The exciting news this week is, Delilah is now available in digital format! It’s something I’ve been waiting for for quite a while, so of course, I am ecstatic. But, something many aspiring authors may not realize is that publication isn’t the end of the road. No, it’s actually just the beginning of a new chapter in the book of writing, this one titled Sell that Book.
For those of you who aren’t familiar with my road to publication, I started Delilah back in 2012, when I entered the M.F.A. in Creative Writing program at Western State Colorado University. The assignment given by my instructor, Russell Davis, was to write an excerpt in a genre outside our comfort zone. I was assigned to write in western genre, and low and behold, I found not only am I good at it, but I like writing western. Four years later, that small excerpt, grew into a 60,000 word western novel which I’ve been trying to find a publisher for over the past year.
You see, writing the book, while a great accomplishment unto itself, is only half the battle. It doesn’t do any good to write a story, if no one ever reads it. In order for that to happen, the book must be published, and while I could self-publish, (I had considered it), I held out hope of finding a publisher, and in the end my persistence paid off.
So, now that I got Delilah published, with the help of Dusty Saddles Publishing, I must get the word out through marketing and promotion. I must get people to read, and maybe more important, write reviews.
Reviews are where it’s at these days. According to Amazon, reviews are how you get your book promoted, and I just read somewhere that Amazon has recently increased the number of reviews needed for them to promote your book, from thirty-five to fifty or one hundred.
The question is, where do I get reviews from? Although I do honest reviews here, on Writing to be Read, I don’t know many other bloggers who do. So, it comes down to appealing to you, my readers, to buy Delilah, read it and then go onto Amazon and Goodreads, (Delilah will be listed there soon -another thing I still need to do), and leave a review.
If you are willing to go to the trouble of doing all that, I thank you, but I also ask that you leave a review that is honest. While I would love you to leave a review which sings Delilah’s praises, I want it only if it is heartfelt. If you see problems with my story, I need to know what they are, in order to improve my writing of future books, so I am asking for honest criticism, if you are kind enough to leave a review at all.
In the end, it’s up to you, the reader, how successful Delilah, or any book, will be. So, buy the books you want to read, (which I hope includes my debut novel), and be kind. Leave an honest review.
Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.
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As almost every writer knows, anywhere you go to discuss writing will always have someone proclaiming their tried and true rules for writing that you MUST follow. Post on any writing forum whether it be for screenwriting or fiction and you’ll find dozens, if not hundreds, of eager “expert” or “professional” writers ready to tell you exactly which rules matter and which are hogwash. Yes, many of these writers have published novels or sold scripts and are professionals in the industry, but does that mean their rules are THE rules to follow?
Let me say that again – Absolutely not. Just because someone has sold a script or published a novel or piece of writing doesn’t mean that they will be able to give you rules to writing that will be guaranteed to work on your story. If you put every writer who ever sold something in a room and asked them to come up with a master list of writing rules it’d be impossible. There’d be factions who think you can never write in present tense and others who think a description of the weather should never start a novel.
There’d be groups who think the epitome of literary or cinematic genius is one specific piece of work, and others who think that same work is a crock of shit. If the people who are actually selling works of writing cannot agree on what makes good writing, and which writing rules are always true, then how on earth can a newbie writer even dream of making it in the industry, let alone be brave enough to even try to put words on the page?
Ultimately, all of this boils down to one single fact about writing: There are hundreds of rules for writing, but one of those rules is that there are no rules. Now before you dip out of this article, because that’s a useless piece of advice in the previous sentence, give me a chance to elaborate.
Writing is a subjective thing. Every story is going to require following a different mix of rules to make it work. That’s why whenever I write a post about the “rules” of writing, I try to explain which situations the rule applies to, and where it might not apply. Also, every writer is going to have different opinions about what makes a good story, and every publisher/studio/audience is going to have a different opinion about what they find marketable and worth buying. If this is true, which based on the evidence presented through comparing a wide range of published and produced pieces of writing it is, then the one and only real rule for writing is that you have to know the “What” and the “Why” of your story.
Essentially, knowing the What’s and Why’s of your story is all about researching the genre or style of writing you want to write by studying the existing works in that genre, and being conscious about your story and your writing choices so that you can answer the following questions on each project you work on:
- What writing “rules” do you have to follow for this particular story? In general, writing rules are not actually rules at all, but rather they’re typical or common guidelines of storytelling that work or don’t work based on previously existing works. So knowing what “rules” you have to follow just means you know which “rules” actually apply to what you’re writing, and which don’t. If you’ve done your due diligence and prep work before writing by studying other works that are similar to what you want to write, then you should have a general idea of what the common rules of that style or genre of story are, and which might apply to your story.
- Why are you following or ignoring these rules? Every time someone tells you a “rule” for writing, it’s important to understand why the rule exists, and where it applies. For your own work, always be able to justify why you’re breaking one set of rules, and why you’re following other rules. You may not have to follow all the “rules” in your writing, but people come up with these various rules for a reason, so understanding why they exist will help you understand why you need to follow certain ones and ignore others in your work.
- What is your setting, characters, plot, etc.? If you don’t know this when you’re writing, then your writing will probably be all over the place. Some people can free-write and discover a lot of these details as they go, but it is almost universally true that having these elements solidly in mind before writing will make your writing stronger.
- Why are you choosing these characters, this setting, that plot, etc.? Ultimately, the core of writing is to make deliberate choices and to be able to justify those choices as being ones that serve the story. Every character, setting, plot device, and elements of your story down to word choice can have a major impact on your writing. The more deliberate and conscious you can be in your choices, the more your writing should come together to tell a successful story.
As you can see, this one and only writing rule really boils down to being conscious about each choice you make in your writing and constantly asking yourself why whenever you are presented with a “rule” that someone thinks is universally true. All of these “rules” people come up with regarding writing are the results of people looking for the magic formula to a guaranteed sale on a piece of work, and they find it by looking for common elements across sold pieces of writing. While it is often true that these elements do exist, there are also just as many pieces of writing out there that break these trends.
Every story is its own thing and has its own identity, and I’m a firm believer that if you focus on serving the story rather than trying to force it to fit pre-existing rules or expectations, then your story will be better for it. I’m not saying you’re guaranteed to sell it, no one can guarantee that, but I am saying if you stay true to your story even if it means breaking the rules, your story will be stronger.
The important thing is to know what “rules” exist and to be able to justify why you broke these preconceived rules that people have and to show that you did so consciously. Ultimately, people aren’t going to focus on whether you broke the “rules” or not with your writing when deciding to buy it, they’re going to focus on whether you’ve put in the work to construct a compelling story that people want to read. If you do that, nothing else matters.
Robin Conley offers great writing advice once a month on Writing to be Read. If you just can’t wait until next month to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.
This will be the last reflective post of the year. Next Monday’s post will find us in 2017. For my writing career it has been a slow take off, but I’ve seen progress. In July, I completed my Master of Fine Arts degree in creative writing. With emphasis in both genre fiction and screenwriting, and two completed novels, Delilah and Playground for the Gods Book 1: In the Beginning, two full feature film scripts and one comedy series pilot script in hand, I eagerly jumped right in to get my feet wet in either the publishing and/or screenwriting industry. I began submitting my work to agents, publishers, and competitions like crazy. I received mostly rejections, as expected, and although I still haven’t found a home for either novels or scripts, I did manage to find a home for two poems and two short stories. Not too bad. While the poems, Aspen Tree and Yucca! Yucca! Yucca!, appeared in print, (in Colorado Life (Sept.-Oct. 2016) and Manifest West Anthology #5 – Serenity and Severity, respectively), my short story, I Had to Do It was published on Zetetic: A Record of Unusual Inquiry, and my not so short, short story, Hidden Secrets was published on Across the Margin.
2016 has been a pretty good year for Writing to be Read. The revamping of the blog site was completed in March, I’ve managed post things on a fairly regular basis, we were honored with guest posts by my friend Robin Conley, and my visits and page views have risen, with almost 2000 visitors and over 2,500 page views. Looking at this, makes me feel pretty good about the blog, as a whole. Another good change is the addition of screenwriting content, which I believe has drawn a larger audience by widening the scope of the content.
The top post of 2016 was my book review of Simplified Writing 101, by Erin Brown Conroy, which is an excellent tutorial on academic writing, including writing advice that every writing student should know. After that, the reflective post Writing Horror is Scary Business would be second in line. Other popular posts include my four part Making of a Screenplay series,( Part 1, Part 2, Part 3, and Part 4), my Tribute to My Son, and What Amazon’s New Review Policies Mean for Writing to be Read. More recently, my ten part series on publishing, Pros and Cons of Traditional vs. Independent vs. Self-Publishing gave me the opportunity to interview some awesome names in the publishing industry: self-published authors, Jeff Bowels, Tim Baker and Art Rosch; traditionally published authors Stacia Deutsch and Mark Shaw; independently published author Jordan Elizabeth; and children’s author Nancy Oswald, who has published under all three models; as well as Caleb Seeling, owner of Conundrum Press and Curiosity Quills Press – with the final installment summarizing the conclusions made from those interviews.
Many of my posts were reflections of my own writing experience. These included: Why Writing is a Labor of Love; Fear is a Writer’s Best Friend; I’ve Come A Long Way, Baby; Writing the Way That Works For You; Creating Story Equals Problem Solving; What’s A Nice Girl Like Me Doing Writing in a Genre Like This?; Acceptance or Rejection – Which Do You Prefer?; A Writer’s Life is No Bowel of Cherries; Write What You Know; Discouragement or Motivation?; What Ever Happened to Heather Hummingbird?; How You Can Help Build a Writer’s Platform; and Why Fiction is Better Than Fact.
Sadly, I only attended two events that were reported on, on Writing to be Read in 2016 – the 2016 Ice Festival in Cripple Creek, and the 2016 Writing the Rockies Conference in Gunnison, Colorado. What can I say? I’m a starving writer. This is something I hope to improve on in 2017 by attending more events to report on. One possible addition to the 2017 list that I’m very excited to think about is the Crested Butte Film Festival. The details are not ironed out yet, but I’m keeping my fingers crossed.
Screenwriting content included this past year seemed to be popular. In addition to my Making of a Screenplay series and Writing Horror is Scary Business, Writing to be Read also featured Writing Comedy for Screen is a Risky Proposition, and a book review for Hollywood Game Plan, by Carole Kirshner, which I can’t recommend highly enough for anyone desiring to break into the screenwriting trade. Robin’s Weekly Writing Memo also included several writing tips that could be applied equally to literature or screenwriting.
Another project I’m particularly proud of is my ten part series on publishing, Pros and Cons of Traditional vs. Independent vs. Self-Publishing, which I just finished up last week. In this series I interviewed nine professionals from within the industry to get the low down on the three different publishing models. My interviews included self-published authors Jeff Bowels, Tim Baker and Art Rosch, traditionally published authors Stacia Deutsch (children’s books) and Mark Shaw (nonfiction), and independently published YA author Jordan Elizabeth. To balance things out a bit, I also interviewed children’s author Nancy Oswald, who has published with all three models, Clare Dugmore of Curiosity Quills Press and Caleb Seeling, owner and publisher at Conundrum Press.
One of the great things about doing book reviews is that you get to read a lot of great books, in with the okay and not so great ones. In addition Simplified Writing 101, my five quill reviews in 2016 included Jordan Elizabeth’s Runners & Riders, Mark Shaw’s The Reporter Who Knew Too Much, Nancy Oswald’s Trouble Returns, Carol Riggs’ Bottled, Jeff Bowles’ Godling and Other Paint Stories, Janet Garber’s Dream Job, Art Rosch’s Confessions of an Honest Man, and Mark Todd and Kim Todd O’Connell’s Wild West Ghosts. I don’t give out five quills lightly and every one of these books are totally worthwhile reads.
Of course, not all books get a five quill rating. Other books I reviewed that I recommended with three quills or more include three short story anthologies: Chronology, Under a Brass Moon, and Cast No Shadows; two poetry collections: Suicide Hotline Hold Music by Jessy Randall and Walks Along the Ditch by Bill Trembley; Escape From Witchwood Hollow, Cogling, Treasure Darkly, The Goat Children, and Victorian by Jordan Elizabeth; Dark Places by Linda Ladd; Chosen to Die by Lisa Jackson; Wrinkles by Mian Mohsin Zia; Full Circle by Tim Baker; The 5820 Diaries by Chris Tucker; The Road Has Eyes: An RV, a Relationship, and a Wild Ride by Art Rosch; Hollywood Game Plan by Carol Kirschner; Keepers of the Forest by James McNally; 100 Ghost Soup by , and A Shot in the Dark by K.A. Stewart. I also did two movie reviews: Dead Pool and Point Break.
I feel very fortunate to have had Robin Conley join us with her Weekly Writing Memo and her guest movie reviews. The useful writing tips in her Weekly Writing Memos covered a wide range of topics including critiquing, using feedback, ways to increase tension, Relatability or Likeability?, 3 Types of Plot, story research, what to write, making your audience care, world building, handling feedback, writing relationships, establishing tone, editing, word choice, How to Start Writing, endings, queries, Parts of a Scene, making emotional connections, the influence of setting, Building a Story, Inciting Your Story, movement and dialog, Writing Truth, time, Overcoming the Blank Page, Networking, character names, theme, set up, cliches, parentheticals in screenwriting, horror inspiration, and Learning to Write. Robin’s guest post movie reviews included Pride and Prejudice and Zombies, Batman vs. Superman, Miss Perigrin’s Home for Peculiar Children, and The Neon Demon.
I am thankful for Robin’s valuable content and am glad that she will still be contributing Memos on a monthly, rather than a weekly basis. Although I was sad to lose her weekly content, I am happy for her as she moves forward in her own writing career and I wish her well in her writing endeavors. For those of you who looked forward to her weekly posts, you can catch more of her content on her own blog, Author the World.
2016 was a great year for Writing to be Read, even if it was kind of rough for the author behind the blog. You readers helped to make it a good year and I thank you. Now it’s time to look ahead and see what’s in store for 2017 Writing to be Read. I mentioned some of the things I hope to achieve above: more posts pertaining to the screenwriting industry, and coverage of more events throughout the year are two of the goals I have set for my blog. I also plan to add some author, and hopefully, screenwriter profiles into the mix. I had good luck with author profiles during my Examiner days, and I think they will be well received here, as well.
I also hope to bring in some guests posts by various authors or bloggers, or maybe screenwriters, just to give you all a break from listening to me all the time. I believe Robin plans to continue with Monthly Writing Memos, which will be great, too.
I look forward to all the great books that I know are coming my way in 2017, too. The first reviews you have to look forward to are a short memoir, Banker Without Portfolio by Phillip Gbormittah, a YA paranormal romance, Don’t Wake Me Up by M.E.Rhines, a Rock Star romance, Bullet by Jade C. Jamison and a short story, How Smoke Got out of the Chimneys by DeAnna Knippling.
I hope all of you will join me here in the coming year. Follow me on WordPress, or subscribe to e-mail for notifications of new posts delivered to your inbox. Have a great 2017 and HAPPY WRITING!
Welcome to the first Monthly Writing Memo! So for my own blog, Author the World, I’ve been thinking about doing a post about villains. As those of you who have been following know, I’ve been studying horror as I work on my horror film script. During this process, I’ve been wondering about the different types of villains, which in turn made me wonder about the different types of heroes in stories. So for this Month’s Writing Memo, I thought I’d do a post about heroes, and then later this week my post on villains will be up on Author the World.
In general, I think all heroes can really be broken down into a few main types, and every hero in a story usually falls into one of them. The way I’ve divided them up is by what motivates them rather than what they specifically do, or how they go about being a hero.
- The Savior –
The Savior is someone who actively tries to be a hero. They want to help people and save the day, so they seek out ways they can do this. The most obvious example of this is many superhero stories where characters like Superman or Spiderman actively seek out those in danger to help them. These characters do it solely because they want to help people and be a hero. Some want recognition, some want the satisfaction of saving people, but either way the thing that drives them is the need to be the hero. It’s a compulsion almost, and when they don’t just help when they see someone in danger, they actively seek the danger (and the victims) out.
- The Soldier –
The Soldier is similar to the Savior in that they feel the desire to help people, but the soldier does it out of a sense of duty and honor. That’s not to say they don’t have other motivations as well, but this character type is driven by the sense that it is their responsibility to help people, and they must take action. I think if you look at the movie “Die Hard” you’ll see John McClane fits into this character type. Yeah, he’s in the wrong place at the wrong time, but he is also a police officer and when he sees the problem he feels it is his duty to take action. Many of these character types are those military or police type characters, or have other positions that are focused on helping people in some way. Some other example jobs that a character can have to fit this role include teacher, doctor, or even counselor/therapist.
The goal of this character is to do their “job” and help people because they think it is their responsibility and duty. Maybe it can cross over into the Savior role of feeling driven to help people, but the slight distinction is where the Savior would say “I helped because they were in trouble,” the Soldier would say “I helped because it was my job/responsibility to help.”
- The Mercenary –
The Mercenary Hero doesn’t necessarily have to be getting paid, though some form of payment is generally the motivation for them to be the hero. They are a hero because they get something out of it. An example of this is are characters like Nicholas Cage’s character in National Treasure. That is a personal mission for him and he doesn’t do it for anyone else, he does it for largely selfish reasons—he desperately wants the truth and the excitement of discovering the treasure.
The Mercenary is driven by what he/she personally gets out of being the hero. They can be paid to do the job, they can be on a personal mission of love or vengeance or profit, but whatever it is they are being the hero because it serves them, not because they want to serve the people they are saving.
- The Reluctant Hero –
The Reluctant Hero is one of my favorite types of heroes to write because they don’t try to be perfect, and often try to extricate themselves from the drama, but they morally feel the urge to help when they see a situation. Unlike the Savior they won’t seek out the conflict, and unlike the Mercenary they don’t want anything for themselves, but similarly to the Soldier they feel a sense of duty.
The Reluctant Hero is someone who doesn’t want to be a hero, and they aren’t doing it because it’s their job like the Soldier. They are a person who just happens to be in the wrong place at the right time, and they morally can’t bring themselves to turn away from those in need. If asked why they helped, they would respond “I couldn’t turn my back on it, and it was the right thing to do.” They don’t feel like it’s their duty, they just feel like they were the only one there at the time who could do it, so they did.
I think the one thing that is often interesting about the Reluctant Hero is that, if someone else was around who could successfully do the saving, the Reluctant Hero would let them, but often they are put in situations where either they have to try, or all is lost.
- The Anti-Hero –
The final type of hero isn’t quite a hero at all – the Anti-Hero. The Anti-Hero is not someone who is trying to help anyone, and they’re most often not a good person. There are slight varying definitions of this, but in my opinion, the Anti-Hero is a character who ultimately has their own larger goal, but they do kind, heroic things along the way in pursuit of their goal. I think this falls into a lot of gangster characters who do wonderful things for the “little people” but who aren’t really good characters at all, and whose larger goals are really something quite unhero-like.
Another version of the Anti-Hero is someone who does dark, violent things in order to achieve something good. This kind of character is like Batman at times (The Dark Knight is the obvious example). Batman kills and commits crimes in order to make Gotham a better place, going from loved hero to wanted criminal.
Either way, the main thing about the Anti-hero is that they don’t follow the same rules as the normal hero, and that they will often commit villain-like acts in the pursuit of their goal. These sorts of acts will stand in stark contrast with the heroic elements, and it will make the audience question whether the character is hero or villain.
I’m sure there are some more minor variations of heroes, but in general, I think most heroes in stories can be divided up into one of the five categories above. If you aren’t sure about which your character is, ask yourself what motivates them to be a hero? What motivates them to commit heroic acts? If you have that answer, you should be able to pinpoint what type of hero they are.
Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 3): Interview with Self-Published Author Arthur RoschPosted: October 31, 2016
Your at a dinner party, chatting with other guests when someone asks what you do. You say that you’re an author and everyone is adequately impressed. It’s not every day you meet a bonefide author. Then you mention that you are self-published, and suddenly they all have somewhere better to be.
Self-publishing carries with it a certain stigma. In part, it may be due to a certain number of poor quality self-published books that flooded the market with the rise in popularity of the self-publishing market. With the rise of digital media, almost over night, it was no longer necessary to seek out and captivate a traditional publisher, and anyone, whether they write well or not, could become an author. In the beginning, as it is with most rising trends, self-publishing was a rather expensive proposition, and many authors didn’t have a whole lot to invest, so they skimped by on costs by skipping things like professional editing. Some maybe had their mother or their aunt or their brother give it a once over, but none of them had a trained eye. Others didn’t even do that, believing that their writing was so good, it didn’t need to be edited, or perhaps they were just out to make a buck, and didn’t really care if they put out a quality book. But, for whatever reasons, a lot of less than good quality self-published books made their way out into the market, marring the reputation of the self-publishing industry.
Companies like Amazon and Smashwords put another bump in the industry when they offered authors yet another avenue for publication with the e-book. Digital publishing was cheaper and easier than publishing print copies. In fact, it is virtually free to publish digitally, freeing up funds to be used for things like editing in order to create a quality piece of literature. Of course, there will always be those who are just in it for the money and don’t really care if the book they put out there is good quality, as long as it makes them money. They’re the types that will take advantage of the savings of digital publication to line their own pockets and still won;t bother to pay an editor. They are the authors that wouldn’t survive in the digital publishing world, but hopefullly, there are less of them now.
Despite the stigma attached to self-publishing, there are many talented self-published authors out there, who care about creating and publishing a quality literary product. Today’s interview is with self-published author, Arthur Rosch, who puts whatever time and effort is required into his books, sometimes taking years to complete them. Art is a talented writer. His publishing credits include his travel memoir, The Road has Eyes: A Relationship, An RV, and a Wild Ride through Indian Country, his literary novel, Confessions of an Honest Man, and his epic science fiction novel, The Gods of the Gift. Art shares a positive outlook on self-publishing with previously interviewed self-published authors, Tim Baker and Jeff Bowles. Here, Art shares his thoughts on the publishing industry with his very generous answers, as he candidly relates his own publishing journey.
Kaye: Would you share your own publishing story with us?
Art: I’ve been reading for pleasure since I was five.years old I remember the day I learned to read. It came like a lightning bolt. Aha! So that’s how it works! I made the connection between letters and the sounds they represented. It was my third week in kindergarten. I hated school but I loved to read books. I started by reading historical novels. The other kids were reading “Dick And Jane Go To The Farm”.
When I was fifteen I fell madly in love with a girl. She wanted certain attributes in a boyfriend. One of those requirements was that said boyfriend should be a poet. So, I began to write poetry to please my girlfriend. She turned out to be far less faithful than the process of writing. I gave up on the girl and stuck with the writing. When I was twenty five I was seized by the ambition to write a novel. The project became a science fiction novel called THE GONGS OF SPACE. It was awful. It did, however, attract the interest of literary agent Scott Meredith. I signed a two year contract, and proceeded to write more novels. None of them sold. I had plenty of imagination but lacked some fundamental skills in the craft of writing.. I also needed more life experience.
I’m old enough to remember the “old” model of publishing. I had an entree into that world of agents, editors and publishers. A short story of mine won Playboy Magazine’s Best Story Of The Year Award. I had my fifteen minutes of fame. All the doors were open.
Playboy invited me (with an expense account) to their twenty fifth anniversary party.. I came away with a pocket full of business cards from important people in the publishing industry. Unfortunately, at that time I was dabbling in drugs. That dabble turned into a roaring addiction that derailed me for twenty years. I wrote during those decades. I wrote a lot. But I was like the Hubble Telescope before it was repaired. I couldn’t focus. I had a wonderful opportunity that I wasted by making a very bad choice. This kind of blunder is the stuff of life. I admit, I screwed up. I prefer to regard that interval in my life as “experience”. It was my Dark Night Of The Soul I had lost my family, my home, my possessions and my dignity. But I learned from my suffering.
What can a writer do without insight into the human condition? What decent writer is not also an observer and a psychologist?. My addiction years were loaded with with lessons. I sank to the bottom of the social order. I was on the streets, completely mired in the human experience. I learned from the streets. I learned hard. Then I had to put myself back together.
Addiction is one of the central pillars of my life narrative. I wanted to heal myself, so I went into a long therapy and read everything I could find about family dynamics, addiction and obsession.. Some writers need to spend an apprenticeship in the realm of compulsion, irrationality, bad choices and failure. By the time I was in my mid forties I had a thorough apprenticeship under my belt.
When I surfaced from that underworld, I started looking for an agent. A whole generation of agents had come and gone. The publishing world had changed. I was now (by my own evaluation) a fine writer with a distinctive voice. Agents weren’t interested in me. I wrote hundreds of query letters. I had three novels and a memoir that were ready for editing and representation. I got rejections again and again. How many times did I read the same phrases? “Not quite right for us”, “good luck with your writing career”, “though you write well, I couldn’t quite fall in love with this project.”
It’s likely that you’ve also read these phrases.. In 2001 I wrote to the Scott Meredith Agency in an attempt to re-kindle some kind of relationship. My letter was answered by the head editor. Meredith had passed away and the agency continued under a new owner. My novel, CONFESSIONS OF AN HONEST MAN was well under way. The editor loved the manuscript and offered to work with me. I was not a client of the agency. I was a side-project. The editor, B.N. Malzberg., charged no fee, and worked with me on his own time. The guidance he provided helped to make CONFESSIONS OF AN HONEST MAN into a mature and viable novel.
Still, no agents wanted to represent me. It was an odd situation. Malzberg didn’t have the authority to bring me on board. I don’t know why. I never will. I’m grateful to Mr. Malzberg for the help he gave me in bringing that wonderful novel to fruition.
Kaye: What are your thoughts on the self-publishing industry?
Art: I spend a lot of time writing my novels. Some of my books have been in process for thirty years. THE GODS OF THE GIFT, a sci fi epic, was begun in 1978 and wasn’t completed until 2012. Nowadays the book scene is so competitive that a writer needs to have an extensive body of work. Writers are forced to view their works as Product. The more product you have, the more you can sell. I have to learn to write more quickly. My travel memoir, THE ROAD HAS EYES, was finished in a year. Now I’m writing a crime novel. In a month I’ve racked up 20,000 words. I do all my own cover designs. I hire out the formatting. I mostly self-edit but that’s not really a good idea. It’s better to join a writing group and share your work with your peers. Better still, hire a good editor.
It’s useful to identify one’s “brand” with a genre. It’s also good to write series. The reading audience loves series. My crime novel will be a series based on the characters I’ve invented. I have a fantasy trilogy in the works. Book One is complete. Book Two, the sequel, is under way. I’m not known as a genre writer. With good reason. My portfolio consists of one memoir, one literary novel, three sci fi novels and a crime novel-in-progress. I also have nearly three hundred blog posts in the form of reviews, poems and essays. My “brand recognition” doesn’t stick. Fortunately I have relationships with magazines like Across The Margin and Exquisite Corpse. ATM has published a lot of my work. I’ve also published as a photographer with magazines like
Shutterbug and Popular Photography. I had a centerfold in CAT FANCY. Our beautiful cat, Agate, was shown without her clothes. Agate didn’t care. She never wears clothes. We don’t believe in dressing up animals to look like people.
Kaye: Why did you choose to self-publish your books?
Art: Four years ago I began to explore the self-publishing world. Getting a book published is easy. Marketing the book is another matter. I’m not a good marketer. I plunged into the crazy world of podcasts, webinars and the pitches of various book marketing gurus. I was trying to get a basic grip on marketing strategies. The problem is that the parameters for marketing change so fast that it’s impossible to know how to approach the world of self-promotion.. Also, I was broke. Marketing costs money. I spent $1500 on paid-for reviews and marketing “helpers”. These investments weren’t completely useless, but they didn’t do much to boost my sales.
I would estimate that at least $5000 is required for a marketing budget. That’s just for starters. If you’re lucky, and if you have some talent, your investment will begin to show returns fairly quickly. You’re going to need a knack for business promotion. Marketing a self published book requires patience. Patience. Patience. Just don’t give up. You’re going to encounter a lot of rejection and a lot of discouragement. It goes with the profession of writing.
Kaye: How much non-writing work, (marketing & promotion, illustrations & book covers, etc…), do you do yourself for your books?
Art: The first thing I do every day is drop a Tweet about one of my books. Twitter is free. Facebook is…well, not quite free. As the world’s population increases, so do the number of writers competing for a piece of the audience pie. I’ve learned, to my dismay, that you don’t have to be a good writer to be successful. You just have to be a good story teller. Many popular writers tell the same story over and over again. They hit on a formula that works, and they milk it. I don’t have it in me, to be a lazy writer. I pour my heart and soul into everything I do. My books enjoy modest sales. My platform is almost non–existent. It will take time to develop my platform until it’s something more than a few Popsicle sticks taped together.
Most of my “writing time” is actually study time. When I write, I write. But I spend three or four hours a day studying marketing. And I’ll admit I’m confused. The major advertising venues change their parameters suddenly and arbitrarily. Facebook had an advertising algorithm that was favorable to the writer. Then they changed the algorithm. The amount of pay changed downward. Same with Amazon, same with Google. It’s like writing in an earthquake. The ground shifts under our feet. But that’s life, isn’t it? The ground always shifts under our feet. The one thing you can count on is CHANGE.
Kaye: Would you recommend self-publishing to aspiring authors?
Art: Traditional publishing now resembles self-publishing so much that it’s difficult to pry them apart. If you sign a contract with a big house you’re still going to have to do your own marketing. If you’re a major name, that’s different. Steven King doesn’t do his own marketing. But Arthur Rosch will indeed have to market, whether he’s self published or under contract to Random House. So…why not self publish? Statistics reveal that self publishing is garnering an ever-increasing market share. There’s no longer a stigma attached to self publishing.
Don’t give up. Persist. Stay with what you love, and if you love writing, then, you must write. Right?
You can visit my book website at roschbooks.com. My e-books are $2.99. I signed up for the Amazon KDP promotion but I haven’t seen any benefit. Next step will be to publish real paperback books. I recommend self-publishing for the simple reason that many of us have no choice. It’s so difficult to hook an agent these days that you might as well fish for salmon in the local park’s swimming pool.
I want to thank Art for sharing his story with us. Be sure and check in next week on Writing to be Read, when I’ll talk with traditionally published children’s author, Stacia Deutsch and get her views on the publishing industry.
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Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 2): Interview with Self-Published author, Tim BakerPosted: October 24, 2016
Today I want to talk a little about definitions, because people often independent publishing as an umbrella term to cover authors who are self-published, as well as those authors who are published through an independent publishing house. I’m guilty of this, too, as the title for this article series does not differentiate, although the series will be looking at all three options. From here on out, I will differentiate between self-published and independently published authors, and refer to smaller presses as independent presses vs, the larger publishing houses, which shall be referred to as traditional publishers.
In Part 1 of this series, I interviewed self-published author Jeff Bowles to get his thoughts on the publishing industry as an emerging author today. Today’s interview is with Tim Baker, the author of nine novels, two novellas, and a collection of short stories, all self-published under his own brand, Blindogg Books. I’ve had the privilege of reviewing many of those books and can tell you he writes a well crafted story. His publishing credits include Living the Dream, Water Hazard, Backseat to Justice, No Good Deed, Unfinished Business, Eyewitness Blues, Pump It Up, Full Circle, Dying Days, with Armand Rosamillia, and Path of a Bullet. You can contact Tim Baker or find out more about his work by visiting his website at blindoggbooks.com.
Kaye: Would you share your own publishing story with us?
Tim: My love for reading came early in life when I discovered Treasure Island and The Adventures of Huckleberry Finn at the age of ten.
A high school journalism class and a creative writing course in college turned my love of reading into a love of writing. In 1988, I began writing a book called Full Circle, which combined my love of writing with my interest in Karma. A chain of events caused the unfinished, handwritten manuscript to be tucked into a box. During the ‘90s, my time was divided between raising my son, owning a home and building a career in engineering, leaving no time for writing. It remained untouched until February of 2015 when I dusted it off and completed it for release in November 2015.
By the time I moved to Florida in 2006, my dream of penning a novel was all but forgotten…until one night when a dream rekindled my passion for writing.
Then, in April 2007, I had a dream about two old friends and a submerged box of gold bars. The next day I found himself trying to figure out the story behind the dream. By the end of that day, the impetus of a story had formed and I had scribbled out two chapters in a spiral notebook.
One year later, my first novel, Living the Dream, was complete and the dam had burst — I soon followed up with my second novel Water Hazard.
Kaye: When did you know you wanted to be an author?
Tim: The funny thing is that I never really wanted to be an author – at least not consciously.
Even though I’ve always enjoyed reading and writing…it wasn’t until after my first book was published that I realized I was an author. All of a sudden I was an author – which was fine, because by then I had come to the realization that I loved writing.
Kaye: What made you decide to self-publish?
Tim: It wasn’t until after I completed the manuscript for my first novel (Living the Dream) that I started thinking about having it published. After a year of research I had learned a great deal about the differences between traditional publishing and indie publishing, and I decided that indie suited me better – primarily because I had read dozens of accounts about the overwhelming odds of landing a traditional publishing contract. I was not thrilled with the prospect of putting the fate of my novel in the hands of somebody who could shoot it down for any reason at all. This just didn’t seem fair.
Kaye: How did Blindogg Books come about?
Tim: Blindogg Books came about because my research taught me that indie authors need a brand for marketing purposes. I also learned that there are at least 3 other published authors named Tim Baker…so I decided to go with something other than my name.
During the 90s I raised and socialized puppies to be guide dogs for the blind…eventually I picked up the nickname “blind dog” which was changed to blindogg for internet identity reasons. When I needed a name for my brand I thought Blindogg Books had a nice ring to it. (for more info on this go to my blog)
Kaye: What do you see as the pros and cons of independent publishing?
Tim: I’ve had this conversation with many people and I like to sum it up this way;
Independent publishing is a “good news/bad news” situation. The good news is that anybody can publish a book – the bad news…anybody can publish a book. The vast majority of indie authors produce quality work, however the fate of their work depends on the book buying public, so when potential readers read one of the few indie works that just wasn’t ready for publication (for whatever reason) they tend to paint all indie authors with the broad brush of low quality. So even though it’s very easy to have your work published, it’s very difficult to convince readers who have had a bad experience that your work is worthy of their money.
Kaye: What do you see as the pros and cons of traditional publishing?
Tim: Not having any experience in the traditional world I can only speculate. I have to think that having the power of a large publishing house behind you for promotion and advertising is a nice relief from self-promotion. I also think it would be nice to get a big advance for a book. On the down side, I wouldn’t want to work under a contract which dictates when I have to finish a book. I’ve also heard that those big advances are only good if you sell enough books to cover the amount advanced. Obviously we all think our work will sell – but if it doesn’t (for whatever reason) I’d hate to have to give money back!
Kaye: What do you see as the pros and cons of independent publishing?
Tim: I’ve had this conversation with many people and I like to sum it up this way;
Independent publishing is a “good news/bad news” situation.
The good news is that anybody can publish a book – the bad news…anybody can publish a book.
The vast majority of indie authors produce quality work, however the fate of their work depends on the book buying public, so when potential readers read one of the few indie works that just wasn’t ready for publication (for whatever reason) they tend to paint all indie authors with the broad brush of low quality. So even though it’s very easy to have your work published, it’s very difficult to convince readers who have had a bad experience that your work is worthy of their money.
Kaye: How much work do you contract out? Book Covers? Editing? Etc…?
Tim: Everything!! I write it – then let others do the things I’m not qualified to do. This includes editing, formatting (for kindle and paperback) and cover design/layout. Many indie authors try to do these things themselves, but I would rather pay somebody to do it because I know they’ll do a much better job than I will and I won’t be wasting my time doing something that somebody else could do in half the time, leaving me more time for writing and marketing.
The most important one of the lot (in my opinion) is editing. Any money spent on a qualified editor is money well spent. Hiring your high school English teacher or a friend/relative who is “really good at English and reads a lot” will not give you a professional quality job.
Nobody knows more than me how difficult it is to fork out hundreds of dollars foran editor, but I want my books to be the best they can be.
Kaye: So, you’re saying self-published books that aren’t of good quality stigmatize the reputation of independently published books in general?
Tim: Yes. Readers, like all consumers, don’t want to waste money on sub-par products, so if they buy an indie book that is poorly written, edited or formatted they are likely to assume that this is the level of quality for all indie books.
Kaye: Do you think one of the major contributing factors to this stigma is authors who don’t want to spend money to have their books professionally edited? Or do you see other causes?
Tim: Absolutely. This is one of my biggest pet peeves. As I said above, many indie authors think editors are like dentists – a necessary evil. I think a qualified editor is more like a good tailor. You can buy a suit off the rack and it might look decent, but a suit that is professionally tailored will make you look outstanding – and people will notice the difference!
This is not to say there aren’t other causes.
People who write a book without trying to learn even the most basic “rules” lower the bar for all of us. I hate using the word rules, let’s say guidelines…whatever you want to call them – they are critical to producing a book that will make people want to read your next one. These days there is no excuse for not learning how to write a good book. There are a gazillion websites and blogs out there devoted to teaching people how to write – use them. Most of them are free.
But – the best way to learn how to write is to read. Learn from the good books as well as the bad…
Kaye: How much non-writing work, (marketing & promotion, illustrations & book covers, etc…), do you do yourself for your books?
Tim: I don’t have an exact number, but my conservative estimate is that for every hour I spend writing – I spend three hours marketing. I tell people all the time – writing the book is the easy part…selling it is where the work starts.
Kaye: Would you recommend your chosen path to publication, to emerging writers? Why or why not?
Tim: I’m not sure how to answer that – mostly because my path wasn’t chosen as much as it was found. I had no idea what I was doing – so I did lots of research – the most valuable of which was learning from other writers. So for any emerging writers who may be reading this I can only say this…there is a ton of information at your fingertips. The internet and especially social media can help you find the path best suited for you. Get out there and tap into it. Ask questions, do your research and learn from those who went before you.
I want to thank Tim for sharing his thoughts on the publishing industry and his advice with us. Be sure to check out next weeks interview with self-published author, Arthur Rosch, on Writing to be Read.
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While representing his company at the expo, Xavier meets the woman in the next booth, Anna, and before you know it, he believes he’s fallen in love with her. Xavier doesn’t know why Anna is keeping him at a distance, never allowing him to get too close, but he is relentless in his pursuit of her and enlists his mother’s advice and the help of his friends to win her heart.
I had trouble buying into some of the occurrences in Wrinkles: A True Love Story, by Mian Mohsin Zia, but I realize a lot of this can be attributed to the fact that the culture in the story is very different from mine. Because I’ve never been to Africa, where the story is set, many of the events and customs portrayed in this book were foreign to me, making it seem strange. I may not have understood it all, but the story was compelling and touching, and I just may have learned a few things about other cultures and religions which I wasn’t previously aware of. I loved that it carried the underlying theme of integration, racial and religious tolerance.
Xavier’s relationship for his mother goes way beyond parental respect, but there are glimpses of an insecure little boy residing in the big man. This is his fatal flaw. Xavier’s biggest fear is that of losing his mother, whom he refers to as his “Lifeline”. His respect for his mother makes him a more endearing, as the doting son.
Descriptions are vivid, but they relate too many unnecessary details. We don’t need to know all the colors of clothing, color of pacifier, what materials their clothes are made from, etc… The story is repetitive and states the obvious quite a bit. Everything is spelled out for us, not giving the reader credit for being able to follow along.
There were other problems with Wrinkles, concerning formatting, punctuation, and grammar. The dialog is very stiff and formal, with dialog tags which are either missing or misplaced, there are subtle switches in point of view, a slight case of adverbitis, and a passive voice. I have put down books in cases where problems such as these, but the characters are likable enough for me to overlook them and keep reading.
What really sticks out the most for me though, was the fact that the last piece of dialog from Faith, Xavier’s mother, doesn’t ring true to her character. Throughout the whole story, she has always taught honesty, through verbal lessons and through example, and here she promises the young boy that they all be with him forever, when he asks questions about aging. Of course, we all know it would be impossible for the adults in the family to remain with him forever. The point is it isn’t true and it comes from a major character, who has been pillar of honesty thus far.
Overall, I saw some problems with this book, but the uplifting theme, heart touching story, likable characters, and compelling romance plot still make it an enjoyable read. I give Wrinkles: A True Love Story three quills.
Kaye Lynne Booth does honest book reviews on Writing to be Read, and she never charges for them. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.