is where it pays to be listening with an ear bent toward how can I add value to my community?
I attended the annual Author's Luncheon in March, held by our Placentia Library Friends Foundation. Marcia Clark was the speaker, and more than a few of the questions in the audience had to do with publishing, even though Marcia is not self-published. Afterward, I went to our library's adult services director and said, "I noticed these questions and I teach a workshop on self-publishing. I'd be happy to teach it at the library for free."
Notice I offered it for free. Why? Well, for one thing, I'm a library trustee, and taking any money might be seen as a conflict of interest. For another, I believe in the power of the win-win situation. I take great pride in the quality of my books. The stories may not be your cup of tea, but you can't say that my covers look cheap or the writing is full of typos, etc. When I share my knowledge with other writers, they may not buy my books, but they may recommend them to their reader friends. Why?
Because they trust me. They know I care about my brand.
So this Monday, September 29th at 6:30 pm, I will be teaching a workshop called "Self-Publishing Savvy" to whoever wants to show up at the Placentia Library. It's a basic course, designed to help people make an informed decision about whether self-publishing is right for them.
If you're in the neighborhood, stop in and have a listen. I'd love to have a full house! Here's the library schedule with the details: http://www.placentialibrary.org/sites/default/files/calendars/adults/september2014.pdf
Showing posts with label self-publishing. Show all posts
Showing posts with label self-publishing. Show all posts
Friday, September 26, 2014
Sunday, March 31, 2013
A brave new world
If you are a DirecTV subscriber (and I'm not suggesting that you run out and sign up), you are able to see a show called Guitar Center Sessions. It showcases musicians in a very unusual way. You get a song performance, then the host Nic Harcourt interviews them about everything from their process writing and recording, to the business end of what they do.
I find it refreshing because, not only does it spotlight people I know, like Joe Walsh, but it introduces me to folks I don't know (sorry, but I've never heard of Kinky).
They recently had All-American Rejects on the show, and while I'm fairly lukewarm about their music, I was impressed by their ability to talk about the process and what fame has brought to them in personal and professional terms. The lead vocalist, Tyson Ritter, won me over with a couple of statements. One was that they would never use canned tracks in live performances, because the blemishes give a live show its personality.
"It's like a beautiful woman," he said. "She's not beautiful because she's perfect. It's her flaws surrounded by beauty that make her interesting."
Thanks, I'll remember that.
The other thing he said struck me as applicable to my journey (and my friends') as a self-published author. They were discussing the band's progress from a small label to a large one and back down again. I was so impressed, I re-ran the interview several times so I could get the quote just right:
"Since the label has weakened throughout the years as far as its power is concerned, we're in this crazy moment in the world where the digital age has wrapped its arms around the singer/songwriter, the band from Stillwater, Oklahoma* where they don't have to be wrapped up by some LA bigwig label to boost their career. You can put your song on iTunes for $200 now and you're in a band that can be bought and sold by anyone who has a computer."
That's pretty much it in a nutshell. Big labels, big publishers, big agents can all point to the way things used to be and tell singers/songwriters/authors that they need to Sign Big or abandon all hope. But the truth is, the digital age is embracing the entrepreneur. Our responsibility is to use it and not abuse it by aiming high with the quality of everything we do.
I feel the need to add an AAR video to say thanks for sitting down with Nic Harcourt and giving me information and ideas and one more uplifting way to look at my world.
*Stillwater, Oklahoma is AAR's hometown.
I find it refreshing because, not only does it spotlight people I know, like Joe Walsh, but it introduces me to folks I don't know (sorry, but I've never heard of Kinky).
They recently had All-American Rejects on the show, and while I'm fairly lukewarm about their music, I was impressed by their ability to talk about the process and what fame has brought to them in personal and professional terms. The lead vocalist, Tyson Ritter, won me over with a couple of statements. One was that they would never use canned tracks in live performances, because the blemishes give a live show its personality.
"It's like a beautiful woman," he said. "She's not beautiful because she's perfect. It's her flaws surrounded by beauty that make her interesting."
Thanks, I'll remember that.
The other thing he said struck me as applicable to my journey (and my friends') as a self-published author. They were discussing the band's progress from a small label to a large one and back down again. I was so impressed, I re-ran the interview several times so I could get the quote just right:
"Since the label has weakened throughout the years as far as its power is concerned, we're in this crazy moment in the world where the digital age has wrapped its arms around the singer/songwriter, the band from Stillwater, Oklahoma* where they don't have to be wrapped up by some LA bigwig label to boost their career. You can put your song on iTunes for $200 now and you're in a band that can be bought and sold by anyone who has a computer."
That's pretty much it in a nutshell. Big labels, big publishers, big agents can all point to the way things used to be and tell singers/songwriters/authors that they need to Sign Big or abandon all hope. But the truth is, the digital age is embracing the entrepreneur. Our responsibility is to use it and not abuse it by aiming high with the quality of everything we do.
I feel the need to add an AAR video to say thanks for sitting down with Nic Harcourt and giving me information and ideas and one more uplifting way to look at my world.
*Stillwater, Oklahoma is AAR's hometown.
Friday, February 8, 2013
Passing on my knowledge
Next week is the Southern California Writers' Conference and I'm uber-excited. This organization holds two conferences a year, one in February and one in September, and I attend each one. It is a real working conference.
No sitting in a room in rows of chairs, being spoonfed information until you can't stay awake. This one has you sit down at tables because you might need to take notes or do some kind of writing exercise. Because you're a writer, right?
By the end of the weekend, you're so fired up, you can't wait to implement your new strategies for writing the best damn book in the universe and then letting the universe know about it.
The fun part about this February's conference is that I'm now a member of the staff. On the current schedule, I'll teach a workshop on Friday afternoon to talk about pacing your work, how to find the rhythm of it, and how to give your writing a punch. It's called Rhythm, Pace and AMUSEment. Here's the description:
Perhaps you’ve completed a 90,000 word story. Perhaps you’re still staring at a blank piece of paper. But you’re asking yourself the same question: how do I avoid boring the reader? Whether short or long, a written piece needs lively pacing to keep the reader engaged. No matter what your genre, this workshop will share some of the tools for developing the rhythm in your writing. Learn when to build tension and when to release it, how to increase the risks, and how a punch line can be your best friend.
On Saturday afternoon I'm teaching one of the popular DYI: Do Yourself Independence workshops about Self-Publishing Savvy: Why, How, Where, What You Need to Know. This is what it's about:
Self-publishing is big. It’s easy. Everyone’s doing it. But is it the right course for you? This workshop will give you information to help you ask the right questions and make good choices. You will learn about self-publishing options, their pros and cons, and get resources for finding out more. In this day of Do Yourself Independence, there is no one right answer. You may find there is a different answer for each of your projects. The only “right” answer is to be as informed as possible.
What other workshops are there? Beginning at 9 a.m. until 5 p.m., there are at least three 90-minute workshops running all the time. There are also "Read and Critique" sessions, which are helpful in two ways. They are, of course, wonderful for feedback on your work, but most importantly, they are models for how to run a working writers' group. Their rules are the best. "Rogue Sessions" are offered at the end of the day - they are Read & Critique sessions that run from 9 p.m. until everyone is too tired to continue (some of these have gone until 6 the next morning).
There are special speakers first thing in the morning and last thing before the Rogue Sessions start. The speakers are usually not huge names. They have come into the publishing industry fairly recently, during its evolution, and know what we are facing. These speakers have been where we are, remember the hard times and the struggle and can at least show us how they managed it. They inspire us.
I'm telling you, if you live around southern California and are either a writer or are thinking about writing, you need to come. You'll learn so much.
No sitting in a room in rows of chairs, being spoonfed information until you can't stay awake. This one has you sit down at tables because you might need to take notes or do some kind of writing exercise. Because you're a writer, right?
By the end of the weekend, you're so fired up, you can't wait to implement your new strategies for writing the best damn book in the universe and then letting the universe know about it.
The fun part about this February's conference is that I'm now a member of the staff. On the current schedule, I'll teach a workshop on Friday afternoon to talk about pacing your work, how to find the rhythm of it, and how to give your writing a punch. It's called Rhythm, Pace and AMUSEment. Here's the description:
Perhaps you’ve completed a 90,000 word story. Perhaps you’re still staring at a blank piece of paper. But you’re asking yourself the same question: how do I avoid boring the reader? Whether short or long, a written piece needs lively pacing to keep the reader engaged. No matter what your genre, this workshop will share some of the tools for developing the rhythm in your writing. Learn when to build tension and when to release it, how to increase the risks, and how a punch line can be your best friend.
On Saturday afternoon I'm teaching one of the popular DYI: Do Yourself Independence workshops about Self-Publishing Savvy: Why, How, Where, What You Need to Know. This is what it's about:
Self-publishing is big. It’s easy. Everyone’s doing it. But is it the right course for you? This workshop will give you information to help you ask the right questions and make good choices. You will learn about self-publishing options, their pros and cons, and get resources for finding out more. In this day of Do Yourself Independence, there is no one right answer. You may find there is a different answer for each of your projects. The only “right” answer is to be as informed as possible.
What other workshops are there? Beginning at 9 a.m. until 5 p.m., there are at least three 90-minute workshops running all the time. There are also "Read and Critique" sessions, which are helpful in two ways. They are, of course, wonderful for feedback on your work, but most importantly, they are models for how to run a working writers' group. Their rules are the best. "Rogue Sessions" are offered at the end of the day - they are Read & Critique sessions that run from 9 p.m. until everyone is too tired to continue (some of these have gone until 6 the next morning).
There are special speakers first thing in the morning and last thing before the Rogue Sessions start. The speakers are usually not huge names. They have come into the publishing industry fairly recently, during its evolution, and know what we are facing. These speakers have been where we are, remember the hard times and the struggle and can at least show us how they managed it. They inspire us.
I'm telling you, if you live around southern California and are either a writer or are thinking about writing, you need to come. You'll learn so much.
Sunday, October 21, 2012
I need me some moves
I'm at a loss.
I've decided to embrace this self-publishing gig. Got my own little press, with its own little logo. Even got a business license, just so I'm legit.
I realize that authors and publishers do two different things. Authors create the product. Publishers package and promote the product. Two different hats must be worn. They cannot be worn simultaneously.
So while my third mystery, The Hot Mess, is in the hands of an editor and the cover art is in progress by my designer, I'm doing publisher things like writing the jacket blurb and thinking about how and when to release it in its various incarnations.
And don't forget promotion. How am I going to drum up interest in this thing?
It occurred to me that maybe I could get one or two of my more famous author friends to read an advance copy and give me a blurb for the jacket (note: only if they liked it). Something I could use in my advertising. Put on my website. Put on a banner and fly from a rented airplane. You know, the usual routine.
I met a fairly well-known and very established mystery author recently. Not Sue Grafton famous, but famous within her sub-genre. We spoke at length, exchanged emails and got along like peas in a pod. Perhaps she could help me with a little statement about how wonderful my book is.
But I don't ask for something without offering fair value. I purchased one of her books and read it, planning to first praise it to the heavens in an email and posting a good review on Amazon before asking for a blurb.
Imagine my chagrin when I discovered I didn't like the book. I looked at the reviews on Amazon and quite a few reviewers had the same problems I had, which only made me feel worse, because I thought maybe it was just me. It wasn't.
Here's the thing: I was struck by her aura, for lack of a better term, when we met. She was not snobby, or narcissistic. She was just An Author. Period. If I had written this book and given it to my beta readers, they would have ripped me to little bite-sized pieces. Not only did she get a contract, but the way she spoke, it would never occur to her that she wouldn't get a contract for any book she decided to write.
What she has is what I lack, and I don't mean the contract. I mean the swagger of being an author, the ownership that you write books for the world to read and you're confident they will all love them, and if they don't, you'll cry all the way to the bank. Every time I attempt this, I start feeling way too precious for my own skin and abandon it in favor of a hearty laugh.
Any suggestions, Authors? How does one go about developing the external presentation, the thing that announces to the world that of course you are An Author of Some Importance without letting it take you over until no one wants to talk to you? Do I need moves like Jagger or something?
I'm seriously looking for some suggestions. And blurbs. I wouldn't mind having some blurbs.
I've decided to embrace this self-publishing gig. Got my own little press, with its own little logo. Even got a business license, just so I'm legit.
I realize that authors and publishers do two different things. Authors create the product. Publishers package and promote the product. Two different hats must be worn. They cannot be worn simultaneously.
So while my third mystery, The Hot Mess, is in the hands of an editor and the cover art is in progress by my designer, I'm doing publisher things like writing the jacket blurb and thinking about how and when to release it in its various incarnations.
And don't forget promotion. How am I going to drum up interest in this thing?
It occurred to me that maybe I could get one or two of my more famous author friends to read an advance copy and give me a blurb for the jacket (note: only if they liked it). Something I could use in my advertising. Put on my website. Put on a banner and fly from a rented airplane. You know, the usual routine.
I met a fairly well-known and very established mystery author recently. Not Sue Grafton famous, but famous within her sub-genre. We spoke at length, exchanged emails and got along like peas in a pod. Perhaps she could help me with a little statement about how wonderful my book is.
But I don't ask for something without offering fair value. I purchased one of her books and read it, planning to first praise it to the heavens in an email and posting a good review on Amazon before asking for a blurb.
Imagine my chagrin when I discovered I didn't like the book. I looked at the reviews on Amazon and quite a few reviewers had the same problems I had, which only made me feel worse, because I thought maybe it was just me. It wasn't.
Here's the thing: I was struck by her aura, for lack of a better term, when we met. She was not snobby, or narcissistic. She was just An Author. Period. If I had written this book and given it to my beta readers, they would have ripped me to little bite-sized pieces. Not only did she get a contract, but the way she spoke, it would never occur to her that she wouldn't get a contract for any book she decided to write.
What she has is what I lack, and I don't mean the contract. I mean the swagger of being an author, the ownership that you write books for the world to read and you're confident they will all love them, and if they don't, you'll cry all the way to the bank. Every time I attempt this, I start feeling way too precious for my own skin and abandon it in favor of a hearty laugh.
Any suggestions, Authors? How does one go about developing the external presentation, the thing that announces to the world that of course you are An Author of Some Importance without letting it take you over until no one wants to talk to you? Do I need moves like Jagger or something?
I'm seriously looking for some suggestions. And blurbs. I wouldn't mind having some blurbs.
Monday, June 11, 2012
Yes, Sirree, I'm going places
Namely, I'm going to the Santa Barbara Writer's Conference tomorrow (that's Tuesday the 12th). Apart from speaking on a panel, I've never actually attended this conference, so I'm going to recommend it with the following caveat: it's run by some truly wonderful writers/editors/publishers/word enthusiasts, so I expect nothing but excellence from them.
Sadly, it's too late to register (the conference started on Saturday and ends this Thursday), but put it on your radar for next year. It's expensive, mostly because it's almost a week long, but it looks like you get a lot of bang for your buck. Plus, it's in Santa Barbara, which is beautiful.
I'm going to be one of a few people talking about being the entrepreneurial author. I've been thinking about it recently, and I've decided I'm the accidental indie. Self-publishing was the furthest thing from my mind until I wanted to publish a book of my columns and no one wanted to touch it. After I published What Would Erma Do? I still vowed that my mysteries would travel the traditional path.
It took several months of cumulative information about the publishing industry to get me to walk out on that skinny limb and self-pub Hit or Missus. Was it a rousing success that catapulted me to stardom and fame? Yeah, not so much. It's been more of a roller coaster, up one month and down the next, as I try different marketing tactics.
But I wouldn't trade the journey for the traditional route now. I love having control of my covers, my titles, and my marketing. I don't want to "never say never" to traditional publishing, but for right now, this is the right path for me.
One of the things that seems to make a difference is offering a one-day freebie on Kindle. Sales usually rise for the rest of the month. This is why I'm offering Hit or Missus for free tomorrow (that's Tuesday the 12th). If you're smart, you'll grab it up for your Kindle. If you're kind, you'll buy it (LOL).
In keeping with my embrace of self-publishing, I've decided to create a "home" for my books, as in an official press name. The first name I thought of was completely fitting: Dancing Corgi Press. I've had Joe Felipe hard at work designing a logo for me. So far, this is my favorite (but I still might want to mess with the font):
What say you?
Sadly, it's too late to register (the conference started on Saturday and ends this Thursday), but put it on your radar for next year. It's expensive, mostly because it's almost a week long, but it looks like you get a lot of bang for your buck. Plus, it's in Santa Barbara, which is beautiful.
It took several months of cumulative information about the publishing industry to get me to walk out on that skinny limb and self-pub Hit or Missus. Was it a rousing success that catapulted me to stardom and fame? Yeah, not so much. It's been more of a roller coaster, up one month and down the next, as I try different marketing tactics.
One of the things that seems to make a difference is offering a one-day freebie on Kindle. Sales usually rise for the rest of the month. This is why I'm offering Hit or Missus for free tomorrow (that's Tuesday the 12th). If you're smart, you'll grab it up for your Kindle. If you're kind, you'll buy it (LOL).
 |
| Mikey, RIP, a Corgi |
 |
| Duffy, also a Corgi |
What say you?
Friday, July 29, 2011
I can rite gudder
Which of the following is true?
1. Self-published books are badly written by writers who are too anxious to be published.
2. Self-published books are carefully crafted by writers who take pride in their work.
3. Self-publishing will always have a mix of both badly written and well written books, but the cream will eventually rise to the top, as discerning readers go for the good books.
4. No, it won't, because most readers don't care about good writing, they only care about a good story.
You know the answer: they're all true, except possibly Number 3.
Authors keep saying that in the wake of the millions of books being tossed up on various e-sites, readers will become the gatekeepers and decide what's worth reading. The good books will rise and the bad will fade away. This may be true, but their idea of readable may astonish some authors.
I've taken the rules of writing good fiction to heart. When I edit my books, I look carefully for point-of-view problems, passive phrasing, and conflicting gerunds ("Running to his car, he drove after her" - he's either running or driving, but not both). I try to make my books pull the reader from the first page to the last. I work hard to show, instead of tell. My books take me kind of a long time to write, relative to some authors, because I do care about using the right word and phrasing things JUST SO.
The rules constantly tick in my head, though, when I'm reading other people's books. If there's a POV problem, it bugs me. Overuse of "was" makes me cranky. I'm aware of the author telling me the story instead of letting me live it with the characters.
"Bravo," you writers say. "You should look for quality."
What do you say when books that do not follow these rules sell better and have higher rankings than the well-written ones? You can't dismiss the thousands of readers who liked them.
Here's the thing - readers want a good story, period. As long as they are not wading through a battlefield of typos and bad grammar, they are not attuned to that stray sentence where the author entered someone else's head. They don't care so much whether the author has the "wassies". They are not reading the book on that extra Writer Radar level, so they can just dig in and enjoy.
I admit it: I'm a snooty-patootie writer. This is why, years ago, I picked up the first Twilight book while waiting in line at a bookstore, read the first page, and said, "Gah, I couldn't wade through this if you paid me." Passivity, wrapped in the unending thoughts of an annoying, angst-ridden teen.
But there are millions of teens out there, and soon-to-be teens, and they are all angst-ridden. They know this girl, know that the universe revolves around her, because it revolves around them, and they will go on this journey because if it ends well, they triumph and if it ends badly, they can wallow in it.
And, of course, who can resist a glittery vampire?
I may not be able to read it, but I can't argue with millions of fans who did and loved it and didn't care if the writing has been pronounced bad by other best-selling authors. So what can I do with the knowledge that only a select few really care whether I dump an entire paragraph because I've entered the cat's head and Peri can't possibly "know" that he's feeling tired or crabby or ANYTHING? Does it matter? Or should I just push stories out of my fingertips, get them up on Kindle and Smashwords, and keep the books flowing?
In the end, it matters to me. It's like telling someone with OCD to just stopping washing his hands three times and only do it once. You may take the soap away, but he'll wander around all day, unable to concentrate, because his hands are itching to be washed two more times. It took me a good long time to realize those rules were important, and I'm not about to ditch them now.
Maybe readers don't care about all the rules, but I'm still betting they are more entertained by a book with a good story that reads well, even if they can't tell you why it does. They are always going to go for the good story first, though.
That's the cream that will rise to the top.
1. Self-published books are badly written by writers who are too anxious to be published.
2. Self-published books are carefully crafted by writers who take pride in their work.
3. Self-publishing will always have a mix of both badly written and well written books, but the cream will eventually rise to the top, as discerning readers go for the good books.
4. No, it won't, because most readers don't care about good writing, they only care about a good story.
You know the answer: they're all true, except possibly Number 3.
Authors keep saying that in the wake of the millions of books being tossed up on various e-sites, readers will become the gatekeepers and decide what's worth reading. The good books will rise and the bad will fade away. This may be true, but their idea of readable may astonish some authors.
I've taken the rules of writing good fiction to heart. When I edit my books, I look carefully for point-of-view problems, passive phrasing, and conflicting gerunds ("Running to his car, he drove after her" - he's either running or driving, but not both). I try to make my books pull the reader from the first page to the last. I work hard to show, instead of tell. My books take me kind of a long time to write, relative to some authors, because I do care about using the right word and phrasing things JUST SO.
The rules constantly tick in my head, though, when I'm reading other people's books. If there's a POV problem, it bugs me. Overuse of "was" makes me cranky. I'm aware of the author telling me the story instead of letting me live it with the characters.
"Bravo," you writers say. "You should look for quality."
What do you say when books that do not follow these rules sell better and have higher rankings than the well-written ones? You can't dismiss the thousands of readers who liked them.
Here's the thing - readers want a good story, period. As long as they are not wading through a battlefield of typos and bad grammar, they are not attuned to that stray sentence where the author entered someone else's head. They don't care so much whether the author has the "wassies". They are not reading the book on that extra Writer Radar level, so they can just dig in and enjoy.
I admit it: I'm a snooty-patootie writer. This is why, years ago, I picked up the first Twilight book while waiting in line at a bookstore, read the first page, and said, "Gah, I couldn't wade through this if you paid me." Passivity, wrapped in the unending thoughts of an annoying, angst-ridden teen.
But there are millions of teens out there, and soon-to-be teens, and they are all angst-ridden. They know this girl, know that the universe revolves around her, because it revolves around them, and they will go on this journey because if it ends well, they triumph and if it ends badly, they can wallow in it.
And, of course, who can resist a glittery vampire?
I may not be able to read it, but I can't argue with millions of fans who did and loved it and didn't care if the writing has been pronounced bad by other best-selling authors. So what can I do with the knowledge that only a select few really care whether I dump an entire paragraph because I've entered the cat's head and Peri can't possibly "know" that he's feeling tired or crabby or ANYTHING? Does it matter? Or should I just push stories out of my fingertips, get them up on Kindle and Smashwords, and keep the books flowing?
In the end, it matters to me. It's like telling someone with OCD to just stopping washing his hands three times and only do it once. You may take the soap away, but he'll wander around all day, unable to concentrate, because his hands are itching to be washed two more times. It took me a good long time to realize those rules were important, and I'm not about to ditch them now.
Maybe readers don't care about all the rules, but I'm still betting they are more entertained by a book with a good story that reads well, even if they can't tell you why it does. They are always going to go for the good story first, though.
That's the cream that will rise to the top.
Thursday, June 23, 2011
Dragging my feet... until I jumped
I did not want to be a self-published author.
In the old days, I saw what self-published authors produced. God love 'em, for all their good intentions, there was a sea of poorly written, badly formatted, cheaply bound dreck out there, all with hideous covers. My dear, departed uncle wrote a few books like that. He was a really good artist, but not such a good writer. I loved him, but couldn't bring myself to buy his books.
Thank you, no. I'll find a real publisher. Which I did, for FREEZER BURN. The book turned out really nice and I'll always be grateful for the experience. But for the next book, I decided I wanted to try something different.
Back when I was slogging my way through the writing of HIT OR MISSUS, I had this idea for a book of my newspaper columns. I wanted to write a kind of memoir around them and talk about how I got the job, the ideas for some of the columns, feedback from readers, etc. I'd call it WHAT WOULD ERMA DO? Referring, of course, to the great lady herself, Erma Bombeck, with whom I share a birthday.
I approached agents and publishers, who all said, "That sounds interesting. The thing is, you're not famous. Call us when you're Dave Barry."
First of all, I'm pretty sure that's identity theft. Second, I don't think my husband wants to be married to Dave.
When I had almost given up, I met up with a friend who is a prolific and very traditionally published writer. She had recently gotten the rights back to some of her titles, so she threw them onto the Kindle for consumption and was selling a lot. I mean, A LOT. Like, in a very short time, she was able to pay bills with her monthly income.
Hmm. Think-think-think. I already had a readership for my columns. My book of columns was a departure from my novel. I've already been published by a legitimate publishing house. What would it hurt to do my column book on my own?
I researched the online tools, hired an artist to do the cover, and threw WHAT WOULD ERMA DO to the masses as a paperback and an e-book.
And just like that, I was self-pubbed.
In the meantime, I finished HIT OR MISSUS and shopped it around. The entire time I was trying to find it a home, my FREEZER BURN readers were tapping me on my cyber-shoulder. "When's the next one coming out?" was their common question. Agents loved my story. They praised the pacing, the dialogue, the characters. However, it wasn't "right" for them at the moment. I knew what this meant. Agents need to sell to the big houses, and the big houses aren't buying midlist authors because they're only interested in The Blockbuster. I'm no idiot. HIT OR MISSUS is a good, solid, midlist mystery.
So, once again, I took the reins in my own hands. It was easier the second time around. I knew how to do pre-promotion work, how to format the book better, etc.
Suddenly, I wasn't just self-pubbed, I was an Indie Author.
As I prepared for the Santa Barbara Writer's Conference, I thought about how far my thinking had come and what it meant to me. There is still a lot of dreck out there, and the hope is that readers will discover the non-dreck, but in the meantime, the indie authors who want to not only succeed in the business but also raise self-publishing out of the mire and into the mainstream must push themselves constantly toward perfection. Our books must be high quality, in both content and form. We must write better than our best work, to show the world that Indie Authors are serious about their craft.
And then I thought about my life. I won't get embarrassingly personal, but I was raised in a very co-dependent home with a closet alcoholic and a family full of people who wanted to be in the middle of my brain at all times. Psychologically, people raised this way spend their lives trying REALLY HARD to appear NORMAL, which means they end up as overachievers.
After that, I worked as an engineer for years, in a field populated by a lot (not all) of men. Our employer made certain our pay was equal and harassment was treated seriously, etc. But there was an understanding about what women could do versus men: the guy sitting next to me could be an aggravating slob and they'd call him assertive. If I did it, I was a bitch.
So I've learned to work harder and smarter, just to be considered equal to those around me. Do I have to continue doing this to convince people my books are as good as the authors at Random House?
Bring it on. I'm not afraid of a little work.
In the old days, I saw what self-published authors produced. God love 'em, for all their good intentions, there was a sea of poorly written, badly formatted, cheaply bound dreck out there, all with hideous covers. My dear, departed uncle wrote a few books like that. He was a really good artist, but not such a good writer. I loved him, but couldn't bring myself to buy his books.
Thank you, no. I'll find a real publisher. Which I did, for FREEZER BURN. The book turned out really nice and I'll always be grateful for the experience. But for the next book, I decided I wanted to try something different.
Back when I was slogging my way through the writing of HIT OR MISSUS, I had this idea for a book of my newspaper columns. I wanted to write a kind of memoir around them and talk about how I got the job, the ideas for some of the columns, feedback from readers, etc. I'd call it WHAT WOULD ERMA DO? Referring, of course, to the great lady herself, Erma Bombeck, with whom I share a birthday.
I approached agents and publishers, who all said, "That sounds interesting. The thing is, you're not famous. Call us when you're Dave Barry."
First of all, I'm pretty sure that's identity theft. Second, I don't think my husband wants to be married to Dave.
When I had almost given up, I met up with a friend who is a prolific and very traditionally published writer. She had recently gotten the rights back to some of her titles, so she threw them onto the Kindle for consumption and was selling a lot. I mean, A LOT. Like, in a very short time, she was able to pay bills with her monthly income.
Hmm. Think-think-think. I already had a readership for my columns. My book of columns was a departure from my novel. I've already been published by a legitimate publishing house. What would it hurt to do my column book on my own?I researched the online tools, hired an artist to do the cover, and threw WHAT WOULD ERMA DO to the masses as a paperback and an e-book.
And just like that, I was self-pubbed.
In the meantime, I finished HIT OR MISSUS and shopped it around. The entire time I was trying to find it a home, my FREEZER BURN readers were tapping me on my cyber-shoulder. "When's the next one coming out?" was their common question. Agents loved my story. They praised the pacing, the dialogue, the characters. However, it wasn't "right" for them at the moment. I knew what this meant. Agents need to sell to the big houses, and the big houses aren't buying midlist authors because they're only interested in The Blockbuster. I'm no idiot. HIT OR MISSUS is a good, solid, midlist mystery.
So, once again, I took the reins in my own hands. It was easier the second time around. I knew how to do pre-promotion work, how to format the book better, etc.
Suddenly, I wasn't just self-pubbed, I was an Indie Author.
And then I thought about my life. I won't get embarrassingly personal, but I was raised in a very co-dependent home with a closet alcoholic and a family full of people who wanted to be in the middle of my brain at all times. Psychologically, people raised this way spend their lives trying REALLY HARD to appear NORMAL, which means they end up as overachievers.
After that, I worked as an engineer for years, in a field populated by a lot (not all) of men. Our employer made certain our pay was equal and harassment was treated seriously, etc. But there was an understanding about what women could do versus men: the guy sitting next to me could be an aggravating slob and they'd call him assertive. If I did it, I was a bitch.
Bring it on. I'm not afraid of a little work.
Friday, April 1, 2011
Out of the frying pan...
I don't know what kind of fire I'm leaping into, but it can't be worse than the dance I've been doing in the Teflon.
For months now, I've been shopping my second Peri Minneopa Mystery book around to agents. Several asked for a full manuscript, which was heartening. Knowing agents (from other author tales), I knew I could have a long wait before they responded.
In the meantime, the publishing world has gone - wild? off-kilter? broken the chains of its corporate oppressors? I don't know how to describe it. If you live under a rock, you haven't heard that Borders declared bankruptcy and will probably pay pennies on the dollars they owe publishing houses. Barry Eisler, thriller-writer-extraordinaire, turned down a $500,000 advance in order to self-publish. Amanda Hocking, self-published-wonder-kid, who sold over a million books, was offered a $2 million deal from a publisher.
It's a crazy time to be a writer, with lots of columns on the menu of publishing choices.
I self-pubbed What Would Erma Do? because the agents/publishers I approached didn't think they could sell it, due to my lack of fame. I knew I had a platform, and an inkling of how to get the word out on the internet, so I thought I could just do it on my own. I hired the wonderful Joe Felipe to design my cover, worked with Createspace and Amazon's Digital Platform services, figured out how to upload to Smashwords, and started working the Inter-Network. Facebook, Twitter, Amazon discussion boards, Kindle Boards, other blogger's blogs, you name it.
The worst part of self-publishing is watching your book languish, and fall, in the Amazon rankings because no one is buying it. I swear, I could hear crickets chirping every time I logged into my account. But Michele Scott told me it takes time, so I'm attempting patience.
Now I'm starting to see one Erma e-book sale a day. No, it's not an avalanche. But it's one more than yesterday. Color me optimistic.
Back to the subject at hand: my second Peri book. While waiting for agents and listening to more than one person ask when the second book will be out, I began thinking. I have a cover artist. I know how to use the tools. Why not self-pub the second one?
As you can imagine, the entrepreneur angel and the traditional-book-deal angel started an argument of epic proportions in my head. My little traditional heart wanted to be able to say, "Why, yes, it will be released by Penguin next February," in that smugly humble way of authors. My desire to keep the Peri stories going said, "Screw that. Michele Scott's not afraid of being self-pubbed. Neither is Eisler, or Konrath, or a host of other really good writers. Get your work out there."
I was almost convinced to go ahead and self-publish, but there was one more avenue I wanted to try. There is a boutique publishing company that I admire a lot. I decided to submit to them. If they said no, I'd go it alone, and forget about the agents.
They said no. Not because of my writing. They really liked my writing, and thought the book could do well. They're just booked for the next 18 months or so and didn't think I'd want to wait until 2013 for a release, which is true. They've been nothing but kind and I'll continue to support them.
So right now, I'm working with Joe on cover art and giving the manuscript yet another scrutiny, mostly because I always think I can do better. I will keep everyone in the loop about when Hit or Missus will be available, and yes, I'll make it available in paperback and e-book format.
In the meantime, got any opinions about the cover? I like these two samples, for different reasons (forgive the horrible quality of the pictures - Joe and I work from pdf versions first, and the only way I can get them into the post is to scan a printout - lame, I know).
I like the block color format of this one, and the title in red. My only issue with it is the crack in the martini glass isn't AS vivid as the cover below.
I like the dark, edgy quality to this, and the way the crack in the glass is easy to see. I think my name needs to be smaller, and one of my friends thought the red slash was a red carpet and it didn't make sense to her.
Would anyone like to give me their opinion? About the covers, I mean. Actually, I guess you can give me your opinion about anything. But I could use some advice about the covers.
Is it warm in here, or is it just me?
For months now, I've been shopping my second Peri Minneopa Mystery book around to agents. Several asked for a full manuscript, which was heartening. Knowing agents (from other author tales), I knew I could have a long wait before they responded.
In the meantime, the publishing world has gone - wild? off-kilter? broken the chains of its corporate oppressors? I don't know how to describe it. If you live under a rock, you haven't heard that Borders declared bankruptcy and will probably pay pennies on the dollars they owe publishing houses. Barry Eisler, thriller-writer-extraordinaire, turned down a $500,000 advance in order to self-publish. Amanda Hocking, self-published-wonder-kid, who sold over a million books, was offered a $2 million deal from a publisher.
It's a crazy time to be a writer, with lots of columns on the menu of publishing choices.
I self-pubbed What Would Erma Do? because the agents/publishers I approached didn't think they could sell it, due to my lack of fame. I knew I had a platform, and an inkling of how to get the word out on the internet, so I thought I could just do it on my own. I hired the wonderful Joe Felipe to design my cover, worked with Createspace and Amazon's Digital Platform services, figured out how to upload to Smashwords, and started working the Inter-Network. Facebook, Twitter, Amazon discussion boards, Kindle Boards, other blogger's blogs, you name it.
The worst part of self-publishing is watching your book languish, and fall, in the Amazon rankings because no one is buying it. I swear, I could hear crickets chirping every time I logged into my account. But Michele Scott told me it takes time, so I'm attempting patience.
Now I'm starting to see one Erma e-book sale a day. No, it's not an avalanche. But it's one more than yesterday. Color me optimistic.
Back to the subject at hand: my second Peri book. While waiting for agents and listening to more than one person ask when the second book will be out, I began thinking. I have a cover artist. I know how to use the tools. Why not self-pub the second one?
As you can imagine, the entrepreneur angel and the traditional-book-deal angel started an argument of epic proportions in my head. My little traditional heart wanted to be able to say, "Why, yes, it will be released by Penguin next February," in that smugly humble way of authors. My desire to keep the Peri stories going said, "Screw that. Michele Scott's not afraid of being self-pubbed. Neither is Eisler, or Konrath, or a host of other really good writers. Get your work out there."
I was almost convinced to go ahead and self-publish, but there was one more avenue I wanted to try. There is a boutique publishing company that I admire a lot. I decided to submit to them. If they said no, I'd go it alone, and forget about the agents.
They said no. Not because of my writing. They really liked my writing, and thought the book could do well. They're just booked for the next 18 months or so and didn't think I'd want to wait until 2013 for a release, which is true. They've been nothing but kind and I'll continue to support them.
So right now, I'm working with Joe on cover art and giving the manuscript yet another scrutiny, mostly because I always think I can do better. I will keep everyone in the loop about when Hit or Missus will be available, and yes, I'll make it available in paperback and e-book format.
In the meantime, got any opinions about the cover? I like these two samples, for different reasons (forgive the horrible quality of the pictures - Joe and I work from pdf versions first, and the only way I can get them into the post is to scan a printout - lame, I know).
I like the block color format of this one, and the title in red. My only issue with it is the crack in the martini glass isn't AS vivid as the cover below.
I like the dark, edgy quality to this, and the way the crack in the glass is easy to see. I think my name needs to be smaller, and one of my friends thought the red slash was a red carpet and it didn't make sense to her.
Would anyone like to give me their opinion? About the covers, I mean. Actually, I guess you can give me your opinion about anything. But I could use some advice about the covers.
Is it warm in here, or is it just me?
Tuesday, December 2, 2008
Christmas shopping and other stuff
I have a couple of topics to discuss here, and both need input. Yes, I suppose I could stretch this into two blogs, or talk about one here and another at one of my other blogs (http://gaylesbookshelf.wordpress.com/ and http://www.myspace.com/gaylesoo), but I've got other stuff to do today and I'm not a patient woman.
On publishing my memoir of columns: Now that I'm considering self-publishing my book of columns, I get an email from Publishers Weekly (yes, I'm one of their close, personal, mass mailing friends) about a deal being offered by BookSurge. Has anybody published with them? I need stories, anecdotes - give me the good, the bad, and the OMG ugly, please!
On Christmas shopping: Yes, I want to give books for Christmas. In particular, I usually give my dad a book for Christmas. He lives 2008 miles away, is approaching 80, and we have a strained relationship, so every year I find a book on Amazon about WWII, have it wrapped by the Amazon elves and shipped to him, and my conscience is clear. Dad's in very ill health. I think he'd like to die if he could just figure out how to stop breathing. I'm wondering if he's too ill and blind to even read anymore, but I can't think of anything else to buy him. Last year, we made a DVD of my son singing and playing guitar (my dad played), but he never indicated whether he liked it or not, so I'm back to the book idea. The question is: anybody know any good WWII books IN LARGE PRINT for a Christmas gift for Dad?
On publishing my memoir of columns: Now that I'm considering self-publishing my book of columns, I get an email from Publishers Weekly (yes, I'm one of their close, personal, mass mailing friends) about a deal being offered by BookSurge. Has anybody published with them? I need stories, anecdotes - give me the good, the bad, and the OMG ugly, please!
On Christmas shopping: Yes, I want to give books for Christmas. In particular, I usually give my dad a book for Christmas. He lives 2008 miles away, is approaching 80, and we have a strained relationship, so every year I find a book on Amazon about WWII, have it wrapped by the Amazon elves and shipped to him, and my conscience is clear. Dad's in very ill health. I think he'd like to die if he could just figure out how to stop breathing. I'm wondering if he's too ill and blind to even read anymore, but I can't think of anything else to buy him. Last year, we made a DVD of my son singing and playing guitar (my dad played), but he never indicated whether he liked it or not, so I'm back to the book idea. The question is: anybody know any good WWII books IN LARGE PRINT for a Christmas gift for Dad?
Friday, November 21, 2008
What should I write about?
Everyone knows about my book that's with Echelon Press and will be published whenever it's ready, whatever that means. All I know is that I've been through the editing rounds. Perhaps we're on to the swimsuit competition next. And if you've read even one of these blogs, you know about the accidental romance locked up in a folder on my laptop (yes, and on my backup drive).
But what you don't know is that there is a third book out there, and I don't mean the one I'm currently writing.
Every week, I write an essay for my very local newspaper, the Placentia News-Times. It's a mostly humorous look at my life in and around Orange County, and what my husband and son do to frustrate me. I've been doing this for almost four years now, and I enjoy it, which is why I still do it. I have a small, devoted following, some of whom ask why I don't put out a book of my columns.
Well, why don't I?
I haven't (yet) for a few reasons. The first is because I don't want a book of columns that looks like every other book of columns. The second reason is that there are lots of books of columns out there and I'm not certain I could be competitive enough. The third is that the traditional publishers I have approached with my idea of a book of columns have all said, "Um, no. No, thanks."
That being said, the idea still festers in my mind, so here is how I've been mitigating all of these obstacles:
1. Instead of tossing a bunch of columns together and calling it a book, I've written a sort of memoir that takes the reader through my journey as a columnist. It begins with why I wanted to do it in the first place, goes through how I landed the gig, and ends somewhere around my third editor. It's a chronological look at how I come up with ideas, how I deal with hate letters, etc. I've tentatively named it, "What Would Erma Do?" (Subtitle: Adventures of a First-time Humor Columnist)
2. I've considered self-publishing this book. Several experts, including Gordon Kirkland (humor essayist and author) and Michael Steven Gregory (director of Southern California Writers Conference) have encouraged me to look into this option, instead of trying to find a traditional publisher. The problem with this genre is that most publishers don't know how to market it, unless you are a FAMOUS essayist. So, Dave Barry shouldn't have any problem. I know that makes him feel better.
3. How do I make it competitive enough? Here's the really hard brick wall I've got to find a way around. I suppose I've got as strong a platform as someone like me can have, trying to claw my way out of the millions (billions?) of bloggers/websites/twitterers and make my voice heard. But a traditional publisher supplies that extra "oomph" that self-publishing does not. It's not just Gayle walking the aisles of the bookstore and handing out bookmarks. It's Gayle's publisher telling everyone, "Hey, read this! You'll like it!" Granted, I don't believe that it's the publisher's job to do all the publicity, but I do see it as being able to stand up to the neighborhood bully because your big brother is behind the door.
Lately, I've been throwing everything I've got into my novel, which is probably driving Karen Syed, my publisher, crazy (from 3,000 miles away, I can hear her thinking, "Gayle, relax, will ya?") but in February I'll go to the SCWC conference in San Diego. There will be some agents there who are looking for nonfiction works, so naturally, I'm tempted to submit my book of columns to them. Because at the end of the day, I'd like to get it published traditionally, by a reputable press.
Who thinks I'm insane? Can I see a show of hands?
But what you don't know is that there is a third book out there, and I don't mean the one I'm currently writing.
Every week, I write an essay for my very local newspaper, the Placentia News-Times. It's a mostly humorous look at my life in and around Orange County, and what my husband and son do to frustrate me. I've been doing this for almost four years now, and I enjoy it, which is why I still do it. I have a small, devoted following, some of whom ask why I don't put out a book of my columns.
Well, why don't I?
I haven't (yet) for a few reasons. The first is because I don't want a book of columns that looks like every other book of columns. The second reason is that there are lots of books of columns out there and I'm not certain I could be competitive enough. The third is that the traditional publishers I have approached with my idea of a book of columns have all said, "Um, no. No, thanks."
That being said, the idea still festers in my mind, so here is how I've been mitigating all of these obstacles:
1. Instead of tossing a bunch of columns together and calling it a book, I've written a sort of memoir that takes the reader through my journey as a columnist. It begins with why I wanted to do it in the first place, goes through how I landed the gig, and ends somewhere around my third editor. It's a chronological look at how I come up with ideas, how I deal with hate letters, etc. I've tentatively named it, "What Would Erma Do?" (Subtitle: Adventures of a First-time Humor Columnist)
2. I've considered self-publishing this book. Several experts, including Gordon Kirkland (humor essayist and author) and Michael Steven Gregory (director of Southern California Writers Conference) have encouraged me to look into this option, instead of trying to find a traditional publisher. The problem with this genre is that most publishers don't know how to market it, unless you are a FAMOUS essayist. So, Dave Barry shouldn't have any problem. I know that makes him feel better.
3. How do I make it competitive enough? Here's the really hard brick wall I've got to find a way around. I suppose I've got as strong a platform as someone like me can have, trying to claw my way out of the millions (billions?) of bloggers/websites/twitterers and make my voice heard. But a traditional publisher supplies that extra "oomph" that self-publishing does not. It's not just Gayle walking the aisles of the bookstore and handing out bookmarks. It's Gayle's publisher telling everyone, "Hey, read this! You'll like it!" Granted, I don't believe that it's the publisher's job to do all the publicity, but I do see it as being able to stand up to the neighborhood bully because your big brother is behind the door.
Lately, I've been throwing everything I've got into my novel, which is probably driving Karen Syed, my publisher, crazy (from 3,000 miles away, I can hear her thinking, "Gayle, relax, will ya?") but in February I'll go to the SCWC conference in San Diego. There will be some agents there who are looking for nonfiction works, so naturally, I'm tempted to submit my book of columns to them. Because at the end of the day, I'd like to get it published traditionally, by a reputable press.
Who thinks I'm insane? Can I see a show of hands?
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