The Bourne Legacy: The Story Is Fiction, The Rest Is Real

From the Seattle Times:

"The Bourne Legacy" is a work of fiction, but the scientific, political and corporate partnerships it depicts are very real.

Tony Gilroy, a writer on the first three "Bourne" films, based on the Robert Ludlum series, and writer-director of this latest installment, spent countless hours immersed in military and intelligence research to tell the story of CIA assassin Jason Bourne.

When tasked with expanding Bourne's universe for "Legacy," Gilroy again looked to reality: Hundreds — if not thousands — of secret government and quasi-government programs funded by millions and millions of dollars with little oversight, all designed to build better weapons and better soldiers.

Such advancements are at the heart of "The Bourne Legacy." Jeremy Renner plays Aaron Cross, a super agent who has benefited from the government's top-secret medical research; Rachel Weisz is the doctor who helped develop the science; Edward Norton acts as the kingpin, a sort of corporate-military-intelligence hybrid, who tries to control it all.

Gilroy talked about his inspiration for the story and why truth can be stranger than fiction:

Click here to read the interview with Tony Gilroy: Fictional 'Bourne Legacy' not so far-fetched, says writer-director.

Further reading:
- Writers & Blogging: Should You Host Your Own Blog?
- Fifty Shades of Grey - Oh My!

Photo credit: HD Wallpapers

What To Write About: Fiction That Sells

This advice comes from Elizabeth S. Craig, and it is twofold:

1. For folks who aren't sure what to write about, here are a few points to mull over ...

Your own interests, as a reader: What do you naturally lean toward when writing or reading? Which genre? What do you think you’d most enjoy writing? We have to spend a long time with a book—we need to enjoy the process and pour that love of writing into the book. Which story would you enjoy telling the most?

Analytics of the genre: In that genre, what are some of the factors that make it a good read? Humor, action, strong characters, magical powers, three murder victims, etc.? As a reader, what do you enjoy most about the genre?

Market saturation: Is there an area or subgenre that is currently saturated? Or does it seem like the readers are avidly buying the books as fast as they are written, even if it IS saturated? (Vampires and zombies come to mind.)

Book length: What is the length of most of these books? Have you got an idea that you can develop into that length? Is your idea too broad and can’t fit into one book? Book length, of course, is also going through a change with the digital trend—but you still want to shoot for the right ballpark. Editing a trilogy out of a single book can be a bear.

What are publishers of this genre looking for currently? If you’re going traditional, who represents and publishes this genre? Go online and see what kinds of things they might be asking for on their submissions page.

2. Let's say you have ideas, lots of ideas! How do you decide which one to work on?

Protagonist: Which protagonist can carry my story better? Which is better-developed? Does one have more opportunity for internal conflict? Does one have ample growth potential?

Characters: Which project has secondary characters that are more appealing? Which create depth for my protagonist by interacting with him/her? Which may be a villain that readers will love to hate?

Plot: Which storyline can I easily picture? Which one has more conflict and more depth?

Time: Is there a story that requires more research than another? How much time do I have for the project? How long would I, ideally, prefer to spend on a single project?

Market: Which story will appeal to a greater number of readers? Which has more of a hook to sell to a publisher? Or…which has the better hook for a direct-to-reader/self pubbed book?

Series potential: This may be genre-book specific---but is there a story that lends itself to more than one novel?

Elizabeth concludes:

Again, y’all, this is all in the for-what-it’s-worth category. And…another important thing to remember is that we shouldn’t have our whole writing career riding on one book. The fear of failure has got to be a huge factor in this writer hesitation when choosing an idea. The important thing about failure is dusting ourselves off, learning what it was that we did poorly, and writing another—better—book. Better because we failed or didn’t meet our own expectations. It’s killed me when a couple of great writers that I know have completely given up writing when their books didn’t do as well as they hoped. We’ve got to keep on going.

Elizabeth's entire article can be read here: Writing for an Audience/ the Marketplace. A list of her books is here.

Further reading:
- 8 Ways To Become A Better Writer
- Helping Writers De-Stress: Meditation Apps
- How To Sell 100 Books Per Day: 6 Things You Need To Do

Photo credit: Johan Doe

Bob Mayer: Your Product Is Your Story

This is from Bob Mayer over at Digital Book World:

The product is the story.  Not the book, not the eBook, not the audio book.  The Story.
The consumer is the reader.  Not the bookstores, the platform, the distributor, the sales force.  The Reader.

Read Bob's entire (very short!) piece here: A Simple Concept for Publishing.

I like the idea that, at the most fundamental level, what writers produce are stories. Similarly, what readers read are stories, conveyed in whatever medium--digital, print, big screen, little screen, holograms (one day!). As long as there are readers, writers will be able to make a living. * knock on wood*

Further reading:
- Helping Writers De-Stress: Meditation Apps
- 8 Ways To Become A Better Writer

Photo credit: Unknown

Contracts: Deadly Agent Clauses

I love Kris Rusch's discussions of agent clauses. I'm sure that many, perhaps even most, agents are kind, honest, people who look out for the interests of their authors. That said, perhaps an agent isn't always familiar with all the clauses in the contract they ask their writers to sign.

In any case, reading what some writers have signed has been an eye-opener. My mother always said that to be forewarned is to be forearmed. Let's hope! Kris writes:

[T]he agent clause, which you find in most agent-negotiated publishing contracts, now says things like:

The Author hereby appoints Agent A irrevocably as the Agent in all matters pertaining to or arising from this Agreement…Such Agent is hereby fully empowered to act on behalf of the Author in all matters in any way arising out of this Agreement…All sums of money due to the Author under this Agreement shall be paid to and in the name of said Agent…The Author does also irrevocably assign and transfer to Agent A, as an agency coupled with an interest, and Agent A shall retain a sum equal to fifteen percent (15%) of all gross monies due and payable to the account of the Author under this Agreement.

.  .  .  .

First of all, I’m not assigning anyone anything “irrevocably”—certainly not someone I can fire for cause. Especially if my money goes through their account first. I will not “fully empower” anyone to act for me. (Some agents go so far as demanding legal power of attorney—which is something you should never give anyone. What that means is that they then have the right to be you in all legal matters. No. Do not give legal power of attorney to anyone without good cause—like you’re dying and need someone to handle your accounts (and even then, it might not be a good idea).)

Finally let’s discuss “agency coupled with an interest.” What that means is this: You are giving the agent ownership in your novel. Ownership. They now have a 15% ownership of your book.

.  .  .  .

Through the agent-author agreement and with the agent clause, some major agencies actually take 15% ownership in everything a writer writes, even if that writer never sells the product through the agency at all. This is becoming more and more common.

But let’s assume your agent is a fairly nice person who works for a large agency. Let’s assume that the agency insists on an agent-author agreement, and let’s assume that the agent-author agreement looks fairly benign.

By fairly benign, I mean that the agent-author agreement details the relationship—what you will do, what the agent will do, and even lets you cancel the agreement for any reason with thirty days notice. However, the agreement has one clause in it, one little tiny clause that says something like this:

The Writer agrees that she will abide by the agent clause negotiated by Agent in all of her publishing contracts.

Sounds fine, right? It’s not. Because…let’s assume the agent clause in your publishing contract has this standard little phrase at the end: The provisions of this paragraph shall survive the termination of this Agreement.

This means you’re screwed. You have twice signed legal documents (and maybe more than twice) that says you will continue to pay your agent money on this particular agreement in perpetuity. The first time you signed, it was in the agent-author agreement (stating you will abide by the agent clause), and the second time was when you signed the publishing contract itself.

This is nasty, nasty stuff, folks, and lots of writers have signed it. Hundreds, maybe thousands, of writers have done so.

Don’t you do it.

In fact, if your agent asks you to do so, run from that agent, leave that agency, and don’t look back.

Why? Even if your agent is a really nice person, here’s what these clauses tell you. They tell you that your agent does not work for you. Your agent is interested in his own business and his own profits at the expense of yours.

If you're ever thinking of getting an agent, or have an agent, I heartily recommend reading Kris' article: The Business Rusch: The Agent Clause (Deal Breakers 2012).

Further reading:
- 8 Ways To Become A Better Writer
- Helping Writers De-Stress: Meditation Apps
- Fifty Shades of Grey - Oh My!

Photo credit: Gérald Tibbits

The Richest Woman Writers: Suzanne Collins, E.L. James & J.K. Rowling

James Patterson and Stephen King move over! Okay, maybe not quite yet, but we're getting closer.

Men still top the list of the world’s highest-earning authors, but this year it’s the women on the list who’ve been making the boldest moves, led by a trio of genre phenoms: Suzanne Collins, E.L. James and J.K. Rowling.

With $20 million in earnings, almost all of it from sales of her “Hunger Games” books, Collins didn’t quite make the most recent edition of the FORBES Celebrity 100. But that was only because she had yet to see her full portion of the proceeds from the first “Hunger Games” film.

. . . .

At the height of “Fifty Shades” mania, the erotic novels were estimated to be generating as much as $1.3 million per week for their author, E.L. James. And that’s not counting the $5 million she received from Universal Pictures and Focus Films for the theatrical rights. Add it all up and James is assured of a place near the top of next year’s top authors list.

. . . .

In September, Little, Brown will publish “The Casual Vacancy,” Rowling’s first novel for adults. The reported $8 million advance Rowling received for the book was enough to vault her back onto the Celebrity 100, with $17 million in estimated earnings.

Read more here: Forbes: Women On The Rise Among The World's Top-Earning Authors.

Further reading:
- Fifty Shades of Grey - Oh My!
- 50 Shades Of Alice In Wonderland: Another Indie Success Story
- J.K. Rowling's Next Book, The Casual Vacancy, On Sale Sept 27, 2012

Photo credit: photo by tobym on Flickr

Smashwords Puts Books In Libraries!

Library Direct, a service that allows libraries to acquire and loan out books available from Smashwords, has the ability to put your book in front of new readers.

We have already received purchase commitments from three library systems, each of which will acquire some variation of our top 10,000 best-selling titles.  The purchase commitments approach $100,000 in total.

The first delivery is on schedule to occur next week to Douglas County Libraries in Colorado, which will purchase an opening collection drawn from the top 10,000 best-selling titles at Smashwords.  Douglas Country, under the leadership of director Jamie LaRue, has been an outspoken proponent of what is becoming known as the "Douglas County Model."  The Douglas Country Model aims to replicate for ebooks the process by which libraries have traditionally acquired print books.  The library acquires the book once, owns the book, and manages the checkout systems where they limit the checkout to one copy at a time for each title they own.  Douglas Country monitors the number of "holds" on each book (the number of people waiting to check it out), and if the hold count exceeds a certain number of patrons, the library purchases additional copies.

 .  .  .  .

Like all new Smashwords distribution channels, authors and publishers have the option to opt out of Library Direct, if they choose, from the Smashwords Channel Manager.  Later today we'll notify all 45,000 Smashwords authors and publishers of this new channel.

To read more about Library Direct, go here: New Library Direct Enables Libraries to Acquire Large Opening Collections of Smashwords Ebooks.

Further reading:
- Twylah: Turn Your Tweets Into A Blog
- 50 Shades Of Alice In Wonderland: Another Indie Success Story
- Fifty Shades of Grey - Oh My!

Pinterest: A Writer's Best Friend

Kristen Lamb writes:

Pinterest is a splendid tool for word of mouth. With billions of posts a day on the Internet, we all suffer a discoverability problem. Pinterest (and sites like it) help that problem, so in my book, they ROCK. I hope I at least helped you look at Pinterest in a new way. We can take advantage of this site without a lot of the problems. And yes, it is another social site, but this one is easy and fun because who doesn’t love looking at pretty pictures?

To read Kristen's article, click here: Writers, Why It’s Time to Renew Your Love Affair with Pinterest

I love Pinterest, though I haven't spent as much time on it recently as I'd like. Too much time spent writing. ;-) I'm not complaining!

Here's my page on Pinterest, where's yours?

Further reading:
- Penelope Trunk Discusses Time Management
- 5 Book Review Blogs
- Helping Writers De-Stress: Meditation Apps

Indie Writers: 10 Things Not To Do

Dean Wesley Smith continues his two part series listing 10 things indie writers do to shoot themselves in the foot. My post talking about Dean's first five points is here: Indie Authors: Bad Sales? Redo Your Cover!

6. Don't get hung up promoting your first book, go write another one! 
Sometimes an author will write one or two books and spend most of her time promoting them using social media. Dean writes:

The best way to sell more books is become a better storyteller, to have more product to sell, to work on craft and pacing and cliffhanging and all the thousands of things a professional writer needs.

7. Use different pen names when you write in different genres
Many writers say they don't want to use a pen name because it would take more work to develop two names than one. And of course that's true. But as Dean writes:

Yup, that will kill sales faster than anything I have seen. Why? Because of reader expectations, that’s why. A reader picks up and likes a romance under “Real Name Writer” and then sees another book from the same author name and buys it and it’s a horror novel with ugly guts and blood. Reader says, “I’m not buying anything by that author again.”  And then tells their friends to avoid you.

I see Dean's point, but I think it's probably only a killer in conjunction with a bad cover and a bad blurb. For instance, one of my favorite authors writes two very different series, one is gritty urban fantasy while the other is high fantasy, but it's obvious from the cover alone what genre is under the cover. I haven't bought one of his high fantasy books yet, but I'm still a huge fan of his urban fantasy series.

8. Pricing your work too low
Due to changes Amazon made to their ranking algorithm it no longer pays to sell a book for under $2.99. Sure, offer your book for a reduced price for a limited period to generate sales, but don't keep any of your books at that price.

What price is best for your book? Everyone has a different opinion. Dean thinks the $4.99 to $8.99 range makes sense. He writes:

So if you want to build a long-term career, with fans finding you slowly, over time, who are willing to pay a respectable price for your work, have some respect in your own time and craft. Price your book in the same range as traditional publishers price their works. ($4.99 to $8.99 for most for e-books)

9. Going exclusive 
This issue is hotly debated. Some authors find they sell well over 95% of their books through Amazon so enrolling most of their work in Amazon's KDP Select program--a program which demands exclusivity--seems right for them. Not so for others.

Don't forget about paper books
Many indie authors make the mistake of not putting out paper copies of their work. Dean writes:

[B]y ignoring paper editions, not having them available at least, you ignore 80% of all readers. And also kill a great price comparison on your own books. (I did an entire post on this topic, but say your print book is $15.99, it makes your $7.99 electronic edition look like a deal.)

 Excellent point! And I hear that CreateSpace is easier than ever to use.

10. Hurrying
Take time to practice your craft and stop focusing on sales. Dean writes:

I am not saying you shouldn’t mail your stuff to editors or put your work up electronically and try to make sales. Do put it up, do mail it to editors. I mailed my very first short story to a magazine that bought it. And my second. And after that I got hundreds of rejections before a magazine bought another story from me. If I had been in a hurry, if I didn’t understand at a deep level that learning how to be an internationally-selling fiction writer took time and years, I would have stopped somewhere between 1975 and 1982.

But I didn’t stop. I kept writing and learning and working on becoming a better storyteller. And I kept learning the business, even as it changed.

And now, thirty-seven years later, I’m still writing and still learning and still working to become a better storyteller.

So slow down the worrying about sales, focus on learning, focus on the next story and the next story, and have fun. The sales will come if you put your work out there and keep learning.

These quotations were all taken from Dean Wesley Smith's article: The New World: Publishing: Killing Your Sales One Shot at a Time: The Second Foot.

Now that I know what to do if I could just do it! ;)

Hope you've having a great writing day. Cheers!

Other reading:
- Indie Authors: Bad Sales? Redo Your Cover!
- Kristen Lamb: 5 Steps To Writing Success
- How To Sell 100 Books Per Day: 6 Things You Need To Do

Photo credit: By theexbrit

Writing With Courage

Courage

I love Dave Farland's Daily Kick in the Pants and today's post was especially good: Finding The Courage To Write, Part 3.

I mentioned a few kicks ago, that when you're new as a writer, the fear of criticism is one the greatest stumbling blocks. You don't want to tell people about a dream that might sound foolish or unrealistic. You may not want to risk criticism.

Here are a few things that I would recommend that every new writer try in order to get past those stumbling blocks.

Jim Wolverton mentions joining a debate team or Toastmasters. I know two people who were deathly shy who joined Toastmasters and completely got over their fear. Now they regularly gives speeches to large groups of people, and they are good speeches!

JW also suggests taking writing classes or joining a writers group. If you can find a good group then this is excellent advice. Be careful, though. Many writers haven't been as lucky as I have and it is very hard to grow as a writer if someone in your group is excessively critical. Your goal is to write more and be less inhibited, I believe that unrestrained criticism rarely helps achieve this.

JW tells a great story about how he gained some confidence as a writer. To read it, head over to his article: David Farland’s Daily Kick in the Pants – Finding the Courage to Write, Part 3.

Further reading:
- How To Build A Platform: Why Every Writer Needs A Website
- How To Sell 100 Books Per Day: 6 Things You Need To Do
- The Harlequin Class Action Lawsuit Explained

Photo credit: photo by Emilia Tjernström [Arriving at the horizon] on Flickr

Update On Amazon's KDP Select Program

Edward Robinson over at Failure Ahoy! has written extensively about his experiences with Amazon's KDP Select program. After trying out various things, here is his tentative conclusion:

[R]iding free runs every 30-40 days can be an effective strategy (although ENT now says they won't mention a book within 60 days of the last time it was free, meaning you're basically down to POI, FKBT, and paid ads for exposure). This can last for several months, anyway. But it appears to be less effective the more you do it, and there is a point where a diminished 30 days of sales + a diminished free run isn't going to be enough to prop you up to a significant place on the pop lists. (Edward Robinson)

Although ER's conclusion seems cautiously optimistic, he has decided to pull his most popular book, Breakers, from the program and and explore what Barnes & Noble as well as Kobo have to offer. This should be interesting. He writes:

Over the last few months, I've grown disillusioned enough with Amazon Select to pull my book Breakers from the program. Yesterday, its exclusivity expired. Today, Breakers is available on Barnes & Noble for the Nook reader.

.  .  .  .

I know that Breakers can sell when it's in front of people, so unlike my other titles, if I can find a way to get it some visibility in the other stores, it should sell. Hypothetically. So how do you find that visibility?

Stay tuned.

Read the rest over at Failure Ahoy!: Exploring Bold New Non-Amazon Frontiers, Day 1: Barnes & Noble.

Other reading:
- More on Amazon Select: Is exclusivity worth it?
- Marketing Strategies For Writers
- The Harlequin Class Action Lawsuit Explained