Jeff’s Pep Talk: The Long-Term Effects of Rejection – No is Never the Final Answer

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The Long-Term Effects of Rejection – No is Never the Final Answer

By Jeff Bowles

Every month, science fiction and horror writer Jeff Bowles offers advice to new and aspiring authors. Nobody ever said this writing thing would be easy. This is your pep talk.

To begin with, this article is written with the upstart in mind. The midnight worker, the weekend toiler, the writer who’s still slaving away in obscurity, penning story after story, unpublished novel after unpublished novel, and for whom the word ‘rejection’ has become a special kind of poison.

When I seriously started writing almost fifteen years ago–and by “seriously” I mean “cared enough to finish a single story and try to publish it”–I discovered pretty quickly that receiving rejections was almost as common as losing at a rigged carnival game. I couldn’t figure out why my writing wasn’t good enough, in what areas it was deficient, and to tell you the truth, it would be several years until such things were even remotely clear to me. Regardless, the absolute worst part of it all was receiving the rejections themselves, because I’m kind of a sensitive guy, and damn, they really tended to bruise the old ego.

Writers vary pretty wildly in how we respond to rejection. Some of us never seem fazed by it. Regardless of how often, how impersonal, and how heavy a solid “no” is, these guys seem to take it all in stride. I’ve never been able to tell if the impressive shrug of their shoulders is a put-on, but I do know one thing for certain: I cannot count myself amongst them. When I got rejections, I’d mope and whine and pout for hours or even days. Just ask my wife, who was my new girlfriend at the time. I’d turn into a real bear, and it was because it hurt so much. Like I said, sensitive guy. Plus, no one could get through to me about one very crucial thing: this is the way it’s supposed to be.

If you’re like me, and you tend to take rejection hard—or even if you’re not like me, and moving on to the next story submission is the easiest thing in the world—might I recommend a little tried and true advice. Accept your rejection phase as a given, and if you can go just one more country mile with me, learn to welcome it as a friend. Your rejection phase is helping to make you the writer you’ve always wanted to be. Your rejection phase is purifying your desire to write, and in so doing, allowing you to really decide if a writing career is what you want.

Because if it is, no amount of rejection will ever dissuade you. I thought I’d quit a million times. Now I realize there is no quit. No is never the final answer. And anyone who’s been publishing work for years and years will tell you rejection doesn’t end. Sure, you’re likely to receive less and less of it as you progress, but it’s not the kind of thing that disappears entirely. I know it hurts. Trust me, I’m with you on that one. But unless you plan on going all-indie, it really is a necessary part of your growth as a writer. Kind of a raw deal, I suppose. But then again, nobody ever climbs Mount Everest because it’s easy.

Now a brief word on indie publishing. A lot of older writers—and I don’t necessarily mean older in years, but rather older in experience level or maybe in their stance on traditional publishing—tend to believe that self-publishing inherently makes for worse writers. The idea being, of course, that without the resistance provided by steady rejection, a writer can never become all he or she is meant to become. I came up this way. I’d published dozens of times before I ever self-published on Amazon. The thing is, I don’t necessarily find it to be the case.

Sure, there is a lot of disposable material indie-published on the internet. And yes, I also believe adversity makes us better. But a writer can pick up all sorts of lessons and professional techniques in all sorts of different ways. Every time an indie author publishes something online and gets a few bad reviews, it’s not entirely unlike receiving a standard form rejection. In other words, the negative reinforcement can still become a positive.

All of this might lead someone to ask, what are the long-term effects of rejection? Well, this can go one of two ways. The majority of people who try their hand at writing will never even finish a single manuscript. Statistically, that is absolutely the case. Of those who finish, few will ever submit their work for publication. Now, those who do submit their work (or as the case may be, self-publish it) are likely to meet up with a little adversity. I’d say 90% of them will cut and run as soon as rejection gets too much to bear. But that remaining 10% will soldier on, and they’ll likely receive quite a bit more rejection in the months and years ahead. Is there a long-term legacy of rejection? Yes, there is, but it’s seldom a negative one. I think you’ll find one day that you treasure all those formal beat-downs you received.

Here’s what I would say. No matter how you ply your craft, regardless of whether you choose the path of the traditional publisher or the indie upstart, continuous work, practice, blood, sweat, and tears, are the only things that will make you better. Rejection is at times the name of the game, true enough, but it never has to be the final word on anything. Right?

Right.

Until next time, everybody!


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


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Author Update: The Making of a Memoir On Hold Indefinitely

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I’m sorry to say that the obstacles and road blocks I mentioned in my April post have brought my memoir writing process to a screeching halt before it had truly begun, and thus, this bi-monthly blog series must come to a halt, as well, until I can find answers to the problems related to writing about real people and organizations which is necessary to telling my son Michael’s story, as well as my own. Losing Michael: Teen Suicide and a Mother’s Grief  has been shelved, at least for a while due to legalities. This book project is based from my personal experience and is dear to my heart, and it great saddness that I make this decision, but I’m not ready to face the trials that forging ahead with it would require.

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On the other hand, there are exciting things on the horizon. My efforts for the near future will turn to working on the issue of re-issuing Delilah, which Dusty Saddle Publishing has so graciously offered to do. Once this is completed, I plan to pick up where I left off on the drafting of the second book, Delilah: The Homecoming. I just got Delilah back on track in this story with considerable revisions and I’m a little sad to have to delay the completion of this book, but also confident that the story will be better for it.  

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I will be getting the WordCrafter website up and running and ready for launch.  Get ready folks, because WordCrafter Writer & Author Services is coming soon. Services will include Editing and Copywriting services, online courses, and WordCrafter Press.

I’ll also be compiling and publishing the two great anthologies to be released by WordCrafter Press. The Ask the Authors anthology will feature the collaborative interviews from the 2018 “Ask the Authors” blog series right here on Writing to be Read. This book will be filled with writing tips and advice from authors who are out there doing it, a valuable writing reference for authors in all stages of the publishing journey.

WordCrafter Paranormal Anthology - smallThe other anthology, Whispers in the Dark, will be a short story collection harvested from the WordCrafter Paranormal Short Story Contest held at the beginning of 2019. It will feature several of the submissions from the contest, including the winning entry, “A Peaceful Life I’ve Never Had”, by Jeff Bowles. These anthologies are still in the preliminary stages, but I plan to have them both out by the end of the year. I have cover ideas for each one, but only Whispers has a final version at this time. I plan to release it in October.

 

 

To keep up on the latest with my writing endeavors and with Wordcrafter, sign up for my monthly newsletter in the pop-up. When you do, you’ll recieve a free e-copy of my paranormal mystery novella, Hidden Secrets.


Writing for a YA Audience: Books in the Library

Writing for a Y.A. Audience

“This is available at the library, right?’  I get that question a lot.

You should know that I talk about my books.  A lot.  I get excited and that passion spills over whether I’m at a book signing or conversing with a coworker.  Some people don’t want to buy books.  They might not like the book, so they don’t want to invest in the purchase, or they don’t want to have books cluttering their homes.  Whatever the reason, libraries are perfect.

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Photo by Janko Ferlic on Pexels.com

If I’m asked locally, then I get to say yes, my books are available.  Other places…well…not so much.  That surprises people.

Here’s the thing about indie books.  Libraries don’t normally stock them.  They need a reason to purchase a copy.  This could be because you’re a local author, because you did an event there, or because someone requested it.

The best way to help out an author is to ask your local library to purchase a copy.  This is a sale for the author and exposure.  People are going to borrow the book, read it, and talk about.  There is no marketing tool as powerful as word of mouth.

Jordan Elizabeth is a young adult fantasy author.  She’s often wandering libraries looking for something to spark her interest…or she’s squealing over a treasure discovered in a used book room.  You can connect with her via her website

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“How to Become a Published Author”: Every authors reference to publication

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How to Become a Published Author: Idea to Publication by Mark Shaw is filled with information useful to authors in all stages of the publishing process. Although it’s aimed at aspiring authors trying to break into publishing, as a published author with an M.F.A., it gave me ideas and techniques to consider, as well. Shaw deals with the publication of fiction and poetry, as well as nonfiction. He touches on self-publishing as well as getting a foot in the door with traditional publishers, and offers a wealth of good reference materials.

Mark Shaw is a best selling nonfiction author, yet unschooled in the craft. He made his way into the traditional publishing world through the oldest method known to authors: good writing. And he practices what he preaches. Every book I’ve ever read by Mark Shaw has been well written, drawing readers in as his stories unravel in masterfully crafted ways which keep readers entranced to the end and make them think long after putting the book down. How to Become a Published Author is no exception, with the valuable information contained within presented in a clear and concise format that is easy to reference.

In this book Shaw walks us through the process for getting your books published, step-by-step. Sharing from his own experiences in traversing the pathways to publishing, using his own books and books of others as examples to illustrate his message, providing useful reference materials and links. This book covers practicle steps to becoming published from outlining in the pre-writing stage, all the way through to query letters and book proposals for those who aspire to be traditionally published. It offers marketing tips and advice useful to all authors, since promotion is a role which now falls on the shoulders of authors in many cases of both traditionally and independently published authors.

Much of Shaw’s advise could have come straight out of my M.F.A. in Creative Writing program, but he also offered suggestions for nonfiction publishing that wasn’t emphasized, or wasn’t offered through my program. It was helpful in getting me focused as I prepare to write memoir.

In How to Become a Published Author, Mark Shaw speaks from experience, delivering well founded advice on how to get your book published for authors in every stage of their writing careers. I give it five quills.

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Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.


Final Segment: Follow-up Questions

Ask the Authors (Round 2)

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Well, we’ve come to the final segment of Ask the Authors (Round 2) and it’s time to wrap things up. Today, our author panel will delve further into many of the topics from the previous segments. I’m pleased to have participation from almost all of our original panel members for this final segment. Included are authors DeAnna Knippling, Jordan Elizabeth, Tom Johnson, Dan Alatorre, Cynthia Vespia, Margareth Stewart, RA Winter, Lilly Rayman, Art Rosch, Amy Cecil and Mark Shaw. We didn’t get any reader questions this round, so the questions here are all mine. And with that said, here we go.

Building in Conflict

For the most part, we like our characters. Of course we do. We created them, they are our children. We even create villains that we love to hate, but there’s always a very story must have conflict. Conflict makes the story interesting. We’ve talked about creating characters readers can relate to and this is where we use that to our advantage. There has to be something at stake in order for readers to want to know what happens next. If there is no possibility of something bad happening and we know it will all turn out okay, then there really is no point in finishing the story. So, even though we love our characters, at times we need bad things to happen to them.

How do you feel about killing off your darlings? What other ways do you find to add conflict to the story?

DeAnna Knippling

deannak I sometimes feel embarrassed about how much crap I lay on my characters, but oh well 🙂

I think every scene should end up worse for the character in some substantial way than the one before.  It depends on the book, of course, but even a slow idyll should end with some level of train wreck by the end of the scene, even if the bad thing that happens is just a false sense of security setting up the characters to get hurt worse later.  I have four methods (so far):  1) the character tries to do something but fails.  2) the character tries, succeeds, and makes things worse.  3) the character’s efforts are interrupted by some other thing going wrong.  4) the character tries something…but you don’t get to find out how it comes out yet.

I write a fair amount of horror; one of my favorite techniques there is that a character tries to find out something, does, and totally regrets having left behind their blissful ignorance!

Jordan Elizabeth

Jordan If I kill someone off, I usually bring them back as a ghost, haha.  Seriously, though, I don’t always use death as a way to build conflict.  I like to add emotional drama through something devastating, like a shattered dream, or by throwing the character into an unexpected situation.  Adding a new, but related, bad guy helps too.

Tom Johnson

Tom's Back Cover Picture In Carnival of Death, the villain, Spider is back in town. She is a master of martial arts, but she had fought the Black Ghost in The Spider’s Web, and found him a superior fighter. This time she has help dealing with him while she goes after one of his aides, a Korean girl. Spider plans on beating the information out of the girl, but the Korean is a fighter and now one must die. The Korean has never had to kill before, while Spider has killed many with her martial arts. Will the young Korean be able to defeat this ninja in a battle to the death?

In the Spider’s Web, the Ninja had selected another aide, newspaperman George Freeman, an ex Army Ranger, tough and fearless, but she was beating him and was at the point of killing him when the Black Ghost arrived to challenge her. This time the Black Ghost was in a fight of his own, and could not reach his aide in time. The Korean girl is his electronic eyes and ears, not an active field agent, and must face this challenge alone.

Dan Alatorre

Alatorre If the story needs for my character to die, sorry! Boom, gone. It’s that simple. What’s best for the story? Do that, no matter how painful.

But conflict can be done in lots of ways before we get to that. Just put little obstacles in the way of your character – any character – and his or her goal. We need to track a serial killer? Let’s use one of our detectives as bait. Then make him nervous because a few years back, his partner died in front of him, and instead of thinking about catching the killer, he’s thinking about when his partner died, while he’s supposed to be bait for THIS killer. Then a man approaches that he’s sure is the killer and he’s all nervous and ready to spring into action – and it’s a false alarm. Which nearly causes him to blow the sting. Which causes him to get yelled at. Now his new partner is nervous about working with him… ALL of which was added JUST to add conflict. There are lots of ways to increase conflict.

Cynthia Vespia

colorheadshot - Copy If it’s necessary to the story I have no problem with it. But too many authors are trying to emulate George RR Martin and killing just to kill. First, build your character then, if there’s just cause, you kill them off to move the story.

What other ways do you find to add conflict to the story?

Depends on the story, depends on the characters. There’s alot of variables that go into answering that question. For instance, in my latest novel Karma I didn’t kill anyone, but there was a horrible accident that put someone in jeopardy.

Margareth Stewart

Margareth Stewart I don´t mind, my stories are full of conflict, and I write not to praise the anyone. Characters must do what they must do and feel what they feel, I follow that all the way through the path of writing the whole ploth, it does not matter if I like it, dislike or disagree with it. It is not the role of the writer to judge their characters. Full stop.

Lilly Rayman

L Rayman In my Unexpected series, the first book begins with the fact that my main character’s mother, and her half-brother’s mother were both deceased. This was a situation that was already developed, so I never gave much to either of these women, who in fairness, had been defining influences on my main character and her brother during their childhood. I then made a choice, to write a prequel, a story that investigated both these women and their influences on my main characters father and his children. I found it very hard to write the demise of both these women, since I had connected to them as I looked into them during their life. Unfortunately, it was always their fate to end up dead, and there was little that I could do about it.

Amy Cecil

Amy Cecil I really don’t mind killing off a character. I worry more about the reaction I’ll get from my readers. I always have an antagonist and they work to supply conflict


Action Scenes

In segment six, we talked briefly about how to write an action scene clearly and keep action moving smoothly, especially when there’s a lot going on in the scene in the discussion on action scenes and pacing.

Can any you elaborate on how you keep the action flowing smoothly in a fight scene, specifically?

DeAnna Knippling

deannak I break everything, both action scenes and otherwise, into beats.  In theater terms, a “beat” kind of translates down to the smallest possible conflict. (In a scene, there can be many different conflicts as the characters try different tactics to reach a goal.)  A beat is one clear step in attempting to achieve some goal.  Say a character is attempting to convince another character to sign up for a yoga class.  The character might try:
–Asking directly.
–Telling the other character they’re out of shape.
–Promising they’ll go with the other character.
–Lying to the character and saying they’re going to go shopping.
Each attempt during the conversation would be a beat.
Same thing goes for fight scenes.  The second character might realize that the first character tricked them into going to a yoga studio.  A battle begins!  The second character wants to escape the yoga studio.  They might:
–Point toward the hallway, saying “Look! Baby wolf!” while making a break for the door.
–Wrestling with the yoga teacher, who is blocking the door.
–Abruptly turning and trying to run toward the hallway.
–Rolling to their feet after being tripped by the first character.
Jordan Elizabeth
Jordan I picture what’s going on in my head and sometime sketch it out.  I like to keep my sentences crisp and short.  It keeps the pace moving and makes the action punchier.

Tom Johnson

Tom's Back Cover Picture Professional fighters learn to read their opponent’s strengths and weakness. Their full attention is on the moves, their minds evaluating, their eyes fully engaged on the person in front of them. Each is studying the other for a sign of weakness. Moves are like reflex action, lightning fast, with follow through automatic. There is no time to think about your next move, it has to come with mind-body coordination. And for this to happen they need to train and train until those reflexes are faster than their thought processes. The boxing tournament in my novel, Cold War Heroes has a number of good fight scenes.

Dan Alatorre

Alatorre I hope so; I wrote a whole book called A Is For Action, to describe just that. Envision it, and lay it out in big chunks, then address each chunk for what it’s supposed to do. Then cut each chunk into littler chunks and address what they are supposed to do. Little by little it’ll come together, but it takes a lot more explanation than I can do here – which is why I needed a while book to explain it, but it’s inexpensive and will show you everything you need, common rookie mistakes like run-on sentences, and all the rest.

Cynthia Vespia

colorheadshot - Copy Pacing, short sentence structure, mapping out the fight like you would any other scene, being aware of the POV you’re using, the setting, the weapons involved. I often block out the fight the same way a choreographer does for a movie.

Art Rosch

Art 2001 Samurai movies. I have immersed myself in Samurai movies for decades and that immersion has influenced everything I’ve written about combat and battle sequences. It doesn’t hurt to know martial arts. I don’t know anything about martial arts beyond the basics. In my fantasy novel, The Gods Of The Gift there is an extended combat sequence that encompasses every combination of fighting, from single to double to mutliple and then to mass formation fighting. I was inspired by a fight scene in the Samurai Trilogy (made in the 50s, see it!). A swordsman squares off against a master of a weapon called the Kusarigama. This device consists of a razor sharp sickle mounted on a staff. There is attached to the staff a heavy spiked ball attached to a twelve foot length of chain. The ball and chain are swung in overhead circles and used to trap an arm, a leg, a sword, thus allowing the weapon’s user to charge in and finish his opponent with the sickle. Nasty! Fascinating!

The Japanese and Chinese have arsenals of bizarre weapons. A bit of research into the Google archives will inspire some good ideas.

Then there’s the sensory impact of combat itself. Writing a fight scene involves all the senses. Feet moving, the sound of gravel spraying, the whine of metal on metal, the sweat and heightened perceptions of the fighters. Adrenaline. Terror and triumph. A good fight is seldom resolved in a single blow. In REALITY this often happens, but in fiction we need to have our heroes staring into the abyss of defeat, almost losing the fight, almost dying, then calling upon some last bit of strength to find a way to survive.

I read some accounts of medieval battles, taken from contemporary sources.  The descriptions of thousands of men charging and clashing have much in common.  I adapted that perception to describe a battle between large forces colliding in The Gods Of The Gift.  Here it is:

“The two masses of people came together with a groan of animal rage. There was a sound like the wrinkling of a giant metal plate. Garuvel was only aware of pushing and being pushed. His shoulder was dug into someone’s brittle shield, someone who was pushing at him as mightily as he pushed back. All around him, this pushing of two giant forces wavered this way and that, the front of the two masses of people snaked, bent, briefly ruptured, re-formed, pushed again. Garuvel could feel himself gaining ground as he pushed at the shield. His feet were digging trenches in the soil; soft wet earth oozed up around his ankles. He was able to take a single step forward and his opponent’s shield broke in two.  The face of a startled snarling Djoubiat appeared before him, and Garuvel used two fingers of his left hand to poke his enemy’s eyes out. He grabbed the man’s sword as it began to float away on the waves of the crowd. He tossed it to Jaramine, then got another sword for himself. Back to back, they let themselves be swept into the berserk trance of combat”.

I hope this helps. I’m barely on my first cup of coffee. I recommend that you locate The Samurai Trilogy directed by Hiroshi Inagaki and starring Tohiro Mifune. Great films.  Then, of course, there are the Kurosawa/Mifune collaborations. Enjoy!

Amy Cecil

Amy Cecil When I’m writing a fight scene I usually close my eyes and picture the scene then type what I see with every detail. Once the scene is complete then I go back and polish it up



Editing and Revision

In the week seven segment on editing, DeAnna Knippling talked a little about the editing process from the editor’s side. Her comment was that you have to like the type of book you’re editing, so you can be a champion for the story. And like Dan Alatorre pointed out, our stories may not be for everyone and not everyone will like them. As long as some people do like our stories, that may be all that matters as far as building a platform and following, but when it comes to editors, you have to be sure they get our work and like our writing styles. So, my follow-up questions are:

What do you look for in an editor? How do you know when you find an editor who’s a good fit for you?

DeAnna Knippling

deannak I tend to find editors online, so I tend to ask questions that are in line with the book I’m writing. If the editor can respond in the same tone, that’s a good sign. “Do you solemnly swear not to try to change the rash behavior of my Y.A. fantasy characters?” That kind of thing.

Jordan Elizabeth

Jordan I look for an editor with experience, and one who isn’t afraid to say what they like and don’t like.  Some editors will read anything for the money, but not do a good job because it isn’t a genre he/she is passionate about.  I like the editors who tear my work apart while understanding the vision behind it.

Tom Johnson

Tom's Back Cover Picture This is not always up to the author. When dealing with publishers you have to deal with their editors. When I was writing for NBI my publisher was a pulp fan, and knew what I was writing, so we hit it off great. Other publishers were not so cooperate. A number of them were romance and erotica editors, and were not fans of my writing style. They wanted sex and profanity, and I refused to give it to them. In one scene my hero and a bad guy are fighting in a room high above the street when they crash through a window and are about to fall, and my hero says, “Oh, hell!” My editor wanted something stronger, but I refused. Of course, my hero catches the window frame and doesn’t fall, but we argued about what he should have said, or not said. As the author, I thought I had the final say and that didn’t please the editor one bit. I also had an editor that automatically did a search and destroy for all “ly”s in the story and deleted them. That created more problems than it solved. When you find a good editor, keep them. There are some out there that won’t listen to you, the author.

Dan Alatorre

Alatorre A good editor can edit anything, like it or not; I do it all the time. But it’s better if they like it. I mean, commas don’t appear or disappear based on if I like the story, but content will be handled differently. What do I look for? Someone who gets it. Gets the story, gets the jokes, gets what I’m going for. Someone who writes or has written, because a bad story with all the commas in the right places is still a bad story. A great story makes its own rules. I love it when an editor or beta reader is so engrossed in my story they forget to edit it. When the fit is right, you know it because they get the jokes BUT they are willing to chuck it all to help the story be the best it can be. We call it the Hemingway standard. They hold me to the highest standard possible and catch every microscopic issue, and I do the same for them. We might not get to Hemingway but by God we’re gonna try.

Cynthia Vespia

colorheadshot - Copy At this point if I were to look for an editor I’d do my research on what they’ve edited in the past and get some recs from other authors.

RA Winter

RA Winter I was lucky enough to meet my editor, Karen Freeman, on Scribophile.com. She crit my story, then read everything I’ve written and had a lot of great insight. She knows my style and understands my prose.  I love an editor who does a full developmental edit, proofreading, grammar, and character development. Usually, she reads the first draft then waits until my edits and other crits are done before she comes back and rereads everything. As an editor, Karen Freeman goes above and beyond for me. I’m so glad that I have her!

Lilly Rayman

L Rayman I look for an editor who is easy to work with, answers my questions on why they made editing decisions. At the same time, I like an editor who is prepared to ask me why I made the decision to write a sentence or a scene the way I did.

Amy Cecil

Amy Cecil I want (and have) an editor that will make me a better writer. Someone who will make me step out of my comfort zone and make me write more. Over the years I’ve learned so much from my two editors. They are awesome.


Publishing Platforms

Today, authors can create their own publishing house, putting out their work under their own imprint. I’ve been told that this is a relatively easy thing to do. Some of our panel members have done just that, so let’s ask them.

Can you share with us a little about what the process of creating your own imprint entails?

 DeAnna Knippling

deannak
–Deciding to do one.
–Coming up with a business name that nobody else is using.
–Researching what laws are applicable for your state on the secretary of state website for your state (usually).
–Doing that (usually just registering the name).
–Rah!

Tom Johnson

Tom's Back Cover Picture We created the FADING SHADOWS imprint in 1982, and published a hobby magazine until 2004, as well as genre magazines from 1995 to 2004. We did all the proofing, editing, setting up and printing for most of those years. Today, we still use the FADING SHADOWS imprint on my self-published books. However, we no longer do the printing. Thankfully, with POD technology anyone can be a publisher today, you just need the know-how of modern technology. In 1982 we were young and energetic. In 2019, we’re not so young and energetic, so can’t do it all like we once did. My wife is a good editor for my books. She catches the errors I miss. But she also knows that I write in the pulp style, 60 years in the past.

Dan Alatorre

Alatorre Liken it to a winemaker. Are you going to grow your own grapes and make and sell the wine? Then if you are a bad farmer, you’ll get crappy wine, so you have to be an expert farmer AND expert wine maker AND expert marketer… most people aren’t experts at all that stuff and aren’t willing to become experts; many won’t be able to even if they knew what to do. There are a lot of moving parts. Essentially, if you mess up on any of those steps, you are toast. Now, having said that, even if you don’t manage to become an expert at everything, you’ll know enough to manage the people you hire and you’ll have respect for what they do.

What are the advantages of having your own imprint? Would you recommend authors do this?

DeAnna Knippling

deannak I have multiple pen names, so I do it to keep things organized. If you didn’t have a pen name, and you didn’t plan to ever edit an anthology or something, then I can’t see a lot of material benefit. But as soon as you have multiple names involved, then I’d say you should go for it. It’s hard to claim that your writing business is “DeAnna Knippling, Author” for tax purposes if you’re in either case. BUT I am not a lawyer, so don’t take that as legal advice 🙂

Tom Johnson

Tom's Back Cover Picture Yes, a lot of authors are using their own imprints today. And some have good editors.

Dan Alatorre

Alatorre The advantage is, if there’s no market for an original work, it can still see the light of day and maybe find its audience.

Authors, especially those who chose the more traditional routes of publishing, have to be thick skinned. If we take them all personally, they can be devastating, perhaps even deterring an author from continuing the pursuit of their dream.

For those who have tried to publish traditionally or via small press, where your work must be submitted in hopes that someone else will deem it publishable, and how many rejections did you receive before acceptance? And how did you handle the rejections?

DeAnna Knippling

deannak I’m still submitting to short story markets.  I submit all over the place for that. I think I submitted like fifty queries for novels, but I really wasn’t ready for novels back when I was doing that (I started out as a short story writer). When I started out, it got to me.  Then I heard Julie Kazimer talk about how many rejections she had, and I was like, “Right, I like her writing, and she still gets that many rejections, so whatever.” I made a goal to get 100 rejections my first year of serious submissions.  Got 125 🙂  I don’t track the number anymore, though.

Jordan Elizabeth

Jordan I received well over one-hundred rejections on COGLING, and now it is my second best-seller. Readers send me emails raving about it. At first, rejection hit hard. I wanted to curl up in the corner and cry. It took a while for rejections to roll off my back. As long as I love what I wrote, then that’s all that matters.

Tom Johnson

Tom's Back Cover Picture My first novel was submitted in 1970 to a dozen SF publishers, and I received a dozen rejection slips. One famous SF editor said he didn’t even know where the story took place. Well, he must not have even read it (LOL). But to be honest, I needed an editor. In fact, I also sent the story to what I thought was a publisher, but was an editing service. I was living in Riverside, California at the time, and two men came down from L.A., California to interview me. My book, they said, was something special, but they wanted to help me learn to write, and gave me several options, all of which would cost me money that I didn’t have. So I stuck the manuscript in a drawer where it stayed for three decades. In those thirty years I learned to write.

I have fulfilled my dream. Yeah, I read a lot, and see what the traditional authors are writing. Sometimes it’s disheartening to see what is being hailed as the best books on the market, and the size checks they are getting for what I consider junk, and seeing good independent writers having trouble selling copies of their books that are ten times better than those best sellers.

But I think about the writers-for-hire that turned out stories for publishers selling a million copies of each title, and the author only getting $1,500.00 for that book back then. When Stephen King was paid a million dollars for Carry, one of those writers-for-hire took a .45 and blew a hole through his computer. The writer-for-hire was bringing big bucks to the publisher for very low wages, and the publisher was paying King, McMurty, Clancy, and a few others the big bucks. The writers-for-hire didn’t think it was fair, and I still don’t think it is. I like martial arts, and I heard about a “best selling” series called The Ninja that has been receiving such great praise and a New York Best Seller, so I bought it. After fifty pages I threw it in the trash where it belonged.

Dan Alatorre

Alatorre The movie Rocky won best picture back in 1976. It got turned down a LOT, but Stallone stuck with it and it won best picture. The lesson isn’t tenacity, although that’s part of it. The lesson is, the people in charge often don’t know what’s good. Tom Brady, possibly the best quarterback in the NFL’s history, was a 7th round draft pick. That means EVERY TEAM passed him over 6 times – and he’s the best to ever play the game. Steven Spielberg, the most popular and most successful movie maker in history was turned down by USC film school. The people in charge often don’t know what’s good. Lots of people turned down every successful author at some point, and rejection letters are going to come by the hundreds. Each “no” puts you closer to a “yes,” so expect 200 of them for each version of your book you are querying. If the publishers don’t want it, don’t be afraid to go indie.

Art Rosch

Art 2001 In business there’s an expression. It goes like this: If the product is good, it will sell. Of course, I’m crap at business. In 1980 I had a writing career in the palm of my hand.  I was a guest of honor at Playboy‘s Writer’s Award banquet. I sat between Alex Haley and Saul Bellow. My short story had won Playboy‘s annual award and I was whisked to New York City to hobnob with the literati. Agents and publishers were handing me their cards. I signed a two year contract with Scott Meredith Agency. I just had one little problem. My writing hadn’t yet matured. My books were earlier versions of themselves and I hadn’t mastered the finer points of story telling.  I had another twenty years to grow up and become a polished writer.

Now we, as writers, are struggling through an era in which books are common as pennies and it’s virtually impossible to gain traction. In 1980 the world’s population was half of today’s population. There was room to get noticed. Now, today, go to Twitter, Facebook. Drown in titles, covers, blurbs. Not all of these books are good. I’ve written six hundred query letters to agents. The reply? “Though you write very well, unfortunately your novel is not right for us at this time.”

Sound familiar?

I don’t quit. I believe in my work. I believe in it so much that I can easily describe it as something like being in love. I’m in love with the things I write, and photograph, and music that I play. And so forth and so on.

Amy Cecil

Amy Cecil Only did this with my first book and only sent to three publishers. All three were rejected. That’s when I learned I could self publish.

During week 8 on publishing platforms, RA Winter gave the following advice for new authors, “Series make more money or at least have all of your books branded in the same genre.”

This sounds like good advice, but what does the multi-genre author do as far as branding goes? Do we have a separate brand for each genre, or can a single brand for your works encompass all the genres that you write?

DeAnna Knippling

deannak I write under different genres, so I can’t really use the same marketing/branding for each genre.  What works for gothic horror novels doesn’t do so well for cyberpunk.  I feel like I have to start over every time–but that’s okay.  I’m happy with my choices from a writing perspective.  It’s just a pain to deal with from a marketing perspective.

Jordan Elizabeth

Jordan I use the same brand for each of my books.  It works for steampunk because it is a gear, and it works for my fantasy novels because gears turning can symbolize the imagination working.

Tom Johnson

Tom's Back Cover Picture Well, I have to admit, my SF novels have done well, but so, too, have my pulp novels. I like writing in different genres. Westerns sell good, and I have a few in that category also. When I go to town people say, “Oh, he’s that science fiction writer.” That’s nice, but SF doesn’t sell in this town, and a science fiction writer is about as popular as sidewinder. I even told a teacher once that science fiction was a western. You just trade the cowboy’s six-shooter for a ray gun, his horse for a rocket ship, and Indians for red Martians. And some people here know I collect and write pulp, but they don’t know what pulp is. I was at the Post Office one day and a fellow was mailing a big package out. He recognized me and said, “I bet if you thought this box contained comic books you’d take it away from me.” Brand? I don’t know how good a Brand is. Me, I want to write whatever genre grabs me at the time. I’m tickled when someone calls me a children’s author.

Dan Alatorre

Alatorre Lots of authors don’t do that and are very successful, but I suppose it makes life easier if you do it. The problem is, you might have a crappy series no one wants to read. Then what? You wasted years on a dead end. I write what I want to read. I write in a daring style. I can make you laugh or cry in every story, sometimes on the same page. When you start my story, I own you, and it doesn’t matter whether it’s a series or if each book is different. John Belushi never repeated himself; why should I? Genius has a way of being discovered of you are willing to put enough work into it. There are no shortcuts and no magic recipes.

There’s no one magic formula. Train your readers that whatever you deliver, it will rock their world. Books and movies are entertainment. The best directors don’t do the same movie over and over in a series because they want to challenge themselves to find another great thing and to keep pushing themselves.

Cynthia Vespia

colorheadshot - Copy My work can, and has, fallen under different genres. I find it gets confusing to the reader especially in terms of branding and finding your niche audience. So now I try to incorporate a little bit of fantasy in every book I write be it urban, dark, or adventure so that my books stay under a similar umbrella.

Amy Cecil

Amy Cecil Still working on this.

If you have published independently, what challenges have you faced – in getting your books into brick and mortar bookstores, and libraries?

DeAnna Knippling

deannak Nobody likes or wants to work with Amazon/CreateSpace. That’s my biggest challenge in one. I need to expand away from them, but I haven’t reached that far yet.

Tom Johnson

Tom's Back Cover Picture I’ve personally donated my books to the surrounding libraries, and some of my books have been on the shelves of Books A Million and Hastings in Wichita Falls, Texas, but that was in the past. I doubt seriously that any are still in the brick & mortar bookstores.

Dan Alatorre

Alatorre Doing any of that requires time and effort. That same effort can get me more sales of eBooks, so I concentrate there. 90% of my marketing time or more is marketing eBooks. If I have time leftover, I’ll see if a library wants a copy or if a brick and mortar bookstore does. I went to an author event where the bookstore manager at the event derided me about bringing so many of my 25 titles. I sold a whopping 6 books that weekend with her. As I was packing up, she kinda laughed at the effort I made in bringing in 25 titles and only selling 6. I mentioned that I’d moved over 1000 eBooks that week. She shut up after that.

Cynthia Vespia

colorheadshot - Copy They absolutely will not accept POD versions of your book.

Amy Cecil

Amy Cecil Marketing is my biggest challenge.


Building Your Author Platform

Have you ever used paid reviews?

DeAnna Knippling

deannak Nope. I don’t feel like it’s ethical, by which I mean “long-term smart.”

Jordan Elizabeth

Jordan I used one company once.  It cost a lot of money and promised at least 10 reviews.  I got 1.  After that, I never paid for another review company.

Tom Johnson

Tom's Back Cover Picture No, but I have thought about it. Reviews are hard to get.

Dan Alatorre

Alatorre No. I know some people say Kirkus and others like them are great; I don’t see the value. When I see a Kirkus review, I say: that person isn’t successful enough to get reviews without paying for them. I could be totally wrong about that, but that’s what I think. Spend that $500 or whatever on marketing and getting reviews from readers.

Cynthia Vespia

colorheadshot - Copy No, there’s no point in it for me. I’d rather here what readers genuinely think rather than someone I paid off to give a glowing review. Besides, I’ve talked to a number of other authors and they’ve all said the amount of reviews you have really doesn’t mean that much in the long run.

Lilly Rayman

L Rayman No. One I don’t believe you receive a genuine review if you pay for it.

Two. I believe they are unethical.

Three. I can’t afford to pay people to review my work.

Art Rosch

Art 2001 I probably have more fans than I realize. Unfortunately, I get very little feedback. A comment on one of my blogs, an appreciation of a book, a review…any kind of review…is a major event. I don’t pay for reviews. There are so many authors, so many reviews, it’s like spitting into a fast moving river. It’s here, then gone.

My novel, Confessions Of An Honest Man won Writer’s Digest Honorable Mention. There were almost four thousand submissions. WD wrote a glowing review of the book.  Without that review I’m not sure I would even believe the book exists. Without Kaye Lynn’s reviews of my work, I would feel like a ghost. I’ve sold less than a three hundred books. I can’t even give away my books. My memoir, The Road Has Eyes has eleven hundred free downloads. That’s four years worth of promotion. Am I disappointed? Yes. Am I surprised? A little.

In your mind, what are the pros and cons of paid reviews?

DeAnna Knippling

deannak A) They’re not really honest.  B) They’re trackable, so your distributor may bust you for them and punish you according to their terms of service. Goodbye review! And that’s generally a best-case scenario.

Jordan Elizabeth

Jordan The biggest con is what happened to me – no one reviews and you just wasted a lot of money.  I think the service I used cost $60.  $60 for one review (a one-sentence review at that) didn’t feel worth it.  I didn’t even know if the reviewer genuinely liked the book or felt compelled to give it 4 stars.

Tom Johnson

Tom's Back Cover Picture Paid reviews are probably not going to appear on Amazon or GoodReads, or anywhere else. If they weren’t bought on Amazon, the review won’t be published on Amazon.

Dan Alatorre

Alatorre I guess the pros are you get a review. The cons are, that’s less money you have for marketing.

Amy Cecil

Amy Cecil No author should have to pay for a review.

How effective have you found interviews to be in bringing new followers?

DeAnna Knippling

deannak I think the effectiveness of an interview depends on how open the author is willing to be.  If the author personally appeals to the audience, then an interview can be great.  But if the author is stiff and over-controlled, then people aren’t going to get a very good idea about whether they want to read your book.  I’ve both interviewed and been interviewed.  The interesting thing to me is that that type of post is more of a long-term investment than a short-term boost.  It’s like, people kind of hear about your book somehow, then they look up your name and the book title, and they end up searching for you on Google years after the book is published.

Jordan Elizabeth

Jordan Honestly, I haven’t seen a correlation.  No one has told me they read my book or started following me after reading an interview I did.

Dan Alatorre

Alatorre I don’t think any one thing does a lot by itself, but doing a lot of interviews and a lot of other stuff gets the internet to find you better, and together it all helps. Basically, I do almost every interview I’m asked to do because I can use it on my social media to remind my followers that I’m out there and they should read my next book. That’s not the interviewer’s job. That’s my job in doing the interview.

Cynthia Vespia
colorheadshot - Copy Interviews have given me exposure to new people…not alot…but enough. Also, they’re fun to do.

Amy Cecil

Amy Cecil Not effective at all.

Has there been one interview you feel was most effective? If so, why do you think this interview was more effective than others?

DeAnna Knippling

deannak Unfortunately, I don’t know for sure! I feel like an audio interview with Bill Olver (of Big Pulp at the time) was the most effective, because I saw an upswing right after that, but I have no actual idea.

Here’s the interview:  http://www.podcasts.com/big-pulp-audio-435ce9688/episode/Big-Pulp-Audio-May-22-2016-31da

Jordan Elizabeth

Jordan Interviews where I include a giveaway usually get the most comments.

Dan Alatorre

Alatorre I had a great interview with Cathleen Townsend. It was a blast. I don’t know if it sold any books but I had fun doing it. I did a video interview of bestselling author Allison Maruska (The Fourth Descendant) and we laughed the entire time. We had a great time. Again, did those efforts sell books or did they show a different side of me to an audience? Mark Twain said, sell yourself, not your product.

Cynthia Vespia

colorheadshot - Copy I was fortunate enough to be interviewed by the owner of COS Productions Sheila English alongside Heather Graham! That got me some attention for sure.

This question is for those of you who have blogs. As we all know, I use WordPress. I found Blogger to be too limiting, and I’ve been playing with WIX for the new WordCrafter site I’m building, but I’m having difficulty in setting it up the way I want and I’m considering creating a second WordPress site instead.

Which blogging platform do you use and what do you see as benefits and drawbacks of it?

DeAnna Knippling

deannak I use WordPress.  The big benefit is that everybody uses it, so it’s easy to find templates and other goodies for it, and it works well enough.  The not-so-big benefit of it is that you have to modify the heck out of it before it feels like home, because it kind of looks like everyone else’s!

Jordan Elizabeth

Jordan I use BlogSpot for my blog, and it is okay, but a lot of tends to be finicky and doesn’t always do what I want.  I use Wix for my website, and that too can get finicky.  It doesn’t always look the way I want it to look.  Maybe its just me not using programs correctly!

Tom Johnson

Tom's Back Cover Picture I use Blogger, and have found it works well enough. I have half a dozen Blog Sites. Many Groups will not allow the posting of Blog Links for some reason, so I’ve been having a lot of trouble lately with getting the word out on new Blog entries.

Dan Alatorre

Alatorre I use WordPress for one reason: it’s easiest for people reblog, comment, share, and follow. The end. I want sharing and reblogging and I want one click to make you a follower. WP does that. That’s all I need. I recommend them to everyone. It’s the fastest base from which to build a following at basically zero cost. That’s hard to beat.

Cynthia Vespia

colorheadshot - Copy I’ve used Blogger and I currently use WIX. I know everyone swears by WordPress but I tried it and I didn’t like it at all. My websites are built on WIX and the blog has everything I need.


Marketing and Promotion

Last week we did a segment on marketing and promotion, yet we didn’t talk at all about book covers. This was a huge oversight on my part, because the covers of our books may be our single most valuable marketing tool. Some people buy books just because their interest is captured by the right cover, even if they’ve never seen one advertisement for the book or read one review. Finding, or creating the right cover can be tricky and different authors handle it in different ways.

Please tell us how you come by your covers: DIY or hired out or prefab?

DeAnna Knippling

deannak I’ve done DIY design (from art that I licensed on stock art sites or directly from an author on DeviantArt in one case) and hired out two covers.  The ones I hired out for weren’t successful for me, possibly because I did those when I had a much weaker understanding of the market.  The artists produced what I asked for 🙂  A third custom cover is for an anthology that’s going to go out soon; I think that one will be a great help in selling the anthology.  But Jamie Ferguson (my co-editor) and I did a lot of research on what kind of cover we wanted, even before we commissioned the artist.  You can find out more about the anthology, Amazing Monster Taleshere.

Jordan Elizabeth

Jordan My covers are all made by the publishers.  I give them an overview on what I’m looking for in a cover and their cover artists go at it.

Tom Johnson

Tom's Back Cover Picture I’ve hired several covers done for my books. Plus, I do some myself. I agree, the cover is the first thing readers see, and it better catch their eye. The second thing is the Blurb. Both have to attract and interest the reader. I recently saw this in effect, a writer has a very nice cover for his book, but the Blurb stinks, and I wasn’t surprised when he said he wasn’t selling any copies of his book.

Dan Alatorre

Alatorre Most DIY book covers look home made. Authors should hire someone, and before they hire someone they should see what the top 25 of 50 books in their genre look like and ask to emulate that, then let the artist do their thing. Try to get a few (3-4) mockups and showcase them on Facebook. Even if you are brand new and have zero followers, for $10 you can put together a Facebook ad that will be shown to readers of that genre and let THEM choose the correct cover for you. The fans are never wrong, but I almost always am! Whatever cover I like never wins, and whatever cover the fans like always sells well. Another cool thing to know: after about 12-20 votes, you’ll have a clear winner, and if you get 100 more votes or 1000, the winner won’t change. Remember: you are probably not the target audience, so find them and let them choose. I and friends have spent as little as $50 to $100 for covers that became bestsellers. It doesn’t have to cost a lot to have a winner, but a loser costs a ton – because you have to overcome its crappiness by way of additional marketing expense.

Cynthia Vespia

colorheadshot - Copy I make my own covers. Awhile back I had the rights to my Demon Hunter saga returned to me. At the time, the publisher had used stock photos that made them look like romance covers. When I got the rights back I had a very specific direction where I wanted to take the books for a relaunch. So I began dabbling in Photoshop and eventually I produced some stunning covers. Now I mostly do all my own unless I need specific art work drawn out.

RA Winter

RA Winter I use Kreativecovers and use Kayci Morgan exclusively. She’s wonderful. I can give her an idea and she runs with it. Here are my two favorite covers that she did. The first one, Twisted, you can immediately tell the genre. The second one, Demise, gives you a taste of what’s in the book. I’m so pleased to have her on my team.

 

Instead of asking what makes a great cover, a question that has been asked a thousand times before, with answers dependent on as many variables as there are books on the market, I’m going to ask you each to include the image of what you consider to be your best book cover and tell us what you think makes it a great cover.

DeAnna Knippling

deannak I’m going to use one of the draft covers from the anthology that I mentioned before (this one isn’t final). The art is by Paul Roman Martinez, who is AMAZING. He also designed the logo for us. We started out with probably at least a dozen hours of research into what pulp magazine covers looked like, what we liked, and what we didn’t. Then we had to figure out how to communicate that to Paul 🙂 After a few missteps (totally on my part), Paul did a tentative sketch and, because we had done so much research, we knew it was a winner. We gave him the go-ahead to do the finished art. The logo was actually more trouble–it got to be too close to the existing design on another magazine, and had to be redone.
Best Cover - Knippling
There are a lot of details that go into cover design, and I don’t have the time to get into them here. But we talked a lot about both the content of what the art should be, although we did not actually tell Paul what to create, only what kind of thing we were looking for, and how we wanted that laid out so that there would be enough room for text later.
[Hey, if you have more questions on that, ask – I’m drawing a blank on what to say that isn’t a whole book on covers.]
Jordan Elizabeth
Jordan The most popular cover is TREASURE DARKLY. Readers at book signings gravitate to it without knowing anything about the book. I’ve heard people say they love how dark it looks or that it has a sexy girl.
Treasure Darkly
Tom Johnson

Tom's Back Cover Picture I have a lot of great covers, but will pick NEW PULP HEROES as an example. This is a non-fiction book with essays on the New Pulp Heroes. It’s a book that every New Pulp writer, and every researcher should have. And the cover is pure pulp. The girl is in danger and the hero coming to rescue her. It’s perfect for the subject matter within the pages.

New Pulp Heroes

Dan Alatorre

Alatorre A great cover is what fans say is a great cover and you figure that out using the method I just described. Most authors can’t be objective enough to do that, though. They let their intentions cloud the process.

My best cover is Double Blind, a murder mystery. I look at it and I feel the intensity of the killer. Second is the new cover for The Navigators, same reason – intensity. They just look professional.0

Cynthia Vespia

colorheadshot - Copy I went through several variations of Demon Hunter Saga for the print book. What makes this a great cover? When I’m at conventions among the thousands of talented artists there this cover stands out in a crowd. When people see the book on my table they always stop to look at it. I’ve been told more than once how amazing the cover looks and I’m really very proud.

 

Demon_6x9DustJacket_Front_EN copy

 

Art Rosch

Art 2001 This may be my favorite cover.  I use my own photography and do all the design work.  I love this cover because it describes what’s in the book.  It’s loaded with narrative, mystery and incorporates one of the best design devices in the world, the “S” curve.  The eye is drawn down that oddly green road towards the RV.  There’s fog, stars and a homely thirty year old Winnebago. Who’s in that RV? Where are they going?  Where have they been?  This is a very cool book cover.

The Road Has Eyes

Amy Cecil

Amy Cecil I would say my latest Ripper cover is the best. It is totally eye catching.

Ripper


Sometimes life just gets in the way of things. This round of Ask the Authors panel members have been great, but unfortunately Mark and Kym Todd had to drop out early on when Kym was injured while they were traveling. Art Rosch, as well, has been absent from several segments due to a series of unforseen circumstances starting with a tree falling on his home, being in the middle of all the California fires, and other issues which prevented him from participating in many of the previous segments. Fortunately, Art was able to join us for this last segment, enthusiastic about being back in the game. He wrote me a lovely piece discussing many of the things which we cover here and he also had this to say about social media book promotion and branding.

Art Rosch

Art 2001 Social media. Where else do you promote books? I’ve spent every day for the last five years on Facebook, Twitter, Tumblr, Google Plus and half a dozen others that I can’t remember. I’m so sick of social media that I’ve tried another tack.

I published Confessions in paperback, ordered a box of fifty and started giving away copies. It may be a slow method of marketing but it gets the book read. People talk to me about the characters, they ask questions. That’s what I want: engagement with an audience. Whether my audience is ten people or ten thousand people, I want to hear from readers. If I had a ton of money I’d buy ads on Amazon and Facebook. I’ve heard they don’t work either.

All the conventional wisdom about branding is so much noise. I am my brand. The literature of Arthur Rosch. My platform is made from Popsicle sticks.


Just for Fun

Authors are just ordinary people in so many ways, no matter the level of success we’ve had. So if you will, share with my readers a little about things that make us real by answering at leeast one of the following questions.

What’s one thing most of your readers would never guess about you?

DeAnna Knippling

deannak I often wear other colors than black?!?

Mark Shaw

MarkAtSFTS (1) That I was an awful student in high school, Purdue University (six years), IU law school (4 years not three) and never have taken a writing class in my life.

Tom Johnson

Tom's Back Cover Picture I love coconut. Coconut pies, coconut cake, anything with coconut. I’m addicted to coconut like most people are with chocolate.

Jordan Elizabeth

Jordan I’m terrified of people in costumes.  Think Minnie Mouse at Disney.  If I see a person in a costume, I’m running the other way.

Cynthia Vespia

colorheadshot - Copy I used to do fitness competitions.

Margareth Stewart

Margareth Stewart I’m a shrink (lol). People guess all sorts of professions for me, never a shrink. Maybe, it’s because I´m very talkative and I’ve never done clinician activities.

RA Winter

RA Winter I have five, yes, five boys.  Now you know why I have such an odd sense of humor.

Art Rosch

Art 2001 They’d never guess that I’m a drug addict.

Listen to me: this is true. I’ve had a year in which I felt like committing suicide. I began to write suicide notes in my head and then I would stop myself. “You’re writing suicide notes in your head,” I told myself. “Stop it right now.” I had a spell of depression. I’m doing much better now. One of the things that kept me wanting to live was the existence of my books. I thought, “If I don’t fight for these, they’ll vanish. I’m obviously the only person who will fight for my books, so I’ve got to hang around.”

Amy Cecil

Amy Cecil When I was worried about running out of a particular genre to read (because I was obsessed) my best friend said, “write your own.”  And I did!

Besides writing, what are your favorite things to do?

DeAnna Knippling

deannak Eat and wander around in scenic locations. And read, of course, although that probably goes without saying.

Mark Shaw

MarkAtSFTS (1) Sit in my Mini Cooper convertible by the beach, listen to the waves, and read a good mystery.

Jordan Elizabeth

Jordan I love to read (obviously, haha), paint, and make jewelry.

Cynthia Vespia

colorheadshot - Copy Workout, paint, relax.

Margareth Stewart

Margareth Stewart Sports & cooking, plus reading, traveling, and talking to people.

Art Rosch

Art 2001 Watch the stars at night, play drums and watch TV.

If writing suddenly made you rich and famous, what would you do?

DeAnna Knippling

deannak The normal stuff, like paying off debts and setting up college funds and traveling and buying a house up in the mountains 🙂  But I think I would be going to my library and finding out what they needed.

Mark Shaw 

MarkAtSFTS (1) Live in the south of France.

Jordan Elizabeth

Jordan I would quit my day job to focus on my son and writing.  I hate sending him to daycare.  I love the daycare he goes to, but I want him home with me for adventures

Cynthia Vespia

colorheadshot - Copy Rich would be a load off, famous I don’t ever want. I would keep writing though, resting in the knowledge that at least now I knew people would be reading my books.

Margareth Stewart

Margareth Stewart I always think about that…I will do everything the same, maybe I´d buy some fancy chocolate and coffee. That´s all!

Art Rosch

Art 2001 I’d start a foundation promoting education in third world countries.

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

DeAnna Knippling

deannak That other people have valid internal lives of their own.  That’s the foundation of empathy–the rest of being an actual worthwhile human is all gravy 🙂

Mark Shaw

MarkAtSFTS (1) To listen better than I do and be more patient that I am.

Jordan Elizabeth

Jordan To be patient. Whenever I drive and someone ahead of me does something weird, I feel sorry for them. I think they made a mistake. I’ve been in the car with, say, my husband, and he’s furious at the other driver.

Margareth Stewart

Margareth Stewart I guess I´ve already done that and that is authenticity. There is nothing like being ourselves and moving forward!

Art Rosch

Art 2001 I hope to teach my grandchildren how to think correctly and to revere life.

How would you describe yourself in three words?

DeAnna Knippling

deannak Please send cheese.

Mark Shaw

MarkAtSFTS (1) The most blessed man on the face of the earth (Sorry for length)

Jordan Elizabeth

Jordan I just asked my toddler and he said, “Ew, ew, ew.”  I guess I’m yucky!

Cynthia Vespia

colorheadshot - Copy I’m a warrior.

Margareth Stewart

Margareth Stewart Cheerful, busy, project-driven.

Art Rosch

Art 2001 Deep, very deep.

What’s the best piece of advice you were ever given or offered?

DeAnna Knippling

deannak It wasn’t phrased this way, but:  “Make someone else make you fail.”

Afraid of what might happen if you send out a book before it’s ready?  Afraid of going straight to an editor and skipping the agent?  Terrified of indie publishing?  What’s the worst that could happen?  You could be ignored.  Oh well.

Mark Shaw

MarkAtSFTS (1) Never give up trying anything new

Jordan Elizabeth

Jordan  Its okay to take a rest.  People need to recharge their inner batteries too.

Dan Alatorre

Alatorre This is one that everyone can learn to do, and it will help most of the writers out there. Write as if a disinterested 3rd party picking it up had no reference point for what you’d written. You must bring them from point A to B to C. Most writers will use that as an excuse to over write in so much detail the story become unreadable, so here’s this, too: 1. Get to the good stuff as fast as you can. 2. Most writers are too afraid to really bare their soul on the page, so their work isn’t as intense and immersing as it could be.

Cynthia Vespia

colorheadshot - Copy So many because I’m always learning. My best advice is from myself as I’ve learned that life is short and not to waste time.

Margareth Stewart

Margareth Stewart Go for it!

Art Rosch

Art 2001 You can’t heal yourself alone. Ask for help.

What makes you laugh or cry?

DeAnna Knippling

deannak Everything.  One of the reasons my spouse was interested in me was he kept hearing me belly laugh to myself in a college computer lab.

Mark Shaw

MarkAtSFTS (1) When I hear of injustice, of people being denied their rights.

Jordan Elizabeth

Jordan Tickling makes me laugh. I cry when I see costumed characters.

Cynthia Vespia

colorheadshot - Copy Cute animals do both!

Margareth Stewart

Margareth Stewart I laugh and cry very easily, but what really hits me are those unique and anonymous experience that never happen twice, like hugging a homeless guy in the street, finding a pencil in the middle of a supermarket when I just needed to take a note in pencil.

Art Rosch

Art 2001 Dogs.

What is your favorite food? Color? Song?

DeAnna Knippling

deannak Cheese, green, and I haven’t picked one yet because mostly people want to know my favorite book.

Mark Shaw

MarkAtSFTS (1) Macaroni and Cheese, Purple, Imagine

Jordan Elizabeth

Jordan My favorite food right now is cheese, haha.  I love the color black, with blue as a close second.  My favorite song is a mashup of Light ’em Up and Radioactive.  It makes the perfect theme song for the Treasure Chronicles.

Cynthia Vespia

colorheadshot - Copy Pizza, Black, Right now I like “Get Up” from Shinedown

Margareth Stewart

Margareth Stewart Food is my homemade pasta, of course!!! Color = all of them. Song: Ella Fitzgerald “Bewitched…”.

Lilly Rayman

L Rayman

Favourite food – Steak – particularly Scotch fillet.

Favourite Colour – Red and Black

Favourite Song – American Pie by Don Maclean

Art Rosch

Art 2001 Cheerios.  Blue.  Lonnie’s Lament by John Coltrane and You Want It Darker by Leonard Cohen.

In a future where you no longer write, what would you do instead?

DeAnna Knippling

deannak[Glares at interviewer.]

Mark Shaw

MarkAtSFTS (1) Surf.

Jordan Elizabeth

Jordan I would teach. I’m currently a teacher; its what I’ve always wanted to do, other than write.

Cynthia Vespia

colorheadshot - Copy That future doesn’t exist, I would always write. However, if you’re asking what I would do instead…I wanted to be an animator for Disney.

Margareth Stewart

Margareth Stewart Audio books (lol).

Art Rosch

Art 2001 Sit in an urn on the fireplace.

See. Ordinary people. Nothing unique or odd about authors. We’re perfectly normal. Hehehe!


Thank you all for joining us for Round 2 of Ask the Authors. Thanks to our author panel members for sticking with it and putting up with all my probing questions and reminders and fitting AtA into their busy lives for the last twelve weeks. They’re a great bunch of authors and I can’t thank them enough for sharing here.

This has been a great blog series and I think we put out a lot of useful information. I’m thinking of doing a Round 3 sometime next summer. If you enjoyed this series and would like to see more, please let me know in the comments.  Mention which panel members you enjoyed and why, to show appreciation for their efforts.

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A Discussion on Publishing Platforms

Ask the Authors (Round 2)

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The internet changed the ways in which we communicate with one another and opened up many avenues to publishing for unknown authors with rapid speed. And the publishing industry is continuing to transform on a daily basis, with many publishing platforms offering more and more publishing options for authors. But how do we keep up with this rapidly changing industry? How do we know which publishing platforms are right for us? And which route is the best one for individual authors?

Today on Ask the Authors, our author panel is discussing publishing options and the various publishing platforms available. Our panel members this week include DeAnna Knippling, RA Winter, Mark Shaw, Tom Johnson, Ashley Fontainne, Cynthia Vespia, Lilly Rayman, Jordan Elizabeth, Amy Cecil, and Margareth Stewart. Let’s thank them for their willingness to share and see what we can learn from their experiences.

Are you published independently, traditionally, by small press or some combination?

DeAnna Knippling
deannak I am an indie with one small press title under my name and several under ghostwritten names.
RA Winter
RA Winter I’m published by a large publisher but it’s for my genealogy books under my married name.  For my fiction works I’ve chosen independent.
Mark Shaw
MarkAtSFTS (1) Traditionally as always.

Tom Johnson

Tom's Back Cover Picture By small and large press, plus now mostly self-published.

Ashley Fontainne

Ashley Fontainne Combination. All of my titles are independently published except one with HarperCollinsUK.

Cynthia Vespia

colorheadshot - Copy I’m currently focusing on indie publishing.

Lilly Rayman

L Rayman I’m independently published; however, I do work with an independent publishing company for some anthology stories.

Jordan Elizabeth

Jordan I’m published by four small presses – Curiosity Quills, CHBB, Clean Reads, and Ellysian.

Amy Cecil

Amy Cecil Independently


What factors influenced your decision to publish via the route you chose?
DeAnna Knippling
deannak I got jealous of a writer I knew who was going indie, honestly. I felt like I was spinning my wheels with traditional publishing. I had just gotten a letter back from a publisher going, “Great book, but we need you to completely rewrite it and change the focus from one character to this other guy.” I couldn’t do it.  I had researched the market for this book and written something that I wouldn’t have otherwise written to see if I could get a foot in the door. (I know now that that’s a bad idea; you can get stuck writing books you hate that way.) And then, after I had jumped through those hoops, they wanted something else, but they weren’t going to pay me for it until after I’d already written it, and even then who knew if they would buy the thing. I just couldn’t force myself to jump through that hoop again. So I let it go, started writing what I wanted to write, and went indie.
I’m not saying that it’s the best thing ever or that I would never change my mind. It’s just that I had to go with the choices that let me stay in love with writing.
RA Winter
RA Winter When I signed to a publisher I didn’t read the small print. Ok, I didn’t see the decimal. I get a very small pittance for each book I sell and the amount hasn’t gone up in about twelve years even though my non-fiction books sell for ten dollars more than when they were first published.
Mark Shaw
MarkAtSFTS (1) Same publisher as The Reporter Who Knew Too Much, Post Hill Press with distribution by Simon&Schuster.

Tom Johnson

Tom's Back Cover Picture I’ve only remained with one publisher through the years, all the rest of my books are being self-published. Personally, I am not a conformist. I go my own way, and write what I want, not what publishers want me to write, and that’s the main reason I self publish today. The publisher I have kept allows me to write what I want, and royalties are good. They have my print editions while I have the rights to my eBook editions.

Ashley Fontainne

Ashley Fontainne It was quite an honor to have a novel picked up by such a prestigious publishing house and something I will never forget. However, I do enjoy the independent route since it allows me more creative freedom and control. I love the entire artistic process from crafting the story to designing the cover and preparing the interior files.

Cynthia Vespia

colorheadshot - Copy I was previously published by small press houses and I found they didn’t do much more for me than I could do for myself. I may revisit traditional publishing in the future.

Lilly Rayman

L Rayman Impatience, lol. I wanted to share my first novel, and I didn’t want to wait for finding a traditional publisher. I like the control I have over my own work, and the flexibility I have to meet my own deadlines and move them as I need to by publishing for myself.

Jordan Elizabeth

Jordan I don’t want to knock self-publishing, and in many ways I envy self-published authors for the freedom they have, but my dream was always to be published by a publisher.  Self-publishing just doesn’t feel right to me, but I know it works for many people.

Amy Cecil

Amy Cecil I felt it gave me more control.


What do you see as the pros and cons of independent/traditional publishing?
DeAnna Knippling
deannak
Indie Publishing:
  • You get to decide all the things.
  • You have to decide all the things.
  • You’re less likely to get into bookstores and libraries.
Traditional Big Publishing:
  • Sanity checks.
  • Questionable people performing your sanity checks.
  • If you’re not already a bestseller, they aren’t going to do a lot for promoting your book, as far as I can tell.  They open a lot of doors, but they aren’t going to escort you through them.
I think small press publishing needs its own category:
  • DO YOUR RESEARCH.
  • The worst horror stories I hear are actually from the small press category.
  • Some will do you better than a big, traditional publisher; some will run off with your money and your rights!

RA Winter

RA Winter  Traditional publishers take a large bite out of your profits. On the plus side, if you sign with a big house, they do the marketing for you and can get your books into stores easily.

Mark Shaw

MarkAtSFTS (1) Traditional much better with promotion and distribution depending on publisher. Traditional self-publishing can make sense tougher way to go.

Tom Johnson

Tom's Back Cover Picture Naturally, you have more control over your material with independent publishers because you can fight for your control. Traditional publishers will take the control away from you. Many of my friends have gone the independent route, while some keep both.

Cynthia Vespia

colorheadshot - Copy

Pros of indie: Freedom/Total Control

Cons of indie: You basically have to be marketing 24/7

Pros of traditional: A fraction of the load is taken off of your shoulders

Cons of traditional: It’s very hard to get past the gatekeepers and alot of them aren’t willing to take a risk on a new voice.

Lilly Rayman

L Rayman I guess I’ve already answered the main pro of being an independently published author, I can set my own deadlines and I have full control over my own works and can make my own choices.

I think a traditional publisher most likely offers authors the benefit of their experience and can help a new author to navigate the ins and outs of publishing.

The independent community, however, is a fantastic place, and if you get involved in writer groups, and interact with other authors, they can all help you and provide you with advice. I have a great network of other independent authors, editors and publishers around me, and they all help me when I need advice.

Amy Cecil

Amy Cecil Well, definitely as an independent I can publish what I want when I want. No deadlines except those I set for myself.  I think the only downfall to that is marketing and promotion. A traditional publisher would have the resources available to offer a good marketing program


I’ve been a reader all of my life. I used to read by flashlight with my covers over my head on school nights, so my mom wouldn’t know I was up past my bedtime. Those were the days when a book was a book with a front and back cover and actual pages in between.

Today, there are many forms of reading. Although I still love the feel of a print book in my hands, I must admit that my Kindle Fire has made digital books convenient, and I now read books more in digital format than I ever did in print. Now days you can even read a digital book on your phone, I think. Also, the audio book is fast becoming popular, which I can see the advantages of because I have a long commute which takes up valuable time which could be spent in what I consider to be more productive endeavors. For me, audio books might be a valuable multi-tasking device.

As an author, it only makes sense to publish my work in as many different formats as I can manage, because different readers have different reading method preferences. I was thankful that my publisher put out Delilah in both digital and print formats, and they were looking at audio, but had trouble finding the right narrator. If I had published independently, I think I would consider doing my own narration. I recently had some experience in making audio readings that turned out quite well, but it isn’t my decision, since I agreed in my contract to leave those things in the publisher’s hands. 

Those are my thoughts on the matter, but let’s see what our panel members have to say.

Which formats are your books available in? (i.e. ebook/print/audio) Which file formats for eBooks do you provide?

DeAnna Knippling
deannak I’m in ebook and print. I’m going to test out an audio version next year (goals!). I have .epub, .mobi/Kindle, and PDF files for my ebooks.
RA Winter

RA Winter So for I use Kindle and print. I’ll be going wide soon.

Mark Shaw

MarkAtSFTS (1) New book Denial of Justice, hardcover, ebook, audiobook, large print.

Tom Johnson

Tom's Back Cover Picture Most of my books are both in print and eBooks.

Ashley Fontainne

Ashley Fontainne Print, ebook and audio. I prepare both epub and mobi versions of my books to file electronically across several platforms.

Cynthia Vespia

colorheadshot - Copy I currently have both print and ebooks available with eyes on doing audio in the near future. It’s always best to have all your bases covered.

Lilly Rayman

L Rayman My books are all available in eBook, and my larger works, are also available in print. I use Instafreebie to help distribute outside of sales platforms for the purposes of giveaways or ARCs.

Jordan Elizabeth

Jordan All of my books, save one, are available in print and ebook. The other is only available in ebook as of right now.

Amy Cecil

Amy Cecil Ebooks and print.


Which publishing platforms have you used? (i.e. Amazon, Book Baby, Smashwords, Lulu, D2D, etc…)
DeAnna Knippling
deannak Let’s see…
Ebook
  • Amazon/Kindle Direct Publishing (initially).
  • Smashwords (initially).
  • Nook Press (initially).  This turned into B&N Press.
  • Kobo (added after the first three).
  • Draft2Digital (added after Kobo).  I initially added this only so I could get into iBooks, because I don’t have an Apple computer for direct uploads.
  • Stopped using B&N Press due to site issues (they were down and they were always slow), moved B&N access to D2D for convenience.
  • Moved all Smashwords channels available on D2D to D2D, because Smashwords payments are slower and I like the D2D interface better.
  • In process of moving titles from direct Kobo access to D2D, because I’m not making as many Kobo sales and it’s One More Thing that I don’t want to deal with for release prep.
I have a few titles in KDP Select to see how they’ll sell. I have one that’s doing really well, so I’ll probably leave that one alone.
Print
  • Initially used Lulu for print.
  • Moved to CreateSpace for better sales.
  • Now CreateSpace has folded into Kindle Direct Publishing.
  • I want to add IngramSpark soon, so I can get better distribution.  I can’t blame bookstores at all for not wanting to order from CreateSpace.  CS doesn’t take returns, and even if they did, Amazon has been hell on bookstores for a variety of reasons.

RA Winter

RA Winter Smashwords and Amazon.

Tom Johnson

Tom's Back Cover Picture Amazon and Lulu.

Ashley Fontainne

Ashley Fontainne Amazon, D2D and ACX. I have used Ingram for a few titles but found their website too frustrating to navigate.

Cynthia Vespia

colorheadshot - Copy Amazon; Smashwords; BarnesandNoble.com

Lilly Rayman

L Rayman I have used Amazon for my eBook distributions, and for my print books, I use Ingram Spark. I also use Smashwords for wide eBook distribution of my permafree – Smashwords makes it easy to set books available for free.

Jordan Elizabeth

Jordan  The majority of my works are on Amazon. I also have paperbacks on Barnes and Noble.

Amy Cecil

Amy Cecil Mainly Amazon. I did try B&N, Kobo and iTunes for a while and it was a waste of time.

Margareth Stewart

Margareth Stewart I have used Lulu and Smashwords and they work perfect for me. I have had a wonderful experience with Lulu.com. This is the fourth time I am publishing an Anthology with them and both the Ebook and printed versions have great quality. The platform is easy to navigate and they offer free download template for book editing. Besides, they ship worldwide and we can choose from different mailing options. On top of all that, I can share the Ebook version for free and that has been just what I needed for the Anthologies. As they are collaborative editions, they are free for download and only the paper version is paid for. If you wish to take a look at the anthologies, they gather contributions from over forty international authors; some of them also bring photos and art, and they go yearly now. The titles are: Whitmanthology, Womenthology, The Pain that Unites us all, and The Brave and the Afraid. I am taking the lead with this project which started back in 2015 during a MOOC Writing Course from Iowa University, and more than glad with Lulu.com for making it happen at no cost.


Amazon is everywhere these days and many authors publish through them exclusively, like Amy Cecil. In fact, if you sign up for KDP Select, you agree not to use any other outlets for your book. Although this does give you access to Kindle Unlimited, where you get paid each time someone flips through your book, and makes you eligible for free and discounted promotions, it makes more sense to me to publish widely across as many platforms as possible. So, let’s see how our author panel members view the different platforms.

What are the pros and cons that you see for each platform you have used?

DeAnna Knippling
deannak Amazon is the eight-hundred-pound gorilla; you have to deal with them one way or another, I think. But other than that, I was very fond of Kobo when they first started up, but am less so now–they seem like they’ve lost a lot of what made them extra friendly to authors. I’m really liking D2D right now. You can tell they’re playing with new ideas to benefit their authors, and they will handle a lot of persnickety formatting things for you, if you like.
RA Winter
RA Winter I like KDP. I think it is a great avenue for an unknown author, but it can be limiting. I would have gone wide earlier, but where do you market for wide?  Marketing for just Amazon is time-consuming.

Tom Johnson

Tom's Back Cover Picture Kindle is the easiest format to use. I find print editions difficult to work, no matter which company you go with.

Cynthia Vespia

colorheadshot - Copy One major con I’m running into is that they don’t support each other’s formatting. So if you’re trying to upload to different sources you have to reformat your manuscript to publish which takes up alot of time.

I like Smashwords ability to run sales whenever I want to.

Amazon is obviously the publishing giant so you gain the most exposure there.

Because Barnes and Noble is one of the last book stores standing I really like having my work featured there.

Lilly Rayman

L Rayman Amazon is the largest available platform, but they also are a tricky platform to navigate when their algorithms change on a regular basis.

Ingram Spark is fantastic for getting the widest possible reach for paperbacks and ebooks, their only downfall is the need to purchase your own ISBN numbers. They do have a set up fee, but they often have a free set-up code, and if you ask around in writer groups, someone often has a code that’s valid for a year.

Amy Cecil

Amy Cecil  I really wasn’t with the others long enough to form an opinion on this. My books sell on Amazon, they didn’t on the other platforms.

Margareth Stewart

Margareth Stewart I chose not to publish at Amazon, and I am comfortable in going absolutely against the tide. I wanted to have a high quality book, and I wanted it to go under the whole process of being accepted by a publisher—even if it is a small independent publisher, it had to undergo submission process, be edited and accepted by a publisher. Contrary to what most writers may think, I thought it was superb for my personal growth as a writer. For being away from Amazon, most readers and even writers who are readers are not willing to adventure themselves into an outside publisher, fill in a new payment file and have their Ebooks uploaded. “Oh, it is not in Amazon! Sorry, but I am not reading it, why don´t you upload it yourself?”, “Because I have signed a contract, and I am happy about it”.

Amazon is by far the easiest path to being published, and the most polluted as well – if I may say so. There is too much of everything in there! Basically, I am so much grateful to all my readers because they were really looking forward to reading my novel, and too all the efforts towards it. I may change my mind in the future, but I am quite sure the next two novels will go with publishers somehow. In the vast and competitive universe of getting published, do as you will; but quoting Marshall McLuhan: do not forget that “the media is the message”.


Even with traditional publishing, these days the tasks of marketing and promotion fall mostly on the author, and if you publish independently, it all falls on you. Advertising can get expensive, but inexpensive or even free advertising is out there if you look. Let’s ask our panel members how they handle these tasks and find out what has been effective for them.

Do you use paid advertising or just what you can do for free?
DeAnna Knippling
deannak I’m using Amazon Advertising (paid), Book Gorilla (paid), and a paid newsletter subscription service. I plan to add a few more things. I also do a ton of free stuff, mostly on social media and my website.
RA Winter
RA Winter  You really need a series to advertise and the more books the better. I have used paid ads, but with a small catalog, it just isn’t worth it. Plus, my books are priced low for everyone. For Twisted, I only charge .99cents. I get .35 cents for each book sold, that doesn’t leave any money for ads.
Mark Shaw
MarkAtSFTS (1) Publisher promotion.

Tom Johnson

Tom's Back Cover Picture All free areas. I’m suspicious of most of the outfits offering advertising services. I had a friend use one service that cost her a thousand dollars, and she basically got nothing for her money. And I’m the one who directed her to the service.

Ashley Fontainne

Ashley Fontainne I have used BookBub and a few other paid sites before and they do generate amazing results. Unfortunately, the costs to advertise with the major marketing sites are outrageous so I try to only submit a title once per year.

Cynthia Vespia

colorheadshot - Copy I paid for a few ads, tours, promos, etc. but it really didn’t do much for sales or exposure.

Lilly Rayman

L Rayman I run off the smell of an oily grease rag when it comes to a budget, so, that means I advertise with free wherever I can. Occasionally I spot an offer for a more affordable paid advertising, but in all honesty I haven’t seen much benefit at this stage to any advertising – so maybe I need to review what I do, and review how I should advertise.

Jordan Elizabeth

Jordan I do a mixture of both. I’m trying to not use money from my day job anymore (which isn’t working well) and just use royalties to fund ads.


Which platforms have you found to be most beneficial?
DeAnna Knippling
deannak It’s not so much a platform as an attitude: don’t let the water fall out of the bucket. Your efforts should coordinate with each other. The most important thing you can do is have good work published, with good covers, and good book descriptions. Second most important is a good website! You’re putting in all this effort into networking and promoting, but if your book sucks, it doesn’t matter how many people buy it–you’re going to have to start all over again with every book. If you have good books, then with every sale you make, you’re far more likely to acquire a fan.
Don’t promote your books. Earn your fans, and don’t lose them by doing something completely brainless. I have done many brainless things…like putting the wrong link to my newsletter in the back of about a dozen ebooks. I could go on.

Tom Johnson

Tom's Back Cover Picture My Kindle books have always made good sales, much better than my hardbacks and paperbacks, so I doubt very seriously that I will ever go back to print, except for small runs for book signings.

Ashley Fontainne

Ashley Fontainne BookBub, hands down. If you want to reach a large group of readers in your specific genre, BookBub is the best tool. Readers sign up for daily emails for discounted books in genres they enjoy reading, so when you run a campaign with them,  your target audience receives an email about your book with purchase links.

Lilly Rayman

L Rayman The Kindle Book Review seems to be a popular site, and I have just invested in a paid spot on their website for December, so, I’ll be watching to see what happens to my sales in December.

Jordan Elizabeth

Jordan Facebook ads have been a dud so far. Robin Reads has been the most profitable. (I could include a list, by my computer crashed and I lost the spreadsheet with my list of ad sites! Argh.)


The rise of digital publishing opened the door for a slew of small independent presses to emerge. But not all small presses are equal, and you have to beware of publishers who won’t give authors a fair shake or worse yet, don’t deliver at all. As with editors, we want to find one that is a good fit for both the author and their works.
What should an author look for when seeking out a publisher for their book?
DeAnna Knippling
deannak Check to see what other authors think about that press. Look on the Preditors and Editors website, at a minimum. Then look at the covers. If a small press had crappy covers, they will suck all across the board. And when you’re thinking about signing a contract, go over it with a fine-toothed comb. Small press contracts can be bonkers, and often all you have to do to make sure they don’t take movie rights (!) is say, “Remove the line about the movie rights.”
RA Winter
RA Winter Look at the other authors’ ranks, that will tell you how much they market for you which is what most authors are looking for in a publisher.

Tom Johnson

Tom's Back Cover Picture If you’re looking for a publisher, read the contract and make sure it fits your plans. If you’re looking for a printing service, check pricing from a variety of presses. And check them out.

Cynthia Vespia

colorheadshot - Copy If they ask you for money up front…RUN AWAY! You should never have to pay for publishing services out of pocket. Other than that look at their current client list and do a search online before signing anything. Absolute Write forums have alot of info on small presses.

Lilly Rayman

L Rayman How much money are they asking for and can they detail how they will be spending your money if you pay them to publish your work. You really should only be paying for editing, cover art and possibly some marketing.

Do they ask for you to submit your work or a sample of your work before they publish you? I have seen some new authors wanting to publish, but they need a little advice on how they can improve their craft, so they can publish a better story than what they originally have. I think a small independent press should be wanting to help develop an author that approaches them. Make their work stronger and shine like a bright star in a universe filled with stars.

Jordan Elizabeth

Jordan See if you feel a connection. Talk to other authors in a safe, candid way. Read reviews online. Sure, some people want to watch the world burn, but if the majority of authors warn you to stay away, take heed. There might be some credence there.

Amy Cecil

Amy Cecil A good marketing and promotional team.


Any publishing advice for new authors?
DeAnna Knippling
deannak Before you sign any contract, do some freaking research on what should and should not be in them! Read the Copyright Handbook, published by Nolo Press. Learn about the business side. Those three things apply for both indie and traditionally published authors. And I always tell people to assume that your wonderful publisher/editor/agent is going to die of a heart attack soon and that your contract will be taken over by a scumbag lawyer for an heir. Assume you’re going to get screwed. But also assume that your book will turn into a million-dollar bestseller, too, and make sure you’re not groveling for peanuts. When it comes to business, get some professional advice before you sign anything. And don’t rip off your freaking cover artists!!!
RA Winter
RA Winter Publish then publish some more. Series make more money or at least have all of your books branded in the same genre. A larger portfolio is easier to market and creates loyal fans. Edit, hire someone even though it is expensive and do crit swaps of your work. Join groups before your work is out to see how other authors are making it then formulate your marketing plan. Also, I read once that most writers don’t make money until their eighth book is out, so write some more.

Tom Johnson

Tom's Back Cover Picture For first time authors, I would highly suggest you go with a small press publisher to get your feet wet. But make sure they are publishing in your genre. I’ve been bitten at least three times by publishers interested in my manuscripts. They wanted SF and I obliged, only to see them all decide (after they had my contract) that they wanted to go erotica for the money. They had my books for three years and would not let them go; yet all they advertised was the erotica, so my books didn’t sell well. Traditional publishers may require an agent, or may hold your manuscript over a year before responding, and then you may be rejected. Get your book published so you won’t mind the long wait next time if you decide to go traditional. Agents are hard to get. Let’s face it they want the next Tom Clancy or Steven King. They’re not looking for untried writers. I’ve used two agents during my writing career, and neither did anything for me. You might find a good one, but the chances are slim. Good luck whatever you do.

Ashley Fontainne

Ashley Fontainne Grow thick skin. You’ll need it. 😊

Cynthia Vespia

colorheadshot - Copy If you’re going traditional, do your research on agents and publishing houses. Find out what they represent, write a killer pitch, and stay consistent. Don’t give up after a few rejections. Traditional publishing takes time.

If you’re going independent, treat it as a business. Hire a cover designer, an editor, and set up a website and social media channels where you can connect with readers.

Lilly Rayman

L Rayman Ask for the feedback of someone already in the industry. See what they have to say about the strength of your story, your craft. Be open to the feedback and listen to the constructive information you are given. Use an editor, a proof reader. Get the most professional looking cover you can for your budget. Get your head around keywords, and blurb writing. Set up a newsletter, social media pages and have a presence online. Interact with your potential new readers, be seen – after all you want to be found.

Jordan Elizabeth

Jordan Please don’t give up. Rejection letters can cut deep. The authors who keep trying are the ones who succeed. Also, if you are going to self-publish, make sure to hire an editor! A family member might be able to notice typos, but an editor for your genre will be able to help you shape characters, setting, and plot.


While traditional publishers may help authors out with things like editing, book covers, and marketing and promotion, they also take a bigger piece of the pie for their efforts. Also, it seems to me that the rise in independent publishing has shown them that authors are capable of advertising their books effectively, so they are offering less help on promotional fronts than in days past, and traditionally published and small press authors are expected to do more of this today. Small presses may offer a bigger share of royalties, but it varies greatly as to how much publishing support each one offers. While independent authors taking control of their own publishing processes, they also must take responsibility for turning out a quality book from start to finish by either hiring work out or juggling all the author hats required themselves.

I think many authors are scrambling to keep up with advances in digital media which enable us to bring our writing to more and bigger audiences through the different formats. While it makes sense to offer our work in as many formats as possible, many of us are still in the learning curve as far as how to go about it. Audio books are becoming increasingly popular, but this is still relatively new territory for many. The good news is there are also increasingly more publishing platforms available to help us explore our options, if we choose to publish independently.

That wraps up our discussion on publishing platforms and as always, I want to thank our author panel for their willingness to share. Be such a catch next Monday’s segment, when our panel will be discussing author platforms: what they are, why we need them and how to build them. See you then!

 

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The Impacts of Digital Publishing

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Everyone talks about how the rise of digital publishing has impacted the book industry and the effects it may have on authors. Some think these effects are good, while others view them as having a negative impact. It is true that digital publishing opened up opportunities for would be writers, making it so just about anyone can write and publish a book with no need to be discovered by an agent or publisher.

But, it is equally true that many brick and mortar bookstores have had to close their doors due to the competition from eBooks and the rapid growth and expansion of Amazon. And, it’s also true that because it is now so easy to publish a book and authors who publish independently are able to circumvent the traditional publishing gatekeepers, there are no gauruntees that the books we purchase will be of good quality writing. There is nothing in place to be sure the books we put out have been edited. So, it would seem that digital publishing had had both positive and negative effects, depending on which area of the business you work in.

One area of impact that many authors don’t realize or appreciate, is the fantastic promotional opportunities the digital era has supplied for us. Due to social media promotion and email, we are able to access direct communication with fans and followers that via means which weren’t available in the pre-digital era, and this is a great plus for us. We need to take advantage of these great opportunities and listen to our readers, when we’re fortunate enough to get a comment or a review. I try to respond back to every comment readers leave me, and check my reviews for new ones frequently. And yes, these days posted reviews can make or break a book’s success, influencing potential readers, so reviews do matter.

Today’s author doesn’t have a fan base of faceless readers. Today’s authors have the opportunity to make connections with their readers. Some authors have found ways to take advantage of this by gathering their followers together in Facebook groups or put together street teams who actively promote their writing or go out and get reviews for them.

I can see how beneficial these practices are, because I know how much time and energy I have to put into marketing and promotion. But even though I don’t harness my fanbase as a promotional asset, I still appreciate the chance to reach out and chat with my readers to find out what works for them and what doesn’t. And while I don’t have a gazillion reviews on Amazon or Goodreads, the ones I do have are good ones, making Delilah a four and a half star read. It’s all because of you, my readers. So, I can appreciate the impact that digital publishing has had in this area.

The negative impacts, the fading of brick and mortar bookstores, the increase in the number of poor quality books put out. They are still there and likely will be for time to come, although I’ve heard the trend for print books is rising again. Unless digital publishers implement some type of quality control system, or all authors act professionally and create quality writing that’s been edited before publication, a poorly written or unedited book is liable to pop-up here and there, being generally unavoidable.

I don’t have all the answers, and I can’t change trends that I feel are negatives on the industry, but I can appreciate the positives that digital publishing has brought with it. I like getting to know my readers. So, before I sign off on  this post, I’d like to urge you to reach out and let me know who you are and what you like, or don’t like, about my writing. It only takes a moment to leave a comment, and I promise to respond to each and every one.

 

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