Author Archives: Amanda

About Amanda

writer, mother, owned by a cat and not necessarily in that order.

Watch where you step

Yesterday, I went browsing through sites like Publishers Weekly and The Passive Voice, looking for inspiration for today’s post. I’m not too proud to admit my brain is still in that post-publication funk, a funk aided by the fact my work computer (a really nice Asus ROG less than 7 months old) had to be sent back to ASUS for warranty work. That’s meant making sure all files were backed up,the laptop reset to factory settings and then setting up the secondary laptop as the current work machine. So, with all that going on, I felt sure I’d read the article wrong when I saw something about Cory Doctorow setting up a “store” to sell e-books traditionally published.

Okay, that sentence was a bit awkward, so let me try again.

Cory Doctorow, long a supporter of Creative Commons, is setting up an online bookstore to see e-books that were traditionally published.

I’ll give you a moment to consider that statement.

From the start, it is clear Doctorow has fallen victim to the Amazon Derangement Syndrome.

Buying an e-book from a website and sideloading it onto your Kindle will never be as easy as buying it from the Kindle store (though if the world’s governments would take the eminently sensible step of legalizing jailbreaking, someone could develop a product that let Kindles easily access third-party stores on the obvious grounds that if you buy a Kindle, you still have the right to decide whose books you’ll read on it, otherwise you don’t really own that Kindle).

Hmm, so he has an issue with Kindles because you can’t buy directly from other stores. Guess he hasn’t tried using e-readers from other stores or had to deal with some of the problems i-Pad owners have had in the past when Apple decided you couldn’t buy from in-app or you had to sideload. Or let’s not forget about the issues Nook owners have faced either. But Amazon is the big evil. And what do you mean “you don’t really own that Kindle”? Just because a tablet might not do what you want it to, it doesn’t follow that you don’t own it. His logic fails him.

As an author, being my own e-book retailer gets me a lot. It gets me money: once I take the normal 30 percent retail share off the top, and the customary 25 percent royalty from my publisher on the back-end, my royalty is effectively doubled. It gives me a simple, fair way to cut all the other parts of the value-chain in on my success: because this is a regular retail sale, my publishers get their regular share, likewise my agents. And, it gets me up-to-the-second data about who’s buying my books and where.

He’s right here but this is also where his reasoning hits me as being “off”. Yes, if he owns his own bookstore, he gets all this. But he also gets the headaches of operating it, the costs of operating it, etc. Now, I hear you saying he’s been doing this for years already. Yes, but that’s been for his indie books. Now he is talking about selling for trad publishers. That means he is giving them money and doing for them what they should be doing for him.

Remember, writers, the money is supposed to flow to you and not the other way around.

Ah, then you read on a bit further and remember the political diatribe he went on at the beginning of the article and realize that’s what is behind it. Politics. He hates Trump. He wants to reach out to markets ignored by Amazon and others.

Whatever.

The Digital Reader has an excellent post about Doctorow’s announcement. “I want to point out Doctorow’s blind spot: the unwarranted assumption that authors need or even should be doing business with publishers. . . But like many pioneers, Doctorow advanced only so far. He never managed to shed his original assumptions and keep up with the times.”

That last statement hit home with me. One of the things I, as well as the rest of us here at MGC, strive to do on an almost daily basis is see what is going on with the industry, both trad and indie. We are constantly looking for new ways to promote our work, newer and easier ways to put our books together and make them more appealing in look and content. Some of us have been doing this long enough to remember hand-coding the html for e-books. At least one of us has had to show traditional publishers how to make text in an e-book look more like what you get in a printed book (effects, etc.). In other words, we haven’t sat back and rested on what we first learned while the indie industry passed us by.

So, what is it Doctorow wants us to do? He wants us to act as shills for traditional publishers. You know, those folks who, before they sign an author to a contract want us to do our own marketing, have a blog, be active on social media and already have a platform and built-on audience. And, before you say anything, unless you are King or Patterson or the “new big thing”, any marketing the publisher is going to do for you is basically nil beyond getting your book into the catalog sent to booksellers. So, you have to do the job of marketing your book, something they used to do.

Now Doctorow wants us to add to that by selling e-books for traditional publishers, accept and handle all payments (and that will include returns and making sure all tax laws are followed and tax reporting done) and then remit money to the publisher.

My only comment is “WTF?!?”

The Passive Voice says it best, “PG delayed posting about Doctorow’s plan because he was waiting for someone to propose a theory about why an intelligent trad-pubbed author would try to sell books directly from some strange organization for side-loading onto a Kindle. What kind of service is that for an author’s readers? Who do those readers call for tech support when the ebook file won’t load?”

Above and beyond the fact that selling e-books on your site for publishers (when they should be the ones selling your books) makes my head hurt, there’s something else Doctorow didn’t take into account. As I write this, my 85-year-old mother sits across the room from me reading on her Kindle Fire. She gets her Kindle. She gets the books downloaded directly there after I buy them either from the Amazon site or through the app on my tablet. If she had to sideload a book, she wouldn’t do it. For one, it is a hassle. For another, she isn’t anywhere near geeky enough to understand the process.

Then there are those who don’t have computers. Yes, yes, there really are folks like that. Some are older, like my mom. Others spent their working lives dealing with computers and never want to see another ever again. They might compromise with a smart phone but that’s about it. So, Mr. Docotorow, how are they supposed to sideload?

Doctorow has clearly fallen victim to Amazon Derangement Syndrome and forgot to look where he stepped.

***

Now for my bit of marketing.

Dagger of Elanna (Sword of the Gods Book 2)

Plots form, betrayals are planned and war nears.

Cait Hawkener has come to accept she might never remember her life before that terrible morning almost two years ago when she woke in the slavers’ camp. That life is now behind her, thanks to Fallon Mevarel and the Order of Arelion. Now a member of the Order, Cait has pledged her life to making sure no one else falls victim as she did.

But danger once more grows, not only for Cait but to those she calls friends. Evil no longer hides in the shadows and conspirators grow bold as they move against the Order and those who look to it for protection. When Cait accepts the call to go to the aid of one of the Order’s allies, she does not know she is walking into the middle of conspiracy and betrayal, the roots of which might help answer some of the questions about her own past.

81 Comments

Filed under AMANDA, WRITING: PUBLISHING

Keeping Track

One of the difficulties writers face, especially when they have several series of books going at one time, is keeping track of everything. Some writers manage to keep everything straight in their heads. Others have complex story bibles that have almost as much information in them as their novels do. Still others have handwritten notes scattered around their work area — and who knows where else. Then there are those who stop writing when they get to something they can’t remember and go looking for the answer in earlier works. As with the writing process, there is no one true way to keep track of your characters, different plot points, etc. The key is finding one that works for you.

And that is something I’ve been trying to find for the last couple of years. I’ve looked at examples of story bibles and, I’ll be honest, most of them take more work than I want to do. I’m not kidding when I say I’ve seen character sheets that have more than 100 questions you are supposed to answer about every major and important character in your book. Sorry, but nope. If I have to do that, I’m not going to do it. Or, if I do, I’m going to be too tired of the character to write them.

I’ve had friends tell me I need to just work out an Excel spreadsheet and fill in the blanks. Well, the first problem with that is I don’t like Excel. I can use it but I don’t want to have to unless I’m figuring out my budget or my expenses.  Besides, it also means coming up with a format that I not only like but that is easy to navigate. Using it with my writing is, well, too much like work. So, nope, not gonna happen.

Other suggestions have been to find a fan who would be willing to go through my books and build the “bible” for me. I’ve done that before — waves at Sarah — and there’s a problem. The author has to be able to tell the volunteer the format she wants or it isn’t going to work. After all, what seems totally reasonable and logical to one person won’t necessarily appear that way to another. Also, the information I might think important to be included might not seem so obvious to the person doing the compilation for me.

So, when a writer friend of mine, Mackay Chandler, posted on his FB wall last week that he was looking for recommendations for programs to build his story bible, I sat up and took note. For one, I figure Mackay wouldn’t want to spend any more time than I would learning a program. For another, I respect Mac as a writer and was curious to see what he wound up selecting.

Several f0lks recommended he do a wiki. I’ll admit, my reaction to that was skepticism. I wanted a program that I could host on my laptop, not on someone else’s online servers. I didn’t want to have to rely on being online to access the bible. Nor did I want to trust anyone else’s hardware to host my work. Still, a wiki did intrigue me but not as long as it was online only.

Someone, and it might have been O’Mike, recommended Zim Desktop Wiki. Based on some very preliminary thoughts on the program Mac had, I went ahead and downloaded it for myself. I spent most of Monday playing around with it and, much to my surprise, I not only like it but have found it easy to set up so it makes sense to me.

The first series I’m using it with is Nocturnal Lives. The decision was sort of a no-brainer since Nocturnal Rebellion is the current work-in-progress. The series consists of four novels and a novella and, I’ll be honest, I don’t remember all the character names and descriptions. So I needed something to keep me from having a manuscript filled with [ ] which is my shorthand to go look something up.

The first thing I needed to do is decide what my basic setup for the wiki would be. After some trial and error, I came up with a pretty basic setup. There is a homepage, a section for the novels, a section for the novella, one for characters and one for special terms.

Here’s a shot of the homepage. Note, all images can be clicked on and they will open up in larger format.

As you can see, there are live links on the page that will carry me to the pages. The navigation pane at the left of the page can be opened up as well and used to go to any of the pages or sub-pages.

For the novels, I set up a section that lists each of the novels. They, in turn, have their own page and sub-pages. When they are finished, the main page for the novels will include the cover image and blurb, along with order links, publication date and other related data. Here’s what I have so far.

For Nocturnal Origins, here is the preliminary page. You’ll note I have links to two sub-pages. The first is locations. This will open to another page that will then link to individual pages where I describe the different locations in this book, importance to the story, etc. The second is “manuscript”. After some thought, I decided I wanted the actual text of the book included in the wiki so I could check back and forth as needed. So, under manuscript, each chapter has its own subpage.

Here is an example of one of the location pages. It describes the basics of Mac’s house (up to Chapt. 10 where I stopped for the day yesterday).

Then here is an example of a character sub-page, again, not complete. You will see some links are present and there are others that need to be put in. I’ll go back and do that over the next few days as I finish setting up the wiki.

Finally, here’s a picture of the first page of the book. The links will take me either to a character page or location page.

This program is extremely simple to use, fairly intuitive. The manual is decent but there are some good videos on youtube as well as third-party sites with how-to’s on them. I’ve spent more time trying to determine how I want the wiki set up than anything else. You can export the wiki, or notebook, as an html file, so you have multi-platform use if you want to play with it that way. You can also then upload to your own site if that’s important to you.

Is this the file for you? I don’t know. That’s a question only you can answer. But, for me and for what I need, it works.

Oh, yeah, the other thing I need to do is a bit of promo. Yeah, yeah, I know. You didn’t come expecting an ad. I can’t help it. I’ve got a book coming out tomorrow — and it is available for pre-order now.

Dagger of Elanna (Sword of the Gods Book 2)

Plots form, betrayals are planned and war nears.

Cait Hawkener has come to accept she might never remember her life before that terrible morning almost two years ago when she woke in the slavers’ camp. That life is now behind her, thanks to Fallon Mevarel and the Order of Arelion. Now a member of the Order, Cait has pledged her life to making sure no one else falls victim as she did.

But danger once more grows, not only for Cait but to those she calls friends. Evil no longer hides in the shadows and conspirators grow bold as they move against the Order and those who look to it for protection. When Cait accepts the call to go to the aid of one of the Order’s allies, she does not know she is walking into the middle of conspiracy and betrayal, the roots of which might help answer some of the questions about her own past.

46 Comments

Filed under AMANDA, WRITING

Time to Change

Last week, a number of companies released their financial reports for the last quarter of 2016. Among those doing so was Barnes & Noble. The bookseller, that has seen a revolving door in the CEO’s office over the last few years. Leonard Riggio is now back in charge, at least temporarily, and he addressed his stockholders after the release of the figures.

The good news is that B&N did post a profit of 96 cents (per share, I assume). The bad news is that the forecast profit was $1.13. The worse news was that same store sales fell 8.3% (as compared to the same period the previous year). This was the worst performance for the chain in the “holiday quarter” since 2005. The result saw stock dropping 9.1% (intraday drop). That comes on the heels of an 11% drop for the year.

The Nook and its related products, including content, completely failed to deliver. According to Bloomberg, linked above, sales “of Nook content, devices and accessories fell 26 percent.”

Another indicator that the publishing/book industry has become one that relies too much on “trend” buying and not in building a solid customer core by expanding their mid-list offerings, etc., is that BN knew the quarter would be weak “in part because sales of coloring books and other art supplies have slumped. That category had helped prop up results the previous year.” We’ve seen this sort of thing in YA sales when the Twilight series ended. In adult fiction sales when the 50 Shades trilogy ended and now, this past year, with coloring books no longer being the rage. Were publishers ready with something to take their places? No. Because they were still trying to push the trend with pale versions of what had been “hot”. Again, when publishers pared out most of their mid-list, those authors whose books they could always count on selling, they hurt themselves as well as bookstores.

Several things hit me as I read various articles about the earnings report. The first was that BN has been rudderless for so long, because of the turnover in the CEO’s office but also in its failure to adapt to the changing demands of its customers, that it might not be long for the retail world. If written before about how it needs to lessen its retail footprint. The overhead of running the hugs “superstores” is no longer justified in most instances. Before leases are up, it needs to be making the hard decisions about what stores should be closed due to under-performance and what stores should be moved to smaller real estate footprints. Doing this would serve several purposes, all of which are positive. First, it would lessen the financial hit the company takes in leases and related expenses. Second, with less space to fill, it could then sit down and do a serious look at what BN is going to be going forward.

It is easier to be a bookseller if you aren’t trying to pay the rent, utilities, etc., for a building you can no longer afford to stock with just books. We see this with the resurgence of indie bookstores. They are moving into small storefronts — sort of like what they did before they were driven out of business by the big box bookstores like BN and Borders. If BN truly wants to continue being a bookseller, it needs to take a hard look at where its money is going and how wisely — or foolishly — it is being spent.

It also needs to understand that e-book fans are not the enemy. We buy books too. But we also, or at least a lot of us, buy print books and magazines. Give us a reason to come into your stores again. Let us actually see books when we walk in instead of non-book related items. Give us employees who are knowledgeable about your stock and enthused about books. I miss the days when I could walk into a BN, be greeted by name and have someone take me over to the shelves and shown a new book they think I might like.

Put comfortable chairs back into the stores and even the small reading areas. Sure, some folks came in and spent hours reading without ever buying anything. Guess what? That’s okay. It builds up goodwill with them as customers and they will come in later to buy something. Even if they aren’t buying a book, they are buying coffee and food at the cafe. They are talking to their friends and families about what they read, how nicely they were treated, etc.

Now, the problem doesn’t just rest with BN. What is happening with BN is indicative of what is happening with the publishing industry. Major publishers are still trying to convince themselves that the reading public wants things they way they did 20 years ago. Publishers price e-books so high, their sales suffer. Then they point out how their digital sales dropped. You can see the glee in their eyes because, to them, it means people really want print books.

Sorry, but no. It means people are finding other ways to get that e-book they want to read. They check it out from the library. Don’t ever forget that most libraries have the capability of checking out e-books and audio books. It also means people are turning to smaller presses and indie authors to feed their reading habit. E-books, like it or not, are here to stay and readers are smart enough to know that an e-book, especially when publishers say you don’t actually own it, should not cost the same as a print version.

Then there is the attempt to survive by going from trend to trend. There aren’t enough words to explain how foolish this is. Yes, publishing has always been an industry where editors have been in competition to try to figure out what will be the next best seller. However, in the past, they also knew they needed a backbone of mid-listers who basically supported the publishing house. These mid-listers might never sell as many books per title as a best seller. However, those mid-listers had a fan group that could be counted on buy pretty much anything and everything their favorite authors put out. That, my friends, was guaranteed income and it was what the publishers used to keep their houses profitable and successful over the years.

Unfortunately, a few years ago, publishers decided they needed to clean house to decrease their expenses. Not only did we see a number of editors and other employees being let go – resulting in more work being outsourced – we saw a number of mid-listers being cut loose. When that happened, guaranteed income was lost. Now publishers and, because they are tied to closely to publishers, bookstores, rely upon trends to keep them afloat. Because of this, we see things like entire lines of books being recalled or delayed so the publisher can “rebrand” them to look like 50 Shade of Grey. Go talk to some of the authors involved in that debacle. How many saw sales go down the tubes because their books were delayed or because their book looked like every other one on the shelf and readers couldn’t tell if they’d read it or not.

Because there was nothing on the cover or in the blurb that made it stand out from every other book.

This lack of foresight, this lack of originality, is what is hurting the industry. Add in the fact that, for whatever reason, publishing doesn’t seem able to adapt to changing customer demands, and I find myself wondering how long it will be before we see the major publishers shrinking in number again. They can continue to blame Amazon for their problems but the real problem is they refuse to take an honest, deep look into their own practices. They need to allow store managers to order stock — and arrange displays — to appeal to local customers.

A store in El Paso, TX shouldn’t look like the store in Times Square or Seattle. Employees should be required to know the stock. Hell, if you work in a bookstore, you should be able to talk books with the customer.

Right now, BN is suffering from an identity crisis. Partly because of its leadership failing to adapt to changing times and partly because of problems in the publishing industry. Mr. Riggio and others need to understand that people aren’t staying home because they are watching TV. We are staying home because you aren’t offering us the shopping experience we used to get when we went to your stores. We want bookstores to be, well, bookstores. We want to be able to browse and sit and read and have a cup of coffee. We want to see books when we enter and not Nooks and toys and who knows what else. We want books.

 

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Filed under AMANDA, WRITING: PUBLISHING

Say what?

In one of my rare breaks from the keyboard yesterday, I went wandering around the internet in search of inspiration for today’s post. I’ll be honest. I thought the search would be fruitless. Why? Because so much digital space was being wasted on conspiracy theories about Envelope-gate from the Oscars or more screaming about politics. Then, there it was. A story that had me looking at my screen, looking away and then looking back, sure I wasn’t reading what I thought I did.

Nope. I read it right. After beating my head, figuratively at least, against my desk, I put the link in a private writer’s group I belong to and waited to see if they had the same reaction I did. It didn’t take long for the responses to roll in and they were all about the same as my own. Imagine a group cry of “WTF?!?” going up, followed by shaking of heads and chuckling and then each of us shuffling back to our keyboards to get back to work.

What, pray tell, caused such a reaction, you ask. The answer is simple. This article chastises indie authors for writing too much, too fast. The author of the article is Michael Cristiano who works in editing and acquisitions for Curiosity Quills Press.

As I started reading his post, I had a feeling I wasn’t going to like what he had to say. After all, when someone begins with “I’ve been a little wary of the potential backlash I might face,” you get the impression that he is either going to strike right at the heart of some sacred screed of writing or he’s about to go political. When that is followed by admitting there is no one right way to write, that everyone’s process is different but. . . well, he just foreshadowed how he is going to begin telling us that there is a rule we must all follow and it is his rule.

Guess what that rule is?

We, as indies, are to slow down.

Wait, let me do that the way he had it in the post. We are to SLOW DOWN!

Today in the publishing industry, especially in the indie-author market, quantity is king. I’m not saying that quality isn’t being taken into account, because to some extent it probably is, but there is a new mantra for indie authors like myself: write a lot and publish as often as possible. That means that some authors are publishing three or more novels a year, sometimes as many as ten novels a year.

That one statement is enough to justify the author’s concern that he would take flak for the post. As he should. The chutzpah of assuming to know what drives the indie movement is mind-boggling. I don’t know any indie author who takes their work seriously, who has pride in what they do, who is more concerned with how often they click the publish button more than they are about putting out the best product possible.

Are there exceptions? Of course there are. But they are, pardon the pun, the exceptions and not the rule. But let’s continue.

Apparently, according to the OP, publishing three or more novels a year is a bad thing. Hmmm. Wanders over to Amazon to check my author page. I published three novels, a short novel of approximately 40k words and two short stories, both of which were between 10k -20k words. I guess that makes me a bad author because I write too fast. Funny thing, I have folks who are constantly asking me why I don’t write faster because they want to read the next entry in of series or another. Does that make them bad readers?

Okay, second amendment (and I’ll be generous): I judge authors who release three or more books within a year ESPECIALLY if the three books are not part of the same series.

Wait, what?

So, here is an author who begins his post by telling us there is no one correct way to right who is now telling us there is? Bad Amanda, you have now broken two of his rules. You put out three or more books in a single year and — gasp — they weren’t part of the same series. Oh woe is me. What am I ever to do? I know. I’ll tell the readers of the Honor and Ashes series, as well as the Nocturnal Lives series and Eerie Side of the Tracks series that they are going to have to wait at least another year or three for the next book in their favorite series while I finish the Sword of the Gods series. I’m sure they’ll understand and wait patiently for me to get around to writing the books they like. Oh, and I’m sure they won’t forget about the series at all as they wait years and years for the next book to come out.

NOT!

I don’t know the OP’s writing process any more than I know that of any other writer except, perhaps Sarah’s and Kate’s because we tend to bounce ideas off one another. For me, I need to step away from a series after writing a novel and, perhaps, a short story, for a while. By doing so, it lets me get a clearer perspective on what the plot for the next entry in the series should be. Yes, I could do that by simply not writing anything else for several months after publishing the latest book in the series but I’m a writer. I make my living writing. If I spend months not writing, I am not doing anything tangible to increase my income. So, instead of sitting around, twiddling my thumbs until my head is ready to wrap itself back around the next book in a particular series, I move on to something else, something different form what I just spent the last few months researching, writing, editing, formatting and then publishing.

I’m sorry: a writing career shouldn’t be a puppy mill of stream-of-consciousness vanity projects.

Wow. Condescending much? Even giving him the benefit of the doubt and assuming that by “stream-of-consciousness” he means pantsing — and I don’t think he does — the “vanity projects” kills me. But it gets better.

I just don’t see how anyone has the time to publish more than three novels a year AND maintain consistent literary quality.

So, because Mr. Expert here can’t figure out how to do it, none of the rest of us can either. And remember, he started out by saying there are no two processes that are the same and no one “right” way to write. I guess that’s right, as long as you also accept his exceptions to those two rules.

He has a series of questions about how long you spend writing, how many drafts you write, how long you edit, etc. Then he comes up with this little gem.

Sure, if you’re a full-time writer and you have a really quick team of beta-reader/editor-robots, you could have a really good, polished manuscript in a year. Eight months if you’re lucky.

Now, show of hands. How many of you are laughing hysterically at this point? For one, I have this vision of robots sitting at desks, red pencils in hand, editing.

What the OP is forgetting is — gee, I think I mentioned this earlier — that no writer has the same process as the next writer. We write at different speeds and in different manners. Some of us are pantsers — hi, Kate! — and others are plotters. Some do a bit of both. Some authors put out a rough draft that is publishable with very little content editing needed — hi, Sarah! — and just a bit of proofing. Not every author needs to do three or four or six rough drafts.

Also, the more you write, the more you study the craft, the better you get. When I started out, I was lucky to get a book out a year. Why? Part of it was confidence. Part was that I needed heavier structural editing than I do now. Part was I couldn’t let go of a manuscript and wound up editing the life out of it. Ask Sarah. She got to the point of threatening to publish my work and then tell me about it because I was doing so many editorial passes.

So, where’s the sweet spot? How many novels should you release a year in order to ensure highest quality? I don’t know, frankly.

Wow, after telling us for how many hundreds of words that he knew and if we were releasing more than two or, at most, three books a year we were doing it wrong, he now says he doesn’t know? Surely there’s a catch. Ah, there is. You see, according to him, a book is like good wine or cheese. It has to age. So, if you haven’t taken enough time — whatever that means — you aren’t putting out the quality of work he wants.

Too bad he judges by the number of books an author releases and not by, gosh, actually reading the book. But I guess he’s afraid he might get the equivalent of moldy cheese and he doesn’t want to ruin his literary palate.

I will admit he is right on one thing. You shouldn’t release novel after novel just to inflate the number of titles you have out there. But to say it is nigh on impossible to produce quality work more than once or twice a year is to insult every indie author — and traditionally published author — out there who does just that.

I assure you, I will continue putting out more than one or two books a year, real life willing, as long as I am satisfied with the quality of the work. I will work on more than one series at a time because that helps keep it all fresh for me. Unlike the OP, I am a working writer, like so many of you. This is how I make my living. I don’t have the time to go backpacking around the world — or the spare cash to do it. So I write. As long as I have people out there wanting to read my work, I will continue doing so.

And so should you. Write at your own speed. Use your own process, as long as it works for you. And ignore everyone who tells you you are doing it wrong just because it isn’t the way they do things.

***

And, just to show I am doing it my own way, linked below is the pre-order page for the second book in the Sword of the Gods series. The first book, Sword of Arelion (Sword of the Gods Book 1), is currently available for purchase.

Dagger of Elanna (Sword of the Gods Book 2)

Publication date – March 15.

Plots form, betrayals are planned and war nears.

Cait Hawkener has come to accept she might never remember her life before that terrible morning almost two years ago when she woke in the slavers’ camp. That life is now behind her, thanks to Fallon Mevarel and the Order of Arelion. Now a member of the Order, Cait has pledged her life to making sure no one else falls victim as she did.

But danger once more grows, not only for Cait but to those she calls friends. Evil no longer hides in the shadows and conspirators grow bold as they move against the Order and those who look to it for protection. When Cait accepts the call to go to the aid of one of the Order’s allies, she does not know she is walking into the middle of conspiracy and betrayal, the roots of which might help answer some of the questions about her own past.

64 Comments

Filed under AMANDA, WRITING, WRITING: CRAFT, WRITING: LIFE

What to do? What to do?

As Dave alluded to yesterday, Sarah threw down the challenge gauntlet over the weekend. She tagged Dave, Kate and myself and “asked” which of us would be the first to fisk the article Dave linked to about publishers hiring “sensitivity readers”. Fortunately, Dave beat me to it. However, that doesn’t mean I don’t have a few things to say about it — hey, you knew I couldn’t let him have all the fun — as well as a couple of other things happening in the industry. So grab your morning coffee, sit back and hold on because it’s been a somewhat bumpy ride in the industry news of late.

First up, the ongoing tug-of-war indie authors face when it comes to publishing. No, not where to list their books. There are any number of outlets where we can post our books for sale. For those of us in the US, we have four major outlets: Amazon, Barnes & Noble, Apple and Kobo. If you have the right equipment — thanks, Apple — you can upload your books to these outlets yourself or you can go through a third-party like Draft2Digital. No, the real issue facing indies comes to what format(s) you are going to release. Despite what so many articles and “polls” would have us believe, the e-book market is still going strong. There are many indie authors who make more than their traditionally published counterparts.

The question we face is actually two-fold. First, do we release print versions of our books? Second, what about audio books?

The first question should probably be rephrased to “why should we re. lease print books?”. The truth is the vast majority of indie authors who release print books see no real sales from those books. We offer print copies not because we expect to make money from them but because it makes our product pages look more “professional”. Having print books also means we have copies to take with us to conventions or when we do speaking engagements. It’s an ego thing as well. So many of us still have that niggling voice of doubt in the back of our minds that tells us we aren’t real authors unless our books are in print.

But, can we really justify the time and, yes, money involved in putting out a book in print? The time isn’t that much, not once you have a good template in place and know how to use it. Then you only lose a couple of hours in transitioning from the final version of your manuscript to your interior file. Add another couple of hours to pull together your cover flat, assuming you do that yourself. After all, you need a different sized cover image from what you used for your e-book cover. You need to design the spine and back cover as well. Then you have to fit it to the template and submit it. Then you wait to see if it passes inspection wherever you are creating your print books.

But that isn’t all. To have a print book, you need an ISBN. Sure, you can go with the free ISBN from Amazon/Createspace if you want but there are downsides to that. Your imprint will not be listed as the distributor. You have just slit your metaphorical throat when it comes the very slim chance of seeing your book in a brick and mortar bookstore. So, if you think you might be able to convince a bookstore to stock your title, you have to pay for an ISBN and then hope that happens and, to be honest, it will be a cold day in Hell for most of us. Why? Because the large brick and mortar stores are told from their home offices what books to stock and there is little leeway left for them. As for the locally owned indie stores, you have to be able to show them that there will be a demand for your book. It’s one of those situations where they have to see a demand but if the book isn’t in the stores, how can there be a demand?

There is another form of “book” more and more indies are turning to and making good money from — the audio book. But it, too, has pitfalls. You have to have a file that Amazon and the other outlets will accept. You have to find a narrator who can and will do justice to your prose. That narrator has to be paid. Do you pay them a set fee up front, praying you make that money back? Or do you ask them to take a percentage of whatever you make on audio sales? Then there is, again, the time involved for the author to review the audio file, making sure the narrator didn’t go off the deep end somewhere along the way and start reading another book in the middle of yours or that the audio quality didn’t suddenly go down the metaphorical drain. I’ll be honest. I’m hoping to do audio books — I’m looking at you, D. — but won’t know for sure for a few months.

All of this is a long-winded way of saying that authors need to look at their sales, their plans and what sort of impression they want their product page to make before determining what formats they release and why.

Okay, next up is a warning from Writer Beware. There was a time when you had to have an agent if you wanted to be published. Even now, if you want to be traditionally published, most major publishers require you to submit your work through an agent. However, that is often not the case if you are looking at mid-sized or small press publishers. When indie publishing really took off, a number of literary agencies opened publishing arms to “assist” their authors in their indie endeavors. Several of us here at MGC raised concerns about potential conflicts of interest then.

Writers Beware, in this latest warning, reminds authors looking for agents that there are certain things we should do before submitting to an agent, much less signing with them.

  1. Check sales from the agency. In other words, look at who they say their clients are and what titles they have sold for those clients. See who the publishers are. If the agency seems to have sold more titles to mid and small-sized publishers, check the publisher pages to see if they require submissions to come through an agent. Heck, check the major houses as well because some do have imprints that allow for direct submission. In other words, if the agency is mainly selling to publishers that do NOT require agented submissions, thing twice before going with that agency. Ask yourself if you would be happy selling to these same publishers and, if so, ask why you would want to pay someone to do something you can do yourself. (that someone being the agent)
  2. If an agent offers to represent you but says your manuscript needs editing and says they know a freelance editor you can hire, check to see what sort of relationship might exist between the agent and editor. In the situation presented by Writer Beware, the agent in question and the recommended editor apparently have some sort of personal relationship. This relationship wasn’t revealed to the potential client. That is a huge red flag for me. Always remember that the agent is supposed to work for the author and put the author’s interests ahead of everyone else.
  3. Look at how long the agency has been in business and how many books they have sold to publishers — and look at who those publishers are. You want an agent with a track record that shows not only sales but sales to reputable publishers.
  4. Probably most important in the long run, if the agency contract includes the “interminable agency clause”, run away. Run far and run fast. This is the clause that grants the agent representation of the book for the life of the copyright. In other words, basically they hold the book — and get to collect on royalties, etc — for as long as the book is in copyright. You do NOT want this.

Finally, on sensitivity readers, let’s be honest. Most writers aren’t out there trying to appropriate anyone else’s culture. Nor are they out there trying to insult their readers. What has happened is publishers are now so worried they might put out a book that will upset a single reader that they are bending over backwards to make sure no one gets their feelings hurt. The result is that they are instead putting out books that are turning away readers. Why? Because these publishers are trying to be so “diverse” that they are sacrificing plot to make sure no one is upset.

As writers, we are told we can’t write what we don’t know. For example, if you weren’t raised in a certain certain economic condition, you can’t write about it. If you aren’t the same race or sex or gender of your main character, you shouldn’t write about it. Yet, on the other hand, we are told we need to diversify our characters and plots. It is a catch-22, one that is currently bringing many writers to a screeching halt because they don’t know what to do.

My advice is to quit worrying about what these folks are saying. Write your book. Write it the best way you can, using the characters and settings you feel best suit the plot. Do your research. Talk to people. But put your butt in your chair and write. Then send your book out to your beta readers. Workshop it in your local writers group. Listen to what they have to say. Then decide if the book is good enough to send to traditional publishers, if that is the route you want to go, or to release as an indie.

What publishers forget is that there is a market for everything, good and bad, offensive and inoffensive. That is the great thing about the reading world. The only difference is the size of the audience. So write the book you want to write and then , once you have released it into the wild, sit down and write the next book. That is what writers do. Write the story you feel needs to be written. No one else will, at least not in the same way you will.
***

Dagger of Elanna (Sword of the Gods Book 2)

Now available for pre-order.

Plots form, betrayals are planned and war nears.

Cait Hawkener has come to accept she might never remember her life before that terrible morning almost two years ago when she woke in the slavers’ camp. That life is now behind her, thanks to Fallon Mevarel and the Order of Arelion. Now a member of the Order, Cait has pledged her life to making sure no one else falls victim as she did.

But danger once more grows, not only for Cait but to those she calls friends. Evil no longer hides in the shadows and conspirators grow bold as they move against the Order and those who look to it for protection. When Cait accepts the call to go to the aid of one of the Order’s allies, she does not know she is walking into the middle of conspiracy and betrayal, the roots of which might help answer some of the questions about her own past.

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Filed under AMANDA, WRITING

Beginnings, endings and everything in-between

I’m not sure I’ve mentioned it here — I know I have over on my blog — but I got jumped about 9 days ago with a new novel. Well, new in the sense that it hasn’t already been written. Not new because I knew I had to write it and had planned to get to it this summer. Oh, yeah, new in that this novel doesn’t remotely resemble the book I had planned in my head. Yeah, yeah, my muse is evil but we all know that.

Now, I don’t have time to sit down and write an entire novel out of my publication order. I keep telling myself that. More importantly, I keep telling Myrtle the Muse that. So, I bargained with her — what, don’t all writers bargain with their muses? And no, it’s not like bargaining with the Devil. Myrtle makes the devil look like a rank amateur. — and we agreed that she would get one week, give or take a day or two, to get the basics of the book down. Then I had to get back to the final editorial check and formatting for Dagger of Elanna (Sword of the Gods Book 2). Hopefully, Myrtle is going to stick with our agreement. Otherwise, I may have to murder my muse and I learned long ago that’s easier said than done.

And that, in a way, gets to the topic of today’s post. When I first screwed up the courage to show Sarah something I’d written — and, believe me, it took her pointy boots and threatening not to let me beta read anything else she wrote before I agreed — she looked at me, shook her head and told me I had the dreaded “start in the wrong place’ disease. What I’d written was serviceable but I had started about five pages too soon. Then, on rewrite, I started two pages too late. She finally got me to start it where it needed to begin. Then she nursed — and begged and bullied — me through the next few books with the same issues.

Beginnings are hard. You can spend pages giving your reader beautiful descriptions of the setting and what your characters look like. You can start with the day your character arrives in town. There are so many ways to start but, all too often, those ways fail in the biggest challenge we face as writers — they fail to hook the reader. You have to give enough about your character — and it doesn’t have to be your main character. It can be the antagonist or the victim who won’t appear except as a reference after those first few pages. But you have to give your reader a reason to keep turning the page to see what happens next.

I picked up a book a month or so ago that had gotten great reviews. The writing was supposed to be “alive” and “beautiful”. The characters well-developed. The plot engaging. And I should have known better. The opening pages read like a travelogue. There was nothing in them to give me any hint what sort of book I was reading, what the potential conflicts might be, etc. In other words, it gave me no reason to keep reading.

Another book, one I checked the sample for ten days ago or so had the opposite feel. I knew exactly what I was going to be getting by the end of the third paragraph. How? Because those three paragraphs read like the author and/or editor had a checklist of issues and characters that had to appear in the book and they were all listed right up front. It was a grocery list of social issues. Now, there is nothing wrong with having social issues in your work — as long as you make them interesting for your readers. And that has to be done from page one. Otherwise, you give your readers no cause to go forward with your book. You have to get them interested, have them want to see what is going to happen next. In other words, you have to tease them with the reward that will come as they continue reading.

That becomes more difficult when you write series. You need to offer your reader enough to catch them up on what’s been happening, especially if that reader is new to the series, without your first few pages becoming nothing but a synopsis of earlier books or stories. You need to also give the plot arc a push in such a way you readers, old and new, know something important or exciting or whatever is about to happen.

Even now, after more than 10 novels, I hate openings. I have to stop myself from writing and rewriting them so many times they lose any emotional resonance they might have had. There was a time when Sarah threatened to not let me edit my work at all if I didn’t stop editing the life out of my first chapter or two. I try to keep that in mind but it’s hard at times.

So, fast-forward to this book that demanded it be written NOW! It is the fifth book in the Nocturnal Lives series. I’ve known from the last few books that this book would be where several of the major plot lines would come together and life for the main characters would be thrown up in the air and some of them might not come through it. As I said earlier, I’d planned on writing the book this summer for release in the fall. I even had the basic plot figured out, notes taken and some research done.

I’ve worked on the book a little more than a week now. Today is the last day I’m letting Myrtle drive that particular plot line. So far, I’ve written approximately 25k words. So, I have a good feel for where the book is going — well, not really. Myrtle is making this a true pantsing novel. But at least I’m not screaming in fear — or hate — with it.

I even got up the nerve to send the opening sequence to Sarah to look at. Yes, I caught her at a weak moment. In other words, I caught her when she made the mistake of looking up from her computer screen and then I begged. Okay, I begged that she delete the file without reading it (for some reason, I am still terrified of letting Sarah read my work. I think part of that is I’m afraid she will realize she has spent all this time mentoring me for naught). Instead of deleting it, she read it.

Dum-dum-dum.

And said that, for once, my very rough draft didn’t read like I started it too soon or too late.

I even made her repeat it, just to be sure I heard right. Then I did a happy dance. And then I beat Myrtle and told her that, no, Sarah’s compliment didn’t mean she got to stay out and make me write the rest of the book.

Anyway, for those of you who haven’t seen the scene yet, here it is. As with everything, copyright applies. Also, this is a very rough draft. No editing, spell checking, etc., has been done. All of which means, things may change before Nocturnal Rebellion is released.

***

The bullpen fell silent as Chief of Detectives, Luis Santiago, moved to the front of the room. The look on his face mirrored how they each felt. Disbelief, sorrow and anger – but mostly anger – burned in his dark eyes. Every cop, not to mention every cop’s family, faced this possibility each time they stepped out the door. But that didn’t make it any easier, especially not when it hit this close to home.

Santiago looked around the squad room, making eye contact with every person there. It didn’t surprise him to find more than just the day shift present. He had no doubt were he to check the other squads under his command, he would find the same thing. When a cop went down in the line of duty, no one worried about vacation or sick leave. Every cop in the department would be doing all they could to find the perps responsible. That knowledge made him glad to be part of the family. Even so, it did nothing to make this part of his job any easier. Fortunately, it was not something he had to do very often but even once was one time to many.

Standing there, seeing how each of those assigned to Homicide waited, hoping he had good news to tell them but knowing he did not, he drew a deep breath. He could have let someone else handle this but that would have been the easy way out and he had never been one to shirk the uncomfortable parts of the job off on someone else. Besides, he owed it to them, and to their lieutenant, to make sure they knew that even though he no longer worked cases on the board, he was still one of them. He hurt with them and he thirsted for the same vengeance they did.

“I’m not going to tell you this gets easier. It doesn’t and each of you knows it. Let’s be honest. This squad has faced more than its fair share of challenges the last two years.” He paused and reached up to rub his eyes, burning with unshed tears, with thumb and forefinger. As he did, he felt every one of the last twenty-six hours he had been awake. Twenty-six hours of sitting vigil at the hospital room and then talking with family members, of briefing the chief of police, Darnell Culver, and of doing all he could to head off any interference by the feds. One of his own had gone down and he was damned if he was going to let the feds or any other agency take over the case. Then he cleared his throat and continued. “Each and every time, you have risen to the challenge and done what was necessary to carry out your duties as detectives for DPD. I know I’m asking a lot now, but I need you to do so once again.

“The next few days are going to be difficult for the entire force, but especially for you. You lost one of your own yesterday. I’ve spend a great deal of time with the family and they asked me to let you know that arrangements have been made. They thank each of you for all the time you have spent with them since the ambush. They have asked that, until the funeral, members of this squad be with them. They know you were all family and they will feel better having someone who knew their loved one with them. Sergeant Collins, I’ll leave it to you to arrange schedules to accommodate this request.” He glanced at the squad’s acting commander and she nodded, her expression grim.

‘In three days, we will lay your fellow detective to rest. I expect each of you to be there in dress uniform, representing not only this squad but the best of the force. Show the city that we bleed blue. Then show them that DPD does its job, no matter what. Find the bastards responsible for the ambush and bring them in to face justice.

“It would be easy to seek vengeance. I understand that feeling because I share it. No one, no matter who they are, is allowed to kill one of our own. But we will not lower ourselves, or the rest of DPD, down to those bastards’ level. Find them and bring them in. We will let the courts deal with them and, when the time comes, we will be sitting on the front row of the viewing chamber when they are brought in for their execution.” He glanced around as detectives, uniformed officers and clerical workers nodded grimly. “Do your lieutenant proud and find those bastards before they manage to kill anyone else.”

As one, everyone present turned to look at the darkened office with its closed door and silence so profound it felt almost alive filled the squad room. Then a tall blonde with short cropped hair, her expression stone-cold but pain reflected in her eyes, stepped forward. The others waited, watching as she approached Santiago.

“Sergeant Collins, the squad is yours,” the chief of detectives said. “Close this case before the feds try to take over. We will not step aside for anyone, not this time.”

The blonde nodded. As she did, she blinked back the tears burning in her eyes. “Yes, sir.”

He nodded once and then shook her hand. Then he turned, leaving the squad room. As the door closed behind him, Pat drew a deep breath. Whether she liked it or not, the squad was hers and she had a duty to do, a duty to the DPD, her former partner and her squad.

“The chief’s right,” she said softly. She did not try to hide her grief. Each person in the room, shared it. “We have to work this like any other case but let’s be honest. This isn’t just any other case and it never will be. We will have the press looking at everything we do, questioning each move and every word spoken. Worse, IAB is going to be nosing around.” She held up a hand before anyone could protest.

“Hear me on this. No one likes the idea of the rat squad poking around. This squad has first-hand knowledge how they can twist things to meet their own needs. So, I want every i dotted and ever t crossed in the investigation. Work this case like your own life depends on it because it very well may. We have cop killers running loose on our streets and none of us are safe until they are behind bars. So, when IAB comes calling, you will answer their questions. The quicker we do, the quicker we get them out of the squad and out of the investigation. Don’t play games with them. If they ask or allude to anything that sets off your warning bells, let me know.

“From now until this case is solved, it is all hands on deck. All vacation time is canceled until further notice. If you call in sick, you’d better damn have a doctor telling me you are on your death bed. Work your contacts and get your CI’s on the street and asking questions. Finding these bastards is our priority now. That said, make sure your other cases are worked as well. Don’t miss any court dates but this is our priority. We will find the bastards behind the ambush and we will be the ones to bring them in.”

With that, she strode across the bullpen. Pausing before the door to the office that had been her partner’s she reached down to turn the knob. As she did, her hand shook. A sob rose in her throat. She choked it down. She had to maintain control until she was behind closed doors. The squad was hers, at least until Chief Culver found someone to replace Lt. Mackenzie Santos, not that anyone could ever fill her shoes as a cop or as a partner and friend.

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Reality Bites

Preparing for today’s post, I did my usual wading around the internet in search of anything that might strike my fancy. There was John Legend telling us if we didn’t want to listen (or read or watch or whatever) “art” by liberal artists then we would have a great deal less “art” to enjoy. There was an article in the Irish Times wondering if Irish authors make enough.  There was an article by a literary agent forecasting how the publishing industry would respond to the new year. So many possibilities and yet, if you really think about it, nothing new.

Then I ran across a couple of articles that caught my eye. The first, and thanks to The Passive Voice — touches on something that has the potential to impact a number of indie authors. Let’s face it. There are few, if any, of us who have chosen the indie route to publishing who wouldn’t love to walk into the local bookstore and find our books on the shelves. After all, we’ve been programmed for years to believe that is one of the final indicators that we are a “real” author. Unfortunately, the reality is that our chances are slim. Sure, we might be lucky enough to have a locally owned bookstore willing to stock our books and let us have signings there but the bog box stores still look at us as second-class writers.

So, indies have gone looking for ways around that. The most common way is using Lightning Source. After all, it has the “benefit” of not being associated with Amazon. We’ve seen how Barnes & Noble, the big boy in booksellers in the US, has said it will never, ever stock anything with an Amazon tie and, well, Createspace is owned by Amazon.

Of course, there are a couple of problems with that. First, B&N and others might not stock our books but they will order them if a customer comes in and asks. Or they should, if they want to keep the customer. After all, one of the benefits of having an ISBN is that it lists your title in Books in Print. It also means your print book will be listed in their online catalog. I can go right now to BN’s online store and find my print books even though I have no e-books in the store. So, it comes down to whether or not corporate buyers will pick your book up to be stocked in their stores and the answer is a resounding “no”, not unless you are making such waves on social media that they can’t ignore it.

But there is another player in this part of the market I hadn’t heard of before: BAM! Publish. As you can probably guess from the name, this is a program associated with Books-A-Million. You can check out this article for some background about Books-A-Million and their association with indie publishing. The short version is, they came late to the program — 2015 — and now they have this BAM! Publish program to help get your print books onto the shelves. Except, does it really and, if it does, is it worth the price?

Honestly, if half of what the article says is true, this program is a perfect example of doing your homework before entering into a business relationship. In this particular case, the only way those using the BAM platform can get into the stores is to buy one of their packages, none of which are cheap, or to buy 1,000 copies of your book. Hmm, what does that sound like? Can anyone say “vanity press”? Or how about “rip-off”?

So, as tempting as it is to do whatever it takes to get your books onto the shelves in your local bookstore, you have to consider the cost and consider if it is really worth it. In other words, as I told my critique group this past weekend, we have to remember that writing is a business and treat it as such. That means looking at the financial realities and remembering that anything we pay to produce and distribute out books has to be recovered in sales before we make a profit. So, will that $1100 or more ever be recovered or are you just throwing money away?

A couple of other notes. For those of you who use KDP to publish your e-books, the interface has changed recently. When I logged on last week to upload a new title, I came to a sliding halt. The page didn’t look the same. Whaaaat?

Yes, the bookshelf still looks like it has for, well, pretty much forever. But when you go to the “Add New Title” option, everything changes. The first change is that you choose the language of your release before you do anything else. The rest of the page is basically the same as before except for a couple of things. The first is the order is rearranged. The second is what used to be a 2-page process is now 3 pages.

Again, not a big change but a change and it can throw you if you aren’t expecting it.

The biggest changes, in my opinion, come when at the bottom of the first page and on the second. The first is the pre-order option. You’ll find that at the bottom of the first page. If you choose to offer your title for pre-order, you can no make changes in the book up to three days prior to your release date. You can also offer up to 10 titles for pre-order at a time. Best of all, you now have a countdown clock both at the top of the page as well as at the bottom telling you exactly how long you have left to update the file.

The next real change comes when you upload your interior file. You still do it basically the same way you have been able to in the past. There are multiple formats you can upload, etc. Almost as soon as you upload the file, you can preview it on the upload page. That’s helpful but it really doesn’t give you the full feel for how the book will look on a Kindle or in the Kindle app. So you have to wait until you can download the mobi file of what you just uploaded.

And the key word here is wait. When I uploaded my book, it took approximately 10 minutes before the downloadable file was ready. I never had to wait that long before and certainly not after the online previewer was available. Perhaps that was a glitch in the system but I have heard from other authors that they have experienced the same thing.

Also, before this change in interface, Amazon would give you a list of possible misspellings in your work. That was helpful, especially if you were uploading the final file. It wasn’t 100% accurate but it often caught something my editor and I missed. That function is gone.

The final change is you can now use your KDP dashboard to upload your print book as well. Simply go to that book in your bookshelf and click the “Create paperback” link. It will open a new page, all part of your KDP dashboard, The nice thing about this is that everything you entered about the book when you set up your e-book entry is carried over. Oh, you may have to do some tweaking — as in I have to move my middle initial from the “first name” block for the e-book to the “middle name” block. But your book title, series title, author name, book description, categories and key words are all there. That leaves you to click the save and continue button at the bottom of the page and start working on your interior file as well as your cover flat.

For ease of use, if nothing else, I applaud this change.

Oh, I guess this is where I tell you what book I uploaded.

Dagger of Elanna (Sword of the Gods Book 2)

Plots form, betrayals are planned and war nears.

Cait Hawkener has come to accept she might never remember her life before that terrible morning almost two years ago when she woke in the slavers’ camp. That life is now behind her, thanks to Fallon Mevarel and the Order of Arelion. Now a member of the Order, Cait has pledged her life to making sure no one else falls victim as she did.

But danger once more grows, not only for Cait but to those she calls friends. Evil no longer hides in the shadows and conspirators grow bold as they move against the Order and those who look to it for protection. When Cait accepts the call to go to the aid of one of the Order’s allies, she does not know she is walking into the middle of conspiracy and betrayal, the roots of which might help answer some of the questions about her own past.

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