Mark Coker, Founder of Smashwords, Shares Survey Results: 5 Ways To Sell More eBooks

I predict that within three years, over 50% of the New York Times bestselling ebooks will be self-published ebooks. It's possible I'm being too conservative.
-- Mark Coker, Founder of Smashwords

I've been meaning to discuss Mark Coker's analysis of the results from his latest eBook survey but other projects kept intruding.  Finally, I just dove in and did it.

What follows is my condensed version of Mark Coker's post, New Smashwords Survey Helps Authors Sell More eBooks.

5 Ways To Sell More eBooks

1. Longer eBooks Sell Better

I was surprised by this, but successful indie author Russell Blake would agree: novels sell better than novellas. MC writes:

The top 100 bestselling Smashwords books averaged 115,000 words.  When we examined the word counts of books in other sales rank bands, we found the lower the word count, the lower the sales.

2. Shorter book titles have a slight sales advantage

I chuckled when I read this because it's one of the points I included in my blog post about how to choose the perfect title. I have a bias toward books with shorter titles, but this could just be because shorter titles are easier to remember. Mark Coker writes:

The top 100 bestselling Smashwords books averaged 4.2 words in their book title.

For titles ranked #1,000-#2,000, the average word count was 5.7, or about 36% more words than the top 100.

Books ranked #100,000-#101,000 (not a sales rank any author wants!), the book title word count was 6.0 words.

3. Lower priced books sell more copies

That's not at all surprising. Mark Coker writes:

[B]ooks priced between $1.00 and $1.99 significantly underperform books priced at $2.99 and $3.99. 

It was surprising that books priced at $1.99 sell the most poorly. Mark Coker's advice: Whatever price you put on your book, don't sell it for $1.99.

Free books, of course, are downloaded most often. Basically for every 92 free books downloaded one is sold. Mark Coker writes:

FREE books, on average, earned 92 times more downloads than books at any price. If you've written several books, consider pricing at least one of the books at free. If you write series, consider pricing the series starter at FREE. Nothing attracts reader interest like FREE. But remember, it's one thing to get the reader to download your book. It's an entirely different challenge to get them to read it, finish it and love it.

4. $3.99 is the new sweet spot

Significantly more books were sold at $3.99 than for any other price. Mark Coker writes:

One surprising finding is that, on average, $3.99 books sold more units than $2.99 books, and more units than any other price except FREE.  I didn't expect this.  Although the general pattern holds that lower priced books tend to sell more units than higher priced books, $3.99 was the rule-breaker.  According to our Yield Graph, $3.99 earned authors total income that was 55% above the average compared to all price points.

The finding runs counter to the meme that ebook prices will only drop lower.  I think it offers encouraging news for authors and publishers alike. It also tells me that some authors who are pricing between $.99 and $2.99 might actually be underpricing. [Emphasis mine]

5. Go indie!

Mark Coker writes:

An indie ebook author earns about $2.00 from the sale of a $2.99 book. That book, on average, will sell four times as many units as a book priced over $10.00. In order for a traditionally published author to earn $2.00 on an ebook sale, the book must be priced at $11.42 (if the publisher has agency terms, as Smashwords does) or $16.00 (if it's a wholesale publisher).

. . . .

If a reader has the choice to purchase one of two books of equal quality, and one is priced at $2.99 and the other is priced at $12.99, which will they choose?

. . . .

I predict that within three years, over 50% of the New York Times bestselling ebooks will be self-published ebooks. It's possible I'm being too conservative.

Indie ebook authors can publish faster and less expensively, publish globally, enjoy greater creative freedom, earn higher royalties, and have greater flexibility and control. It's not as difficult to successfully self-publish as some people think. The bestselling traditionally published authors already know how to write a super-awesome book. That's the most difficult task of publishing because the best books market themselves on reader word-of-mouth.

I didn't talk about everything Mark Coker wrote, his article is well worth reading.

The upshot: This is a great time to be an indie author!

Photo credit: "hamburger hafengeburtstag (fisheye) wasserschutzpolizei" by fRedi under Creative Commmons Attribution-NoDerivs 2.0.

Getting Organized

I was wondering what I could blog about today--for some reason when I only blog once a day it's twice as hard to come up with a topic! (Which goes to show that the more one writes the more one can write.)

So I would like to do something a little bit different and share one of the most useful tips I've been given as a writer: use Excel and Google Calendar to get organized.

If you're all ready organized, ignore this, and of course you don't have to use Excel, you can use any spreadsheet program, the same goes for Google Calendar. I like Google Calendar because it's easy to sync with my iPad calendar and it's simple to get alerts mailed to myself. Bottom line: use what works for you.

Using Excel And Google Calendar To Get Organized

I have Chuck Wendig to thank for this tip. He's the one who wrote about using Excel to get and stay organized in several of his blog posts.

I'm not talking about using Excel to help outline a novel (which it's great for; Chuck Wendig writes about that in this post and I talk about it more here and here), I'm talking about using Excel to help plan your days, weeks and months, to help set and keep your writing goals.

So, here's how I'm currently using Excel to stay (somewhat) organized:

1. Make a list of all the projects you want to complete in the next 12/24/36/48 etc months and give each one a tentative 'finish by' date. 

Some of these projects you're already working on, some of them, perhaps, are almost finished, some of them are just going to be ideas you want to work on, or maybe you just know you want to publish (say) two books every year for the next few years and that each book should be about 80,000 words in length.

For each project it helps if you have an approximate word count to shoot for. This can be adjusted later, but it helps to have something to work with, even if the figures are tentative.

2. Figure out how many books you'd have to sell at what price to meet your minimum financial goals.

I've written in detail how to do this elsewhere:

- How Many Books Would You Have To Write To Quit Your Job?
- Writing Goals Versus Writing Dreams: How To Get From One To The Other

What this hinges on is deciding how many books/novellas/short stories you want to write per year. That is, how many words you want to write per year. Let's say you want to write two 80,000 word novels per year, so you want to write 160,000 words per year.

Let's say that you think some of the words you write won't be used, so lets talk about this in terms of net and gross words. I use the rule of thumb that if I want to publish, say, 20,000 (net) words a month I should plan to write 40,000 (gross) words that month.

So, let's say you think that in order to publish 160,000 words per year (/two novels) you'll need to write 320,000 words that year.

((1) and (2) can be done in any order, but the two go together like a hand in a glove.)

3. Examine what you've written down for (1) and (2), above, and adjust your 'finish by' times accordingly.

The idea is to break things down so that you have a certain number of words to finish each year, each month, each week and each day. Your project start by, finish by, number of words, and so on, dates can be recorded in Excel but I find it handy to break writing objectives up.

So, for instance, if I want to write 320,000 gross words a year, that works out to about 6,200 words per week or about 900 words a day. Plug this into Google Calendar and send yourself a prompt every day, perhaps a couple of times a day, reminding you of your word count.

Don't be discouraged if you fall behind, just do the work you can and keep going.

Clear as mud? (grin)

A couple of weeks ago I started using this method and it's reduced my stress since now I can see at a glance what my goals are and where I am in meeting those goals.

How do you keep track of your writing goals? What programs have you used? What methods?

Photo credit: "This caught my eye" by Nina Matthews under Creative Commons Attribution 2.0.

Getting Over Writer's Block: Listen To Your Characters

Yesterday I wrote about world building because I was stuck on my WIP. I thought world building was my problem but it wasn't. I wasn't listening to my characters.

I'm writing a murder mystery and the problem was that I couldn't get my sleuth to talk.

I'd written practically all the murderer's scenes up to the midpoint and had a good outline for where I would go after that, but I was nervous because I'd only written one scene with the sleuth and that scene was mediocre.

I loved my murderer with all his flaws, I felt I knew him. He was the hero of his own story, but he'd made some bad decisions. The sleuth, on the other hand, hid behind a veil. I couldn't reach him, couldn't understand him.

It was a problem, especially since I have a schedule and a daily word count and I just can't afford this thing called 'being blocked'.

Well ...

I woke up this morning, started reading, and BAM! it hit me: I needed to write the sleuth's scenes through another character's eyes. I needed a Watson. A Hastings. When I figured that out I could write. It was like a damn burst.

So, here's my take away from this experience:

Listen to your characters

When I'm blocked on a story I'm blocked for a reason.

In this instance, I hadn't taken the time to be still and listen to the sleuth. After I started writing again the sleuth told me things about himself that surprised me. I had completely missed one of his most important characteristics: his anger over a great loss he suffered. Not sadness, anger.

Then it made sense.

I've talked about listening to your characters. There are many, many, writing exercises you could do to help with this, but here's the one I did:

I added a POV character, the sleuth's sidekick, and then chose a scene. I chose one that involved something the sidekick had to do, and started to write. At some point I started to see her, her red hair, her white freckled skin, her long fingers as she slid them along the polished mahogany of the spiral staircase.

And then she was in a room with him, with my sleuth, and they were arguing. She was saying all those things to him she'd kept bottled up ... and it turned out to be a great scene that was fun to write. And I was surprised by a couple of things the characters said, things that made perfect sense once I'd written them down, but I had no thought of them before the exercise.

Writing is kinda magical. And cool. Very cool.

If you've had writers block in the past, what have you done to get over it and get back writing?

Photo credit: "g wie grashalme" by fRedi under Creative Commons Attribution-NoDerivs 2.0 Generic.

Tips For Building An Interesting World

Today I'm world building.

And, no, I'm not talking about my on-again, off-again, obsession with Minecraft.

Sometimes a world reveals itself in a rush of inspiration and all I have to do is write it down.

Other times, like today, I'll grab onto a great character who seems to come ready-made, reminding me of Stephen King's writers-as-anthropologists analogy, where all we're really doing is uncovering stories, not creating them. If that's the case, many of my villains, my "big bads," (also see the discussion of the Big Bad trope over at tvtropes.org) come from the ground fully-formed. All I have to do is brush off a bit of dirt, perhaps reattach an arm here, smooth down a bump or two there, and the character is complete; though of course riddled with flaws and strong, counter-productive, desires.

I've been doing some research for the hero of my story, trying to make him as vivid, as memorable--and, frankly, as likable--as my villain. (When one writes one learns about oneself, so I wonder what that says about me! Wait, don't answer that. ;)

In any case, today Janice Hardy published a wonderful article on world building that is (as always) oh-so-very helpful to writers in the trenches. Her advice helps if you're just starting the world-building process or if you're pulling your hair out because something isn't working with the world you've created/discovered.

Janice Hardy's Tips For Building An Interesting World

1. Color. Use it.

Janice writes: "[I]n my current WIP, color denotes status and is used as an identifier."

Interesting! That book is going on my To Be Read list. Janice writes that, in general, color can ...

Color can have a practical, aesthetic, or spiritual reason. Just like purple was used for royalty due to the rarity of the dye, another color might be scarce in your world and have particular uses and meanings behind those uses.

I admit, what color means isn't something I thought about when building the world of my WIP, but it's a great idea.

Practical

Are certain colors rare, perhaps only available to the very rich and powerful? If so, you have a great way to show a character's wealth or status.

Religious

Are certain colors forbidden?  Are they considered taboo or perhaps they are sacred to one or more gods?

2. What materials do your societies use?

Janice writes:

Different colored stones occur in different regions, or wood from the trees, or even metals mined from the ground. Coastal dwellers might use mud bricks but those who live in heavy forest areas build with wood. A desert culture probably isn't building with wood and stone, and anyone who does is likely to be wealthy or powerful enough to import them in. What materials the population has on hand goes a long way to how they create their cities and the things in those cities.

• What building materials are nearby?
• What's imported? Exported?
• What are common household items made from?
• What are luxury items made from?
• What are considered luxury items?

Janice also talks about how to use a societies views on art, as well as their decorations, to help build a world and make it interesting. I encourage you to read her entire article: World Building Tips Learned at the Louvre.

Do you have any tips/tricks for how to flesh out a world and make it interesting? If so, please share!

Other articles you might like:

- The Key To Being A Productive Writer: Prioritize
- Indie Writers Can Now Get Their Books Into Bookstores
- What Do Aaron Sorkin, Stealing, And Advice About Writing Have In Common?

Photo credit: "time flies" by Robert Couse-Baker under Creative Commons Attribution 2.0.

The Key To Being A Productive Writer: Prioritize

Writing 3,000 words a day is hard.

I can just imagine Dean Wesley Smith shaking his head saying, "You think writing three hours a day is hard work?!"

Well, no. Writing for three hours a day is, to a certain extent, the easy part. After all, I already wrote about 1,000 words of non-fiction and 1,000 words of fiction a day.

There's also--I'm not going to say 're-writing'--but there is editing. At least there is for me. That's another two hours a day. Then there's my blog--two posts a day takes about four hours. Sorting through and answering my email, reading other blogs, keeping up with Twitter, all that takes another two hours.

Lately I've put aside an hour a day to do nothing but read, but--necessary though it is--that is time I'm not writing.

These past few days I've become acutely aware that I spend most of my working day on things that, while good and productive in their own way, keep me from putting my butt in my chair and writing fiction.

But that has changed, which is why I didn't blog at all yesterday: I was busy writing.

I've decided I need to make some sacrifices. One of these is that I won't be blogging twice a day anymore. To be honest, I'm not completely sure how much I'll be blogging. I've been thinking about writing a post a day, or perhaps five posts a week like Chuck Wendig.

Speaking of Chuck Wendig, this is really his fault, him and Dean Wesley Smith and Kris Rusch. Actually, Kris started it all by mentioning she wrote one million words in 2012.

One million!

The thought boggled me. I imagined Kris sitting at her computer typing away in a blue bodysuit with a red "W" on the front and a red cape falling gracefully from her shoulders. In my imagination I gave her the name: Superwriter.

Then recently Chuck Wendig revealed that he, too, is a member of the one million words a year club. That's 3,000 words a day, each and every day.

My first thought was that it would be hard never having a day off.

But then I did something Dean Wesley Smith is always encouraging writers to do (see here, here and here) and I ran the numbers.

Guess what I found? Assuming that one's books are moderately successful (and that's a BIG if), if one writes a million words a year, chances are good that, at the end of five years, a writer can make a reasonable living.

Now, I'm not saying that one has to write a million words a year for five years to make a reasonable living as a writer.

Not at all!

One or more of your books could be a bestseller, and if that book is part of a series then chances are you'll be well on your way to making a decent living.

But hoping that one's books will be bestsellers is a much bigger IF than hoping each of one's books does moderately well. Thus my goal of writing a million words a year for the next five years.

Yes, folks, that's the goal! Whether I'll end up doing that, I don't know, but I'm certainly going to try.

It's difficult re-aligning one's life, one's priorities, so that can happen. It takes time, and it has been difficult for me to decide what to let go. I'm not letting go of this blog, I find it too rewarding, on a personal level as well as a professional one. I've learnt so much. Both through my own research and from your many insightful comments.

So I guess what I'm trying to say is that this will be a learning process for me and I hope you will forgive me if I don't post as much as I used to.

And, by all means, if you would like to see a post on a certain topic, please leave a comment or contact me here.

I'll be sure to keep you updated on how it's going.

Cheers!

Other articles you might like:

- Indie Writers Can Now Get Their Books Into Bookstores
- What Do Aaron Sorkin, Stealing, And Advice About Writing Have In Common?
- 4 Ways Outlining Can Give A Writer Confidence

Photo credit: "London Calling #5" by Thomas Leuthard under Creative Commons Attribution 2.0.

Indie Writers Can Now Get Their Books Into Bookstores

Dean Wesley Smith has been spoiling his readers lately. First he blogs each day that he writes a novel in 10 days, showing us newbies that, yes, it can be done and, actually, it's not such a big deal.

Now he's spreading the word about how indie authors can get their books into bookstores. Yep, that's right, bookstores.

Bookstores Are Ordering Indie Published Books

If some of you are wondering why this is a big deal, not being able to sell one's work in bookstores was the single biggest difference between an indie author and a traditionally published one. (It's not entirely true that indie authors couldn't sell their work in bookstores, but it was a lot harder for indies to do than for traditional authors.) Dean writes:

[I]f you buy the $10 ISBN that puts your company name on the book in CreateSpace and put it into the extended distribution program, it will appear on the listings of Ingrams, B&T, and other distributors right beside a Simon & Schuster book or a Bantam book.

 Dean promises that ...

Over some near-future posts (and in workshops both online and here at the coast this next year) Kris and I will start working to train writers how to get books effectively to the attention of bookstores so they can order them.

Read more at Dean Wesley Smith's blog: The New World of Publishing: Books into Stores.

Kris Rusch talks about this same shift, this sea change, in her most recent blog post: The Business Rusch: Shifting Sands. She writes:

What has changed is this: Bookstores now have access to all published print books, whether they come from Createspace or from a big traditional publisher. Bookstores didn’t have access to all published print books before.

There are some caveats, of course. The first caveat is this: The indie writer must put her book into Createspace’s extended distribution program. (Lightning Source has something similar, but I’m not as familiar with it.) The second caveat is this: the bookstore must have a preferred account through its primary distributor.

If both of those things are in place—the writer has her print-on-demand book in an extended distribution program through the POD company, and the bookstore has a good relationship with its primary distributor, then any bookstore can find that book with no help from the writer at all.

Got that? The writer has to do nothing, and still her book will end up in the bookstore’s system.

What follows is a fascinating discussion about why the book industry allows returns and how returns stigmatized indie writers. It's a wonderful read, highly recommended.

Since we're talking about visibility, if you haven't already, check out David Gaughran's new book, Let's Get Visible: How to get noticed and sell more books.

The world of publishing is changing quickly, but not for the worse, not if a writer is willing to explore all the options. 

Other articles you might like: 

- What Do Aaron Sorkin, Stealing, And Advice About Writing Have In Common?
- 4 Ways Outlining Can Give A Writer Confidence
- 4 Things To Keep In Mind When Choosing A Title For Your Book

Photo credit: "London Calling #10" by Thomas Leuthard under Creative Commons Attribution 2.0.

What Do Aaron Sorkin, Stealing, And Advice About Writing Have In Common?

"Good writers borrow from other writers. Great writers steal from them outright," Aaron Sorkin.

What do Aaron Sorkin, stealing, and advice about writing have in common?

Quite a bit, as it turns out.

Yesterday Gwen sent me a clip of Aaron Sorkin's cameo appearance on 30 Rock where he pokes fun at himself, at his quirks.

After I watched the clip I thought, 'Huh, I wonder if Aaron Sorkin has written anything about the art of writing?' And, guess what? He has!

In How to Write an Aaron Sorkin Script, by Aaron Sorkin Mr. Sorkin gives advice about how to introduce crucial (but possibly boring) information and make it all seem interesting and clever rather than contrived and boring.

BUT, before I get to that, I'd like to talk about stealing.

And by "stealing" I don't mean plagiarism—which is bad, very bad—but the sort of outright stealing Aaron Sorkin was talking about in the quote at the beginning of this article.

In her post Develop Your Narrative Voice By Stealing From Bestselling Authors, Elise Abram teaches writers how to steal. But first, a caveat. Elise writes:

How I found my voice was by “stealing” from other writers, trying on different points of view, tones and styles until I found one that was my own.

Note: Modelling, which is what I mean by “stealing”, is very different from plagiarism. Plagiarism is defined as using or closely imitating the language and thoughts of another author without authorization, and the representation of that author’s work as one’s own.

So, plagiarism is nasty while 'creative stealing' or modelling, is perfectly fine.

The other day someone compared modelling to the way a musician learns to play an instrument. They play a song someone else wrote over and over again until they get it right, then move on to another song. This is the writer's version of that.

I'll leave you to read Elise's wonderful article, but I would like to share her #2 way of stealing.

Steal the setting

Elise writes:

[A] way you can model is to use a setting from popular literature.

As you read these passages, see if you can spot the similarities:

“A large cask of wine had been dropped and broken, in the street…the cask had tumbled out…the hoops had burst, and it lay on the stones just outside the door of the wine-shop, shattered like a walnut-shell…The rough, irregular stones of the street, pointing every way, and designed, one might have thought, expressly to lame all living creatures that approached them …Some men kneeled down, made scoops of their two hands joined, and sipped…Others, men and women, dipped in the puddles with little mugs of mutilated earthenware, or even with handkerchiefs from women’s heads.”

And…

“The driver had been coming out of the turn on the inside when the wagon had tilted and gone over. As a result, the kegs had sprayed all the way across the road. Many of them were smashed, and the road was a quagmire for twenty feet. One horse…lay in the ditch, a shattered chunk of barrel-stave protruding from its ear…Wandering around the scene of the accident were perhaps a dozen people. They walked slowly, often bending over to scoop ale two-handed from a hoofprint or to dip a handkerchief or a torn-off piece of singlet into another puddle. Most of them were staggering. Voices raised in laughter and in quarrelsome shouts.”

Did you catch the comparisons?

.  .  .  .

The first passage is from a scene in Dickens’ A Tale of Two Cities, the second from Stephen King and Peter Straub’s The Talisman. In the modelling of this passage, King and Straub use Dickens’ setting, making it their own by serving it up with the dark and graphic horror their readers know and love.

Aaron Sorkin on How To Steal From Aaron Sorkin

Which brings us back to Aaron Sorkin's article in which he, basically, invites us to 'steal' one of his tricks, which is how to give an information dump--or a 'fact-dump' as he calls it--but make it witty and interesting. He writes:

A song in a musical works best when a character has to sing—when words won't do the trick anymore. The same idea applies to a long speech in a play or a movie or on television. You want to force the character out of a conversational pattern. In the pilot of The Newsroom, a new series for HBO, TV news anchor Will McAvoy (Jeff Daniels) emotionally checked out years ago, and now he's sitting on a college panel, hearing the same shouting match between right and left he's been hearing forever, and the arguments have become noise. A student asks what makes America the world's greatest country, and Will dodges the question with glib answers. But the moderator keeps needling him until...snap.

And then comes a fact-dump/information dump, but it works and it's interesting.

In his article Aaron Sorkin demonstrates what he means by giving a short scene with commentary both about the effect he wants his words to create in the audience and how he creates that effect. It reminds me of a magician giving away one of his tricks. A wonderful read.

Who is your favorite author to model? Is there anyone you're currently modelling?

Other articles you might like:

- 4 Ways Outlining Can Give A Writer Confidence
- 4 Things To Keep In Mind When Choosing A Title For Your Book
- Beware Damnation Books

Photo credit: "Burglar Alarm Box" by taberandrew by Creative Commons Attribution 2.0.

4 Ways Outlining Can Give A Writer Confidence

The other day someone wrote to me and complemented me on my blog--which was very nice and made me blush--and then wrote something to the effect, "By the way, you sure talk a lot about some guy named Chuck."

I suppose I do! (grin) But only because I talk a lot about writing on writing and Chuck Wendig has done some of the best. I also write about Dean Wesley Smith, Kris Rusch, Passive Guy and a number of others.

Which is all a way of working up to saying that this is another blog post inspired by something Chuck Wendig wrote!

The Mysteries Of Outlining

I outline.

While I acknowledge it's not the only way of going about writing I admit to being boggled that there are those who don't.

Dean Wesley Smith for example. Also Stephen King.

These are both excellent, prolific, writers who make a good living from their exercise of the craft/art. So it's not as though I think there's only one way of going about things.

That said, the thought of writing anything more than a 6,000 word short story without some sort of idea of both where the story is going and how it is going to get there gives me the heebie-jeebies.

Why? Well, I'm glad you asked that.

1. Outlining gives a writer confidence

Chuck Wendig explains why:

Sometimes what kills us is a lack of confidence in our storytelling. We get hip-deep and everything seems to unravel .... You suddenly feel like you don’t know where this is going. Plot doesn’t make sense. Characters are running around like sticky-fingered toddlers. The whole narrative is like a 10-car-pileup on the highway. Your story hasn’t proven itself, but an outline serves as the proving grounds. You take the story and break it apart before you even begin — so, by the time you do put the first sentence down, you have confidence in the tale you’re about to tell. Confidence is the writer’s keystone; an outline can lend you that confidence.

I think that is the number one reason why I outline. Also, though, ...

2. Outlining saves you time, work and frustration

[W]hat happens is, you finish the first draft (tens of thousands of words) and what you suddenly find is that this is basically one big outline anyway, because you’re going to have to edit and rewrite the damn thing. An outline tends to save you from the head-exploding bowel-evacuating frustration of having to do that because you’ve already gone through the effort to arrange the story. A little work up front may save you a metric ... ton later on.

That. What he said.

3. A good outline is a flexible outline

Mary Robinette Kowal compares an outline to a roadmap. But roadmaps can be altered. Chuck Wendig writes:

No plan survives contact with the enemy, and while you’re writing you’re going to see new things and have new ideas and make crazy connections that are simply not in the outline. Make them. Take the exit! Try new things! Don’t let the outline be a pair of shackles.

4. The zero draft: an outline in disguise

This is what I often do. Chuck Wendig writes:

Some folks never do an outline up front — they let their first draft (or the “zero draft,” as it is sometimes known) be the pukey, sloppy technicolor supergeyser of nonsense and then they take that giant pile of quantum hullaballoo and from it pull a proper outline before attempting to rewrite. This may take you a bit longer but if the result is a story you’re happy with, then ... go forth and do it. Every process you choose should be in service to getting the best story in the way that feels most… well, I was going to say comfortable, but really, comfort is ... forgettable in the face of great fiction, so let’s go with effective, instead.

I'll often start off with a picture, an idea, an inkling, a mood, a feeling or a desire to explore a certain genre, and I'll start writing.

Often I'll change direction, but (and this is the main thing) I'll discover more about what it was that I originally had hold of. Sometimes, sure, I'll decide I didn't really have hold of anything and then abandon the idea, but, overwhelmingly, by the end I'll have grasped something, some story, that I'll then know well enough to do an outline of.

Chuck Wendig's article is food for the writerly soul--or is that chicken soup? Anyway, I can't recommend it highly enough (adult language -->): 25 Things You Should Know About Outlining.

Also, CW mentions his previous article: 25 Things You Should Know About Story Structure, which I talked about here: Chuck Wendig on Story Structure.

Do you outline? Ever? Why? Why not?

Other articles you might like:

- 4 Things To Keep In Mind When Choosing A Title For Your Book
- Beware Damnation Books
- Where To Find Cover Artists

Photo credit: "sharp" by Robert Couse-Baker under Creative Commons Attribution 2.0.

4 Things To Keep In Mind When Choosing A Title For Your Book

Just as a great cover will help sell a book, so will a great title.

That's what I've been doing for the past few days, researching how to create the perfect title. I'm kicking myself for not doing this while Chuck Wendig had his Titular Titles flash fiction challenge.

Here's what I've learned so far. A great title is:

1. Easy To Remember

There are few things more frustrating than someone telling me the title of a book they think I'd love and then not being able to remember it at the bookstore!

Help readers out, make the title of your work memorable. Yes, I know, that's easier said than done but there are a few simple tips.

Alliteration

Have you ever noticed that poetry is easier to memorize than prose? It has rhythm, meter.

Maryann Yin gives these titles as examples: When Crickets Cry and Wildflowers from Winter.

Short

This isn't always true, but I think it's best to try and keep a title to four words or less.

2. Interesting

In a way, many of the same things that can be said about what makes a character interesting can also be said about titles.

Contradictory qualities

Indiana Jones was a fearless adventurer, but he has an irrational fear of snakes. He'll face a wave of enemy soldiers without blinking but get near a snake? No thanks! Here are a few examples:

- War and Peace
- True Lies (This is a movie title, but it counts!)
- Eyes Wide Shut (ditto)

Descriptive

If you could make the descriptive title imply an action so much the better. Of course, again, that's much easier said than done. For example:

- Gone with the wind
- The Silence of the Lambs
- Fahrenheit 451

I thought The Silence of the Lambs was a brilliant title. Right there, at the very beginning, Thomas Harris discloses one of Clarice Starling's most private hopes/desires. We don't know that at first but, still, the title stays with us, in the back of our minds, as we read.

3. Indicates Genre

It can be difficult to do this. "The Doom of Planet 987" (I just made that up) indicates a scifi story but it feels contrived. 

Ursula K. Le Guin has been particularly good at creating great titles that, while clearly indicating genre, are memorable and intriguing. For example:

- The Lathe of Heaven (One of my favorites)
- The Wizard of Earthsea
- City of Illusions

4. Is Funny

If you can do all the above and make it funny, you've got a winner. If, that is, humor would fit your genre. You might not want a humorous title on, say, a horror novel. That probably would mislead readers.

One of my all-time-favorite titles is Terry Pratchett's, "Going Postal."

Kim Harrison has clever titles for her Hollows books, many of them inspired by movies:

- Dead Witch Walking
- The Good, The Bad and The Undead
- For A Few Demons More

5 Tips For Brainstorming The Perfect Title

I love K.M. Welland's blog, she gives practical advice I frequently find myself using when I write. For example, in how to brainstorm titles. She writes:

i. Research titles in your genre.

Zoom by Amazon and take a look at your genre’s bestseller list. What do the top twenty titles have in common? Write down the ones that particularly pop out at you and note the elements that make them attractive. How can you replicate their effect?

ii. Consider your book’s text.

Your title makes a promise to readers about what they will find inside the book. So why not look inside the book itself to find the title? Are there any lines that pop off the page? Any particularly memorable or unique phrases? What one line in the book best sums up the theme, premise, or protagonist?

iii. Look up words in the dictionary.

Grab your dictionary and flip it open to a random page. Do any words pop out? Make a list.

iv. Analyze songs/poems/books.

One of my favorite techniques is to pull vivid imagery from songs, poems, and old books (the King James translation of the Bible is particularly full of strong and unique words). Make a list of the best phrases and start playing with them. A little clever wordplay can go a long way toward making your title stand out.

v. Free write.

Scribble down every title, word, or combination of words you can think of. I often cover pages in my notebook with various title ideas. Most are dumb, but there’s always one that finally pops out as the perfect representation of the book.

Examples Of Great Titles

Last, but certainly not least, I would like to share John Floyd's examples of great titles from his article Choosing The Right Name For Your Story.

1. A title can be a popular expression. Gone for Good, Something's Gotta Give, The Horse's Mouth, The Usual Suspects, Good As Gold, The Whole Nine Yards.
   
   
2. A title can be a play on words. (Sometimes a "twist" of an existing expression.) Burglars Can Be Choosers, The Cancelled Czech, You Only Live Twice, Live and Let Die, The War Between the Tates, A Hearse of a Different Color.
   
   
3. A title can have a hidden meaning, later revealed in the story. The Green Mile, Rain Man, Dances with Wolves, Catch-22, Hearts in Atlantis, Cool Hand Luke, The Shipping News.
   
   
4. A title can come from an existing work. (The Bible, Shakespeare, etc.) The Grapes of Wrath, The Sound and the Fury, The Sun Also Rises, Absalom, Absalom, All That Glitters, Something Wicked This Way Comes.
   
   
5. A title can be a person's name. Hannibal, Goldfinger, Carrie, Hondo, Rebecca, Doctor Zhivago, Shane, Forrest Gump.
   
   
6. A title can be a place name. Cold Mountain, Cimarron, Peyton Place, Jurassic Park, Lonesome Dove, Mystic River.
   
   
7. A title can be a possessive. Portnoy's Complaint, Angela's Ashes, The Optimist's Daughter, Charlotte's Web.
   
   
8. A title can be an association of ideas. Often these are words that have a "double meaning," and refer to more than one thing in a story. The Eye of the Needle, The Dead Zone, Misery, Silver Bullet, Lie Down with Lions.
   
   
9. A title can be an "event" or "activity." (Use "ing" in the first word.) Pleading Guilty, Romancing the Stone, Waiting to Exhale, "Riding the Bullet," Raising Helen, Finding Nemo.
   
   
10. A title can be a memorable line from the story itself. To Kill a Mockingbird, Tell No One, Sleepless in Seattle, The Eagle Has Landed, They Shoot Horses, Don't They?
    
    
11. A title (if long) can have a "rhythm." Another kind of "play on words," this makes a longer title more pleasing to the ear--and easier to remember. The Spy Who Came In from the Cold, The Sins of Rachel Cade, At Play in the Fields of the Lord, Bring Me the Head of Alfredo Garcia.
    
    
12. A title (if it fits the story) can be simple. Jaws, Shogun, Cathedral, The Exorcist, Ragtime, Lolita, Deliverance, Airport, "The Swimmer," Roots, Centennial, It, The Godfather.

If you're trying to think of a title I can't recommend K.M. Welland's and John Floyd's articles highly enough.

What is your favorite title?

Other articles you might like:

- Beware Damnation Books
- Where To Find Cover Artists
- 10 Tips For Proofreading Your Manuscript

Photo credit: "After Catnip" by A.Davey under Attribution-NonCommercial-NoDerivs 2.0.

Beware Damnation Books

Tim Marquitz is a writer who published through Damnation Books and who wants to warn other writers away from the company. He writes:

After filing a justice court suit against Damnation Books on November 15, 2012 for multiple counts of breach of contract, I won a small financial judgment against the publisher on April 26, 2013. The judge, however, did not feel it was within his power to rescind the disputed contracts despite finding in my favor, referring me to a higher court. (Damnation Books On Notice!)

If you are thinking about signing with Damnation Books, read what Tim has to say about their business practices. 

I heard about Tim's plight through Passive Guy's blog post on the subject: Beware Damnation Books. There's a lot of good advice in that post about how to avoid shady publishers. For instance:

1. Google the publisher's name with words like "warning" and "beware"

2. See what the folks over at Absolute Write have to say.

Absolute Write contains a wealth of information on publishers and agents. If you have a question about a publisher, agent, editor, then head on over and search their extensive database and, if you don't find anything, post your question.

I found this over at Absolute Write in a post asking about Damnation Publishing:

Overall my experience with Damnation was quite pleasant, until we disagreed on the design of the cover. They were unwilling to negotiate, so I asked to be released from my contract. At this time, they sent me a letter charging me a $800+ “termination agreement.” This letter included an itemized list of expenses—and as a publisher myself I know how exorbitant and ridiculous these charges are.

Further, there was no mention of a termination fee in the contract I originally signed. . . . When I refused to pay the fee, Kim Gilchrist told me that unless I paid it they would go on and publish the book without my support. (Show Me)

3. Search the archives of Writer Beware to see if Victoria Strauss has blogged about the company.

Writer Beware contains a wealth of information. In fact the person who left the comment I quoted above talked to Victoria Strauss about Damnation Books and their practice of charging kill fees. She pointed him to this article: Publishers' Kill Fees, and Why They're Bad For Everyone.

Good stuff.

Have you had a bad experience with a publisher? What do you look at when deciding whether to sign with someone?

Other articles you might like:

- Where To Find Cover Artists
- 10 Tips For Proofreading Your Manuscript
- Chuck Wendig's Flash Fiction Challenge: Smashing Sub-Genres

Photo credit: "London Calling #2" by Thomas Leuthard under Creative Commons Attribution 2.0.