Publetariat

Pity the Poor Writer's Husband

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This post by Holly Robinson originally appeared on Shelf Pleasure on 4/22/14.

“So, what do you want for Mother’s Day?” my husband asked a few years after our youngest son was born.

I hesitated, not wanting to appear too greedy. “Oh, I don’t really need anything,” I murmured.

“Come on,” he urged, taking me in his arms. “Tell me what you really want.”

“Um, okay. Can I have a weekend alone?”

He rolled his eyes. “Again?”

Yes. Again. Dan had given me a weekend alone the previous Christmas. Not in a fancy spa, but in a cheap hotel half an hour from home. It was the kind of hotel room where people lie on floral bedspreads still wearing their shoes, and pull the room-darkening drapes to either sleep off a bender or have an affair. I did neither. Instead, I holed up to write 10 hours a day on a novel. Pure bliss.

 

Click here to read the full article on Shelf Pleasure.

 

Promoting Your Young Adult Novel

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This post by Kristi Cook originally appeared on The How To Write Shop on 2/10/12.

Okay, you’ve done it! You’ve written your YA novel, and either sold it to a publisher or decided to self-publish it. Either way, it’s about to “go out into the world”! Congrats!

Now you just want to make sure that readers can actually find your gem out in the crowded marketplace. You must promote! But how? I’m going to tell you what’s worked best for me. Keep in mind that your mileage my vary.

First off, whether your book is available both digitally and in bookstores or just digitally, word-of-mouth is very important to your sales. You need to get people talking about your book–and the best people to get talking are bloggers. If your publisher’s publicity department isn’t getting ARCs (Advance Reader Copies) into their hands, then you should make sure they get copies–either ARCs or electronic galleys, or even finished copies. I’m not saying send out copies to everyone who asks, but you should definitely be out there on social media, building relationships with bloggers/reviewers, and giving some of them the opportunity to review your book without having to purchase a copy. And don’t worry–while I do think that blogger/reviewer love can actually “make” a book (i.e. bring it to the attention of readers who might have missed it, giving it unexpected success), I don’t believe that bad reviews necessarily “kill” a book. But, for better or for worse, you need to get readers talking about your book.

 

Click here to read the full post on The How To Write Shop.

 

Selling LOTS of Books and Why Bright Ideas Can Go BADLY

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This post by Kristen Lamb originally appeared on her blog on 6/19/14.

Writers must understand structure if they hope to be successful. Yes, it might take five years to finish the first novel, but if we land a three book deal, we don’t have 15 years to turn in our books. And the key to making money at this writing thing is we have to be able to write books…the more the better. If we can write GREAT books quickly? WINNING!

Understanding structure helps us become faster, cleaner, better writers.

Plotters tend to do better with structure, but even pantsers (those writers who write by the seat of their pants) NEED to understand structure or revisions will be HELL. Structure is one of those boring topics like finance or taxes. It isn’t nearly as glamorous as creating characters or reading about ways to unleash our creative energy.

Structure is probably one of the most overlooked topics, and yet it is the most critical. Why? Because structure is for the reader. The farther an author deviates from structure, the less likely the story will connect to a reader.

As an editor, I can tell in five minutes if an author understands narrative structure. Seriously.

Oh and I can hear the moaning and great gnashing of teeth. Trust me, I hear ya.

Structure can be tough to wrap your mind around and, to be blunt, most new writers don’t understand it. They rely on wordsmithery and hope they can bluff past people like me with their glorious prose. Yeah, no. Prose isn’t plot. We have to understand plot. That’s why I make learning this stuff simple, easy and best of all FUN.

 

Click here to read the full post on Kristen Lamb’s blog.

 

On Output and Quality

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This post by Alan Baxter originally appeared on his Warrior Scribe site on 6/1/14. Note that it contains strong language.

I’ve been reading a few posts lately that seem to contradict each other. What do you know – there’s no one true rule. I won’t bother linking to all those posts, at least partly because I can’t remember where they all are. But the general gist of it all was either:

Write as much as you can, it’s the only way to be noticed and have a career!

vs

Stop just writing for the sake of it! There’s too much shit out there, you need to write well, not lots.

Obviously I’ve paraphrased the general messages there. The thing is, they’re both right. The reason they’re both right is because there are many types of writers out there with many styles of work and opportunity to write. It also depends what you want from your career.

You certainly need more than one book to build a career, unless you’re Harper Lee. It’s true that the more people see from you, the more likely they are to check out your stuff and the more likely you are to build a loyal fan base. But don’t be in a rush.

 

Click here to read the full post on Warrior Scribe.

 

Writing: "How Do You Do It?"

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This post by Chuck Wendig originally appeared on his terribleminds site on 6/10/14.

I go to conventions and conferences, that’s the question I get asked.

Either:

“How do you write?”

Or –

“How do I write?”

The question can mean all kinds of things. How does one write day to day? Or how does one become — and remain, and simply be — a writer? What’s it like? How to start? How to keep it going? WILL THERE BE BOURBON AND SHAME? (Yes to at least one of those.)

It’s sometimes accompanied by the look of a truck-struck possum.

It may come with an exhortation of bewilderment and exasperation.

A sound not unlike, whuhhh, or pffffffh. Cheeks puffed out. Lips working soundlessly.

This is a difficult question. It’s difficult because you’re you and I’m me. Each writer isn’t a snowflake until they are, and this is one of the ways that they are — we are cartographers of our own journeys, charting the map as we go and then burning it soon after. The way I did it isn’t the way that Joe Hill did it, or Kameron Hurley, or Delilah S. Dawson, or Kevin Hearne, or Heinlein or Dante or that one weird dude who wrote the Bible (his name was “The Prophet Scott” and he had one eye and a romantic eye for tired sheep).

Just the same, I feel like I should draw you a map.

 

Click here to read the full post on terribleminds.

 

Finally, a Single Book Has Changed the Self-publishing Debate

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This post by Dan Holloway originally appeared on his blog on 6/8/14.

There are many reasons why the success of Eimar McBride’s A Girl is a Half-Formed Thing is wonderful news. It is a brilliant book. Quite possibly the best book to win a major literary prize in a decade or more. It will inevitably mean other publishers raise their eyebrows, and have a little “hmm, let’s have a think about that moment.”

But what interests me most is that it has changed, in a single, scalpel-sharp focused scything swoop, the discourse around self-publishing.

Many of us have long argued that self-publishing is of greatest value to readers because it offers daring, original, undefinable fiction they could not get elsewhere. We have pointed to the conservative tendencies of traditional publishers, the dropping of the midlist, the impossibility of getting the awkward and experimental even seen. By contrast self-publishing is an unfettered land of artistic freedom, burgeoning with a billion blossoms of brilliance.

Of late, many of us have had our original enthusiasm somewhat dampened by the incessant droning on on the one hand in the media about self-publishing’s bestselling icons and genre fiction superstars, leaving large parts of the landscape uncharted, and on the other hand by self-publishers themselves pleading that their books are “as good as those in the mainstream” as though the prospect of being as good as something already overly-abundant was somehow an irresistible, intoxicating prospect.

 

Click here to read the full post on Dan Holloway’s blog.

 

Research Unleashed! And Leashed.

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This post by Rebecca Meacham originally appeared on Ploughshares on 6/16/14.

I knew I had a problem when I started envying my dog’s cone collar.

Now, my dog’s problem was a hot spot. Allergic, itchy, hot, and double-coated, my German Shepherd had chewed her hind leg raw over the course of a single evening.

My problem was research. Engrossing, surprising, discomfiting and endless, my novel-in-progress was generating fact after fact, but very little story.

Neither of us could resist the itch of our obsessions, which were self-ruinous and spreading. For my dog, the vet imposed a “cone of shame”—a demoralizing, and mostly effective, plastic barrier denying her access. This is what sparked my envy, for what kind of restraint could I impose on myself, a writer whose project requires research—research that also derails the project at every turn?

 

Latest Findings: Novel Research Leads to Pornography

How does research become a problem? Well, for one, it’s larky. You wonder if your character’s pants would have buttoned or zipped, which means you need to know about the invention of zippers, and then, hours later, you’re pouring over sketches of Victorian pornography.

A surprising number of research inquiries lead to vintage porn.

 

Click here to read the full post on Ploughshares.

 

What I’m Remembering about Writing Fast

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This post by Becky Levine originally appeared on her site on 5/20/14.

Okay, yes, if you’re going to get picky, right now I’m just plotting fast. The three-day weekend is coming up, and my goal–barring any rising creeks –is to take those three days and finish all my scene cards for the MG novel. I’ve been putting in a little time on this for the past couple of evenings, after I get home from work, and I think this is doable. And when done, I’ll be set up to fast-write the first draft over the summer. I wrote here about why I’ve decided to try this process again.

So, anyway, right now I’m fast-plotting. And I’m remembering all the delights and joys that come with fast-plotting (and, if I remember correctly, also with fast-writing.) There are many of them, and I’ll mention some below, but the underlying awesome feeling of them all is this: It doesn’t matter.

It doesn’t matter if

– You plot your hero behaving in a way that may, once you write it all out, turn him into a whiny brat in Scene 4, Scene 19, and Scene 23.

– You forget the best-friend-soon-to-be-former-best-friend’s irritating new girlfriend’s name and “must” refer to her scathingly as whatshername every time you stick her into a scene.

 

Click here to read the full post on Becky Levine’s site.

 

Because Size Matters: McKee’s Four Tips on Writing a Big Story

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This post by Jan O’Hara originally appeared on Writer Unboxed on 6/16/14.

You know how certain types of feedback get under your skin like road rash, so that months or years later the grit is still working its way to the surface? Well, eons ago, as she contemplated a novel I’d set in my province, a critique partner sent me metaphorically skidding on the asphalt in a pair of Daisy Dukes.

The comment she dropped  which I found so distressing? “I think this would appeal to readers outside of Canada.” (Meaning, as I took it, that my beloved story wasn’t sufficiently big or universal to warrant a larger audience.)*

If you’ve had similar concerns about your fiction, today’s post might help. It’s a summary of four techniques advocated by Robert McKee in his seminar on Story which, when employed individually or collectively, promise to give your fiction a sense of expansiveness. While you’ve likely encountered the first three in one venue or another, it’s the fourth which lit up my neurons and where I’ll focus the bulk of this article. (If you’ve missed my former McKee Morsels, you can read them here and here.)

 

1. Take the Story Conflict Wide

In this circumstance, what is the worst thing that could happen to my character?

Writers are encouraged to use the above question when brainstorming progressive complications for their story. If attempting to go wide, then, while the story might begin at the level of personal or interpersonal  conflict, the “worst” ripples outward to affect the larger world, including societies and institutions, possibly even nations or worlds.

 

Click here to read the full post on Writer Unboxed.

 

Big Publishing is the Problem

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This post by Hugh Howey originally appeared on his site on 6/14/14.

A few weeks ago, I speculated that Hachette might be fighting Amazon for the power to price e-books where they saw fit, or what is known as Agency pricing. That speculation was confirmed this week in a slide from Hachette’s presentation to investors [Publetariat Editor’s note: click on image to view an enlarged version in a new tab or window]:

So, no more need to speculate over what this kerfuffle is about. Hachette is strong-arming Amazon and harming its authors because they want to dictate price to a retailer, something not done practically anywhere else in the goods market. It’s something US publishers don’t even do to brick and mortar booksellers. It’s just something they want to be able to do to Amazon.

The biggest problem with Hachette’s strategy is that Hachette knows absolutely nothing about retail pricing. That’s not their job. It’s not their area of expertise. They don’t sell enough product direct to consumers to understand what price will maximize their earnings. Amazon, B&N, Kobo, and Apple have that data, not Hachette.

 

Click here to read the full post on Hugh Howey’s site.

 

New Initiative at the Met Makes Thousands of Digital Images Freely Accessible

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This article by Chelsea Matiash originally appeared on The Wall Street Journal on 5/30/14. It’s excellent news for indie authors and freelance cover and web designers: thousands of new images licensed under creative commons.

This month, the Metropolitan Museum of Art released for download about 400,000 digital images of works that are in the public domain. The images, which are free to use for non-commercial use without permission or fees, may now be downloaded from the museum’s website. The museum will continue to add images to the collection as they digitize files as part of the initiative Open Access for Scholarly Content (OASC). 

When asked about the impact of the initiative, Sree Sreenivasan, Chief Digital Officer, said the new program would provide increased access and streamline the process of obtaining these images. “In keeping with the Museum’s mission, we hope the new image policy will stimulate new scholarship in a variety of media, provide greater access to our vast collection, and broaden the reach of the Museum to researchers world-wide. By providing open access, museums and scholars will no longer have to request permission to use our public domain images, they can download the images directly from our website.”

 

Click here to read the full post on The Wall Street Journal.

 

Where the Rubber Meets the Road

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This post by Maegan Beaumont originally appeared on Inkspot on 5/26/14.

We all have them: brilliant story ideas.

Sometimes, they come to us fully formed. You see every facet clearly—who your protagonist is, the trouble he or she faces. What they will do to dig themselves out of it… the trouble they meet along the way. Sometimes, it’s just a flash. Something you see or hear triggers a thought. That thought leads to another… and another… until the idea takes shape and you’re left with no choice but to write it out.

And other times that something you see or hear burrows into your brain. It niggles and nags. It refused to be pushed aside—demands to be written.

So, if these ideas take all the time and trouble to bring themselves to our attention, to demand that we listen, why is it that sometimes they have the audacity to be unable to support the story we so desperately want to write? Why is it that they fall apart half way through the novel?

I hate to say it, but… it’s not the idea you should be blaming. It’s you. You’re probably the reason things aren’t working out the way you’d planned them to. The idea didn’t fall apart. You probably broke it.

 

Click here to read the full post on Inkspot.

 

Try Harder or Walk Away: The Decision.

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This post by Rebecca Lammersen originally appeared on elephant on 6/23/12. While it has a spiritual (though non-religious) bent, those who are struggling with the decision between continuing on their current path toward success in authorship and changing course may find it offers some helpful food for thought.

“One of the hardest decisions you will ever face in life, is choosing whether to try harder or walk away.”
~ Anonymous

Try harder or walk away—this is the only choice we make in every moment of life. We either try harder or we walk away from being present, loving ourselves, loving another, pursuing our passions or completing a task. We choose to continue doing, thinking, saying, listening, eating and being what we are, or we break up with it.

There is only one way to do everything, completely or not at all. If we half-ass life, we cheat our truth, stop growing, we suffer.

Imagine if an architect half-assed plans for a building, or an aerospace engineer half-assed the construction of an airplane. The building couldn’t stand on its own and the plane couldn’t fly. We are the architects of our lives. We have to devote entirely to our project or walk away from the drawing pad until we are willing to do the work.

The choice to stay or leave, determines whether we free ourselves or we suffer. How do we make the “right” decision?

We learn how to discern between the doubt of the mind and the surety of the spirit.

The discernment is in the volume. The mind is loud and the spirit is quiet.

 

Click here to read the full post on elephant.

 

Do You Make These Online Marketing Mistakes?

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This post by Jason Kong originally appeared as a guest post on The Book Designer on 6/4/14.

Imagine you’re making an appearance at a bookstore to promote your latest novel.

Someone approaches you to chat. This person gushes that she’s read all your books and is excited to read the latest one. She holds the newly purchased book in her hands, hoping that you’ll sign it.

Immediately you launch into an elevator pitch, explaining the genre you write in and a quick summary of your storytelling style. You conclude with the various places your books can be purchased, and that you hope she’ll give your books a try.

Clearly, a longtime fan doesn’t need an introduction to how you write and the stories you’ve written. Having the right person pay attention does little good if the wrong message is shared.

Maybe you don’t make this kind of mistake when you’re face-to-face. Can you say that’s also true when you communicate over the internet?

 

The downside of using online media

We all know about the promise.

A platform in cyberspace meant you had a stage to project your voice. Your digital words could travel far and wide, attracting and corralling those who care about what you do. With one click, you could reach just about everyone.

 

Click here to read the full post on The Book Designer.

 

The Case Against Beta Readers

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This post originally appeared on Popular Soda on 6/3/14.

Beta readers are treated like a necessary step in the self-publishing process. But are they worth it? Essentially, you’re turning over the development of your story to a total stranger. That is, if you can even find a beta reader who actually finishes your work and provides useful feedback.

Here are some of the most common problems with using beta readers:

 

You don’t know who they are

Anyone can claim to be an experienced editor offering beta reading for free. They’re not all lying, but they’re not all telling the truth, either. Personally, I’ve encountered several people who claimed to be professional editors in one thread, then admitted their lack of experience in another. Don’t count on the qualifications of someone hiding behind a screenname.

 

They don’t know what you’re capable of

Beta readers can’t push you to be your best, because they don’t know what your best looks like. I have a small group of close writer-friends who serve as my beta readers. If they find something they don’t like, they just write “Really?” and I go back and rework it. You simply can’t have that level of familiarity and understanding with someone who’s never read your work, barely knows your name, doesn’t understand your style, and has no idea of your goals.

 

Click here to read the full post on Popular Soda.