The Grand Finale

This post, by Lydia Sharp, originally appeared on The Sharp Angle on 11/24/10.

And now we come to one of the absolute toughest parts of any story — the end.

At the break into Act Three the main character(s) has made a proactive decision to go forward with a plan to fix everything that had been ruined up to this point. Looking at Blake Snyder’s beat sheet, there’s only two more beats after that — The Finale and The Final Image (aka the denouement).

The Finale is almost the entire third act, in ONE beat. So… um… what exactly do you do there?

Pretty much whatever you want. This is the part of the story where you take everything you’ve presented in the previous 3/4 (acts one and two) and use it to maximize everything you feel is important about this story.

Which is why I suggested going back and reading through the story before writing Act Three.

By this point, you have a better idea of your theme. You know your MC’s strengths and weaknesses. You know precisely why you felt the need to write this story, and you’ve gotten this far, so now you want to finish it.

This is where all your previous clues become blatantly clear to the reader. You revisit actions, dialogue, thoughts, etc. to drive home the pivotal moment of the climax where everything is set right again.

A superb example of this is in Lauren Oliver’s BEFORE I FALL. The book is only seven chapters long, but each chapter covers a full day in Sam’s life, the same day she keeps re-living. Every day she sees the same things and different things. All of these are clues to the reader, some more obvious than others, that give the ending MAJOR IMPACT. The reader is able to somewhat guess what’s coming, while still being knocked out of their seat when they get to that point. Seriously. I’m personally not super-keen on how that book ended, but I can’t deny how perfectly executed it was… and when I really think about it, it couldn’t have ended any other way and had the same effect. I just don’t like death. (and saying that someone dies at the end doesn’t give anything away, trust me)
 

Read the rest of the post on The Sharp Angle.

The Secrets To Pace In Your Novel

As you write your novel, you’ll find conflict is a key tool in developing the readers’ interest and conflict goes hand-in-hand with the pace of your scenes. If what I call the Read-Speed is slow, the impact of your conflict is much diminished. Further, as an author, you should pay great attention to the speed at which your novel reads. If it’s overall pace or Read-Speed is tedious, the reader will set your book down. Now, there are any number of techniques by which an author can increase the pace of his story and I’ll cover some of the best in this blog post.

One often ignored practice is to manipulate the amount of white space on the page. To clarify what I mean, imagine a sheet of paper filled with text, top to bottom, side to side, one line after the other without breaks. You can visualize how this would overpower the reader, slow the pace and make for difficulty when reading. In contrast, white space makes for a faster read and a better rhythm. The mere fact the reader flips the pages more often also gives the illusion of speed.

Write in short, choppy sentences, in particular when employing dialogue. Your sentences should be meaningful, of course, but quick lines make for faster reading which, in turn, increases the tempo.

One secret often missed is working with sentence fragments, which work well to increase the pace of your writing. Of course, fragments are frowned upon in the writing world, yet the judicious use of them can be quite effective. In those nail-biting scenes that hinge upon the conflict in your novel, well-used and well-positioned fragments can increase the excitement, and thus, the pace of the conflict. Always. Every time. Like this. Use discretion, however, for you can lose control if you’re not careful. In fact, I reviewed a book the other day and put it aside after reading the first paragraph. Its one-sentence construction covered at least two inches of page space, contained four hyphens and three semicolons. It was absolutely unintelligible. The moral is exercise caution when writing in sentence fragments.

You can utilize shorter words to boost the tempo of your story. Anything that slows your reader, slows the pace. Review your four or longer syllable words and consider replacing them with diminutive, or rather, shorter and easier to pronounce synonyms. For example, you might reconsider the use of the word, “antagonism,” when “anger” will suffice.

Be cautious of argot the middling may not twig. That is to say, don’t use terminology your average reader won’t understand. When you force them to take their mind off the story and focus on individual words, their reading slows to a snail’s speed.

Consider the power behind the words you choose. (How many times have we heard this one?) Does your character dream in nightmares or is he haunted by them? I think you can see the power in the word, “haunted” when compared to, “dreams.” As to verbs, consider the difference between someone who “falls” to someone who “collapses”. Falling could mean anything from tripping to going over a cliff. In contrast, “collapse,” assuming it fits the scene, indicates loss of bodily control. If there is no chance your reader will misinterpret what you wrote, they won’t have to reread a sentence to make sense of it. Anytime they reread anything, your pace suffers.

Don’t retell information. Your reader already knows what happened in prior chapters. To loop back to an earlier point in your story will simply slow the reader, and your plot.

Use active voice. Passive voice is a slower read. “He was planning to do the work,” reads slower and with less strength than, “He planned to do the work.” Take your time to learn about active voice. It’s a powerful tool to use when writing your novel.

For more about this subject, consider THIS POST by Gail Martin in her blog titled, “Novel Journey,” or THIS ONE by Roz Denny Fox at her romance blog, “Desert Rose.”

Look to the pace of your novel and your audience will offer better word of mouth advertising in return.

As always, I wish you best-sellers.


This is a reprint from C. Patrick Shulze‘s Author of Born to be Brothers blog.

Interview With April Hamilton and Zoe Winters

This article, by Kristen Tsetsi, originally appeared on Inside The Writers’ Studio on 2/7/11.

Once  looked down on as a path for the untalented, self-publishing (or independent/indie publishing) is becoming an increasingly more respectable way for authors to get their work into the public eye. Some have used it as a stepping stone to a “traditional” publishing deal, while others are content, even happy, to do-it-themselves. Some authors have even found self-publishing to be a viable way to make a living.

April Hamilton and Zoe Winters are two writers who were at the forefront of the “Indie Author” movement. April is the founder of Publetariat, “an online community and news hub built specifically for indie authors and small, independent imprints.” Zoe produces a humorous animated YouTube series called Zoe Who?, which seeks to combat the stigma that still surrounds self-publishing.

In addition to their own works of fiction, April and Zoe have each published informative guides for writers who are considering self-publishing: April’s is called The Indie Author Guide: Self-Publishing Strategies Anyone Can Use and Zoe’s is Smart Self-Publishing: Becoming an Indie Author (click on the pictures for links to purchase). Today, Inside The Writers’ Studio talks to April and Zoe about their books, about the conflict between the traditional and indie publishing worlds, and about what makes a good self-publisher.

PAPER RATS: When did you start writing your book, and how long did it take?

APRIL HAMILTON: The Indie Author Guide began life as a series of free how-to guides I wrote and offered for free on my website. As I kept cranking them out, it wasn’t long before I realized I had more than enough material for a book and decided to collect everything I’d already written, plus a lot of new material, and publish it as a book. All told, it probably took me about five months to author the material and one more month to deal with editing, formatting and publishing.

 

ZOE WINTERS: I really don’t track that sort of thing. Becoming an Indie Author had been a concept for awhile. Then when I took a break from the Internet in October, I decided to get serious about finishing and editing it. Because it spanned a bit of time and sat unworked on for awhile, I don’t really know how long it took. I’m like that about most books. I don’t clock them. They just take as long as they take. I don’t even know how long Blood Lust or any of the novellas took. Time becomes sort of meaningless when you’re on your own schedule.

RATS: Where do you live?

APRIL: I live in Los Angeles, California.

ZOE: Planet Earth. Though there have been rumors I live elsewhere.

RATS: What would you say is the primary focus of your book?

APRIL: The main thrust of The Indie Author Guide is to provide clear, detailed, plain English, step-by-step directions in self-publishing and author platform/book promotion tasks. If I’ve succeeded with this book, anyone with a modicum of computer skills and a willingness to learn can use its content to self-publish in print and ebook formats, and then go on to develop or optimize an author platform and book promotion strategy. The Indie Author Guide is all about empowering individual authors and micro-imprints to tackle publishing and book promotion by providing them with the specific information and instructions they need.

ZOE: Attitude. I give a lot of tips and how-to, but the main focus, besides stripping away all the extra fat to basically say: “okay, this is what you REALLY need to know to get started. Here’s my process…” was the concept of having the right attitude. A lot of the book had personal experiences of mine along the way as well as a lot of troubleshooting and mistakes I’ve made. A lot of it is about this idea that you don’t have to be perfect to do well. You’re going to make some mistakes, everybody does. It’s what you do with them that makes a difference.

RATS: Please share the chapter titles that appear in your book.


Read the rest of the article on Inside the Writers’ Studio.

Self-Publishing Index: Criteria Explained

I thought with the release of the February 2011 Self-Publishing Index that I would try and provide a little more detail behind how the Index is put together and what criteria is used. Each month, I publish a graphic spreadsheet showing the latest Index and how it has changed from the previous month.
 
Here are some of the criteria we use to achieve that Index list:

 
 The latest Review Rating for all author solutions services listed on POD, Self-Publishing & Independent Publishing
This rating (0.00/10) is attributed to all services and can be found at the bottom of all the reviews we publish on the site. It is not set in stone, and can vary as an author solutions service develops and revises its services on offer to authors. At the bottom of every review is a link to updates on the company’s progress – as an example – service price changes, new publishing packages, expanded distribution platforms etc. At the core of all reviews is the ideal basis we look for in all author solutions services, but in reality, the requirements of individual authors will always differ, and therefore a search for an author solutions service scoring 10/10 is purely subjective.
 
 The number of years a company is in operation
This area of the industry has a tendency to see far too many new start-up companies open for business, only to disappear a year or two into existence. As a rule, though we may publish a general overview of a new author solutions service, we do not review and rate companies in existence less than one year.
 
 The cost and value for money of a company’s services
This is entirely arbitrary and always a difficult criteria to nail down. It is not acceptable to say that because company A is cheaper than company B, therefore, they must provide a better service for an author. Likewise, I know companies who charge four-figure fees and provide an excellent service, just as there are companies who charge their authors thousands for a poor book product and exorbitant and pointless add-on services.
 
 Comments and feedback on all author solutions services
Again, this is a complex and large area of appraisal. All published reviews on POD, Self-Publishing & Independent Publishing are open to comment and feedback, as a way of authors expressing their experience and opinion on a company’s services. These comments are freely available at the bottom of all reviews on the site and can often be more telling about a company’s value and reputation than any review, no matter how thorough. It is also an area where the company itself has a right to reply, and many of the reviews have discussion and input from the company in the comments section. I also receive a great deal of feedback privately from authors and companies – week to week – often information I cannot share publicly on the site because of issues of confidentially, including (arbitration or mediation between parties; impending class action law suits or legal process; impending company developments by way of sale, acquisition, administration or bankruptcy).
 
 Titles produced/published per annum
While the Index takes into account the output of any given author solutions service – this criteria is the one we have had to adopt the most complex formula for evaluation. We cannot punish a company producing 10 titles per year over a company producing 1000 titles, but what we can and have done is link it into the company’s review rating, years in service and feedback received. What counts most here is the negativity of a small company’s inactivity over a prolonged period of time, or the negativity of a significant jump in a large company’s publishing output over a relatively short period of time.
 
 Physical product assessment
When we review author solutions services, some are co-operative and will send us titles to review, but this is open to the selectivity of that particular company to choose their ‘best product’, and I prefer to review titles of my choice for paper quality and editorial quality, but that is only of value if the input and financial outlay of the individual author can be ascertained in the first instance.
 
All of the above data is revised and fed into the Self-Publishing Index every month to provide the latest up-to-date Index ranking. New companies are added on an ongoing basis (flotation), and it is advised that a period of time is required to evaluate the true stable ranking of any new company.

 

This is a reprint from Mick Rooney‘s POD, Self-Publishing and Independent Publishing.

Opportunity Doesn’t Knock, It Pounds!

This post, by Mike Shatzkin, originally appeared on the Idea Logical Company blog on 2/5/11.

In a recent post, I contemplated the developing ebook markets around the world, and particularly in Europe, and observed that ten years or more of digitization efforts in the English-speaking world would have a sizeable impact on the ebook markets in other language countries. When I wrote about this earlier, it was to enumerate the challenge I think publishers in other languages should expect to see arising in their own local markets.

Today I want to view that same circumstance from the opposite perspective and consider the opportunity from the standpoint of the English-language publishers, Indeed, it is possible that it is so substantial that it will postpone Armageddon for large general trade houses, whose challenges from the inevitable decline of bookstores have concerned me for several years and which has been the subject or subtext of many posts on this blog.

I want to describe an opportunity which is devilishly difficult to size precisely. We want to know how many candidates to read books in English are in the US, in the rest of the English-speaking countries, and then in the non-English countries. Wikipedia says the world contains 914 million English speakers, of which 251 million are in the US, 232 million in India, and 168 million in the non-English countries in Europe. But that data has provenance of no consistent timing, and the US data, for example, is from the 2000 census.

One source I talked to recently who holds a statistics-oriented job and who has reason to know, insists the world has 600 million native English speakers and 1.4 billion English speakers in other countries. If that were true, the US would have less than a sixth of the total within its boundaries.

The US, by almost anybody’s measure, contains fewer than a third of the world’s English-speaking people. And everybody seems to measure “English- speaking”, not “English-literate.” But the English-literate market in non-English countries, whatever it may be today or when it was measured, is almost certainly growing faster than the native markets are. So if we accept the premise that ebooks ultimately put these potential ebook readers within reach of publishers in America (and Britain, Canada, Australia, and other English-speaking countries, of course), we are watching the access roads being built to a customer base that could double or more what has really been available previously.


Read the rest of the post on the Idea Logical Company blog.

The Ebook Quandary

Last week marked the occasion for the 6th annual Winter Institute presented by the American Booksellers Association for their independent bookseller members. There was a lot of important information shared. I’d like to address how the technology and concepts of e-books are affecting the book industry. First, lets compare the different e-readers from the perspective of independent booksellers.


iOS-based (iPad/iPhone/iPod Touch:
Price= from $499 (iPad) from $99 w/contract (iPhone) from $199 (iPod)
Availability: Apple Store, AT&T, Best Buy, Walmart, etc.
Google Ebooks Compatible: Yes – Google Books App available through App Store
Ingram Ebooks Compatible: Yes – Palm/iPhone format compatible with eReader app (available thru App Store)
Should I recommend it? PROS: Best experience for indie ebook buyers. Both Google and Ingram offer easy access paths to eBooks on iOS devices. Huge existing install base.
CONS: Expensive.
 
 
Android-based (Motorola Droid, Samsung Galaxy Tab, etc.)
Price= from $49 with contract (DROID) $169 (Galaxy)
Availability: Various retailers, online
Google Ebooks Compatible: Yes – Google Books App available through Android Marketplace
Ingram Ebooks Compatible: Yes – Palm/iPhone format compatible with eReader app
Should I recommend it? PROS: Inexpensive, availability of Google
Books app means easy access for your customers. Early reviews are good.
CONS: Not as many of these in the wild yet, and few being used as
e-readers. Expect a lot of growth in the # of these devices in 2011.
 
 
Nook, Nook Color
Price= $149 (Nook) $249 (Nook Color)
Availability: B&N, also Best Buy, Target
Google Ebooks Compatible: Yes – Use Adobe Digital Editions Download option
Ingram Ebooks Compatible: Yes – Adobe Digital Editions format
Should I recommend it? PROS: Both Nook versions have received good reviews. Customers who prefer a dedicated e-reader will find much to like. CONS: Adobe Digital Editions is not nearly as easy to use to sync indie ebook purchases as iOS apps. Wireless download is B&N only.
 
 
Sony Reader
Price= from $149 (Pocket Edition)
Availability: Sony Store, Best Buy
Google Ebooks Compatible: Yes – Use Adobe Digital Editions Download option
Ingram Ebooks Compatible: Yes – Adobe Digital Editions format
Should I Recommend It? PROS: Some unique features (smaller size, touch screen). CONS: Some say these are difficult to use. Adobe Digital Editions sync. Wireless store (on Daily Edition) links only to Sony.
 
 
Kobo
Price= $139
Availability: Borders, other retailers
Google Ebooks Compatible: Yes – Use Adobe Digital Editions Download option
Ingram Ebooks Compatible: Yes – Adobe Digital Editions format
Should I Recommend It? PROS: Inexpensive. CONS: Limited market penetration, Adobe Digital Editions sync.
 
 
Other ereader devices (e.g., Pandigital Novel, COOL-ER, etc.)
Price= Varies
Availability: Varies
Google Ebooks Compatible: Most do support Adobe Digital Editions. For a complete list, see: http://adobe.ly/cgNsDr
Ingram Ebooks Compatible: Same
Should I Recommend It? PROS: Some could be extremely inexpensive. CONS: Wildly varying user experience. Some devices may be buggy. ADE sync.
 
 
Amazon Kindle
Price= from $139
Availability: Amazon, Best Buy, Target, Walmart
Google Ebooks Compatible: NO
Ingram Ebooks Compatible: NO
Should I Recommend It? Customers will not be able to buy books from you for their Kindle.
 
One important factor of the above comparisons is that the very popular Kindle has been purposely limited to Amazon ebook formats only. Obviously this works just fine for Amazon. Last year Amazon sold more ebooks than print books. Another important factor for publishers is that you need to produce your ebooks in all the above formats. That can be expensive if you have to purchase all the format translators. A better way to go is with SmashWords.com. They have a translation software that takes a Word file and automatically translates it to 7+ ereader formats and then distributes them to Amazon, BarnesAndNoble.com, Apple, etc.
 
 
The major publishers have jumped on the ebook bandwagon in a big way. Let’s see who the major players are:
 
Random House 22%
HarperCollins 15%
Hachette 13%
MacMillan 13%
Simon and Schuster 13%
Other 24%
 
 
The top categories are:
General Fiction 12%
Literary Fiction 11.5%
Mystery/Suspense 8%
Sci Fi/Fantasy 7%
 
 
The Average Price Point was $10.83

Pricing of ebooks by publishers has become a major issue arising in two approaches. The Wholesale Model is the traditional approach where the publisher sells to distributors and booksellers at a discounted wholesale price, who in turn resell it. Instead, some publishers are using the Agency Model, where the publisher sells directly to the public and gives an agent commission to the booksellers enabling the sale. Here is how these two models split out last year:

Agency= 55%

Non Agency Discounted= 15%

Non Agency Full Price= 30%

The top ten bestselling ebook titles last year were:

  1. Freedom (MacMillan)
  2. Autobiography of Mark Twain (University of California Press)
  3. Cleopatra (Hatchette)
  4. Squirrel Seeks Chipmunk (Hachette)
  5. Unbroken (Random)
  6. The Girl Who Kicked the Hornet’s Nest (Random)
  7. Moonlight Mile (HarperCollins)
  8. Object of Beauty (Hachette)
  9. Crooked Letter, Crooked Letter (HarperCollins)
  10. Room (Hachette)

Competition is driving some interesting steps forward for ebook selling. Now giant Amazon is being directly challenged by giant Google with their 3,00,000 ebook titles. These will be sold by independent booksellers who use the American Booksellers Association IndieBound.com web hosting system. Ingram is being challenged by their major rival, Baker and Taylor Distributors, who will be selling ebooks within the next two months.

Up till now, small presses and self-publishers have had a fairly clear playing field because their non-traditional capabilities to react to developing technologies quickly. Now the big boys have waded in and are trying to recapture market control. Still, the big guys are still flailing. As a proponent of long-tail marketing, I think the little guys still have the advantage in supporting niche markets. The secrets of future small press successes will be to: keep on top of developing technologies and continue to take advantage of your quick reaction time to industry changes. Indie booksellers have a much more difficult challenge to keep providing beloved print books while figuring out how to sell ebook downloads against Amazon et al.

 

This is a reprint from Bob Spear‘s Book Trends blog.

Free Fiction And The Value Of Our Efforts

The advent of the internet has had many effects, not least of which is giving a voice to pretty much everybody. We’re all sitting at keyboards making noise, like a flock of a billion seagulls fighting over one bag of chips. It’s not a bad thing, as far as I’m concerned. The really strong voices lift above the white noise and everyone gravitates towards those voices that interest them. It’s a big world and an infinite internet, so there’s room in this sandbox for everyone. However, another aspect of that easy online voice is a million wannabe writers posting their stuff online and hoping people will read it. Again, not necessarily a bad thing, but a potentially damaging one for a writer’s career in the long run.

I’m one of those voices, obviously. I’ve got some of my own fiction posted here for anyone to read. I’ve engaged in the Friday Flash phenomenon. Is this damaging for my career? I don’t think so. I think it’s helping my career, by giving potential readers an insight into some of my stuff. I’ve had some nice comments from people about stories they’ve read here. But I’ve engaged in the practice with careful forethought.

I decided to write about this after reading this post on Benjamin Solah’s blog. You may remember that Benjamin guest posted here about a week ago, talking about his experiment self-publishing an ebook of his fiction. The power of the internet gave him some pretty solid and honest feedback very quickly. It can be summed up quite well in these comments on Ben’s post by Jason Fischer:

My two cents is this: trunk stories belong in your trunk. You either take them apart and make them good enough to sell, or you leave them there. Why would you want anyone to see a piece of your writing that isn’t working? If your career takes off, do you *really* want these out there?…

There’s so much fiction out there for the reading, even more with the new e-book markets. As such, it is remarkably easy to slide into the infamous “90% of everything that is crap” of Sturgeon’s Law. You should be aspiring to be in the other 10%, not taking the path of least resistance and self-publishing your unsellable trunk stuff.

Work on the nuts and bolts of your writing first and foremost. Be brutal with your own writing, edit, and edit some more. If you can’t get it to work, trunk it and try something else, and LEAVE IT IN THE TRUNK. You can promote something till the cows come home, but if it’s no good, no-one will want it…

These comments are culled from a longer conversation and it’s worth reading Ben’s post to see the whole discussion. Jason is someone worth listening to – apart from being a top bloke, his advice comes from great experience. He’s made many quality short fiction sales and is a recent winner of Writers Of The Future, among many other awards and nominations. Check him out here.

I agree with his sentiments. So how is what I’ve done with fiction on my site different to Ben’s experiment? There’s one simple difference – all the fiction I’ve made available to read here is previously published somewhere (with a couple of exceptions that I’ll talk about in a minute). Some of it is older stuff published in non-paying markets, but it’s still stuff I’m proud of. Other stories are published in better markets and the links here are directly to sites where the story can be found. The point is that it made it past an editor, so I’ve got unbiased, third party confirmation that it’s worth a read. For that reason, I’m happy to direct people towards it and say, “Here’s some of my writing for you to check out, I hope you like it.” If I wasn’t able to sell that story to an editor, even “sell” it to a for the love market, then I certainly won’t put it up here with a pouty face and a “well, I think it’s good enough” attitude. Because it’s not. Writers are the worst possible critics of their own work. Of course we love everything we write – we wrote it!

If people do like it, with any luck they’ll seek out some of my other stuff, they might take a punt on my novels. Hopefully then they’ll enjoy my books and recommend them to friends or buy copies to give as gifts. Using the same hypothesis, the first three chapters of both my books are available here (just click on book covers to find them) so that people can try before they buy.

The other exercise in free fiction I engaged in was Ghost Of The Black: A ‘Verse Full Of Scum. In an effort to generate return visits to my site and more interest in my fiction, I wrote a 30,000ish word novella in a series of episodes, which I then posted here every Monday during 2008. This was a conscious decision to write a piece of fiction that I had no intention of trying to sell. Rather, it was a deliberate exercise in giving something away to showcase my writing. It’s still available on the Serial Fiction page and it’s also available as an ebook and print book, that I’ve self-published. On the whole it’s been very well received and garnered a few decent reviews. Whether it’s really done much to enhance my career is hard to say, but I certainly don’t think it’s done any damage. Whether I leave it here indefinitely is also hard to say. For now, I’m happy to leave it for people to enjoy. I may take down the Serial Fiction page one day, and just leave the ebook and print edition available for people to buy. I may take those away too at some point. (Leave a comment if you have a particular opinion about that – I’d be interested to know.)

What I haven’t done is post here those stories that I couldn’t sell. Believe me, my story trunk is a dark and nasty place, full of things I really don’t want anyone else to see.

Another example of free, unpublished fiction here comes from my occasional jaunts into the Friday Flash meme. This is essentially a community of writers that post flash fiction on their websites and promote it with the #FridayFlash hashtag through Twitter and Facebook. A lot of those people don’t care about getting published, they’re just happy to be part of a community of likeminded people. Things that I’ve posted on Friday Flash are stories that I’ve decided are a good idea and an entertaining little yarn, but one that I don’t want to spend time trying to sell or expand into a longer piece. They’re all taster stories, exercises in writing and storytelling.

For me, writing is a very serious business. Friday Flash was a brief hobby. I don’t mean to denigrate the community by this statement at all, it’s just my own personal situation now. I’m not likely to post any more Friday Flash – I agree with the comments on Ben’s post that it’s a time-sink and I intend to spend that time on sellable short stories and novels. I’ve had fun with it, but now I’m moving on.

These days I only approach semi-pro and pro markets with my work. I know I can get stuff published in other places, but I’m improving my craft and expecting better results from myself. If I can’t sell a story to at least a semi-pro market, I won’t sell it at all. Nor will I post it here on my website. As the things on my site here attest, I was happy to get acceptances from much smaller markets before. Every writer starts somewhere. But I won’t stay there. I want to improve as a writer and I want to sell my work to better and better places all the time. I intend to be a pro writer, as in, get paid pro rates for my work, and I’ll keep working towards that. Recent sales are bearing out the worth of this endeavour – I’m making better sales all the time. I’m still yet to crack the big time pro markets, but I will one day.

In the meantime, I’m happy to leave the stuff here that I’ve already posted. I may well decide to take it all away at some point. Who knows?

What do you think? Do you appreciate free fiction as a taste of a writer’s work? Are you a writer for or against the idea? Have you had good or bad experiences posting fiction on your site? Do you think I should leave free fiction here or take it away? Leave your comments – I’m interested in people’s thoughts.

 

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

Make Time To Promote Your Book

As a book author, how much time should you devote to promoting your book and yourself each week?

There’s no "right" answer—the amount of time that you can devote to promoting your book depends on a number of factors, including your goals for the book, family responsibilities, and outside job commitments.

In my recent Book Promotion Strategies Survey, 68 percent of the respondents said that they spend 14 or fewer hours a week on book promotion, and 24 percent spend less than five hours a week. Hours

Regardless of how many hours a week you can devote to book promotion, the key is to create a solid book marketing plan, set aside time to promote your book, and make the most out of the time that you have available. Here are some tips:

Prioritize your book promotion tasks. In your book marketing plan, determine which tasks have the highest potential return on investment so that you can concentrate on those areas first. Then set daily, weekly and monthly promotional goals.

Schedule time. Decide how many hours a week you can spend promoting your book and block out time on your calendar every day. If you have a day job, set aside a half hour or an hour on weekday evenings for promoting your book. Even if you just have time for a few quick emails, make sure you do something EVERY DAY to promote your book, so that you don’t lose momentum.

Learn to be more productive. If you need help in learning to manage your time for top productivity, there are lots of resources available. From February 9 to March 9, Ali Brown is offering a 4-part telecourse, Millionaire Time & Productivity Secrets. The course is discounted to $197 through this Friday, February 4. For those of you who don’t know Ali, in just a few short years she has transformed herself from a freelance copywriter to a multi-millionaire business mentor with eight employees, so she must be making excellent use of her time!

Divide and conquer. Break down large projects, like designing your website, into smaller tasks and schedule a specific time to get those tasks done.

Group similar tasks into batches. For example, write several articles at one time, read your email just once or twice a day, and set aside a specific block of time to do your online networking.

Develop routines. Create systems and check lists for repetitive tasks. Save time by creating document templates and standard cover letters that you can re-use by just changing a few words.

Spend a day getting organized. Set up folders to store your computer files and emails. Organize your paper files with folders and three-ring binders. Set up automatic backups for your computer. Make a list of all of your websites, user names, and passwords. Create a database of all your contacts. Set up an electronic or paper system for keeping track of your marketing and article ideas.

Look into time-saving software and services. Spreadsheet programs like Microsoft Excel are ideal for creating lists, budgets, schedules, and databases. If you aren’t familiar with spreadsheets, learn the basics by reading a "Dummies" book or using the help menu.

Consider outsourcing routine tasks if your budget allows. You can hire a virtual assistant or a college student intern, or use a freelance agency such as Odesk.com or Elance.com to hire help.

Reward yourself. Acknowledge how far you’ve come and celebrate your successes!

Don’t be overwhelmed by the myriad of opportunities for promoting your book. Develop a solid plan, get organized, and then implement one thing at a time. You can do it!

 

This is a reprint from Dana Lynn Smith‘s The Savvy Book Marketer.

What Kind of Feedback Do Writers Need? What Helps Them Most?

Our last post had me offering to put your name and Bio and web link in a Special Listing in my forthcoming book.

All it takes is getting the free copy of Notes from An Alien and giving some feedback.

I need to quote part of C. M. Marcum’s comment on that post:

“But we’re such good friends now. Why spoil it?

No, seriously, I have run the gauntlet of writing sites and I have found the relationships to be dreadfully one-sided.”

I think part of that one-sidedness is folks not knowing what writers really need when it comes to feedback. Though, I think C. M. knows exactly what kind of feedback to give, even if it’s not appreciated 🙂

People who give feedback on a WIP [work-in-progress] are sometimes called “beta readers”.

I’ve even known writers who only let beta readers have their WIP if they follow a prepared outline of what questions to answer about the piece.

Personally, the very worst form of feedback is, “Great job!”, and its many variants.

If they meant those words, fine, but what was “great” about it? And, if they didn’t mean it and were thinking they “protected” my feelings, the faux-comment is actually an attack against honesty and fairness. “This sucks!”, is much more welcome…

There’s an interesting discussion about what writers want and need in feedback at the Absolute Write Water Cooler.

One of the most interesting comments was: “Beta readers should be used to critique story effectiveness.”

Exactly! What effect does the writing have on you? What did it make you think? What did it make you feel? What was your response to various characters? Was the storyline understandable? Where did the piece disappoint you? Why did it disappoint you?

Another person in that forum thread said: “…’train’ your beta readers to read with a pencil in hand. Have them mark any section, phrase or word that pops them out of the story, even if they have no idea why it did. Sometimes that’s all you need to see a problem.”

Now that is some excellent advice 🙂

I’ll end this post with some quotes about feedback and critiquing:

“A guest sees more in an hour than the host in a year.”
~ Polish proverb

“Asking a working writer what he thinks about critics is like asking a lamppost how it feels about dogs.”
~ Christopher Hampton

“Constant, indiscriminate approval devalues because it is so predictable.”
~ Kit Reed

“Don’t judge any man until you have walked two moons in his moccasins.”
~ American Indian saying

“It is easy – terribly easy – to shake a man’s faith in himself. To take advantage of that, to break a man’s spirit is devil’s work.”
~ George Bernard Shaw

“He has a right to criticize, who has a heart to help.”
~ Abraham Lincoln

“When critics disagree, the artist is in accord with himself.”
~ Oscar Wilde

“Reprove not a scorner, lest he hate thee; rebuke a wise man and he will love thee.”
~ The Bible

“To escape criticism – do nothing, say nothing, be nothing.”
~ Elbert Hubbard

Please, leave your feedback and criticism in the comments 🙂
[ The Comment Link Is At The Top of The Post :-]
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Writing And The Mixed Blessing Of A Day Job

Many people have asked why I blog and give away so much information for free as well as the inevitable question, how do I make an income. Well, like most of you, I have a day job. I actually work four days a week in the IT department of a multi-national company. Yes, I’m in a cubicle!

My blogging, writing, podcasting, videos and social networking are all still currently an alternative life, although increasingly I feel like it is my ‘real’ life. I’m passionate about writing, books and the publishing industry so I don’t talk much about the day job generally. I am moving towards a tipping point where I could make it full-time as a blogger/writer/speaker but I currently find the day job a mixed blessing, as follows.

  • I can write what I love to write. I’m not driven by the need for money so I don’t have to write freelance. I don’t have to worry about the outcome of what I’m writing because it’s for pleasure, fun and the future. I loved writing Pentecost, I had so much fun. I don’t know if I could have done that without the freedom to write what I love. If I’d been fixated on writing for income, I would have focused on different goals. Writing a novel took a great deal of energy I could have used to write and launch other products for more income, but would not have advanced my fiction writing aspirations.
  • The bills are paid so there is less stress around the time-lines for writing/blogging success. I’m trying to build a brand and a reputation and as a writer and blogger, that takes years. I can’t speed the process up so I’m happy to earn elsewhere and spend time doing this for fun and building for the future.
  • The balance between writing and other work means I keep my passion alive. When I lived in New Zealand, I started a scuba diving business based around the Poor Knights Islands, a fantastic place for divers. I’m a PADI Divemaster and I love diving, I had contacts and it seemed like an amazing lifestyle. But the practicalities of living the dream meant that I didn’t dive so much. It became more like a job and not something to do for fun or relaxation. For many reasons, that business failed and I learned a lot in the process. But currently, writing is a great hobby i.e. something I love but I’m not doing for the money. I definitely want to become a pro writer and earn 100% of income from books, blogging and speaking but that’s still a way off. In the meantime, I want to continue writing for love.
  • Social life and real world interaction. I have good friends at my day job. When the floods happened in Brisbane and we all worked from home for 10 days, I missed seeing them all. I work in a huge office but have a core group of work buddies. When I work from home for too long I miss the social interaction and the laughter. It makes me consider one of those writer’s offices or freelance workplaces when I do make it pro!
  • Working elsewhere creates a desire and drive to write as I have to fit it into spare moments. I compare this to when I took three months off work in order to write a novel and didn’t write anything worthwhile. It was depressing and demoralizing and stopped me writing for nearly five years. I couldn’t create anything when I had unlimited time. There are many studies on how creativity is boosted when there are boundaries. It somehow helps the mind create rather than hinders it.
  • To be honest, I like my job. Shock horror! Three years ago, I wrote “How to Enjoy Your Job” which is a self-help book aimed at helping people enjoy their current work, discover what they want to do with their lives and change careers. I wrote it for myself as I was desperately miserable and stressed. I hated my job at that point. Writing the book kick-started the process that has led me here to you. It has led to my first novel, a speaking career and a growing online business. It helped me change my attitude to the day job. I moved to four days a week, my stress migraines disappeared and my health improved as well as my marriage and general happiness. I am primarily a writer, blogger and speaker but I’m also an IT business consultant with 13 years international consulting experience. I like the intellectual challenge of my work and being surrounded by smart people is stimulating. To learn more on how to change your life, check out this interview.

So, the day job is a mixed blessing for me. It gives me income, freedom to write and friends but it takes time from the writing career I’m trying to grow.

What do you feel about your day job? Does it help you or hinder you in your writing?

 

This is a reprint from Joanna Penn‘s The Creative Penn.

Book Design For Self-Publishers: Workflow Overview

Note from Joel Friedlander: This post is one of a series on Book Design for Self-Publishers. In the last article we looked at getting the raw materials for your book design project organized. Now it’s time to turn to the workflow for your book design project.

Do you really need to pay attention to your workflow? Isn’t it more work than you need to do just to get your book in print?

Well, yes and now. Workflow describes the order in which we’ll address the tasks that all together make up your book design process. For instance, stopping first to take stock of materials and aims, as we did in the last section, is a really helpful part of our workflow.

Properly sequenced, each task in the book design (and production) process naturally leads into the next tasks, and gives you the assurance that you haven’t neglected anything as you move forward.

I’d like to lay out for you a typical workflow that you can use or modify to meet your own needs. Every book is different, and every author has her own habits and preferences. Within those constraints, if you understand why the pieces fit together the way they do, you’ll have a more secure and efficient process getting to press.

Because this workflow describes the entire design and production process, I’m going to break it down into three distinct sequences, and we’ll look at each one separately.

Three Stages of Book Design Workflow

Here’s the way I’ve divided the major groups of tasks for book design:
 

  1. Design Stage
    Tasks in this stage include organizing your files, creating book page elements, experimenting and selecting typefaces to use in the book, selecting your trim size and binding, creating master pages, paragraph and character styles that embody the final design choices.

     

  2. Layout Stage
    In this stage you’ll flow text into your layout, create different sections, paginate the book, assign master pages, deal with local formatting issues, create part and chapter breaks, and add graphics, charts, tables, photographs, sidebars and other non-text elements.

     

  3. Production Stage
    Now that the book is coming together, you’ll be checking your work, adjusting the page length, killing widows and orphans, dropping in last-minute items like the copyright page and index, checking font usage and graphic links, and finally, creating the files you’ll need for printing.

Parallel with this workflow we’ll also look at two other areas that will merge with the creation of the interior of your book, each with their own discrete set of tasks:

  1. Graphics Workflow
    Books that rely on graphics need special attention to make sure your project will come together properly when the graphics meet the text when you layout your book.

     

    Whether you have 100 family photos or numerous charts and graphs, line drawings or other graphics, it makes sense to process these elements in the most efficient way.

  2. Cover Workflow
    The way we design and produce covers is a process all its own. Understanding a workflow that brings all the elements you need for your cover together at the right time can be a real help when you’re looking at a deadline approaching.

     

    With hardcover books we have to account for jackets and produce designs for the cases as well, so they get included here too.

Books are, by definition, long documents. One of the implications of working on a 90,000 word book is that small changes can have very large effects when multiplied by thousands of lines or hundreds of paragraphs. Workflow helps give us the best chance of getting our book through the process efficiently and safely.

In the next in this series we’ll look at the first step of interior book design and production—the Design Stage.

 

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

Writers' and Other Freelancers' Tax Questions Answered

Publetariat Contributor Julian Block is an attorney, leading tax professional and former special agent for the IRS. Here, he has generously allowed Publetariat to reprint an entire chapter excerpt from his book, Julian Block’s Easy Tax Guide for Writers, Photographers and Other Freelancers. The book is available in print, Kindle and Nook editions. To learn more about other books by Julian Block, click here.

Your Questions & Julian Block’s Answers

It’s more important than ever for writers, photographers and other freelancers to familiarize themselves with steps that can keep their taxes to the legal minimum—and, of course, keep them out of trouble. To help them take year-round advantage of legitimate breaks while not running afoul of the rules, here’s some advice on common tax problems.

 
If you need additional information or guidance in specific areas, you should consult a qualified tax professional or contact the Internal Revenue Service. See [the chapter of this book entitled] “Help From the IRS: Free Advice Comes With a Price.”  
 
Question: Last year, a magazine agreed to pay $2,000 for an article, plus reimburse my expenses. Usually, I ask and receive more for this kind of article, but I wanted the exposure this publication could provide. This year, I made sure to deliver the article well in advance of its due date, along with my bill for $2,700, comprised of the $2,000 fee and $700 for travel, telephone and other expenses incurred in the course of research. The assignment turned out to be a fiasco. I’ll collect zilch, because the magazine went kaput; last I heard of its publishers, they’d gone into the witness protection program. 
 
When tax time rolls around, I know where the various out-of-pocket expenses aggregating $700 go on which lines of Form 1040’s Schedule C (Profit or Loss From Business). It seems only fair that I should be entitled to a further reduction in my income taxes with a bad-debt deduction on Schedule C for that unpaid $2,000 fee. As I fall into a 30 percent federal and state bracket, the additional write-off works out to a savings of $600—not monumental moola, but likely enough to cover several sumptuous spreads of my favorite paella at a Zagat-recommended restaurant. Some extra consolation is that a decrease in Schedule C’s net profit will lower what I owe for self-employment taxes. (See below under “Self-Employment Taxes.”) But where do I enter the $2,000 deduction in the expenses part of Schedule C? Or am I supposed to amend the previous year’s return in order to claim it?
 
Answer: Downsize your dining desires and be content to gorge with the other gringos at La Casa Internacional de Pancakes. You can’t take any deduction for the $2,000. The snag: You’re what’s known as a “cash-basis taxpayer.” That’s the IRS’s designation of individuals (including most of us) who generally don’t have to report payments for articles, books and other income items until the year that they actually receive them and don’t get to deduct their expenses until the year that they pay them. As the tax code doesn’t require you to count the $2,000 as reportable income, it doesn’t allow you to deduct an equivalent amount. Only if you were an “accrual basis taxpayer” and had previously counted the $2,000 as reportable income at the time it became due to you, could you deduct it now, as it hasn’t actually arrived and is a lost cause.  
 
Question: For the past few years, my writing income has been meager. But this year’s income will soar because of a six-figure book advance. According to a fellow writer, income averaging will lower my tax tab by many thousands of dollars. When I file next spring, do I need to complete some form for averaging that has to accompany the 1040 form?  
 
Answer: Your friend’s advice might have been helpful when the Oval Office was occupied by Ronald Reagan. But the rules now on the books provide no break for someone whose income jumps. A top-to-bottom overhaul of the Internal Revenue Code, known officially as the Tax Reform Act of 1986, included a provision that abolished averaging for nearly everybody, though there continues to be a limited exception for farmers. My advice is to focus instead on easy and perfectly legal ways for writers to trim taxes. A standard tactic is to stash some of that advance money into one of those tax-deferred retirement plans for self-employed persons.  
 
Question: I’m an architect and moonlight as a freelance writer. I went to a get-together with some of my fellow writers. There was no speaker; it was more of a social event. While I see it as networking with my professional colleagues, and most of the talk was about work-related issues, writing is only a part-time activity for me. Can I take a business-expense deduction for the cost of getting there? How about my cash contribution to the refreshments for the group?  
 
Answer: It’s immaterial that you’re a part-time freelancer. Your writing endeavors don’t have to be full-time for this kind of event to qualify. You’re entitled to claim the entire cost of round-trip travel between your home and the party’s site. For travel by bus, train or taxi, just keep track of your fares and claim them as business expenses; for auto travel, you can claim actual expenses or a standard mileage allowance.  
 
The standard rate is 50 cents per mile for 2010. For 2009, it was 55 cents per mile. Whether you claim actual expenses or use the mileage allowance, remember to deduct parking fees and bridge, tunnel and turnpike tolls that you pay while you’re on business, too. See below under “Get Car Smart About Business Deductions.”
As for noshing outlays, they fall into the category of meals and entertainment, and are subject to a cap. They’re only 50 percent deductible.  
 
Question: I’m a self-employed writer and have authored fiction and nonfiction books. Presently, I’m represented by two agents—one for nonfiction and another for fiction. Under my agenting contracts, each gets a percentage of my earnings.

When filing time rolls around, both agents send me 1099 forms; copies also go to the IRS. The 1099 forms show what they’ve sent me during the year in terms of advances, royalties received from publishers, and other payments related to my books. But they do different kinds of bookkeeping! 
 
One agent’s 1099 lists the gross (full) amount she received from the publisher as my income; that is, she doesn’t allow for the commission subtracted by her up front before sending a check for the balance to me. The other one handles things differently; his 1099 lists only the net (after commission) payment he actually sent to me. 
 
How should I report these payments on my return? I know that I have to include payments received from agents in the total figure shown on the line for gross receipts on Schedule C of Form 1040, but I’m not sure which figures to report!  
 
Answer: Let consistency be your guide. The amount of income you declare should be consistent with the figures shown on your 1099 forms. Otherwise, the IRS’s ever-vigilant computers might go bananas, with unpleasant consequences to you.  
 
When it comes to monies you received via an agent, what you should declare depends on whether the agent submits a 1099 form for you that shows the gross amount (total paid by the publisher) or the net amount (amount actually paid to you after the agent’s commission is deducted).
 
Does the 1099 filed by the agent list the gross amount? Then that’s the figure you should include in totaling your income to come up with your gross amount on Schedule C—and remember to include the agent’s commission, which is deductible on the line for commissions and fees.  
 
And if you fail to do that? First, you overstate your net profit. Second, you overpay your self-employment taxes (see below under “Self-Employment Taxes”) and income taxes—federal, and, perhaps, state and city. You shouldn’t count on the IRS to catch your mistake. These kinds of miscues are spotted, if at all, in the course of audits.  

 
TIP: To recover an overpayment, you must file an amended return within three years from the filing deadline (including any extensions) for your return. Do the recalculation on Form 1040X (Amended U.S. Individual Income Tax Return), available at irs.gov. Changing a federal return might also re­quire amending a state return. In that event, file your state’s version of the Form 1040X. See below under “Making Amends Can Bring Rewards: Refund Claims.”
 
Does the 1099 from your agent instead list the net amount, the sum on the check actually sent to you after the agent’s commission taken off the top? Then you should use that amount in arriving at your gross income figure—and you should not deduct the commission on the line for commissions and fees, since it’s already been subtracted from the income figure.  
 
To make that perfectly clear, here’s an example. Say your agent receives a check from your publisher in the amount of $50,000, deducts the 15-percent commission of $7,500, and sends you a check for $42,500. After that year’s end, you receive a 1099 form that shows $50,000. You should include the full $50,000 in your reported gross income and deduct the $7,500 commission on the line for commissions and fees. If, on the other hand, the 1099 shows only the amount actually sent to you, $42,500, you should include only $42,500 in gross income and deduct nothing. Either way, you pay tax only on the $42,500; either way, the serenity of the IRS’s computers will be preserved.  
 
Question: I write for several magazines. One magazine’s 1099 form reports not only the fees they paid me during the year in question, but also includes sums that compensated me for sizable out-of-pocket expenses for hotels, meals, air fares, car rentals, telephones and the like. Of course this doesn’t agree with my records; I don’t count those payouts as expenses, since I know that I’m going to get them back—and I don’t count expense checks as income, either; it’s just a wash. 
 
Suppose I receive a 1099 form that shows $9,687.53, which actually includes payments of $6,500 for articles and $3,187.53 worth of reimbursement for travel and so forth. It doesn’t make sense that I’d have to include the latter amount in totaling my income for line 1 of Schedule C, since it wasn’t income.  
 
Answer: Contrary to what many freelancers and other self-employed people mistakenly believe, it’s not “just a wash.” This is much like the previous question about payments from agents; again, you should make sure your return reflects the consistency that will keep the IRS computers in a calm, unagitated state. 
 
You should include in total gross receipts the full amount shown by the magazine, $9,587.53. Then, as with the agent’s commission, include the $3,187.53, though reimbursed, with your other deductible expenses, since you shouldn’t be paying taxes on it. That way, you avoid an overstatement of net profit on Schedule C and overpayments of self-employment taxes and income taxes.  
 
Question: I came in from Chicago to New York City to attend a writers’ conference. I’m pretty sure that I’m entitled to claim some deductions, but what sorts of expenses can I deduct, and can I deduct them totally?
 
Answer: You get to deduct 100 percent of what you spend for the attendance fee, tapes of sessions, books on writing and the like, plus travel between your home and New York, and expenditures for hotels. There’s a limitation, though, for meals not covered by the attendance fee, including both what you eat en route and food consumed while you’re in New York: Deduct only 50 percent of those expenditures.
 
Question: I was accompanied on the trip by my spouse, who isn’t a writer and didn’t attend the conference. Is there any chance that any of my spouse’s expenses qualify as deductible?
 
Answer: There’s no deduction whatever for the portion of the outlays attributable to your spouse’s travel, meals and lodging—with a limited exception, one that will allow relatively few freelancers to salvage deductions for a mate’s travel expenses. To qualify for the exception, these three requirements must be met: (1) the spouse (or dependent, or any other individual) accompanying you on business travel is a bona fide employee of the outfit that pays for the trip (in this case, your freelance business); (2) the spouse undertakes the travel for a bona fide business reason; and (3) the spouse is otherwise entitled to deduct the expenses. See below under “Business Travel with Your Spouse.”
 
TIP: Take heart. Some often-overlooked tax relief remains available for lodging costs even when your spouse, significant squeeze or someone else tags along only for fun. You’re entitled to a deduction for lodging based on the single-rate cost of similar accommodations for you—not half the double rate you actually paid for the two of you.  
 
EXAMPLE: Judy, a photographer, goes by car to New York for a business conference. She’s accompanied by her husband, Frank, who’s retired. They stay at a Manhattan hotel where rooms go for $200 for a double and $180 for a single room. Besides a deduction for the total cost of driving to and from New York (Judy obviously incurs the same driving expenses whether Frank accompanies her or not), she should claim a per-day deduction for their hotel room of the entire single rate of $180, rather than half the double rate, or $100. To help safeguard her deduction in case the IRS questions it, she should remember to have the hotel bill note the single rate, or be sure to get hold of a rate sheet.
 
Some of Frank’s meals might qualify as deductible business meals. An example: At the conference, Judy dines with a book publisher and the publisher’s spouse. Because of the presence of the publisher’s spouse, Frank attends on a business basis.  
 
Question: I’ll be paid for a talk that I’ll give at a writers’ conference. Is a charitable-contribution deduction available to a speaker who declines an honorarium and asks that the money be donated to a charity he or she picks?  
 
Answer: Yes. But the speaker still has to declare the honorarium as income. Note that you derive no benefit from a donation deduction if you pass up itemizing on Schedule A of Form 1040 for contributions, home-mortgage interest, state and local real estate and income taxes and the like because it’s more advantageous to use the standard deduction. The standard deduction is a flat amount based mostly on filing status and age that’s adjusted annually to reflect inflation. If you anticipate that you’re going to claim the standard deduction, decline the honorarium before you become entitled to it and required to declare it. Assign the payment to your favorite philanthropy.  
 
CAUTION: The IRS says that a writer who donates unsolicited property that’s received “for free,” such as books received from a publisher for review, must declare the value of the books as income if he or she donates them to charity.
 
Question: A university asked to reprint one of my magazine articles in its alumni publication. I gave permission without asking for any payment. Since this is an educational institution, can I take a charitable contribution deduction equal to the fee I would have asked of a commercial publisher? Do I need a letter from the school? If so, what should it say?  
 
Answer: Sorry, a letter won’t help. You’re not allowed any deduction.  
 
Question: I’ve written several best-selling books on World War II. I plan to donate papers, including original manuscripts and historic correspondence with famous persons, to a university. Should I consult a tax expert on how to calculate the value of my charitable contribution?  
 
Answer: Don’t bother, unless you write your manuscripts on legal tender. For your kind of property, a special restriction applies. In tax jargon, it’s “ordinary-income property,” meaning property that, if sold by you, would result in ordinary income or short-term capital gain, rather than long-term capital gain. The measure of your allowable deduction is your cost for the property. Because your cost basis for the property is zero, you can claim no deduction.  
 
Question: When I’m not writing, I squeeze in time for my hobby of painting. I donated one of my paintings to a church bazaar, where it sold for $100. Can I deduct that as a contribution?  
 
Answer: No. Your deduction is limited to your unreimbursed out-of-pocket expenses for materials—the canvas, paints and brushes. The entire $100 is deductible only if you sell the painting yourself and donate the proceeds to the church. But this maneuver doesn’t help, because the bigger deduction is completely offset by an increase in your reportable income of $100.  
 
Question: Who’s right? I have office furniture and machines that I no longer use in my business as a freelance writer. Over the years, I claimed depreciation deductions on Schedule C that have reduced my tax basis in the equipment to zero. My tax adviser says that I can donate these items to a charitable organization and take a contribution deduction for their current market value. However, my mother-in-law insists that I’m not entitled to any deduction because I fully depreciated them.  
 
Answer: She’s right on the money. Unfortunately, you’re not allowed any deduction. As the equipment’s basis is zero, there’s nothing of value for you to write off as a deduction. For more on depreciation, see below under “Big Break on Depreciation for ‘Small’ Freelancers.”
 
Question: Can I deduct money spent for magazines purchased at a newsstand for pre-query research? These aren’t magazines I’m now writing for but magazines I hope to write for. And if I can, where on Form 1040 do I list those deductions?
 
Answer: The law allows you to deduct business-related publications, and these magazines are in that category. Like your other writing expenses, you claim them on Schedule C or on Schedule CZ, the shorter, one-page form that can be used by a business owner when expenses are below $5,000, a loss isn’t shown and certain other requirements are met.  
 
Question: I’ve been told to report my book and photo royalties not as income on Schedule C, but as royalties on Schedule E. The word is that by doing so, I can skip paying the 15.3 self-employment tax, which consists of 2.9 percent Medicare and 12.4 percent Social Secu­rity. True?
 
Answer: IRS revenue agents and office auditors look unkindly on writers, photographers, artists and other self-employeds who try to escape self-employment taxes. Perhaps we have a case of semantics here. Yes, the word “royalties” is used on Schedule E, and yes, the IRS defines royalties as “payments for intangible properties”—for example, books and artistic works, which would include photos.  
 
But the IRS is adamant that you report royalties for your creative efforts on Schedule C, making that income subject to self-employment tax. Schedule E is for reporting royalties received by other people—for example, those who purchase or inherit copyrights on books, photos and other material that they didn’t create. Limit your use of Schedule E for reporting royalties to listing those received from coal, oil or gas sites. See below under “Self-Employment Taxes.”
 
CAUTION: You’re playing the “audit lottery” if you report book and photo sales on Schedule E. True, your ploy might never be discovered, but should you be, expect to be hit with a hefty bill for back taxes, interest, and penalties.
 
Question: How can I keep track of all the federal deadlines for filing returns and sending in quarterly estimated tax payments?
 
Answer: One way is to ask IRS for its free Publication 509, “Tax Calendar.” See also [the chapter of this book entitled]  “Help From IRS: Free Advice Comes With a Price.”

 

  

Maths Used to Prove $2.99-3.99 is Optimum Ebook Price

This article, by Jason Davis, originally appeared on his BookBee site on 1/17/11.

Dave Slusher is a smart guy. He’s a scientist, a computer scientist and a blogger at the Evil Genius Chronicles.

More than that, he still uses math (or maths, depending on where you’re from) in the real world. Yikes! In this case, he’s used it to prove that the optimum price point for ebooks is between $2.99-3.99. And not just optimum in number of sales, or because it looks nice – the best price in terms of total revenue.

Yes – as I said, and Slusher reiterates – the bleating of publishers, many of whom currently set their own prices, that they can’t afford to lower the standard ebook price from the common $9.99 is misguided. It assumes that there is no price sensitivity in ebooks.

That is, publishers claim that if they lowered ebook prices, sales wouldn’t go up enough to cover the shortfall, and revenue would drop.

That, as they say in the classics – is complete balls. In every other retail sector, price is a factor. Sure, consumers are price-sensitive to different degrees in different markets, but price almost always has a bearing on sales. That’s why retailers have “sales” – lower margins, but more buyers.

As Slusher proves, ebook publishers can’t afford not to lower prices.

 

Read the rest of the article on BookBee