Embrace Rejection: Write More, Write Better, Share Often

Since I wrote about Johanna Penn's article on her fear of being judged because of what she writes (she is moving into writing horror) I've been deeply affected by the sentiments she expressed.

I guess, then, it should come as no surprise that Joe Bunting's post over at The Write Practice--Why You Should Be Excited About Failure And Rejection--struck a cord with me. Joe advises us: Don't try to be unrejectable.

Embrace Rejection

Joe Bunting writes:

We are all scared. However, what separates successful writers from wannabe writers is what they do in the midst of their fear. They lean in. They don’t run. They don’t fight. They do the right thing, the thing they said they were going to do in the first place.

Seth Godin says, “Write more, write better, share often. It’s entirely possible you’re not good. But the key word that’s missing is, ‘yet.’”

Your job isn’t to be unrejectable. Your job is to share your story.

Thanks Joe, I needed that reminder. I highly recommend reading Joe's article, it's short but packed with writerly goodness.

Other articles you might like:

- 8 Ways To Channel The Power Of Your Unconscious Into Your Writing
- Different Kinds Of Story Openings: Shock And Seduction
- The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean

Photo credit: "154/365 They're Coming To Get You." by martinak15 under Creative Commons Attribution 2.0.

8 Ways To Channel The Power Of Your Unconscious Into Your Writing

This morning I read a terrific article by Tim Ferriss about an interview he did with Fred Waitzkin, author of Searching for Bobby Fisher, a book about his son's journey to win the national chess championship.

8 Ways To Channel The Power Of Your Unconscious To Help You Write

Specifically, Tim Ferriss was interested in the tricks and processes Fred Waitzkin has used to help him write fiction. Ferris writes:

[I disagree with labeling Fred Waitzkin's son, Josh, a prodigy] because Josh has a process for mastery, and he’s applied it to many fields, not just chess. As it turns out, he’s not the only one in his family with this skill. His father, Fred Waitzkin, has processes and tricks he uses for writing both non-fiction ... and fiction…

Although there is no cut-and-dried method for summoning the muse, here are various processes the elder Waitzkin has found useful. They all involve ways to access your unconscious.

1. Write down your dreams.

Working on The Dream Merchant with numerous characters and dramatic scenes to bring to life I had to learn how to access my unconscious. This is an important part of my creative process. Let’s start simply. We all dream but some of us cannot recall our dreams in the morning. You can train yourself to remember your dreams. Put a pad on the shelf beside your bed and begin writing the second you open your eyes. Even before you open your eyes reach for the pad. Don’t turn on the light. Start scribbling in the dark. You will remember your dreams if you do this. The way I think of it, and I’m not a psychologist, you’ve created a bridge between your conscious and unconscious.

2. At the end of your writing day leave a small portion of your writing unfinished.

As a novelist I want to travel on this bridge, regularly–in fact, every day I want to cross over. Here is a deep trick that I learned from an interview with Ernest Hemingway: At the end of each writing day I leave unwritten a small portion of what I still had in my mind to compose that day.

[Tim note: Hemingway would routinely leave a sentence half finished, as discussed in A Moveable Feast.]

Then riding home on my bike from my office, at some level my mind is working on the unwritten paragraphs that I might have written but didn’t. I’m working on these paragraphs while I’m chatting with my wife or watching the ball game—but I am making connections that I never imagined. 

3. Always carry something with you to write in.

This can be either a pad of paper or an app on your cell phone. 

Sometimes my thinking is just a vague sense of impressions but other times an idea comes rushing to the surface. I always carry a small pad in my pocket to write it down. I’ve learned that if I don’t write it down, the insight is likely to disappear like many unwritten dreams. Then when I begin writing again the following day, I’ve discovered that the unwritten scene already contains hints and urges about where the narrative might next go–very often there are elements here that I hadn’t consciously thought about before.

4. Treat your unconscious as a collaborator, give it assignments.

When I was writing The Dream Merchant this dalliance with the unconscious felt very natural and I was able to give this hidden part of myself assignments. I would say to myself what does Jim worry about at night in bed? Or how does he tell his wife that he is going to leave her for another woman? Then I would be riding on my bike or watching the game, and the answer would rise to me–this would happen surprisingly often. Although each time it was a little thrilling, this bolt from the blue connection with a shadowy hard working world that we don’t know so much about.

5. Don't give up.

One last point about my unusual dialogue with myself: It takes practice like running or swimming fast miles. When I haven’t written for a month or two I cannot access this part of being and I have to begin training in my fashion. But it gives me confidence to know that I have been there before and will probably be able to get back again.

6. Get energized.

For me, inspiration is primarily energy.

.  .  .  .

I look for energy all over the place. Often just riding my bike along the river for three miles from my house to the office heightens my mood. Then I make a cup of green tea and look at my work from the previous evening. I always read back several pages before I try to write anything new. Moving back through interesting material seems to give me momentum to push ahead…

But what if there is no energy? I read the paper. I switch on sports talk radio. I look at my watch. I pace. I am eyeing the lunch hour. It’s getting closer to lunch. One hour before I meet my friend Jeff for turkey burgers. Forty-five minutes. Now I’m getting nervous. Thirty-five minutes before I have to leave my office! Suddenly I feel an urgency. I CAN’T leave for lunch without writing one good paragraph. I’m sweating, feeling the time pressure… and the words pour out. Sometimes a writer can do more in a fervent half hour than in a dreary eight-hour day. I’ve often played this game with myself.

There are many energy tricks. Sometimes in the afternoon when I’m groggy I wander over to Starbuck’s for a coffee. But it’s not just caffeine. I know all the women who work there. They know me. We chat. I love these talks–okay, innocent flirtations. Sometimes I even get a free latte. When I get back to my office I usually feel fired up.

7. Get friends to help you break through if you're deadlocked.

I have a couple of friends that I rely upon. They are very perceptive about the human heart. I’ll talk quite specifically about what isn’t working in a section of my book. I listen closely to what they think. I’ve done this many times. My wife Bonnie has helped me many times like this.

Here is the curious thing. Often her advice or the idea of a friend isn’t what I end up doing. But listening to the ideas engenders a new idea. The whole point is that you have to get moving. Movement begets movement. You need to get unstuck.

8. Make your characters "true".

When you are trying to create a character he or she must be “true.” Fiction is not making up stuff out of whole cloth. It is always linked to a writer’s experience. Fiction is a wonderful tango between the writer’s experience and his imagination.

To read Tim Ferriss's excellent article, click here: The Alchemy of Writing--More Tips from a Pro.

Other articles you might like:

- 4 Ways To Enchant Others
- The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean
- Writing And The Fear Of Judgement

Photo credit: "The lonely walk" by VinothChandar under Creative Commons Attribution 2.0.

4 Ways To Enchant Others

Wouldn't it be great to be enchanting?

Enchanting people find it easier to attract others, to schmooze.

And, of course, if you'd like folks to notice you, to read your book, your short story, your anthology, being enchanting helps.

(Perhaps that sounds predatory, but I don't mean it to be. Being enchanting would be lovely in and of itself.)

Sadly, I'm part of the less-than-enchanting crowd. So are most writers I've met. Perhaps it comes with the territory. Anyone who writes several hours a day about worlds conjured from their imagination can be forgiven if they emerge from their writer's cave with all the charm of a starving bear.

At least, that's what I tell myself.

Except I know it's not true. I found Robert J. Sawyer enchanting. Mesmerizing even. Not only is he one of the better known science fiction writers alive today, not only has he been engaged in many side projects, not only does he regularly take time out of what has to be an insanely busy schedule to teach other writers, he comes across as a genuinely nice, funny, absurdly intelligent, person.

Is there any hope for the rest of us less socially gifted writers?

Fortunately there seems to be. I just read a great blog post by Penelope Trunk: How To Be Enchanting. She says that people who are enchanting do 4 things:

1. Say yes.

Opportunities to enchant happen all the time.

- a retail transaction
- a high-level corporate negotiation
- a Facebook update

Perhaps even ... a blog post? (grin)

But that doesn't answer the question: Why say "yes"? After all, saying yes involves us in more work, more time spent, and we have precious little of that.

Here's Penelope Trunk's answer:

“A yes buys time, enables you to see more options and builds rapport,” is what Guy writes. “By contrast, a no response stops everything. There’s no place to go, nothing to build on and no further options are available. You will never know what may have come out of a relationship if you don’t let it begin.”

Though if you say yes it's a good idea to follow through.

2. Be passionate.

Penelope Trunk writes:

I was coaching this guy, Jonathan Mann, and the first thing I learned about him is that he has written a song a day for 1500 days in a row and they’re all on YouTube. That is immediately enchanting because determination and commitment are enchanting.

People want to be close to passion because passion is contagious. Also, when you are passionate about something you can find an immediate connection to other passionate people, because commitment to a cause and the drive to get there are scary to own, so people who are doing it feel an immediate bond.

I agree! Passionate people do find it easier to connect with each other because of a shared way-of-being. Even if we aren't familiar with what the other person is passionate about we connect with their drive, their commitment, their fire.

For me, one such person is the singer/songwriter for The Land of Deborah.  The Land of Deborah is more than a band, it's a way-of-being, an approach to life. Just being around Deb makes me feel re-energized creatively.

Penelope's blog post doesn't stop there, she goes on to discuss two more traits of the enchanting and they're well worth reading. Penelope's post is wonderful, and as always I love her quirky links.

Penelope left her readers with a song she loved, so I thought I'd do the same. Here are four songs by The Land of Deborah; they're free! My favorite is Should've Stayed In Bed. Enjoy!

Other articles you might like:

- The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean
- Writing And The Fear Of Judgement
- The Rules Of Romantic Comedy

Photo credit: "* * *" by aussiegall under Creative Commons Attribution 2.0.

The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean

The Experiment

It's easy to forget that one can have the best prose in the world, but that's not enough to get your story accepted.

So David Cameron decided to remind us.

As an experiment, Cameron copied a short story that had been published in The New Yorker--one of the top professional markets in North America (The New Yorker was said to pay $7,750 per story in 2003) and submitted it to "a slew of literary journals, all of whom regularly grace the TOC of Best American Short Stories, Pushcart Prize, O’Henry, etcetera and etcetera".

The cover letter simply said that Cameron was "an unpublished writer deeply appreciative of their consideration".

Cameron also submitted the story back to The New Yorker.

Then he waited. Would one of the publications catch his duplicity and cry foul? Would any of the magazines accept the plagiarized story and, if so, how many?

Well, you've probably guess the outcome: none of the magazines accepted the story, not even The New Yorker!

David Cameron writes:

Dear reader, every single one of these journals rejected my poor New Yorker story with the same boilerplate “good luck placing your work elsewhere” auto-text that has put the lid on my own sorry submissions. Not a single personal pleasantry. What’s more, the timeframes tracked perfectly. For example, if the Beavercreek Fucknut Bulletin (not a real journal, but representative) generally takes thirty days to relegate my stuff to the recycle bin, then our New Yorker story ... fared no better.

Cameron thought his results might be a fluke so he tried again, this time with a story "by a rather celebrated youngish New Yorker author" but he had the same results; no one accepted the story.

What Was The Point?

What did David Cameron's experiment demonstrate? First and foremost it's a much needed reminder that the slush pile "is often just a cleanup chore relegated to overwhelmed readers, and ... rejections might mean nothing".

We've all been told that, but it's nice to have a demonstration of it every once in a while.

Still, I'm surprised no one caught onto the hoax. Cameron writes:

A part of me really wanted to be outed, to have some vigilant editor write back and say, “Nice try. Consider yourself blacklisted.” Or even to put me in the horribly awkward position of an acceptance!* That would mean there’s hope, that open submissions weren’t just, in so many cases, empty gestures.

To read more about David Cameron's audacious experiment, click here: The New Yorker Rejects Itself: A Quasi-Scientific Analysis of Slush Piles.

The Steps Experiment

In the comments to Cameron's article someone mentioned The Steps Experiment that Chuck Ross conducted in 1975.

[Chuck Ross] typed up twenty-one pages of a highly acclaimed book and sent it unsolicited to four publishers (Random House, Houghton Mifflin, Doubleday, and Harcourt Brace Jovanovich), claiming it was his own work. The work he chose for this experiment was Steps, by Jerzy Kosinski. It had won the National Book Award for Fiction in 1969 and by 1975 had sold over 400,000 copies. All four publishers rejected the work, including Random House, who was its original publisher.

I encourage you to read the entire article: The Steps Experiment, 1975. Chuck Ross--who later went onto a successful career in journalism--later did another experiment and submitted the script of Casablanca to over 200 movie agents.

Unaddressed Questions

Cameron didn't give us the names of the authors of the stories he sent out, and of course he didn't give us the names of the magazines which rejected them, but it would have been nice to have been told:

- How many magazines he sent the stories out to.
- How long he gave the magazines to respond before he wrote his article.
- How many replies he got back.
- The approximate pay rate of the magazines he sent the stories to (so readers could get a feel for the kind of markets they were rejected from).

Also, it would have been interesting to see the cover letter Cameron sent out with the stories. Though I'm sure it was well written, it would help rule out the objection that it was the cover letter that killed the editors' interest.

Afterthoughts

I did some research as I wrote this article and came across interesting articles I want to share.

Dan Baum's story of his short career as a staff writer at The New Yorker

A few days ago a friend asked how much I thought a staff reporter at Wired makes a year but I had no idea. Dan Baum's article answered my question (in 2006 about 90k) and gave a tantalizing peek into that life.

Dan Baum originally told his story as a series of tweets (2009) and then gathered them together on his website. Here's a link: New Yorker Tweets.

By the way, if you would like to submit to The New Yorker, send a PDF to The New Yorker's online submission form. Deborah Treisman is the fiction editor.

Submissions may also be sent snail mail to the fiction department at The New Yorker, 4 Times Square, New York, NY 10036. (No simultaneous submissions)

How much can one get for a short story?

It depends, of course, on a number of factors: the market, the length of the story, and so on, but here are the numbers for a few markets: How much does a short story earn in a magazine? 

(Duotrope used to be one of the only places a writer could get market information but now there is the The Grinder.)

The following numbers are approximate:

New Yorker: $7,750 for 5,000 words (as of about 2003)
New England Review: $230
Asimov's Science Fiction: $427
Rolling Stone: $3.40 a word (as of about 2002)

Question: Have you ever been tempted to do a similar 'sting' on traditional publishers?

Other articles you might like:

- Writing And The Fear Of Judgement
- The Rules Of Romantic Comedy
- 5 Tips For Creating Memorable Character Names

Photo credit: "More from Vivid" by aussiegall under Creative Commons Attribution 2.0.

Writing And The Fear Of Judgement

Johanna Penn's post, On Writing And The Fear Of Judgment, felt as though she was writing right to me. I like to think I'm getting more brave, but I used to be paralyzed by fear of what folks would think of my stories, whether they would look at me differently.

Johanna writes:

. . . I’ve written dark things before but this is the first time I haven’t censored myself as I write. I’ve given the dark side of my mind permission to indulge but as I am about to start the rewrites, I find myself on the edge of crossing things out, not because they need editing, but because I don’t want people to read them and judge me for my thoughts.

How can writers assuage this fear? Johanna has five suggestions:

1. Use A Pseudonym

A pseudonym is a perfectly respectable way to go (see: Should You Use A Pen Name?). As Johanna mentions, many erotica authors use pseudonyms, but pseudonyms, or pen names, are also used by many authors--Dean Wesley Smith for instance--as a way to brand his books.

2. Get A Support Group

We need to surround ourselves with people who understand and accept us as we are. Sometimes this will be a spouse, sometimes it will be a group of writers, sometimes it will be our friends or family.

It is wonderful to be brave and put yourself out there, but each of us needs a safe space; somewhere we can be nurtured when we need it.

3. Accept That We All Have A Dark Side

And that's a good thing! Johanna writes:

In Jungian psychology the shadow is a critical part of our whole self. Life is not all sweetness and light and there is but a thin veneer of civilization over our ancient animal genetics. Death and fear, violence and sex will always be part of our culture so as writers it’s important to embrace that and reflect it in our writing. I am acknowledging the shadow more in my own work, and also feel that when the things we fear are on the page, they have less power over us.

Very true.

4. Realize That When People Judge Your Book They Aren't Judging You

After all, they don't know you. Naturally, whatever you write, no matter how well you write it, some folks aren't going to like it.

It's both feel-good and instructive to look at one star reviews some great works of literature have received.

The appeal of a book, even a great one, isn't universal. For example, someone who despises fantasy in any form will naturally hate your paranormal romance if they, in a fit of masochism, read it.

That's life.

5. You Are NOT What You Write

Yes, maybe you are what you eat, but you aren't what you write.

Stephen King writes bone-chilling acts of horror but he is a laid back community-minded family man.

Also, I'm guessing that the screenwriters of Saw (James Wan & Leigh Whannell), one of the most violent horror movies ever, are no more strange than the average writer. Notice I didn't say the average person. (grin)

As Dean Wesley Smith wrote not too long ago, the only way you can kill your career is if you stop writing. That's it. That's the only way. Write, write what your heart is calling you to write, and publish it. Wash and repeat.

Now it's time for me to toddle off and practice what I preach!

Do you ever fear being judged because of what you write? How do you deal with it?

Other articles you might like:

- The Rules Of Romantic Comedy
- 5 Tips For Creating Memorable Character Names
- Joe Konrath says KDP Select Made Him $100,000 In 6 Weeks

Photo credit: "On The Road" by Philipp Klinger Photography under Creative Commons Attribution 2.0.

The Rules Of Romantic Comedy

Michael Hauge's Analysis Of Romantic Comedies

1. Hero's goal is to win the love of another character

This is the hero's main goal. He can have other goals, but this one needs to be introduced first and this conflict has to be the last one resolved. When it is, that's the end of the story.

2. The hero must have another goal, one besides winning the affections of his/her romantic attentions.

For instance, in Groundhog Day Bill Murray relentlessly pursues a relationship with Andie MacDowell but he also very much wants the day (it repeats Sisyphus-style) to end.

Two goals are better than one because they keep the pace lively. I thought some of the best scenes in Groundhog Day were those where Bill Murray was trying to escape the town. (BTW, rumor has it that Mr. Murray was bitten by the groundhog and had to have rabies shots!)

Another benefit of the hero having two goals is that the writer can make sure, at some point, they become mutually exclusive.

For instance, in The American President the president wants his crime bill passed but it turns out the only way that's going to happen is if he sells out his romantic interest.

3. When the people on the screen are laughing the audience isn't

Michael Hauge writes,

The driving motivations in romantic comedies actually grow out of immense pain and loss. The plots of the most successful romantic comedies of all time involve unemployment, disease, prostitution, physical abuse, physical deformity, humiliation, ridicule, the loss of one's children, attempted assassination, suicide and death.

The humor then arises from the way the heroes OVERREACT to their situations. They devise fantastic plots, pose as women, adopt false identities, juggle two lovers simultaneously, tell enormous lies, fly across the country to meet a voice on a radio, or do everything imaginable to sabotage their best friend's wedding. (Writing Romantic Comedies)

4. Romantic comedies are sexy

At some point your characters are going to have to confront their sexual desires for each other. The important thing is that if they end up going to bed, "we must see the events that lead to that decision, at least until the moment the two lovers embrace and the camera dissolves away".

5. There must be a happy ending

This doesn't mean that the hero always has to win over the heart of his object of desire and walk off with her/him into the sunset. It does mean that the audience must be left feeling satisfied with the resolution. You want them to feel that the ending was the best and most appropriate one.

6. Romantic comedies always involved deception

Most romantic comedies involve deception. One of the two people involved in the relationship, usually the hero, is lying to, or withholding information from, someone--usually the person the hero is falling for.

This lie will, of course, be found out but this usually happens after the midpoint. Michael Hauge writes:

When the secret is finally revealed or the lie exposed, it will split the lovers apart. In You’ve Got Mail Joe Fox doesn’t tell Kathleen Kelly that his corporation is the one threatening her independent bookstore. In The American President, Sydney Ellen Wade doesn’t know that President Shepherd is using her to get his gun control bill passed. (The 6 Categories Of Romantic Comedy)

5 Things That Must Be True Of All Romance Characters

I'll just list the major points, I encourage you to read Michael's article.

1. The audience must identify with the hero's desire for the romance character.

2. You must convince the audience that the hero and his/her romantic object are a perfect fit, that they are destined for each other.

3. Insurmountable obstacles must separate the two lovers.

4. The romance character must be intertwined with the hero's other goal. For example, in The American President the president's love interest is a lobbyist.

5. The romance character must interfere not only with the hero's desire for them but also with the hero attaining his/her secondary goal.

For example--again using The American President--the president has two goals: to win the heart of his love interest (Sydney) and to get re-elected. Sydney, though, is a lobbyist. This creates a conflict of interest--or the appearance of one--and, in any case, their relationship is hurting him politically. By the 3/4 mark it looks as though the president has a choice: re-election or Sydney; he can't have both.

Michael Hauge also writes about character archetypes and the structure of a romantic comedy. His article is well worth a read: Writing Romantic Comedies.

I'll leave you with this 2:16 minute video of Michael Hauge talking abut romantic comedies. You can read more about Michael Hauge here: Michael Hauge's Story Mastery.

Other articles you might like:

- 5 Tips For Creating Memorable Character Names
- Different Kinds Of Story Openings: Shock And Seduction
- Story Structure

Photo credit: "adam green:castles and tassels" by visualpanic under Creative Commons Attribution 2.0.

5 Tips For Creating Memorable Character Names

One thing I've always envied about J.K. Rowling is her ability to create awesome character names.

Well, that, and her wildly successful stories, but that's a post for another time.

Naming Characters

I have trouble naming characters.

I'll either fall in love with a name that everyone else on the planet hates with a burning passion or I won't be able to think of anything.

And so it was with great interest I read How to Name Your Characters by The Magic Violinist (and with a name like that how could I not be intrigued).

Before we get into naming, though, we need to ask: What are we looking for in a name? What characteristics must it have? TMV writes:

a. The name "needs to be unique".
b. The name needs to be memorable.
c. Your readers--and you, if you narrate the audiobook--need to be able to pronounce it.

One of my all-time favorite names is "Albus Dumbledore" from J.K. Rowling's Harry Potter books. "Rubeus Hagrid" is pretty great too.

Oh, and Dudley Dursley and, my number one favorite, "Severus Snape". That name communicates a lot about the character. "Snape" sounds like "snake" and when I say the whole thing I almost hisss.

But I'm getting carried away! I won't give you all 5 of TMV's suggestions, just two and some links. I heartily recommend you read her article over at The Write Practice.

Remember Your Friends

TMV writes,

I often base my characters off of my friends because my friends are so interesting! When I do that, sometimes my characters end up with my friends’ names. Maybe not their exact names, but pretty close. Kirsten will become Kristen, Sophia will become Selena, and Sarah will become Sara.

Another tip someone gave me was to look at the names in movie credits; while I've never borrowed one whole, it is fun to mix and match first and last names. Often while I'm doing this a great name will come to me; almost as though it chose me rather than vice versa.

Also, TV credits work well, as do names from personal ads. Also I've often looked at statistical data, especially when I'm curious about what names were common in a certain year, or when I wanted a regional name.

Baby Naming Books And Sites

Where would writers be without baby naming sites? I shudder to think.

Fortunately, there are many sites on the web offering oodles of names, and even their meanings and the frequency of the name in different populations.

And all for free!

Here is a site I've used in the past: Behind The Name.
Also, there are some great random name generators out there, in fact Behind The Name has one (and, no, I'm not an affiliate!).

Just Google "random name generator" and you'll find a lot of fun, time-sucking, links.

How do you choose a name? What is your favorite character name?

Other articles you might like:

- Joe Konrath says KDP Select Made Him $100,000 In 6 Weeks
- Book Cover Design: Free Programs For Choosing A Color Palette (Adobe Kuler & Color Scheme Designer)
- Different Kinds Of Story Openings: Shock And Seduction

Photo credit: "the smiths:these things take time" by visualpanic under Creative Commons Attribution 2.0.

Joe Konrath says KDP Select Made Him $100,000 In 6 Weeks

Joe Konrath Made $100,000 On Amazon Over 6 Weeks Through Using Amazon KDP Select

That's right, Joe Konrath made $100,000 over at Amazon in the last 6 weeks and he says that's because he enrolled his books in Amazon's KDP Select program. Joe writes:

I just checked my 6 week KDP total, which updated yesterday, and I've made over $100,000.

More than ten grand of that is from Prime borrows (assuming $2 a borrow for March). That more than makes up for my loss of sales on other platforms.

But while the borrows are nice, it's my free ebooks that are helping me sell my backlist. My first Jack Daniels novel, Whiskey Sour, has been free for the last four days, and I've given away over 100,000 copies.

That's the most I've ever given away during a free promotion, and I'm really curious to see how high I bounce back onto the paid bestseller lists tonight. The second in the series, Bloody Mary, has earned me over $8k this month, many of those sales in the last four days because of Whiskey Sour being free.

So I gotta say I've been extremely happy about going all-in with KDPS, even though I did it with some reservations.

Why The Change Of Heart?

That's quite the about-face. Last year Joe Konrath warned indie authors not to enroll their books in programs that demanded exclusivity. In Joe's July 2, 2012 post he writes:

A lot of people ask me my opinion about KDP Select, and I made it known that I have opted all of my titles out of it. I dislike Amazon's desire for exclusivity, because it limits my readership. (Exclusivity and Free)

Why was Joe against enrolling his books in KDP Select? Joe explains his reasoning:

So how effective is exclusivity as a sales tool for Amazon? I've had people email me who bought a Kindle just to read Shaken. But how many more of my fans are annoyed because they own a different ereader that doesn't allow for a one-click purchase of Shaken? How many sales are lost?

My guess is: a lot. Shaken and Stirred have done well, but Blake and I have done better on self-pubbed projects.

For me to be exclusive with a retailer, I have to know the sales I'm going to lose will be made up for with increased sales on the exclusive platform. Long term, that's risky. After the big initial sales push, sales will even out, and years from now the lost sales will really rack up. (Exclusivity and Free)

So, what's changed?

Joe is making a heap-load of money by keeping his books enrolled in Amazon Select. He writes:

As new data comes in, I adjust my opinions. I'm currently making $2400 a day on Amazon. About 10% of that money is coming from borrows. I have years of data from the other platforms, but I've never earned $240 a day from them, even on all of them combined.

Right now, KDP Select is giving me the opportunity to make more money, and I'm taking that opportunity.

Wow! $2,400 a day. I did the math and that means he's making $876,000 a year--just shy of a million dollars!--from his Amazon sales. Any way you look at it that's a lot of money. It's hard to believe that he'd be doing better, even in the long term, if he kept his books with other retailers. What do you think?

Has Joe Konrath's experience with Amazon KDP Select changed your opinion of the program? Would you use it? Have you ever used it?

(Except where noted, all quotations are from Joe Konrath's article Exclusivity.)

Other articles you might like:

- Book Cover Design: Free Programs For Choosing A Color Palette (Adobe Kuler & Color Scheme Designer)
- Story Structure
- Hugh Howey's 3 Rules For Writing

Photo credit: "the thrills:one horse town" by visualpanic under Creative Commons Attribution 2.0.

Book Cover Design: Free Programs For Choosing A Color Palette (Adobe Kuler & Color Scheme Designer)

Hallelujah!

That was my response on learning about Kuler from Adobe Systems (thanks Passive Guy!).

Kuler: Choose Your Colors

What is Kuler you ask?

Kuler is a site sponsored by the wonderful folks at Adobe Systems that gives designers and non-designers alike the ability to create and save color swatches that those infinitely more knowledgeable than myself have figured out go well together.

You can even load these swatches into Photoshop and use them when designing your covers! (Adobe Kuler, Wikipedia)

Passive Guy writes: If you like a particular color swatch "just click a download button, then import it into Photoshop and you're ready to go"!

Here's a screenshot of what Kuler looks like:

Adobe Kuler (click to enlarge)

Color Scheme Designer

Not satisfied with simply giving us one terrific program to play around with, Passive Guy also mentioned Color Scheme Designer (CSD).

Passive Guy writes that CSD, while it doesn't give you pre-defined color swatches the way Kuler does, allows you to design your own and--this is the important bit--"makes it hard to do them badly".

Yes!

I have been waiting for something like this for a very long time.

In his excellent article, Choosing Colors for Your Covers, Passive Guy steps the reader through creating their own, custom, color palate complete with screenshots of the process.

If, like me, you've struggled with choosing the best colors for your covers PG's post is a must-read. (For help choosing fonts see: How To Design A Great Looking Book Cover.)

Here's a screenshot:

Color Scheme Designer (click to enlarge)

Do you do create your own covers? What programs do you use? Can you give us any advice on how to create a decent looking book cover?

Other articles you might like:

- Different Kinds Of Story Openings: Shock And Seduction
- Trying To Replace Duotrope? The (Submission) Grinder Is A FREE Database Of Fiction Markets
- Chuck Wendig On Story Structure, Part 2

Photo credit (top photo): "sunset at peggy's cove" by paul bica under Creative Commons Attribution 2.0.

Different Kinds Of Story Openings: Shock And Seduction

The Most Important Sentence Is The First

The first sentence is what will entice a reader to continue.

When I browse the shelves at my local bookstore or prowl Amazon's digital shelves, I go to the first sentence of the first page.

The first sentence needs to hook the reader. How does it do this? By getting the reader to ask a question they care about getting an answer to. If your prose can do that, they'll read the next sentence. And hopefully the next, and the one after that, and so on, until the last.

Two Kinds Of Story Openings: Shock vs Seduction

Recently Chelsea Quinn Yarbro's book, Fine-Tuning Fiction, was featured on Jane Friedman's blog (Your Story Opening: Shock vs. Seduction).

Before I read Chelsea's book I hadn't thought in terms of kinds of openings. I knew the first sentence had to contain a hook--that is, raise a question the reader wanted to have answered--but that was all. I hadn't considered that there were different kinds of hooks.

Chelsea Quinn Yarbro writes:

A reader is drawn into a story in one of two ways: shocked or seduced. This is called the hook, and it must be in the first three paragraphs of the text, preferably in the first sentence.

First Kind Of Hook: Shock

Here is Chelsea's example of a shock hook:

Private Hammond staggered as the bullet ripped into his leg.

What makes this a shock hook? Here's how Chelsea breaks it down:

- The "character is caught up in action that demands his immediate attention."
- It is implied that the ramifications of the action will be of immediate significance to the character.

This has the effect of alarming the reader.

Also, in this example the author communicates a good deal of background information.

Hammond, the central character of this single sentence drama, is said to be a private, implying military rank. Given this, one tends to assume a combat setting. This lends a sense of urgency to the situation by giving the reader a sense of the stakes: his life.

The sentence alarms the reader; it affects them, it plays upon their emotions.

Also notice that the action involved (a bullet penetrating Hammond's leg) demands a prompt response by the character.

Second Kind Of Hook: Seduction

Here's Chelsea's example of a seduction hook:

Clouds were massing at the horizon, piling up into towers where lightening skidded amid coiling winds.

Seduction hooks:

- Ease a reader into the story
- The hook implies what is to come

Seduction hooks are riskier than shock hooks because they give the reader more time to (potentially) turn from the story and resume the many countless tasks that beg for their attention every second of the day.

Chelsea Yarbro writes:

Pulling off a really strong seduction hook is a major accomplishment, and one that can be overdone. But when used judiciously and appropriately, seduction hooks can be stronger than shocks. 

In the example given, you "may offer the storm as a primary problem—an inhuman antagonist—or you may offer it as punctuation to other action, a complication that will either underscore or intervene in on-going events."

Here are examples of possible second sentences:

• Granny Lawrence pointed her arthritic finger at the sky, muttering that there would be flooding before midnight—she could feel it in her bones.
• From his position in the traffic helicopter, Brad Mayfield warned his producer at WRDO that St. Charles County should be on twister alert.
• The men trudging back from the fire-line watched the sky uneasily, wanting rain to put out the last of the forty-three acre blaze, but wary of more strikes that would ignite new fires.

Examples Of Opening Sentences: Shock or Seduction?

Here are a collection of opening sentences. I won't tell you which books they're from right away, but I'm sure you'll be able to guess many, if not most, of them.

These first lines are all drawn from commercially successful books, some spectacularly so. For each of them, would you say it was a shock opening or a seduction?

1) At daybreak, Billy Buck emerged from the bunkhouse and stood for a moment on the porch looking up at the sky.

2) It happened every year, was almost a ritual.

3) Miriam was five years old the first time she heard the word harami.

4) Scarlett O'Hara was not beautiful, but men seldom realized it when caught by her charm as the Tarleton twins were.

5) The terror, which would not end for another twenty-eight years--if it ever did end--began, so far as I know or can tell, with a boat made from a sheet of newspaper floating down a gutter swollen with rain.

6) "I should feel sorrier," Raymond Horgan says.

7) Mr. and Mrs. Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much.

8) Renowned curator Jacques Sauniere staggered through the vaulted archway of the museum's Grand Gallery.

9) I've never given much thought to how I would die--though I'd had reason enough in the last few months--but even if I had, I would not have imagined it like this.

(I've included the titles as well as the names of the authors at the very end of this blog post so no one accidentally sees the answers.)

It seems that most of the first lines--especially those which come from genre/category books--have shock openings. I would say that 5, 8 and 9 are shock openings while 1 and 4 seduced the reader into continuing. What do you think?

Are your openings mostly shock or seduction? Do they fall somewhere in-between?

Other articles you might like:

- Trying To Replace Duotrope? The (Submission) Grinder Is A FREE Database Of Fiction Markets
- Chuck Wendig On Story Structure
- To Blog Or Not To Blog, That Is Jane Friedman's Question

Reference information for the above nine sentences:

1. The Red Pony, John Steinbeck
2. The Girl With The Dragon Tattoo, Stieg Larsson
3. A Thousand Splendid Suns, Khaled Hosseini
4. Gone With The Wind, Margaret Mitchell
5. It, Stephen King
6. Presumed Innocent, Scott Turow
7. Harry Potter and the Sorcerer's Stone, J.K. Rowling
8. The Da Vinci Code, Dan Brown
9. Twilight, Stephanie Mayer

Photo credit: "julie peel:living in a movie" by visualpanic under Creative Commons Attribution 2.0.

Trying To Replace Duotrope? The (Submission) Grinder Is A FREE Database Of Fiction Markets

When Duotrope transitioned from a free to a subscription based service many writers began searching for an alternative.

The (Submission) Grinder

Here's one: The (Submission) Grinder.

The grinder is a submission tracker and market database for writers of fiction (non-fiction and poetry coming soon!). Use our extensive and powerful search engine to find a home for your work. With new features being added weekly we hope to provide a permanent and stable home for your submission tracking.

We believe the value of our product lies in its availability and as such The Grinder is and always will be free to all users for all features.

At the moment The (Submission) Grinder has information about 1539 (817 open) markets and has 601 users.

If you write fiction and can't bring yourself to subscribe to Duotrope, The (Submission) Grinder seems worth a look.

Thanks to +John Ward and +Doug Lance for spreading word about The Grinder.

Have you used The (Submission) Grinder? What did you think? Would you recommend the service?

Other stories you might like:

- Chuck Wendig On Story Structure, Part 2
- A Chance To Meet Stephen King And Help Mark Twain House
- The Da Vinci Code by Dan Brown is FREE for the next week! (offer ends March 25th)

Photo credit: "fleet foxes:he doesn't know why" by visualpanic under Creative Commons Attribution 2.0.

Chuck Wendig On Story Structure, Part 2

What follows is based on Chuck Wendig's fabulous post (adult language warning): 25 Things You Should Know About Story Structure.

This is part two of a mini-series, here's a link to Part 1: Chuck Wendig On Story Structure.

The Microcosm Mirrors The Macrocosm

Chuck Wendig writes:

Whatever structure you give to a story is also a structure you can give to an individual act. In this way, each act is like a story within a story with its own ups and downs and conflicts and resolutions.

An example of this is how--in stories at least--things tend to come in threes.

The Magic Of Three

Chuck Wendig writes:

[Omne Trium Perfectum is] Latin for ... “Every set of three is complete.” Even if you ignore all other structural components, this is a good one to keep an eye on — the Rule of Threes suggests that all aspects of your story should have at least three beats. Anything that has any value or importance should be touched on three times and, further, evolve a little bit each time. Every character arc, every act, every scene, every setting, every motif or theme, needs you the storyteller to call it back at least three times.

Further:

You could argue that all stories fall into three acts — and, in filmmaking, if they don’t fall that way they’re damn well pushed. Act One is the Set-Up (first 25%), Act Two is the Confrontation (next 50%), Act Three is the Resolution (final 25%). It’s an imperfect description and damn sure not the only description, and in the grand scheme of things you could, if you chose, distill it down to beginning, middle, and end.

Arcs

Like stories, arcs have three parts, a beginning, middle and end. Chuck writes that "a story comprises a number of smaller and larger arcs". Anything can have an arc, not just stories and characters. For example, "[c]haracters, themes, events, settings ..." can all have arcs.

Your main character's arc--from desire/motivation, getting a goal, encountering obstacles, encountering more obstacles, attaining her goal (or failing to)--lasts for the entire story. Heck, it is the story. But all the main characters can, and should, have their own arc. Many antagonists even have arcs (for more on this read How To Build A Villain, By Jim Butcher).

Chuck writes:

Some [arcs] fill a whole story, some are just little belt loops popping up here and there. Some arcs begin where others end. Many overlap, rubbing elbows or shoulders .... Television is a great place to study arcs (and if I may suggest a show: Justified, on FX). Comic books, too.

Well, that's it! I thought it would take me three posts to get through the material in 25 Things You Should Know About Story Structure, but it only took two. Yesterday I wrote about the monomyth and story structure and, of course, I'll be revisiting points Chuck Wendig touched on such as Freytag's Pyramid, the 7 act structure, and Vladimir Propp's 31 structural steps explicating "the narrative nature of folk-tales (Russian folk-tales in particular)".

Hope you have a great writing day!

By the way, the first chapter of Chuck Wendig's new book, Gods & Monsters: Unclean Spirits, is up over at io9.

What are you working on right now? Are you writing a first draft or editing one?

Other articles you might like:

- A Chance To Meet Stephen King And Help Mark Twain House
- Hugh Howey's 3 Rules For Writing
- Short Story Structures: Several Ways Of Structuring Short Fiction

Photo credit: "els pets:al seient del costat" by visualpanic under Creative Commons Attribution 2.0.