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.

Where To Find Cover Artists

It's difficult to overestimate the importance of a great cover.

Striking professional looking covers help sell books.

The cover is the first impression a reader will have of your work, and humans place a lot of importance on first impressions.

We want readers to fall in love with our book on first sight.

Think of it this way, you dress up to go about your day-to-day activities. You put on nicer clothes, you fix your hair, and so on.

Why? Because we know that how we look matters to other people. Even if you couldn't care less how others look you know that folks treat you differently depending on the clothes you wear, the way you arrange your hair, the perfume/cologne you choose.

Now think: What if you weren't just going to a business meeting, or a PTA get-together, or a  baseball mixer. What if you were going to the Academy Awards or some other gala affair?

My female friends would spend most of the morning and all of the afternoon getting their hair, nails and face done. And I cringe to think how much they'd spend on clothes.

What about your book?

It's going out into the world to be judged. It's like a child in the sense that it's an extension of you, something you created. And, unlike children who have their own ideas about what sort of clothes to wear, what color of hair to have, and so on, you control every single facet of your book's launch, including the cover. (That is, if you self publish. If you traditionally publish you probably won't have any say over the cover.)

Granted, most of us can't design the cover, we don't have those skills, but a talented artist can work with you to give you a look you want.

Which brings me, circuitously, to the topic of today's post: How to find the right cover artist for your book.

How To Find A Cover Artist For Your Book

A couple of days ago Passive Guy posted the following:

Passive Guy received a simple question from Amey:
Where does an indie author find cover illustrators online?
She knows about DeviantArt, but finds it too complicated and believes there aren’t a lot of real artists there.
So, what’s the answer to Amey’s question? 

A lot of wonderful folks wrote in with wonderful answers, but I found myself getting overwhelmed by the information as I scrolled through the replies. That's when I got the idea for this post.

In the following I've taken the information given and provided links when I could track them down. I've also provided links to the original replies so you can read those for yourself.

By including a name in the following I'm not recommending that person. Similarly, if I haven't included a name in the following I don't mean to imply they wouldn't be a great choice.

List Of Book Cover Artists

In some cases, the link is in the name.

Extended Imagery

This is the designer Joe Konrath uses for his books. Carl sells predesigned book covers for about $200.

DD Graphix

From Kboards.com:

Robin Nuttall, freelance graphic designer with 20+ years experience. US based, responsive, quick turn-around. I listen to my clients and help them achieve success. Very reasonable prices as I begin to build my digital publishing portfolio.

Digital and print book cover design, interior design/formatting.

Cover Bistro

From Kboards.com: 

Custom covers starting as low as $35, Premades starting at $15, and Book Jacket/Ebook cover combos starting at $50.  3d Boxed sets starting at $25 if created from an existing book cover, and $45 if a new cover is required.

Indie-Spired Design

From Kboards.com: 

Your cover is your I.D. Be inspired.

Specializing in YA and Fantasy premade book covers, I offer premade covers as well as custom designs, ereader renders and custom advertisements.

Littera Designs

From Kboards.com: 

Name: Rachel Cole

Beautiful, eye-catching, professional-looking book cover design.

Pre-made covers start at $30
Custom ebook covers start at $65
Custom print covers start at $100

99Designs.com

Carolyn McCray writes:

99designs.com lets you receive up to 99 spec designs. The designers only get paid if you pick them. A great resource to get a lot of different professional (okay, some are a little grade school but usually you get several pros per project) covers to choose from. It is where I got my cover artist.

Kit Foster

I read Joel Friedlander’s e-Book Cover Design Awards every month, and through that, I found Kit Foster. If you see a designer whose work you like, you’ll have to google the name to find their website. (Russell Phillips)

Steward Williams, Rebecca Swift, Peter Ratcliffe

These artists were recommended by Rob Siders.

Here are the artists my shop recommends most frequently (aside for Jeroen ten Berge, who is closed to new clients until after June):

Stewart Williams at http://www.stewartwilliamsdesign.com/
Rebecca Swift at http://www.rebeccaswiftartwork.com/
Peter Ratcliffe at http://bit.ly/pDnfHo

Streetlight Graphics

Nicholas Taylor writes:

DA [Deviant Art] has a lot of very talented artists, but if you are looking for a service that does a great job and specializes in publishing, I would recommend Streetlight Graphics. They did the art on my last book and are wonderful. They also do amazing work on eBook and print interior layouts. To get your cover, print layout, ebook layout and another graphic (like a business card or bookmark) it will run you $460. Their site is http://streetlightgraphics.com and you can’t go wrong with them.

Dreamup

India Drummond writes:

Dreamup is run by deviant art, I do believe, but it’s a curated list: http://dreamup.com/find/artists/ For custom artwork and illustrations, this is where I would start.

India also recommended An Authors Art.

Firefly Covers

Christine Leov Lealand writes:

I found my cover artist when I met a traveling young German man whose hobby was graphic design. He went home after making a few covers for us – learning the basics from us and what we and Createspace/KDP needed and set up http://fireflycovers.com/

 Nils is great at communication and good at cover design and has a network of other artists who will put together a cover for you of altered photographs or drawn art or a combo of both.

Jared Rackler Designs

Kat Sheridan writes:

I’ll toss in Jared Rackler. He’s done workj for friends. Fast, inexpensive (generally under $100), good looking: https://jaredrackler.wordpress.com/gallery-of-works/

Tibbs Design

Sue Quint writes:

I found my graphic designer/cover artist through my epublisher, and love her covers. She works with stock art photo, so is much more reasonably priced than many other cover designers. She also works freelance, so she’s available for other projects at http://www.tibbsdesign.com/covers-2/.

Jeroen ten Berge

R.E. McDermott writes:

There are a lot of very talented cover artists out there, but when I first started to self publish, I looked around and chose Jeroen ten Berge. He’s definitely not the cheapest, but I don’t think he really wants to be. What he is, is reasonably priced, very approachable, and a consummate professional. Choosing Jeroen was one of my better business decisions and I recommend him without reservation. His website is: http://jeroentenberge.com/.

Robin Ludwig

Vicki writes:

May I recommend my awesome artist – Robin Ludwig. She has a real gift.
http://www.gobookcoverdesign.com/

This list only scratches the service of the skilled artists available to help with your covers, I didn't include all the information given--that would have taken way too long!--so do look at the responses for yourself. That link again is: Where do you find cover artists?

Tip For Finding A Cover Artist

Maria Zannini writes:

I’m a professional cover artist and most of my work has come from referrals.

The very best way to find a cover artist is to collect the cover art you find most appealing, then email the author or the publisher and asked who designed that cover.

Take into consideration not only price, but turnaround, and a detailed account of what you’re getting for the fee.

If your questions aren’t answered to your satisfaction in writing, go somewhere else.

If you'd like to recommend a cover artist please post their information below. (If you include a URL use the aristname (dot) website (dot) com formatting otherwise blogger might see it as spam.)

Other resources:

- Kindle Boards yellowpages for authors
- Goodreads: Book cover artists and illustrators

Other articles you might like:

- 10 Tips For Proofreading Your Manuscript
- Chuck Wendig's Flash Fiction Challenge: Smashing Sub-Genres
- How To Write A Terrific Review

Photo credit: "Spring Nights" by martinak15 under Creative Commons Attribution 2.0.

10 Tips For Proofreading Your Manuscript

This is a wonderful, must-read, article for anyone who has had trouble proofreading their own work: 10 Proofreading Tips For Self-Publishers.

Anna Lewis writes:

No matter how many times you’ve read through your work, it’s amazing how often errors can sneak through to the final stages. The problem: You’re so familiar with the text that you see what you think you have written rather than what you actually wrote.

Yes!!

That happens to me all the time. So, what can we do to catch all those pesky mistakes?

10 Tips For Proofreading Your Prose

1. Put your writing aside for as long as you can stand.

Stephen King says this, Chuck Wendig says this. Everyone I've ever read about writing says this. And, from my experience, it does help a lot. In the case of a book try to put it aside for at least a month, though I think a month and a half is better.

2. Know your weaknesses.

Every writer has weaknesses. Some of us are horrible spellers, some of us repeat phrases or overuse words. Some of us make certain kinds of grammatical errors. If you know what you're likely to do you can make a point of looking especially for that. (And, if you're getting a friend to go over your manuscript, you could mention your weaknesses to them as well.)

3. Read your work out loud.

Anna writes:

If you read aloud, your ear might catch errors that your eyes may have missed. Alternatively, you can use text-to-speech software.

Reading one's work aloud is great, a must-do, but I think listening to someone (or something) read the text is useful as well. I do both.

4. Try proofreading backwards.

The first time I heard this advice I thought it was nuts, but the person who gave it to me was a professional and highly sought after proofreader so I tried it. It works! But it is time consuming. Anna suggests using this method for areas such as the cover text.

5. Keep style and usage handbooks readily available and use them!

Excellent advice. I like using digital copies because they're easier to search.

6. Watch out for contractions, apostrophes and homonyms.

7. Run a spell check.

But don't rely on the spell check. You need human eyes on your manuscript as well.

8. Highlight all punctuation marks so you can evaluate each one for accuracy.

9. Proofread a printed version of your work.

I'm like this, I can more easily catch errors in a printed copy than I can by reading from the screen. I'm not sure if this is true for everyone. Perhaps folks who grew up reading from screens won't have this bias.

10. Get someone else to proofread your manuscript.

No matter what you do it'll be harder for you to see what you've actually written as opposed to what you'd intended to write. Trading with writer friends--I'll proofread your manuscript if you proofread mine--can help.

Of course the best solution, and by far the easiest, is to find a good proofreader and pay them to work on your manuscript.

I've paraphrased a good deal of Anna Lewis' article, I'd encourage you to read it in the original: 10 Proofreading Tips For Self-Publishers.

Do you have a tip for catching errors in a manuscript?

Other articles you might like:

- Chuck Wendig's Flash Fiction Challenge: Smashing Sub-Genres
- Russell Blake's 26 Tips On How To Sell A Lot Of Books
- Chuck Wendig On Finding Your Voice

Photo credit: "My Brush With Death" by JD Hancock under Creative Commons Attribution 2.0.

Chuck Wendig's Flash Fiction Challenge: Smashing Sub-Genres

I've been completing Chuck Wendig's flash fiction challenges--not entering them, mind you, but doing the work--and I'm finding it easier to write short fiction!

Not too long ago I wrote about how I seemed constitutionally unable to write a story of less than 5,000 words.

Well.

A month or so ago I wrote a story of 997 words for one of Chuck's challenges. I was over-the-moon happy that I'd been able to write a complete story using so few words but didn't think much about it since the market for flash fiction is likely just marginally larger than the one for poetry. What I really wanted was to write a story in the 2,000 word range.

Then, a few days later, I wrote another short story, one of my own that I just plucked out of the air, and it was 1,800 words!

I danced, I sang, I called friends. It was great! (The feeling that is. I think the story is fabulous too, but I could be biased. ;)

So that little story of personal achievement is my way of encouraging anyone who is on the fence to get off and get writing! Practice may not make your writing perfect (I ask you, who is a perfect writer? Is that even possible?) but it can make you a darn sight better.

Chuck Wendig's Flash Fiction Challenge: Smashing Sub-Genres

Here's the Challenge:

Below is a list of 20 subgenres.

I want you to roll a d20 twice — or click a random number generator twice between 1 and 20 — and that will give you two subgenres. (Sure, you can choose them instead, but that means YOU HATE FUN.)

Smash those two subgenres into one story.

Write that story. Around 1000 words. Post at your online space. Link back here through the comments. Due by next Friday, May 17th, at noon EST.

Here’s the list of subgenres.

Men’s Adventure
Splatterpunk
Fairy Tale
New Weird
Space Opera
Southern Gothic
BDSM Erotica
Superhero
Sword & Sorcery
Noir
Dystopia
Sci-Fi Humor or Satire
Lovecraftian
Haunted House
Cyberpunk
Steampunk
Detective
Post-Apocalyptic
Weird West
Technothriller

Remember, post the link to your story on Chuck's website, here: Flash Fiction Challenge: Smashing Sub-Genres.

Have you ever completed one of Chuck Wendig's flash fiction challenges? Did it help your short form writing?

Other articles you might like:

- How To Write A Terrific Review
- 4 Tips On How To Find A Genre To Write In
- Russell Blake's 26 Tips On How To Sell A Lot Of Books

Photo credit: "St Michael, The Archangel Chapel - Rookwood Necropolis" by Luke Peterson Photography under Creative Commons Attribution 2.0.

How To Write A Terrific Review

Writer Victoria Grefer talks about how to write a fantabulous review.

What To Include

1. Is this a genre you normally read?

 
My go-to example for this is of a scifi aficionado reading a romance. It could be the best romance ever written but, chances are, the review would still be scathing.

Or, another example, if a reader only enjoyed mainstream or literary books they might think it was too predictable for words that the murderer was apprehended at the end of your murder mystery, but that's not a legitimate criticism. Sure, it could be a criticism of the genre but to leave the murder unsolved would have readers howling for your blood. (And murder mystery readers are a clever bunch, so you don't want that. ;)

2. Plot summary

Victoria writes,

Personally, I love reviews that include a short plot summary. One that avoids spoilers but describes the overall tone and the concept of the story in a way that’s a little different from the book’s official description.

3. Areas for improvement

Anything can be improved upon. What were some of the weak points? Perhaps list one or two. How did they affect your reading experience? Was it an I-wanted-to-throw-the-book-across-the-room moment or did it engender only mild irritation?

4. What you loved and why

I like it when reviews end on a positive note. Was there a character you especially liked? Was there something, some aspect of the book, you thought worked particularly well?

I've just touched on Victoria's fascinating article, I'd encourage you to read it for yourself: What every prospective reader (and every writer) loves in a review.

What do you like to see in a review of your work? Of other author's work?

Other articles you might like:

- 4 Tips On How To Find A Genre To Write In
- Russell Blake's 26 Tips On How To Sell A Lot Of Books
- Chuck Wendig On Finding Your Voice

Photo credit: "Me at Eva b" by flossyflotsam under Creative Commons Attribution 2.0.

4 Tips On How To Find A Genre To Write In

Writing a story is great.

Writing a story that sells is even better.

The quality of a book obviously influences how well it will sell. Is it riddled with grammatical errors? Does it have narrative drive? Are the characters three dimensional? Do they have goals? Do they have something to win or lose? Are they likable or at least possible to identify with?

But the quality of a book isn't the ultimate arbiter of sales. Though I read and enjoyed Dan Brown's, The Da Vinci Code, no one would suggest it was a better book than, say, Ernest Hemingway's, For Whom The Bell Tolls, and yet it sold more copies by orders of magnitude.

Part of the task of a writer--a writer who seeks to earn their living from their scribbles--is to write a great story, the other, equally important part, is to sell the story.

Finding An Audience

As soon as one mentions selling it brings up the question of audience. Who do we want to sell our story to? Who would be interested?

In her article What I Learned from Thomas Edison and Steven Soderbergh and How it Applies to Novelists, Julianna Baggott recounts the story of Thomas Edison's first invention, a vote calculator, and how it failed because there was no demand for it. It was a wonderful piece of machinery that did exactly what Edison expected of it, but no one wanted it so it was a commercial failure.

I think writers have it a bit easier.

We have all heard this advice countless times before: write it, make your story as good (within reason) as you can, and as long as you love the story, it will sell. To someone. At some point.

But it would seem to make sense to at least have a certain audience in mind before one sets pen to paper. As Russell Blake holds (point #11), know your audience before you write your book:

Read a fair amount of the genre, look at the reviews of your competitors, of the bestsellers in your genre. Figure out your audience before you start writing. (Russell Blake's 26 Tips On How To Sell A Lot Of Books, My Paraphrase)

How To Pick A Genre To Write In

1. Write what you love

I'm probably the worst person to give this advice, I love reading murder mysteries but haven't written a single one. And I love experimenting and often write in quirky genres. But (as I remind myself constantly) there's nothing wrong with writing for the market.  One just has to find a popular genre that holds one's interest.

Don't misunderstand, I think stretching oneself as a writer is both good and necessary; if we aren't growing we're devolving, atrophying. BUT the rent must get paid and there's nothing wrong with picking a popular genre to write a book in.

Recently I've done a number of posts on how many authors write as much as 3,000 (or more!) words a day and maintain this frenetic pace. I think that a big part of the key to success as a midlist writer is to find one, two or (possibly) three genres you like to read, genres you understand, and then familiarize yourself with what is expected.

2. Understand the conventions of the genres you write in

Deny your readers what they expect (that the crime will get solved, that the lovers will live together in bliss for the rest of their natural, or unnatural, lives, and so on) and no matter the technical merits of your book there'll be hell to pay.

I'm not talking about a formula, not exactly, but (for instance) a romance writer isn't going to get far unless she understands that sometimes readers insist on a "happy ever after" (HEA) ending.

3. Short is good

One of the keys to indie success is to produce new work quickly and regularly. Judging from what Nathan Lowell and Russell Blake have said, novels do better than novellas, but in the interest of producing a lot of work quickly you might not want to choose a genre, such as high fantasy, where readers are used to 120,000 word tomes!

Also, I've found that it takes me much more time to revise a 80k manuscript than it does a 60k one. The longer work requires a more complex story and with a more complex story more things can go wrong.

4. Make a long term commitment

This is related to point 1, pick a genre you love. Another point that Nathan Lowell and Russell Blake agree on is that writing books in series helps to build an audience. Russell Blake went so far as to say that books in a series sold four times better than his standalone books.

That means that whatever genre you write your book in it should be something you could envision making a long-term commitment to.

This is why I think it's a mistake to ever write in a particular genre solely for the money. Can you imagine being tied to a series that stretches to 20 or so books and absolutely hating it? This has happened to several well-known authors (Agatha Christie with Hercule Poirot and Sir Conan Doyle with Sherlock Holmes).

What genre(s) do you read? What genre(s) do you write in?

Other articles you might like:

- Russell Blake's 26 Tips On How To Sell A Lot Of Books
- Is There Such A Thing As An Aspiring Writer?
- Writing Exercise: Flexing Your Verbs

Photo credit: "HPIM0567" by enigmachck1 under Creative Commons Attribution 2.0.

Russell Blake's 26 Tips On How To Sell A Lot Of Books

Who Is Russell Blake? 

This advice comes from Russell Blake. So, before we roll up our sleeves and get into the nitty-gritty of advice giving and, perhaps, taking, let's see who this guy is. Russell writes:

By way of background, I write conspiracy-based action/adventure novels. I published my first novel on Amazon June, 2011. I published my 20th novel in April, 2013. My first month I sold about 7 books. In 2013, from the start of the year to today, May 7, I have sold just shy of 100K books, and look good to exceed 200K for the year by a decent margin. I do not sell books at .99, or $2.99, or $3.99. The vast majority of my titles are $5-$6. I lay this out there not to crow, but to establish why it might be worth considering my approach.

That means Russell has published 20 novels in 23 months. Wow. Just wow.

But, how much money has he made? Russell has sold 100k books at, say, $5 each. Let's say he gets 70% of that, so that's about $3.50 a book. $3.50 times 100k is $350,000. Divide that by 23 months and we get an average income of just over 15k a month. Nice!

Looks like Russell Blake knows what he's talking about, so let's check out what he has to say. How'd he sell 15k worth of books a month?

Russell Blake On How To Sell A LOT Of Books

1. Pick a genre you know and stick with it.

If you want to write different genres, use a pseudonym, and if you like, let your readers know that moniker is you. But stick to one name, one genre, because you're building your brand, and brand building is a function of clarity - clearly communicating what you do, and what your product is.

2. Write a series

Why? Because readers like series, and you want to give readers what they like. Or you won't sell as much. You can try stand-alone - I have - but my series outsell my stand-alone books 4 to 1. Once you have at least three books in the series, make the first one free. Make your money on the rest, but give readers a whole novel to decide whether they like you or not.

Also see: How to use the power of permanently free books to increase sales.

3. Write at least 3 novels a year: Momentum breeds success

Don't bother with short stories or novellas (40K or under) if you're writing fiction (non-fiction might do better) unless it's erotica or your name is Hugh. If fiction, write 60-90K installments in your series, and release them AT MINIMUM every four months. Every three months would be better. Every two, better still. Momentum breeds success, and readers have short memories. The current market is a hungry animal, and you need to feed it, or risk being forgotten by the time your next one releases.

That goes against what I had thought, that writing novels in series would be the most profitable because you would sell each book in the series and you'd get the revenue from bundling the books and selling them as a whole. Also, you can write a novella faster than a novel.

But, hey, there's no arguing with success, and Russell Blake has been very successful.

4. Read. A lot.

To write well, you need to read things that are well-written, and that serve to inspire you to greater heights or provide insight on how to improve your work in some way. You are what you eat. If you aren't reading a decent amount, start, because otherwise you're unlikely to write nearly as well as if you do.

I've never read a successful author talk about writing who didn't say this.

5. Write at least 1000 words a day

Allocate time every day to write, and be disciplined. I suggest minimum one hour per day, or 1000 words. I actually ignore that and shoot for 5000-7000 a day when writing a novel, but that's just my approach, and it's not for everyone. My point is that you must be disciplined about your writing and develop that muscle. If you don't make it a habit, you won't write enough to put out one novel every four months, and you'll already be way behind the curve.

6. Write 75%, Market 25%

I recommend a 75%/25% writing to marketing mix. So spend an hour writing every day, and fifteen-twenty minutes marketing (social media, blogging, interviews, message boards ...). Two hours writing, half hour to forty minutes marketing. And so on.

That's a sane approach. And if you want to market more you can, just write more.

7. Stay off the internet when you write

Set aside the writing time, and do only that. Leave placeholders for stuff you need to research later (XXX city is Y distance from ZZZ city, etc.). Stopping your writing to research breaks your momentum. Don't do it. Checking your e-mail, checking in with your facebook group, reading a tweet - none of these are going to write your book for you, so stop it already.

8. Get professional help to publish your books

Do pro covers. It's the first thing your potential readers will see. ... Get pro editing. You are asking people to pay for your product. They won't, and shouldn't, if you haven't ensured it is a pro product, which means it must be edited and proofread. If you're too cheap or too broke to pay an editor, barter something of value to get someone qualified to do it ...

9. Have a great product description

After your cover, the product description has to sell the book. Don't give too much info, don't spell out the plot like it's a test. Give the high points that will interest a reader in knowing more.

Trying to summarize your story in one sentence can help with this.

10. Make the first five pages amazing

You've got five pages to hook the reader, make those the best five pages you've ever written.

11. Know your audience before you write your book

Do a bit of market research and get to know your audience. Russell writes:

You do that by reading a fair amount in the genre, and by looking at the reviews of your competitors/the bestsellers in your genre. If you're writing for a genre that's 90% cat ladies, you need to know that going in. If mostly older males, know that too. Teen girls, ditto. Whatever your audience, figure it out before you start writing. Do a little research. It will pay dividends later.

12. Dream big

Turn your name into a brand. Russell writes:

As an example, Dan Brown is synonymous with a genre Umberto Eco pioneered with Foucault's Pendulum - the theology-based conspiracy treasure hunt. Nowadays, when readers try to articulate that, they say "it's a Dan Brown kind of book." You should live so long, but make that your goal.

13. Price competitively

Look at your genre. Where are most books priced? Are you undervaluing/underpricing your work? Price to sell, but don't go cheap, no matter what Locke or Hocking did years ago. Use low prices occasionally to move product, as promotional pricing. But price your product consistently with the rest of your peers. Over time, you can increase prices, if your product warrants it and your readership is willing to pay it. My advice here is don't price too low, or too high.

14. Always strive to improve. Always be learning.

15. As you get better, rewrite and republish your old work.

16. Keep in mind that each of your books could be a reader's first impression of you, so make each book your best.

17. When you write think like a writer but when you sell your books think like a business person

In the book selling business, saccharine bromides of "just go for it" and "follow your dream" are about as useful as a bowling ball to a fish. Writing is art and self-expression, something beautiful and intensely personal. Book selling is a commercial enterprise. Confuse the two, and you hurt any chances you have of success, if success to you means selling a bunch of books.

19. If you want to excel you have to do more and you can't give up

Look at what the average person does in their first year, and their second. That's average. It ain't pretty. If you want to be different than average in a good way, you need to do something better/different, and you need to make your own luck. Don't get bummed because you haven't been an overnight sensation. I sold $300 of novels in November, 2011, after six months of 15 hour days and seven releases. In December, 2011, I released five novels I'd been working on for months, to create a massive Xmas surge. I leaped to $1450. With a dozen books out. That's not exactly a ton for the big Xmas season. But I continued writing as though my work was in hot demand. And I kept investing in my product, losing money, until it turned the corner and I started making real money in Jan of 2012.

20. You have to promote your books

Book selling is a retail business, and retail businesses are promotions intense. You're only going to be as good as your last, and next, promotion. Promotions are a necessary fact of life in retail. You have to generate noise - the product won't do it by itself. There are millions of books out there. Yours are just more books. Figure out how to get some visibility. I won't advise you on how - there are plenty of 'experts' that will charge you $5 for a book on what worked two years ago. Simply put, it's constantly changing, so you need to experiment and push the envelope, share information with others and stay ahead of the curve. But if you aren't promoting, you're stalling. In business you're either shrinking, or growing. If you aren't promoting, chances are you aren't growing.

I think it's pretty uncontroversial that after you have 10 or so books out on the market it's a good idea to invest in some sort of promotion. Joe Konrath recommends BookBub.com and ebookbooster.com.

21. Have a business plan

[E]valuate what it will likely take to get where you want to go, and then calculate what it will cost - in time, effort, money. If you can't afford whatever that is, then you either need to scale back your goal, or you need to increase what you're willing to invest of yourself and your resources. 

22. Be yourself

Your readers will spot insincerity and be turned off. Be yourself. There are billions of people in the world. No matter who you are or what you're like, there are going to be a few thousand like you; all you have to do is find them.

23. Keep records

Keep track of what worked and what didn't.

26. Write the next book

Having said all this, your best chance of making it is always writing your next book. You should always be working on the next one, and the next, and the next. Nobody ever succeeded by quitting. So if you're going to do this, do it, stop whining, suck it up, and get to work.

Excellent advice!

The material I've quoted comes from Russell Blake's post on the Kindle boards, How To Sell Loads of Books - My Approach. FYI, Russell also has a similar post up on his website: How To Sell Loads Of Books.

Thanks to The Passive Voice Blog for talking about Russell Blake's post.

Other articles you might like:

- Is There Such A Thing As An Aspiring Writer?
- Creating The Perfect Sleuth
- Penelope Trunk Discusses Time Management

Photo credit: "Cheek" by daita under Creative Commons Attribution 2.0.

Is There Such A Thing As An Aspiring Writer?

I love this graphic.

Chuck's snickerdoodle of writerly goodness brings up an interesting topic. What is a writer?

What Is A Writer?

On the surface it's seems pretty easy: a writer is someone who writes. It doesn't matter if you've ever been published, it doesn't matter if you've sent any of your work out to be published. If you write, you're a writer.

Clearly, if a person never publishes they can't use the money from their work to support themselves so they're not a professional writer. But that's okay.

If you write, you're a writer.

Of course there are still things to figure out. For instance, what if I only write one day a week? What if I only write one day each month? Each year? What if I just intend to write and never get around to it?

We can look at a person with a full head of hair and say, with confidence, "Not bald," and we can look at another person who lacks any hair and say, "Bald," but what about the in between cases? What about someone who has some hair but is follicly challenged?

I suppose the temptation is to call someone who likes the idea of writing, or perhaps of having written, but never gets around to actually writing, an aspiring writer. It's an inclusive term, it cheers a prospective penmonkey on and reinforces their desire to write while acknowledging it hasn't happened. Yet.

There Are Reasons Not To Write

That's how I take it, the graphic Chuck made, as a call to aspiring writers to get rid of the "aspiring" part of their self-definition and sit down, face their demons, and write.

A lot of writing isn't easy and it isn't fun. It's hard work. It's about bleeding on the page, about reaching inside yourself, looking at your demons, and then putting those most intimate parts of yourself on display for anyone to see and comment on.

When a person says they're an aspiring writer it means they want the afterglow of looking at the words birthed without going through the labor of producing them. They want the thrill of looking at their name on a book without the gut-wrenching terror of realizing their most intimate truths are available for perusal for the cost of a few dollars.

Sometimes I think writer's block is less a malady as it is a call to sanity.

And yet ... I can only remember one writer who ever retired. Many say they will--they threaten to, they dream about it--but most never do. There's something about the thrill of getting it right, of being able to communicate to someone else exactly what one intended. Of the transmission working and having just the effect one wanted.

But, really, much of the time writing is just putting one word after the other, even when it feels as though you're writing something as interesting as cardboard. It means writing, and finishing what you write, even when it doesn't feel glamorous, interesting, agonizing or exciting.

For great writing about writing, see Neil Gaiman's NaNoWriMo Pep Talk and his 8 rules of writing.

What about you? What do you think of the term "aspiring writer"? Is it a monstrosity of nomenclature or a useful term of inclusion?

Other articles you might like

- Writing Exercise: Flexing Your Verbs
- Chuck Wendig's 9 Tips For Writing A Million Words A Year
- How To Get Over A Destructive Critique

Photo credit: Chuck Wendig (aka Curious Spider) licensed this (see the top of the page) graphic (On "Aspiring" Writers...) under a Creative Commons license: Attribution-NonCommercial-NoDerivs 2.0 Generic. This means that as long as you give Chuck credit for making it, don't make money off it, and don't change it, you can use it however you like.