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.
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.
Ask the Authors (Round 2)
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?
By small and large press, plus now mostly self-published.
Combination. All of my titles are independently published except one with HarperCollinsUK.
I’m currently focusing on indie publishing.
I’m independently published; however, I do work with an independent publishing company for some anthology stories.
I’m published by four small presses – Curiosity Quills, CHBB, Clean Reads, and Ellysian.
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.
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.
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.
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.
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.
I felt it gave me more control.
- You get to decide all the things.
- You have to decide all the things.
- You’re less likely to get into bookstores and libraries.
- 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.
- 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!
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.
Traditional much better with promotion and distribution depending on publisher. Traditional self-publishing can make sense tougher way to go.
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.
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.
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.
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?
So for I use Kindle and print. I’ll be going wide soon.
New book Denial of Justice, hardcover, ebook, audiobook, large print.
Most of my books are both in print and eBooks.
Print, ebook and audio. I prepare both epub and mobi versions of my books to file electronically across several platforms.
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.
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.
All of my books, save one, are available in print and ebook. The other is only available in ebook as of right now.
Ebooks and print.
- 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.
- 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.
Smashwords and Amazon.
Amazon and Lulu.
Amazon, D2D and ACX. I have used Ingram for a few titles but found their website too frustrating to navigate.
Amazon; Smashwords; BarnesandNoble.com
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.
The majority of my works are on Amazon. I also have paperbacks on Barnes and Noble.
Mainly Amazon. I did try B&N, Kobo and iTunes for a while and it was a waste of time.
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?
Kindle is the easiest format to use. I find print editions difficult to work, no matter which company you go with.
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.
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.
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.
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.
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.
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.
I paid for a few ads, tours, promos, etc. but it really didn’t do much for sales or exposure.
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.
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.
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.
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.
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.
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.)
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.
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.
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.
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.
A good marketing and promotional team.
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.
Grow thick skin. You’ll need it. 😊
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.
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.
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!
Like this post? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress.
Every event we take part in touches us in some way, helping to shape us into who we are. Our experiences change us, sometimes in small ways, and sometimes in more drastic ways. We live, we learn, we transform, and always there is movement and growth. Certainly, the 2018 Writing the Rockies Conference was one such inspirational event, although there were so many offerings, it would be impossible for me to touch on them all. The offerings which I did get to attend were very informative and inspirational.
During the welcome reception, the program director, Dr. David Rothman, talked about what it is that makes the Writing the Rockies Conference stand out among other writing conferences. Certainly, the fact that it leans heavily toward the academic aspects of writing should be counted toward the top of the list. Not that the writings explored are all academic in nature, but the intention is to educate us in how to tap our inner creativity and allow it to flow out onto the page. And every year that I have attended the conference, like everything else in life, it changes and grows.
The Writing the Rockies Conference has expanded considerably since I first attended in 2012, and has even grown some since I last attended in 2016.In addition to the great panels and single day workshops, and their outstanding poetry symposium, which are offered every year, the 2018 line-up included an opera performance and workshop, three-day intensive workshops and seminars in all five concentrations, (creative nonfiction, genre fiction, poetry, screenwriting and publishing), which are available for an additional fee. And as usual, there were opportunities to sign up for pitch sessions and manuscript critiques, and social events such as Coffee with the Pros, where you have the chance to chat with professionals from the industry, both student and professional readings, as well as open mic events and a full day’s schedule of nature hikes in the Gunnison Valley, (one more thing which makes this Conference unique). While attending, there were also opportunities to attend a special presentation of Comedy is Hard by Mike Reiss and a one man play, Multitudes: An Evening with Walt Whitman by Kim Nuzzo, both public performances which coincided with Conference dates.
In his Keynote, author, poet and educator, Mark Todd discussed Writing From the Edge of Nowhere, and why so many writers sprout from Colorado or are drawn to Colorado as a backdrop. Certainly, the breath taking scenery attracts the attention of writers and many have tried to capture the beauty of the Colorado landscape with their words. There are some who haven’t done a bad job of it. As a native Colorado author who made historic Colorado my setting in Delilah, I can tell you that the love for the landscape draws you and for westerns, the landscape plays a big part.
The publishing panel, moderated by Kevin J. Anderson, who has been traditionally published for many years and has founded his own WordFire Press with his wife Rebecca, was enlightening for me. As I’d been wondering if my own publisher was being fair with me. I learned what you should be able to expect from a small press publisher, and found that although perhaps my communication with my own publisher could be better, they are probably giving me a pretty fair deal in today’s market. Their panel also made me reconsider my own plans for publishing The Great Primordial Battle, which is book 1 of my Playground for the Gods science fantasy series. It’s been sitting on the virtual shelf after many rejections, and I was planning to self-publish it when it comes back from my beta reader, but now I’m thinking perhaps I should give traditional publishing one more shot before I go that route.
I had the honor of sitting on the alumni panel for Western’s Graduate Program for Creative Writing, which offered the chance for panel members to toot their own horns about their individual successes and tout praises for the M.F.A. in Creative Writing program. On the panel with me were my fellow alumni, Chris Barili, Susan Spear and moderator, Steve Visel.
Although I did not purchase a meal card, I heard high praise for the conference cuisine, well worth the additional charge. The welcome dinner and ceremonies, featured delectable appetizers, a main course of stuffed peppers or mushroom chicken and all the accompaniments, and mouth-watering fruit pies for desert. All was well prepared and attractively presented by Western State Colorado College.
The one thing I was disappointed with was that I didn’t get to do the book signing I had anticipated due to scheduling conflicts. But at Writing the Rockies they are always looking for ways to improve their program, so I can always hope that next year things will be scheduled better. Over all it was a great conference and I look forward to watching it grow and develop in the future.
Today I have the pleasure of interviewing an old hand in the writing and publishing business, author Tom Johnson. Tom has written stories from a young age. He has been publishing his writing for more than twenty-two years and has over eighty books in publication. He grew up reading comic books and pulp fiction, becoming a collector in adulthood and his stories reflect the fascination that those books held for him. He has also written numerous nonfiction books and is currently involved in writing children’s stories. Please help me welcome Tom Johnson.
Kaye: Hi Tom. Although in the past, you’ve written and published many different genres, you are currently writing only children’s stories. So, let’s talk about that. Tell me a little about your stories.
Tom: My children stories are about 1k and meant as bedtime tales, and to be read in classroom or library settings. They are short stories with little morals to teach children something about life.
Kaye: Are they a series or stand alone?
Tom: They are a series, and published in anthologies about once a year. There have been four anthologies so far. I was invited to participate beginning in volume #3. The anthology is called Wire Dog Storybook. Here is the background. True story. A young girl, Ellen Walters, asked her father, David Walters, if she could have a dog, and he said, “No.” So she found an old wire hanger and shaped it to resemble a dog, and called it wire dog. David Walters was fascinated by her ingenuity and created the Wire Dog Storybooks. So the stories usually feature Ellen and Wire Dog, but always Wire Dog. Five of my stories have been published so far, and I’ve written three more for the 2018 yearbook when it comes out at the end of the year.
Kaye: What age group are they aimed at?
Tom: I feel that we should begin reading to our children by age one. With that in mind, my stories are aimed at the age group of 1 to 5. However, older children will enjoy the stories, as do adults.
To get a better idea of what Tom’s children’s stories are like, you can get a free copy of one here. They are short and can be read in only a few minutes.: Wire Dog Has An Ugly Mood Day – Or The House of 1000 Mirrors https://wiredogstories.com/2016/01/19/story-40-wire-dog-has-an-ugly-mood-day/
Kaye: What differences do you see between writing for children and writing adult fiction?
Tom: Adult fiction usually means, “no holds barred”, while writing children stories you want to stay away from violence, horror, and adult themes. Keep in mind, young children absorb what they hear quickly, and some themes could have an adverse effect on young minds. When writing for children we must keep this in mind.
Kaye: What appeals to you about writing for children?
Tom: Do you remember the old radio show for kids, Let’s Pretend ? It produced shows for children that acted out fairy tales and light adventures – nothing as harsh as today’s cartoons that are aimed at our youth. Well, I have the chance to import my love for adventure in tales easily understood by young people; children who some day may also experience that same love to pass on to their children. Stories that give our children a moral to live by, not “It’s clobbering time!” Or Pow! Bang! Boom! It’s something my mother did for me when I was little, and now I have the same opportunity, and I’m not going to pass it up.
You can get the Wire Dog books here:
Kaye: You have wanted to write for children since you were little and your mother used to read to you.
Tom: Oh, yes. I hope that mothers are still reading to their children. They learn at such a young age, and we’re missing an opportunity if we fail them when they’re young. They will never forget what they learn as children, it’s when their minds are growing and grasping at everything. I think one of the first words they learn is, “Why?”
Kaye: What were your favorite children’s stories?
Tom: Really, I would have to look them up in the book of fairy tales on my shelf. There were so many she read to me. Knights saving young damsels come to mind. I remember one particular fairy tale where the princess was on a glass mountain, and the young knight had to save her. She watched each day as a knight riding brown horse attempts to scale the glass mountain, then a knight on a white horse, and so on, until the final day when a knight riding a great steed scales the mountain, and we find out that he was the knight on the brown horse, the white horse, etc. It wasn’t the color of the horse, but the persistence of the knight that finally achieved the goal.
Kaye: In what ways do the stories you write emulate those favorites from your childhood?
Tom: Like the fairy tale I mentioned above, my stories will also have a similar moral – it’s not the color of the horse, or the knight’s armor, but his persistence that wins the hand of the princess. Do the right thing, for the right reason. Persevere. If you don’t succeed today, try and try again.
Kaye: You have written since you were a young man, for fifty some years, and you had your own small press for many years. Always, your life seems to have writing at the center of it. Looking back on your life, what does writing mean to you?
Tom: I think writing was always an escape to other worlds, other realms, and other dimensions. We could be anyone we wanted, go anywhere we wished, and experience great adventures. We create those worlds and people we want in them, and our heroes and heroines are who we want to be, or the friends we want beside us. We choose those things that mean the most to us. Whether we’re a cowboy or cowgirl, Conan or Xena, we bring the characters to life. That’s what writing means to me, to give life to my characters.
Kaye: How do you see the rise of digital publishing affecting authors of today?
Tom: Publishing has never been easier. When we were publishing the small press magazines, it was hands on. We did every aspect of the business, from reading, approving or rejecting, editing, set up and printing, then mailing to subscribers and bookstores that carried our magazines. Today we have Lulu and Amazon for all that. We just write, they publish. Anyone can be a writer or publisher now.
Kaye: What is the strangest inspiration for a story you’ve ever had?
Tom: I had a dream one night. A young boy was in the woods dying when a strange being found him and comforted him as he passed. The strange being was an alien and I saw the saucer-shaped craft behind him. When I woke the dream stayed with me. Did the alien kill the boy? Why was the alien there? What was the boy doing in the woods? It wouldn’t let go of me. I wrote What Goes There from that dream. The boy was dying from snakebite and the alien took his pain from him so he could pass more easily. Then I made a mystery with the plot. The story is part of my book, These Alien Skies.
Kaye: Is there anything unique or unusual about your writing process?
Tom: When I write, I don’t want to be disturbed. No music, no background noise at all. My work computer is in my bedroom. I close my door from all outside communication, telephone, wife, neighbors, etc. I have to be alone when I write.
Kaye: You’ve written over eighty books in many different genres over the course of your career. Which of your books would you say are your favorites? Why?
Tom: If we’re speaking of my fiction stories I would probably say my favorite is Guns of The Black Ghost, as it is my homage to Walter Gibson and his character The Shadow (remember him). The Shadow was one of my favorite radio dramas as a kid, and I met the creator of the character, Walter Gibson, in the mid-1970s and we were friends until his passing. I always wanted to write a Shadow novel, but copyright protection kept me from it, thus my own character, The Black Ghost came into being.
However, my non-fiction research books are probably my best sellers. I’ve written over half a dozen of them. A lot of work went into them. A lot of reading and studying, and I think it paid off, as fans have all bought the huge books for the data. These are books that don’t get thrown away, but have a special place on their bookshelves.
Kaye: So, tell us a little about your nofiction books. What is the subject matter and how did you come to write them?
Tom: As a pulp collector it was natural for me to become a historian. I had completed runs in many of the lead characters, thus had the opportunity to study the novels for research, identifying authors, plots, etc. At the time I was writing fiction and Introductions for ALTUS PRESS books, and the publisher wanted my research put into books. Some of those series were Secret Agent X Companion, Operator #5 Companion (History of The Purple Wars), The Phantom Detective Companion, The Black Bat Companion, Dan Fowler’s G-Men Companion, and Echoes 30. Several ran for twenty years, and 171 issues. Some not so long, but just as popular to the fan and collectors today. There may be others, my mind is slipping, but these were the big volumes. They covered the complete pulp series of each title. Echoes 30 covered conventions, pulp books, authors, artists, and publishers. All are in demand and have been good sellers.
Kaye: Are you a plotter or a pantser? Why?
Tom: I’m a pantser. I never could understand why you needed to write a fifty-page plot outline, just write the darn book. Once the words start flowing you don’t want them to stop. And they will, if you’re outlining.
Kaye: What do you think is the single most important element in a story?
Tom: Characterization. Make your characters come alive. You want readers to connect to them, feel for them, and be drawn to them. The plot will work itself out, but if your characters aren’t real I don’t care how much of a plot you have, it will bomb.
Kaye: If writing suddenly made you rich and famous, what would you do?
Tom: I don’t know that I would want to be rich and famous. What would be next? I want to always be reaching, always trying to entertain. If I set my goal for rich and famous I might forget about the entertainment and pleasure we get from writing. If I entertain one person, then I am already rich. Besides, we already have money, and fame is fleeting at best.
Kaye: What’s the best piece of advice you were ever given?
Tom: Write what you know. I’ve read a lot of books where the author is writing about something s/he knows nothing about, and it shows. I know information is at the tip of one’s fingers today, but if you haven’t truly experienced something you will come off as unbelievable if you try to write about the subject.
I want to thank Tom for joining us today on Writing to be Read and offering up some really great answers to my questions. I have really enjoyed having him. If you’d like to learn more about Tom Johnson or his books you can check out his website or his Amazon Author Page.
Like this post? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress.
We’ve already taken a look at the different publishing arenas in my series Pros and Cons of Traditional vs Independent vs Self-Publishing, so this installment will be a brief discussion on the topic that may repeat some of that information. Some of our panelists here also participated in that series, so if you’d like to take a more in depth look you can visit my interview with Tim Baker, or see what Art Rosch has to say, or discover Jordan Elizabeth‘s take on it, or check it out from the beginning and move on from there.
Regarding the whole publishing thing, DeAnna Knippling: I can’t answer the questions directly (nnnnnn), but if you want, here’s a blanket statement to cover the week’s stuff:
Okay, I’m deadly bored of these kinds of questions. I know you need to ask them, but I’ve answered them so often that I really don’t have much to say other than, “Do what you want! Mix it up! Stir the pot! Try something new! Don’t try something new!” I feel like authors get so wrapped up in “what is the secret trick to making a bajillion dollars?!?” that they stop moving forward on their journeys as writers. The second you stop learning and growing, you’re dead. Some of your growth comes in the publishing and marketing areas, that’s true, but writers get obsessed with success over quality, and they burn out or become repetitive cheesemongers. And then they push forward without learning about copyright and contracts and rights and get screwed over by the people who are supposed to be “helping” them. It’s nuts. Read The Copyright Handbook, stop whining about having to write synopses and bios and blurbs, spend some time studying, and read the fine @#$%^&* print.
Some, like DeAnna Knippling, feel this topic is one of many which has been done to death. Of course, it has, because the rise of digital pubishing changed the game for authors and would be authors, restructuring the playing field, so today’s struggling authors may not even be sure of the rules. In today’s publishing world, this is a delimma every author has to face and we’re all looking for answers. Upcoming authors are trying to figure out this whole thing and decide which publishing route is best for them. Published authors whose books aren’t selling as well as they had hoped wonder if they made the right choice and entertain thoughts of going ‘the other way’ next time. Let’s start out this discussion by seeing what kind of mix we have on our panel.
Are you a traditionally published, small press published or self-published author?
Jordan Elizabeth: I have books out with three small presses: Curiosity Quills, Clean Reads, and CHBB.
Cynthia Vespia: I’m what’s called a hybrid. I’ve been both small press published and now I’m mostly self-published. But the holy grail is always to land a contract with one of the big names in publishing.
Carol Riggs: All three. I have two traditionally published book with Entangled Teen, which is a smaller publisher but a notch above “small press” in my opinion. For example, they distribute with Macmillan, and my debut novel, THE BODY INSTITUTE, was featured in Barnes & Noble stores. THE LYING PLANET is also published by Entangled, while BOTTLED is published via a small press, Clean Reads. Then I’ve self-published two of my five-book series of JUNCTION 2020. I hope to release the third in the series this summer.
Chris Barili: Yes. I am a true hybrid author, with a traditional book sale (small publisher, but traditional) and a self-published series.
Janet Garber: Self Published via Lulu.
Follow-up: Would you talk a little bit about Lulu. How do they measure up as a publishing platform? What services do they offer their authors?
Janet Garber: Researching the different options was confusing. I probably decided on Lulu because I liked the salesman and also I did not find many complaints online at the time. I would not say that my approach was very scientific, but the results were more than satisfactory. I do think there are probably much cheaper options particularly if one is tech-savvy and confident about a DIY approach. I purchased additional service of press release — they basically just took what I wrote. They were supposed to send it out to appropriate outlets, but I was not at all satisfied with the outlets they approached. This was a waste of about $400! Buyer beware!
Would you share the story of your own publishing journey?
Jordan Elizabeth: I feel as if I have written forever. It wasn’t until college that I started taking my writing more seriously. I queried agents until I finally found a home at the Belcastro Agency. It was a short while after that my friend and fellow author Eliza Tilton introduced me to Curiosity Quills Press. Another friend and fellow author, Cathrina Constantine, introduced me to CHBB.
Cynthia Vespia: When I was a senior in high school I picked up a copy of Dean Koontz’ Intensity from the library and I was immediately hooked. When I finished reading it, I knew I wanted to be a writer. I wanted to pull emotions from people the way Dean Koontz had done for me. (I’ll jump ahead here so I don’t drag on) Flash forward to the completion of my first novel The Crescent. I sent it around to different agencies, and even Arnold Schwarzenegger’s old agent wound up reading it, but nothing panned out. I remember coming very close to a deal with a local publishing house early on in my career but they opted to go another way. But I had a finished book, and I wanted to see what it would look like in print, so I self-published when self-publishing wasn’t cool yet. But that little book has gone on to create some great attention and is in the middle of pre-production for a movie.
Chris Barili: My first fiction sale was a western short story called “Yellow” that I wrote for my first summer semester of my MFA studies. That story sold to The Western Online that fall, and I only mention it because 13 short story sales later, it remains the starting point for me selling fiction. My novel Smothered (as B.T. Clearwater) was originally my MFA thesis. It was a standalone romance, and I had no plans for it until Winlock Press (part of Permuted Press) held a contest to find books to premier their supernatural romance lineup. I entered and won, so not only did the book go on sale for e-books, but through Permuted’s deal with Simon and Shuster, a limited print run took place, as well, meaning–book signings at Barnes and Noble!
My Hell’s Butcher series of novellas is self-published, and I did that for the simple reason that there just aren’t markets for novellas out there in the traditional world. And since I wanted to try my hand at self-publishing, I decided the series would be my foray into that battle.
Janet Garber: I researched the different companies online, called a few, and went with Lulu. I was under a deadline because I wanted to sell my book at a professional conference and Lulu came through, publishing my book in a short five weeks. I was actively involved in proofing very very carefully and am happy to say end result was a fine looking book with a wonderful cover.
Margareth Stewart: I come from Academics which is a hard field to be published and to write something original. Scientific papers are full of rules. To write a 15-page-article, it is necessary to read around 15,000 words or more, and to process it all with a very unique view. It is a though and painful process. So, when I got into the fiction world – Oh, I thought: “Heaven, I’m in heaven, And my heart beats so that I can hardly speak…”. Difficulties are part of the process. Keep writing and keep reading.
In today’s publishing world, the question of whether to go the traditional route, search out a small press with interest in your book, or to go ahead and self-publish and get your work out there is something every author has pondered at one time or another. Chances are a publisher, either taditional or small press, is not going to come knocking down your door to publish your book. Although there are authors who have had a previously self-published picked up by a publisher, it is not the norm, and although not like it once was, self-published authors may still carry a bit of stigma with publishing houses. Let’s take a look at how our panel members tackled the delimma.
What made you decide to go with traditional/small press/self-publishing?
Jordan Elizabeth: I was hoping for a traditional publisher, but I’m thankful to my friends who have found me homes with small presses. It seems to be true what they say about small presses being more family-oriented and helpful.
Cynthia Vespia: I went back to self-publishing because #1 the small press companies I was working with all closed their doors, and #2 because I had a very specific vision in mind for what I wanted to do with Demon Hunter when I got my rights back. But I have a few new ideas in the works that could be very successful mainstream properties, so I’m looking to go back to the traditional publishing route and finally capture that holy grail.
Carol Riggs: I think the traditional publishing makes me feel more accomplished, like my books are of better quality. I know that’s not necessarily the case, but to have professionals rooting for your writing is really reassuring and gratifying to me. For my self-published books, I’m using my JUNCTION 2020 series to grow my newsletter subscription by giving away book 1 as a freebie incentive. Find it on my website at carolriggs.com!
Janet Garber: I was very impatient to see my book in print and hold it in my hands. So much work had gone into it, years and years of procrastination too, and I wasn’t getting any younger. For these reasons I did not even consider traditional publishers. I still hesitate on going that route because I do not want to wait 2-3 years to see my Paris novel in print, the time to secure an agent and then a publisher. My first (nonfiction) book was traditionally published by Silver Lining Press, a branch of Barnes & Noble, and that book was brought out very quickly; I did not need an agent since they approached me with the offer to do a book, etc.
In the self-publishing arena, which platforms have you found good to work with? How do you deal with KDP’s exclusivity clause, which states that your work may not appear on any other platform?
Art Rosch: The KDP Select option IS exclusive but operates for 90 days. There’s an auto-renew function, and if you don’t want to be enslaved by it, make sure that it is not checked. I tried it for a few cycles. I had to remove my book from Smashwords and go into the Dashboard to Channel Manager and remove distribution channels like Apple, Barnes and Noble, etc. In any case, my books didn’t sell.
I like Smashwords approach and the universality of their formats. But no one competes with Amazon. I haven’t published any physical books yet, but I have a bit of change on hand and I think I”ll give it a go. Everyone has their favorite provider of such services, so there’s plenty of choice. Publish-on-demand. I have no demand. I have a more serious issue, it’s a literary one, a revision of Chapter One of my autobiographical novel. I don’t care for it at the moment. A book begun in 1976 and I’m still revising it. Heh!
Cynthia Vespia: I use Amazon for ebook and print. I also have my work on Smashwords, Barnes and Noble, and I’ve used LuLu for some hardcover print because Amazon didn’t have that option at the time. I’ve heard that Draft 2 Digital is the place to have your ebooks as well, but I haven’t looked at it yet.
For the KDP clause what I have been doing is using it for a new release and then not renewing the enrollment. I’d rather have my work in as many spots as possible.
Although you are self-published, do you still long for the esteem of a traditional publisher? Why or why not?
Janet Garber: Since I have published widely in multiple genres and have one book traditionally published, I’m not craving validation from a traditional publisher. The appeal is mainly the feeling that a traditional publisher would sell more of my books and be better equipped to setting up opportunities for promotion (book tours, speaking engagements, etc.) Let’s not forget hybrid publishers – not sure where they fit in.
What are your thoughts on small presses? What are the pros and cons? Do you curse them or sing their praises?
Cynthia Vespia: I’ve worked with a few small presses and TBH it wasn’t ever anything that wowed me in terms of packaging. As a graphic designer I can do my own covers, and there are more than a few freelance editors whom I can hire to polish the manuscript. I never saw being under the label of a small press to be more beneficial to going indie. They just did not have the means to promote my work in a manner any better than I could do myself. Actually, it really tied my hands sometimes because if I wanted to do a sale or bring some physical copies to an event I had to go through the small press as wait. In the indie publishing world you are in charge of it all. I like that freedom of movement. I will say the one good thing about a small press would be if they have the means to get you into a bookstore or a library because most of those retailers frown upon the POD style of print that most indie authors use.
Traditional publishing has always been a tough road, and with the rise of independent publishing, I think it has gotten even tougher. Although the ‘big five’ are still out there, many traditional publishing houses and small presses are finding it hard to stay in the game with the rise of the ebook and digital publishing. Independent bookstores, as well as some of the larger chains of brick and mortar stores have folded in recent years.
According to Author Earnings’ Print vs. Digital Report, independent authors walk away with a bigger piece of the pie, overall, than traditionally published authors. Pair that with the continuous upward struggle to get noticed by traditional publishers, it is no wonder so many authors are publishing independently, even though by doing so they are taking on multiple roles that traditional publishers would cover, such as covers, marketing and promotion, etc… Let’s see if our panel members agree.
What do you see as the pros and cons of independent/traditional publishing?
(First from those in favor of the traditional route):
Jordan Elizabeth: The best pro I can see for traditional publishing is that you get help with marketing. They might not hold your hand, but they will give you guidance. A con is that you don’t make as much off ads as you would if you self-publish.
Carol Riggs: Obviously, an author has more control over writing content and cover art with indie publishing. We can make more money per book, although often a traditional publisher can help market an author, so sometimes more books are sold overall; maybe that evens out, I’m not sure. I do know authors who have done awesomely with both indie and traditional publishing. Which path you take depends on what your needs and goals are. But a definite downside to indie is you do ALL the marketing yourself, and you’d better have or hire a good editor, or quality will suffer and your book’s reception likewise. Authors being in a rush to get their books out before they’re ready gives indie publishing a bad name. Editing and polishing are essential.
(Now let’s here from the independent publishing fans):
Cynthia Vespia: There’s a lot of pros to indie publishing. As I said, you have complete control over your own work. It allows books that might never see the light of day get out to readers who enjoy the story. On the other hand, that’s the same con. There are so many people out there writing books now, and they aren’t taking the time to polish them before they get published so you get a lot of, dare I say “garage sale junk” out there. Writing is a business like anything else. You have to take the time to learn everything about it from the craft of writing, to presentation, to marketing. And that isn’t strictly for indie authors either. If you get traditional or small press published you still need to be your biggest fan to get your work out there. In a sea of books yours needs to stand out.
(And from those who have dipped into both publishing arenas):
Chris Barili: Indy publishing is great if you want control, want higher royalty cuts, and don’t like the “gatekeeper” system, but it is a LOT of work. And money. I spend between $500 and $600 publishing each Hell’s Butcher novella. That’s money I’ll never get back, as they are very unlikely to round up a big enough audience on their own. And as an Indy author, all that marketing, publicity, and so forth — that’s on you. And I suck at it.
The traditional route costs you little or nothing out of pocket, but you give up some control, and of course it takes a MUCH longer time. I was fortunate with Winlock , as they got my e-books out in 3 months. Paperbacks a year later. A traditional publisher would take 18 – 24 months. Self-publishing about a month, probably.
Janet Garber: Pros: [With the traditional route] many people are involved in evaluating your book, making developmental suggestions and edits; these people are very savvy about the publishing world and what appeals to readers; the publishers hopefully undertake some degree of marketing for you or at least guide you to getting best bang for your book in terms of marketing dollars spent.
Cons: effort required to send queries to agents and wait-wait-wait for a positive response; possibility that agent or publisher could change their minds about publishing your book after you’ve invested a lot of time on pleasing them; need to do multiple rewrites and revisions that may alter what you wanted to say and how you wanted to say it.
It seems each publishing avenue has its advantages and disadvantages. Traditionl publishing is a tough road to travel, but it carries the advantages of having available editors, cover artists and media coverage, as well as possible prestige in some areas. While it may be at least a little bit easier to get noticed by a small independent press, the advantages are neglible, depending on the press. While some provide editing and cover artists, others don’t even do that. Most will provide some marketing and promotion, but even that isn’t guarunteed, and you may have to give up control over your work. In self publishing, you maintain control of your work, but you also have to hire out for editing and cover artists, and take on the role of marketer or pay to have it done, as well.
Whether you choose to seek out and strive for a traditional publisher, aim your efforts toward small presses, or do it all yourself to get your work out there and maintain control over it, we all have to find ways to make our writing stand out amongst a diluge of other writers and authors. Most of that must come from craft, but choosing the right cover image and giving your book a killer title help, too. But no one will ever pick up yoru book and read it unless they know it’s there, so marketing and promotion are a bigger here. We have a segment coming in about three weeks on that topic, but for now be sure and drop by next Monday, when we’ll be talking about the differences in genres.
If you have a question you’ve always wanted answered, but it’s not covered in the post on that topic, or if our panel’s answers have stirred new questions within you, pose your query in the comments. Make note if it is directed toward a specific author. Questions will be directed to the general panel unless otherwise specified. Then, in the final post for the series, I will present your questions and the responses I recieved from panel members.
Like this post? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress.
This week, I’m interviewing Colorado freelance writer, editor, author and book designer, DeAnna Knippling. I first met DeAnna through the Pike’s Peak Writers when I was still serving as the Southern Colorado Literature Examiner. What struck me about her was her enthusiasm and willingness to help where ever she can. She treats her writing as a business and goes at it with a high degree of professionalism, yet she is personable and willing to share what she’s learned from her own writing experiences.
DeAnna Knippling writes science fiction, fantasy, horror, crime, and mystery for adults under her own name; adventurous and weird fiction for middle-grade (8-12 year old) kids under the pseudonym De Kenyon; and various thriller and suspense fiction for her ghostwriting clients under various and non-disclosable names. Her latest book, Alice’s Adventures in Underland: The Queen of Stilled Hearts, combines two of her favorite topics–zombies and Lewis Carroll. It’s the story of a tame zombie who told a little girl named Alice a story that got them both in more trouble than they could handle. Her short fiction has appeared in Black Static, Penumbra, Crossed Genres, Three-Lobed Burning Eye, and more.
Kaye: You created Wonderland Press to get your books out there. What all is involved in creating a press for your work and what are the advantages of doing so? I mean, why would an author do this rather than just throwing their book out on Amazon or Smashwords?
DeAnna: This isn’t one of the fun answers. It’s stupid easy to make a “press.” It involves no special equipment. You look online, make sure nobody else has one of that name in your state, register a business name with your state or county (look up, “How to register a business name in [name of state]”), and Bob’s your uncle. You might want to get more complex with an LLC or something–but I recommend leaving that for later, unless you already have experience doing that. I am, of course not a lawyer and can’t give legal advice. When you want to start looking at an LLC or corporation, I believe, is when you start having to worry about taxes and tax brackets.
DeAnna: Just keep working. Everybody’s in a hurry to succeed. Success! Millions! Riches! Fame! But, in the end, it comes back to the basics. Did you read? Did you write? Did you learn something? Did you talk to other people in the writing community?
Like this post? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted.
There are many measures of success, especially in writing. Readers may look at whether or not an author has made any of the best seller lists. Authors may look at the number of books published, or number of sales, or even positive reviews. For rising authors, who are trying to get a foot in the door, like me, finding a publisher willing to publish even one of your books may be all that is required to consider yourself a successful. That’s where I’m at right now, as I just signed a contract for my western novel Delilah. But the point is, that success is subjective and there are many different levels involved.
You can see what I mean. My little contract for Delilah wouldn’t be a big deal for someone like Stephen King or Anne Rice, who sell books faster than they can write them, but for little old me, it’s a very big deal, even though it isn’t with one of the big five major publishers and there is no advance that comes with it. Although those things would be nice, signing with my small independent publisher, Dusty Saddles, makes me feel plenty successful.
What’s great too, is that it doesn’t end there, because of those different levels I was talking about. Sure, I feel successful now, with book contract in hand. But, I also have a feeling of success when I check my blog stats and discover that my readers are increasing. I feel it every time one of my poems, or short stories is published. I felt it when I earned my M.F.A. in Creative Writing. I’ve no doubt I’ll feel it again if Delilah starts selling copies and I find people are reading it, or when the next book contract comes along, or if I sell a screenplay.
Success is what we, as writers, all strive for, although your definition of success may be just finishing the book. That was my definition while I was earning my M.F.A. in Creative Writing, but after completing two novels, working on both simultaneously, I know I can finish a book, so I’ve moved on to the next challenge. Selling the book, and now it looks like I have achieved that success, as well.
But we have to be careful not to want that success so bad that we allow ourselves to be taken. There are a lot of scammers out there, who will try to steal your book right out from under you. Although I was excited about being offered a contract, I didn’t just jump into heart first, but used my head and went over it with a magnifying glass, being on the look out for all the fine print. I questioned different clauses and negotiated on any that didn’t serve my best interests, until the publisher and I came to an agreement that was fair and served both our interests. Although having a knowledgeable attorney or agent look over all contracts is always recommended, as a striving artist, I had no access to that type of professionals, but I did have someone knowledgeable in the business look it over. He confirmed that I was reading it correctly and helped my identify a couple of problems with it. Fortunately, none of them were deal breakers and the publisher was willing to be flexible.
Now, I’m ready to embark on a new publishing adventure and looking forward to in anticipation. Signing the contract holds a certain level of success for me, but the next level of success may be just over the hill, so I must press forward. My readers can help by buying the book, because the ultimate goal for me is for people to read what I write, (and the money from the book sales will be nice, too). Of course, I’ll keep you updated as to when it will be out. After all, I strive to create Writing to be Read.
How do you measure your success?
Want to know more about Delilah? Visit my Delilah Facebook Page
Like this post? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted.