Five steps to better proofreading

Have you ever read your book or short story after it was published and cringed at the number of errors that made it through the proofreading process?

Matthew Stibbe from Bad Language tells us five secrets of better proofreading:

1. Create a checklist. Organize your proofreading efforts by writing down all the areas you will need to cover. A checklist can cover things such as grammar, spelling, sentence structure, and punctuation. Simply check off each item on the list once you have completed it.
2. Do a preliminary read. Rather than diving right into the document, briefly read over it once before starting your actual proofreading. Make a note of what stands out and come back to it when you start. It will help guide your efforts so you know where to focus your energies when you proofread.
3. Work smart. Tackle each problem one at a time. If you try to fix everything at once, you will miss errors. Focusing on a specific area such as spelling or punctuation can actually speed up the process and enhance your proofreading skills because you will be able to pinpoint specific mistakes faster.
4. Allow for breaks. When you are working with longer documents, it helps to divide the time spent on proofreading into small time blocks. Attempting to carry out the proofreading process nonstop can deplete your energy and make it much harder to get the job done. Allow yourself time to take a break every 15 to 30 minutes. Working in short bursts can help you stay focused long enough to get through your document.
5. Perform a final check. Quick proofreading the first time through does not mark the end of the editing process. It is important to read it through a final time after you have finished the bulk of the proofreading. This is simply an insurance policy to ensure you catch any stray errors you might have missed the first time.

Read more here.

On the importance of joining a writers group

Whenever I talk to writers I ask if they belong to a writing group. I am amazed that, most of the time, the person responds with 'no'.

Sometimes it's a horrified 'no', and I feel as though I've asked them whether they run a dog fighting ring in their basement. Sometimes it's a guilty no, as though they're confessing to not eating their broccoli or reading the latest James Patterson thriller (I feel I should mention that I've read one or two; I tell myself it's research).

Being the curious person that I am (in both senses of the word) I ask them, 'why not?' The horrified ones are usually afraid someone will give them negative feedback and they'll get writers block and the guilty ones feel that they should belong to a writers group because all serious writers do and it would be a great way to make contacts but they don't feel their work is quite up to snuff yet. They want to hold off joining one until they're just a wee bit better, until they've had a chance to give their stories one more polish.

I realize that what a writers group does for me may be very different from what it does or will do for anyone else, and that different people want different things out of writers groups, but, still, I think that both these groups of people have missed the point. I think that the single most important function of a writers group for the beginning writer is to let them know that other people take your work seriously enough to not only spend their precious time reading it, but to give you their honest thoughts about it. In my experience honesty tempered by kindness is a rare thing but that is what I have found in my writers group.

To the horrified writers I want to say that seeing your story through the lens of another's soul is worth the occasional sobering comment, and to the shy writers I want to say that joining a writers group is about agreeing to work together to help each other become better writers -- or something like that. Please don't hold off until you feel that your work is good enough, a writers group is just what you need to help you hone it. In the end, we write for ourselves but we also write for readers. Knowing what other people think of my writing has been an enormous help.

So, if you're a writer near the beginning of your career and you're not part of a writing group, what are you waiting for? Join one!

Caveat: I'm lucky to belong to a writers group that is a good fit for me. Some say that belonging to a writers group that is NOT a good fit for you is worse than not belonging to a group at all. Personally, I think that -- especially with the internet -- there is a group out there for every writer, it just might take awhile to find one that is a good fit for you. Don't give up.

Seth Godin: If We Imprison Ideas, We Imprison Ourselves

Seth Godin writes, "governments and organizations are lining up to control ideas and the way they spread."

How is this control happening? Seth Godin gives three examples:

1. Nathan Myhrvold: Patent Troll

Myhrvold worked at Microsoft for 13 years, where he founded Microsoft Research in 1991. Intellectual Ventures, it is alleged, accumulates patents not in order to develop products and reward inventors, but with the goal acquiring licensing fees, often using shell companies.

Technology companies pay Intellectual Ventures fees ranging “from tens of thousands to the millions and millions of dollars … to buy themselves insurance that protects them from being sued by any harmful, malevolent outsiders,” says venture capitalist Chris Sacca.

There’s an implication in IV’s pitch, Sacca says: If you don’t join us, who knows what’ll happen? He says it reminds him of “a mafia-style shakedown, where someone comes in the front door of your building and says, ‘It would be a shame if this place burnt down. I know the neighborhood really well and I can make sure that doesn’t happen.’ “

2. BART: 1st Amendment issues mount over cell shutdown

In 1967, the California Supreme Court ruled that a city couldn't prohibit nondisruptive political activity inside a railroad station.

That was before cellular phones were invented and before the first BART train rolled down the tracks. But it's a precedent the transit agency may have to confront as it defends its decision to cut off cell service at the site of an expected trackside protest last Thursday, and its long-standing ban on "expressive activities" inside the fare gates.

BART says it might pull the plug on phone service again this afternoon to counter plans for a 5 p.m. demonstration at Civic Center Station in San Francisco, where a transit police officer fatally shot a knife-wielding man July 3.

The legality of such a decision may soon arrive in court.

"This is new territory in the United States," said Gene Pilicinski, executive director of the First Amendment Center at Vanderbilt University. Although courts haven't addressed a government cell phone shut-off, he said, "historically we have kept our hands off free expression. ... The government has a very high ladder to climb." [Read more here.]

3. How the Legal Fight Over 'Y.M.C.A.' Could Change the Music Industry (Analysis)

Does an artist have the right to terminate copyright?

In 1976, the U.S. Congress lengthened the copyright term, but as a fig leaf to artists who had created works at the early stage of their careers but handed their rights over without much bargaining power, legislators thought it wise to give artists another bite of the apple. So they allowed artists to enjoy the benefits of the latter stages of a copyright term by terminating a copyright grant.

However, in doing so, artists need to adhere to a strict protocol, including sending out precise termination notices during a short few-year window. Artists are allowed to terminate a copyright grant 35 years after first publishing, and since the Copyright Act amendments went into effect in 1978, it means that 2013 is the first year where musicians such as Bruce Springsteen and Victor Willis can effectuate a termination. Since these notices have to go out in advance, it also means that these artists are now under the clock to send out their termination notice or forfeit the right for the foreseeable future. [Read the rest here.]

What should we do about these cases? Wyhat can we do?

A good first step would be reading the rest of Seth Godin's article.

Google fined for refusing to reveal bloggers' identities

Google Brazil had $141,000 US frozen from its bank account for, first, refusing to remove three anonymous blogs accusing the mayor of Brazil of corruption and embezzlement and, second, for refusing to pay the fine the court levied against them.

Go Google!

After the news broke recently of Google's true name policy many, myself included, starting looking at Google differently, they were no longer the good guys. In fact, one or two bloggers used the word "evil" to describe their actions. What Google did here though, protecting dissident bloggers, was a great thing.

Perhaps Google is a bit like most of us, neither good nor bad, evil or a saint.

Read more about this story here: Google fined in Brazil for refusing to reveal bloggers’ identities

10 Science Fiction Books That Changed the Course of History

When I saw this article at i09.com I thought the title was a bit ambitious but after seeing the books they picked, maybe not! What do you think?

Here are 10 seminal science fiction novels that changed the world as we know it.

1) The Tom Swift Series
First appearing in 1920, Tom Swift, the teenage homeschooled genius inventor and protagonist of over one hundred stories — ghostwritten by a bullpen of authors under the pseudonym "Victor Appleton" –- inspired innumerable children to take an interest in science, including futurist/writer/inventor Ray Kurzweil, Robert Heinlein, Isaac Asimov and Steve Wozniak, who credits the character directly for his becoming a scientist. Jack Cover, inventor of the Taser, was inspired to create a less-lethal alternative to guns after reading about a similar device Swift had created, and then decided to name it after the character: "Thomas A. Swift's Electric Rifle".

2) Neuromancer
William Gibson's classic novel that popularized the cyberpunk subgenre is often cited as an indirect influence in the development of the Internet – in the words of fellow SF writer Jack Womack, "What if the act of writing it down, in fact, brought it about?" More concretely, Sir Tim Berners-Lee, creator of the World Wide Web, cites Arthur C. Clarke's short story Dial F. for Frankenstein, in which a network of computers linked together learn to think autonomously, as a childhood influence.

3) Gladiator
Philip Wylie's 1930 novel, about the excellently named "Professor Abednego Danner", who invents an "alkaline free radical" serum that imbues those who ingest it with insectile powers, served as the inspiration for the modern superhero. In the story, Danner uses the serum on his unborn child, Hugo, giving him the proportional strength of an ant, the leaping ability of a grasshopper, super speed, and
bulletproof skin. As Hugo grows up, his parents teach him to use his powers responsibly, causing him to be bullied at school, but he finds relief by cutting loose in the wilderness surrounding his rural hometown. Sound familiar? It doesn't end there – Hugo later becomes a star quarterback, but after accidentally killing a football player, he quits in disgrace, joins the French Foreign Legion, and fights in World War I. After the war, he returns home and gets a job as a bank teller, though is fired after ripping off the vault door while rescuing a suffocating employee. He then continues on to two other short-lived careers in politics and Mayan archeology before the story's tragic finale. Although Hugo never dons a costume or sets out to fight crime, Wylie's brief novel managed to predict nearly every classic superhero origin, impacting 20th Century pop culture like nothing else — and now, ninety years later, real-world superheroes are taking the streets, and though none of them have super powers like Hugo, Grant Morrison posits it's only a matter of time and expense until one does.

4) The War of the Worlds
The grandfather of the modern alien invasion story, H.G. Wells' novel has a cultural impact that's staggering, but is also responsible for at least one planetary molding feat: Robert H. Goddard, inventor of the liquid-fueled rocket, decided to dedicate his life to the subject after reading the story as a teenager –- his research eventually culminated with the Apollo program, and man's landing on the moon. It's also believed the Robertson Panel held the legendary fallout of Orson Welles 1938 radio adaptation as evidence why the existence of UFOs should be downplayed, and extraterrestrial evidence withheld from the public.

5) The World Set Free
Another, lesser-known H.G. Wells novel is also responsible for a cataclysmic development: the invention of the H-Bomb. In the story, Wells predicts atomic energy, and the development of a new kind of bomb based on a nuclear reaction, resulting in a "continuing explosive" that would detonate repeatedly for days. Physicist Leo Szilard — another incredible name – read the story in 1932, and the neutron was discovered later that year. In 1933, inspired by the story, Szilard developed the idea of a neutron chain reaction, patented the idea in 1934, and eight years later, we saw the development of the Manhattan Project.

6) Brave New World
Aldous Huxley's novel indirectly helped snuff out embryonic stem cell research in the United States –- cabinet member Jay Lefkowitz dissuaded president G.W. Bush on the concept by reading him passages from the novel describing humans born and bred in hatcheries. Bush, according to Lefkowitz in Commentary Magazine, "got scared". When he had finished reading, Bush responded, "We're on the edge of a cliff. And if we take a step off the cliff, there's no going back. Perhaps we should only take one step at a time."

7) Shockwave Rider
John Brunner's 1975 novel about a man on the run from a networked society who uses a "worm program" to rewrite his identity and escape, proved to be a remarkably prescient text, accurately predicting
large-scale networks, hacking, phreaking, genetic engineering and the computer virus. The book's description of a destructive, self-replicating program capable of eliminating secret bonds inspired Xerox PARC researchers John F. Shoch and John A. Hupp to create their own version – a program designed to seek idle network CPU cycles, but would expeditiously grow beyond the intentions of its programmer. In
turn, Shoch and Hupp named their creation a "worm", and the modern virus was born, leaving untold misery and Super Human Samurai Syber Squad in its wake.

8) Snow Crash
Neal Stephenson's popular novel and its virtual Metaverse inspired both the creation of the MMORPG Second Life, and the popularization of the term "avatar", a Sanskrit word meaning "to cross over" (though was actually first repurposed to mean "digital manifestation" in the 1986 video game Habitat.) As in the Metaverse, Second Life allows users to interact through personal avatars and create communities following agreed upon systems. (Former Microsoft VP J. Allard uses the name Hiro Protagonist- the hero and protagonist- as his handle) Snow Crash's Earth program also presupposed (and according to a cofounder, directly inspired) both Google Earth and Bing Map.

9) 1984
George Orwell's novel shaped forever the ways in which we view Totalitarianism as a system of government. But it also changed the ways we think about institutional brainwashing and ubiquitous surveillance. Orwell gave us a whole arsenal of new words to talk about oppressive systems, including "Big Brother," "Room 101," "the Thought Police," "thoughtcrime," "unperson" "doublehink" and "memory hole." Where would the blogosphere be without Orwell's lexicon? Whenever you end a word with -speak, you're indirectly quoting Orwell.

10) Frankenstein
Mary Shelley's seminal 1817 novel about a mad scientist who creates artificial life has helped to inspire the real-life science of synthetic biology. Scientist Craig Venter and other innovators have created synthetic organisms in the lab, including a complete M. capricolum organism. People regularly refer to the creation of synthetic life forms as the "Frankenstein moment" for biology. And it's easy to see why — Shelley's novel gave us the first instance of the idea of creating artificial life forms.

Jim Butcher: How to build a Villain

I love Jim Butcher's series, The Dresden Files. I marvel at his well-rounded characters, his engaging fight scenes, the way he chains together scenes and sequels to create reader engagement, and the way he seamlessly weaves in backstory. Oh, and his fight scenes are epic. And that's just off the top of my head! Now that's my kind of writer.

Given that lead-in, you can understand why I get excited when I find an article Jim Butcher has written about the craft of writing. Today was a very good day. I found, "How to build a Villain," on a the site: Magical Words: Writing tips and publishing advice for aspiring novelists.

So, how do you build a villain? Jim Butcher writes:

One of the most critical skills an aspiring writer needs is the ability to build a solid villain. Even the greatest protagonist in the world cannot truly shine without an equally well-rendered opposition. The converse of that statement isn’t true, though—if your protagonist is a little shaky but your villain absolutely shines, you can still tell a very successful story.

How to Build a Powerful Villain:

1. Motivation 

"Your villain has to be motivated even more strongly than your protagonist, to move in a direction that is opposite to your protagonist’s goal. The drama and tension of the entire story is based upon those two opposing forces. Buffy versus vampires. Sith versus Jedi. Spy versus spy."

2. Power

"Your villain has to have enough power, of whatever nature, at his disposal to make him a credible threat to your hero. Personally, I believe that the more the villain outclasses the hero, the better. David wouldn’t have gotten nearly the press he did if Goliath had been 5’9” and asthmatic."

3. Admirable Qualities

"Every serious 'big bad villain' you write ought to have facets of his personality that are desirable, even admirable. Perhaps your villain is exquisitely polite and courteous, extremely perceptive, remarkably intelligent, or possessed of a skewed sense of honor that makes him something more than a simple black-hat. In point of fact, a villain might be loaded down with admirable qualities, all of which should serve to only make him even more dangerous to your protagonist. Think of the Mayor of Sunnydale in “Buffy the Vampire Slayer.” Except for the part where he was trying to turn himself into a giant demon and devour the graduating class, he was a great guy!"

4. Individuality

"A good villain needs to be instantly recognizable to your reader, so that even if he hasn’t appeared in a hundred pages, your reader will recognize that character instantly. You can achieve this pretty effectively using Tags and Traits, identifiers for a character which reserve particular props, personality traits, and words to associate with any given character. You can find an article that goes into them in greater depth on my livejournal at jimbutcher.livejournal.com."


Above, Jim Butcher mentioned an article he posted on his Livejournal site. He has actually posted quite a few excellent articles to that blog.

Jim Butcher goes on to say:

"I have a standard operating procedure for creating characters. I keep a dossier on each of them. When the character is created, I open a new file and fill in name, goal, description, tags, and traits. I write down a brief summary of what their capabilities are, and more fully describe their goals and motivations. If it’s a recurring character, I keep a running log of their development: how have the events of the story world affected them? How have they changed as a result? What are they likely to want in the future?

"If you’re going to take anything away from this post, it’s this: Villains are even MORE important to build well than are heroes.

"Spend every bit as much time and effort crafting your villain as you do the hero, and make sure that you motivate your villains every bit as thoroughly as you do your protagonist, or your story risks a lack of depth and contrast. In other words, it’ll be the one thing a fiction writer cannot afford to be: boring."

That is the end of the article but in the comment section Jim Butcher continues to give helpful advice to writers.

Question: “I’m intrigued by this idea of Tags and Traits. I’m guessing these are like the natural evolution of Homeric Epithets?”

Jim's Answer: I haven’t heard them described in those terms, but yeah, that fits, though the goal is to use it with a little more subtlety. Tags are words you use to physically describe any given character. Traits are aspects of their personality.

For example, the tags for Karrin Murphy in the Dresden Files are words like “tiny,” “cute,” and “blond.” Her traits are words like, “tough,” “smart,” and “fierce.”

The goal is to create a kind of mental signature for any given character, so that the reader need not consciously labor to identify who is speaking, and so that a very clear impression of the character is created when that character is introduced.

It all feeds into the idea that the goal, as a writer, is to create a kind of virtual reality in the head of the reader. That works best when the actual mechanics of words and sentences are as transparent as you can possibly make them. Part of making them transparent is to identify a few words or phrases so strongly with a given character that the reader doesn’t really notice the words themselves–they only see the character to which you’ve connected those words and phrases.

Question: “I wonder how important it is to reveal outright the villain’s weakness? Or is that revealed by the demise of the villain in the story process?”

Jim's Answer: Who says the villain has to /have/ a weakness? Though if you are going to go for a villain with a 2-meter exhaust port vulnerable to photon torpedoes, you can certainly do that. I did it with the Loup-garou in Fool Moon, after all. But most of the villains in the Dresden Files don’t have a silver-bullet weakness. It makes their takedown (if they’re going to be taken down) a little too simple and predictable.

“But there are plenty of great villains that don’t have anything admirable about them. They’re just freaking monsters. Like The Joker, or Darth Sidious. I do prefer admirable villains, but i’d be lying if i didn’t enjoy the occasional complete monster. Are they just the exception that proves the rule or what?”

The Joker is crazy brilliant, literally, and he has style. It’s a bombastic and cartoony style, much of the time, but it’s still style. And Darth Sidious just wasn’t all /that/ great a villain, at least in my opinion–but even so, he was intelligent, eloquent, and a capable administrator. I mean, he conquered a whole galaxy. You don’t do that without at least a little talent. :)

“when I write a villain character, I seem to get so into “it” that I sometimes find it hard to not keep wanting to take it further and further (great for future books), but once I get to the point where “hey, it’s time to end this book”, how do you cut yourself off an say enough!”

Just remember that the end of your story is the answer to a question: will your hero succeed in his goals when the villain gets in his way? If your hero has achieved his goals, you’re done, that’s it, wrap it up and start on the next story.

“Is it dangerous to spend too much time with the villain/antagonist up front like this? I have a strong and familiar archetype for the protagonist and I keep saying “ah, he’ll be no problem when I get to his part”, so I keep putting off the details of his development. Conversely, the antagonist, being an immortal, figures heavily into the state of the world and the trials that will be put before the hero. Am I falling into a noob-trap here?”

Possibly, but it’s not one that can’t work out well for you. I mean, look at how well that one went for JK Rowling. When you think about it, Voldemort shaped absolutely EVERYTHING that happened in the Harry Potter books, right down to the scar on the hero’s head and his mysterious ability to speak with snakes. Why did it work? Because Voldemort, with his own actions, forged Harry into the means of his own demise. Harry, meanwhile, is sort of unremarkable as a hero, in a personal sense. He’s brave, but no braver than many other folk in the HP universe. He’s smart, but not the smartest around. He’s not even the best at magic. Voldemort made everything about him that was truly remarkable.

That said, I think it’s /far/ smarter to build your hero with every bit as much attention as your villain. Batman versus the Joker works so well precisely because they were designed with one another in mind, as champions of order and chaos, respectively. More importantly, it gives you double the audience appeal potential. I’ve read books where I just couldn’t stand the heroes, but loved the villains, and so continued. But the books that stay with me the longest are the ones who are solid all the way across the board, who fully engage me with their entire cast.

Question: “What is your approach, or rather your thoughts so I don’t make you feel all spoilery, on hinting at the big bad’s fingerprints in the early parts of your story arc without jumping the gun and revealing too much about them and their agenda?”

That’s mostly a matter of taste, but do yourself a favor and assume that the readers are smart. They are. Drop hints without being too overly dramatic about it, if you’re going to keep the identity of your villain hidden for a while, and make sure that you’ve got a villain to defeat in effigy before the end of the story. Think of, oh, Darth Maul and Palpatine. Palpatine may have been briefly stymied by the Jedi, but Maul got chopped up and thrown down a killin’ hole. His death was symbolic of Palpatine’s demise–literally, since Palpatine got thrown down a killin’ hole too.

“Having read all of the Dresden based novels, I am quite aware that your protagonist is deeply flawed and often those who act as antagonists display character traits that are admirable. Given this near equality, how does one avoid having everyone be candidates for “villian” status?”

Storytelling craft is not about making moral judgments of the relative values, ethically or otherwise, of your character’s actions. The readers will do that for themselves. For craft purposes, the protagonist is the one who is going after his goal. Your antagonist is getting in the way of that goal. “Hero” and “villain” are both separate terms which can overlap with protagonist and antagonist, but they aren’t absolutely bound together. Think of The Fugitive again. Sam Gerard is a perfect example of an antagonist who is, in fact, personally heroic. Artemis Fowl and Megamind are good examples of a protagonist who is personally a villain.

But don’t try to make the call for your readers. Just tell the story. They’ll do the rest on their own.

That's it! If you like my content please consider supporting me on my Patreon account. If you support the blog for just one dollar a month I'll send you my book, "The Structure of a Great Story."

By the way, I've added a tier to my Patreon where I'll critique about 2,000 words per month. Send me anything! A short story, a section of your work-in-progress, a script, a recipe! It doesn't matter. I've limited this tier to 15 people.

Thanks for reading and I'll talk to you again soon! :-)

Previously Unpublished Writer Becomes Famous Overnight

What would it be like to go from never having any of your writing published, not even a short story, to signing a six figure contract with Doubleday? Pretty darn nice, I imagine! This is what happened to Erin Morgenstern, author of The Night Circus.

Alexandra Alter at The Wall Street Journal writes:

Ms. Morgenstern has had an unorthodox rise to literary stardom. A 33-year-old Massachusetts native with pale skin and wide-set amber eyes, Ms. Morgenstern has never left the country and just applied for a passport. She studied theater and lighting design at Smith College; after graduating in 2000, she bounced around as an office temp.

She was miserable, "making photocopies for law professors who couldn't work the copy machine." After a few years, with her husband's support, she quit temping and devoted herself to painting and writing, spending long, solitary hours in their home in Boston. She sold her artwork for $20 to $30 a print. In 2005, she crashed out a manuscript during National Novel Writing Month, a kind of literary endurance race for writers who goad one another into completing a 50,000-word novel in four weeks. About halfway through, her project stalled.
"I got really bored with what I was working on, so I sent all the characters to the circus," she says.

Very little from that early draft survived, but she had an idea that excited her. She worked in bursts over the next several years, writing a sprawling, plotless series of vignettes featuring magicians, acrobats, and a pair of psychic twins. Thirty literary agents rejected her. "They very politely told me it was a mess," she says.

At one point she grew so discouraged that she considered destroying the book. Her husband hid a hard copy of the novel from her in a drawer. Finally, a few agents got back to her with more-encouraging rejections, suggesting that the book could work with major revisions.

Ms. Morgenstern added more plot and streamlined the circus vignettes. She delivered a more conventional novel centering on two characters: Celia, the daughter of a famous magician, and Marco, an orphan who was trained by a rival magician. The older magicians enroll their students in a magic-off, using a nocturnal circus as a setting for their tricks and illusions. Their creations include a magic carousel with mystical animals that come to life, a floating cloud maze and a frozen garden with delicate, magically regenerating blossoms of ice. Despite their handlers' warnings, Celia and Marco fall in love.
Ms. Morgenstern's agent, Richard Pine of Inkwell Management, sent out the completed manuscript and received bids from several publishers. He sold it a week after sending it out. Ms. Morgenstern was so stunned that she left the publisher's check on her desk for a month, unsure what to do with it.

....

Last month, Summit brought Ms. Morgenstern to San Diego for Comic-Con, a comic-book and pop-culture convention, and introduced her to "Twilight" fans in a press event leading into appearances by the stars of the movies. Summit distributed 50 advance copies of "The Night Circus" to "alpha" Twilight fans and bloggers and other teen taste arbiters.

Ms. Morgenstern finds the attention and hype overwhelming and worries about a backlash. In addition to the movie, there's talk of a videogame and a stage production. A Los Angeles perfume maker is developing a line of circus-themed scents based on the book.

Her Doubleday editor suggested she write a "Night Circus" prequel, exploring the rivalry between the two magicians who pit Marco and Celia against each other. She's not so sure she wants to write more about the circus. "It's putting a lot of pressure on me in terms of 'what's she going to do next?' " she says.

Ms. Morgenstern is settling into a new condo in Boston, where she lives with a pair of pale, otherworldly-looking fluffy cats, surrounded by an odd assortment of antiques and art objects. A black bowler hat sits on top of a bookshelf. One stalled antique clock hangs on a wall; another sits on the floor. Much of her artwork—which, like her writing, is pastiche-like and layered, with bits of paper, clock gears and sketches piled onto canvases and wooden boxes—is still packed up. She recently separated, amicably, from her husband of nearly five years, and is scrambling to unpack before a six-week, 14-city book tour.

Her office décor includes a Ouija board, a Harry Potter-themed Hogwarts throw pillow and a deck of hand-painted, black-and-white Tarot cards that she created while working on her novel. Ms. Morgenstern hopes to publish the deck, and it's already getting some exposure. One of the images, a black-and-white-striped hot-air balloon, was turned into a poster advertisement for "The Night Circus." Her publicity team sent 500 of them to booksellers all over the country.

Thanks to Passive Guy for positing a link to Alexandra Alter's article.

Harper Collins And The Great Bookcover Rip-Off

These covers look similar, don't they? LK Rigel purchased the artwork, named "City of Angels," used as the basis for her cover of Spiderwork from artist, Nathalia Suellen in 2009. HarperCollins contacted Ms. Suellen in May of 2011 and attempted to buy City of Angels from her for use on Alex Flinn's upcoming book, Bewitching.

Nathalia, the artist, writes in her blog (Wed, Aug 17th):

The story starts with Harper Collins (Illingworth, Sasha) inviting me to create a cover to Bewitching. They wanted something similar with "City of Angels". I remember I had refused it because this artwork had been already sold to another book and also because of my personal opinion about the theme. However it looks like they got angry with me and decided to copy my artwork. I have just received an email from LK RIGEL asking If I had sold my artwork "City of Angels". And sure I said no. I got crazy checking out the link she sent me [link]

I followed the link Nathalia gave but it seems the artwork has been removed.

Even though Harper Colins offered Nathalia 4,000 dollars (Jane, at Dear Author writes that this is a normal amount of money for cover art) she rejected the offer because she felt it was inappropriate for the artwork to appear on the cover of more than one book. Although Nathalia is obviously a gifted artist, her integrity is what made me bookmark her name on my site. Currently, I do my own covers, but if I ever want an artist to do custom work for me, she is someone I would want to work with.

Did the artist's refusal discourage Harper Collins? It seems not. In the image, above, you see the cover Harper Collins sent Alex Flinn  for her new novel, Bewitching. On the left is the image Nathalia created for LK Rigel. Yes, one could conceivably argue that the resemblance between the two covers is by chance, but that argument would seem more plausible if Harper Collins hadn't tried to buy the artwork used for the cover of Spiderwork. As it is, it seems that Harper Colins thought that if they couldn't buy it then they would just appropriate it.

I came across this story through The Passive Voice blog and PG has an excellent analysis as well as links to all the tasty little bits of the story. He, being a lawyer, talks about the legal issues involved in this situation. It is well worth the read.

Here are the articles I drew from in creating this blog post:
- Thursday Midday Links: What’s a Little Cover Art Copying Between Friends?
- Not a Good Week for Harper Collins – Cover Art Rip-Off
- Rip Off, Harper Collins Publisher

Highest Paid Writers of 2011

The earnings below are from sales made between May 2010 and April 2011.

#1 James Patterson: 84 million
- Alex Cross series
- Maximum Ride series
- Many, many, others

#2 Danielle Steel: 35 million
- Jewels, The Ghost, Matters of the Heart

#3 Stephen King: 28 million
- The Shining, Salem's Lot, It

#4 Janet Evanovich: 22 million
- Stephanie Plum

#5 Stephenie Meyer: 21 million
- Twilight Series

#6 Rick Riordan: 21 million
- Percy Jackson and the Olympians series

#7 Dean Koontz: 19 million
- Demon Seed, Strangers

#8 John Grisham: 18 million
- The Firm, The Pelican Brief, The Runaway Jury

#9 Jeff Kinney: 17 million
- Diary of a Wimpy Kid

#10 Nicholas Sparks: 16 million
- The Notebook, Nights in Rodanthe, A Walk to Remember

This information is based on these articles:
- Highest Paid Authors of 2011
- James Patterson brand makes him worlds best-paid writer
- James Patterson tops Forbes list of top-earning writers

Simon Wood's Road to Writerly Riches

Simon Wood has written a guest post on JA Konrath's blog that details his long journey down the road to success. He writes:

I have to admit sales were slow at first, but to be honest, I wasn’t approaching it right. To use a Field of Dreams analogy, just because I built it didn't mean anyone would come. Success in the eBook market thrives on endorsements from trusted voices and you find them in the blogosphere . I sent review copies, essays and articles about my books to any and all blogs and websites with a good following. This helped get the word out and it showed itself in sales. With ten titles to my name, trying to promote them all at once was monumental and diluted my message.

In April, I decided to focus on title at a time. I focused on ACCIDENTS WAITING TO HAPPEN first, as this was originally my debut novel. The approach worked. I had some good feedback coming from a lot of sources. Then momentum took over, I started to see various eBook and Kindle blogs talking about ACCIDENTS or one of my other titles almost daily. Sales climbed from April to June and ACCIDENTS hit Amazon’s Top 100 titles.

Then in one of those serendipitous events, Amazon sent out an email blast about the book at the end of June. This catapulted ACCIDENTS to the #2 spot at Amazon over the 4th of July weekend, just behind Janet Evanovich’s latest.

Proving the adage that a rising tide lifts all boats, I saw incremental sales growth across the board as ACCIDENTS spearheaded the rise to the top. THE FALL GUY cracked the Top 100. I have six titles in the Hardboiled Top 20. WE ALL FALL DOWN looks to be the next title to go big judging by its rising numbers.

So what does this mean for me now? It means a few things.

Read the rest here: Guest Post from Simon Wood

Click here for a list of Simon Wood's books.