Category Archives: Frank Morin

I love this time of year. For good or bad, 2013 is behind us and, although the holidays can be hectic and stressful, we all usually get at least a little down time. The beginning of a new year is a time of renewal, of focus, and energy. A time of self-reflection and setting goals.

For those who may not know how to set meaningful goals, I discussed the topic in great detail here.

The problem isn’t always the setting of goals though. We usually start the year well prepared with lists and plans ready to go. But sometimes we’re like the novice golfer who shows up to play with top-of-the line equipment but who hasn’t bothered to take a lesson. Limited by lack of knowledge or expertise, we may need to take a detour to educate or build those skills so we can reach the next level of craft (see posts from September of 2013 for more on that)

Other times, we just find ourselves no longer inspired by those goals. It’s not that they weren’t laudable or appropriate. The energy just sort of deflates.

It’s kind of like Wile E Coyote who, despite working on his goal tirelessly, never seems to find success.

In personal goals, we might have committed to trimming down until we fit into our middle-school clothing, or working out 9 days a week. But after a month or two, it becomes harder and harder to say no to the cookies or chocolate, or there are too many interruptions to the regular workout schedule so we just give up.

In writing, we may say, “I’m going to write every single day, no matter what.” But then the kids
get sick or we go on vacation, and the perfect record of 18 consecutive days is cracked, and then suddenly there’s no way to get it back and missing days becomes so much easier.

As I’ve considered this, and reviewed everything I did manage to accomplish in 2013, and what I’m determined to complete in 2014, I realized that the goals that work are the ones that inspire.

These are goals that I term as having reached Critical Mass.

Critical mass is the amount or level needed for a new action to occur.

In writing, projects that reach critical mass are the ones that take on a life of their own and begin pushing us forward until we can’t keep the genie in the bottle, no matter how much we want to get lazy or just give up.

So how do we find such a goal?

Each of us are motivated by different things, but there are some commonalities. And the great thing is that as we reach critical mass in a project and feel that rush of awesomeness typing those magic little words, “The End” it becomes easier to find the next project that has a chance to reach critical mass.

Here are a few examples of my critical mass projects:

– Completing that first novel. Although it took more than two years and the goal dragged through the middle and almost collapsed under its own weight, I persevered until the momentum began to roll. Once I knew the ending and could see myself getting there, churning out those last chapters proved easier and easier.

– Completing that first short story. A lot of people are smart enough to do this before the first novel, but not me. I set the goal of submitting a story to Writers of the Future (which I recommend everyone do). I’m not a short fiction writer, so this proved daunting, but I still pushed through, and again once I reached a certain point in the process, I couldn’t NOT finish.

– Attending that first con. As Sherry just mentioned in her recent post, a lot of us writers wait way too long to go to cons. It took me years to finally do it. I was too busy writing, but eventually realized the need. And my first World Fantasy Con is where I met the man who later became my agent.

– Completing that first full novel outline. I started as a pantser, but over time got tired of so much re-writing, so I’ve moved more toward outlining to help speed up the process. Of course, my first outline turned out to be completely wrong so I had to re-write that novel again anyway, but I still feel I got to the final draft faster.

Each of us have different things that motivate us, we’re on different steps in the path toward our ultimate goals of publishing or full-time writing. No matter where you stand, or what your specific goals are this year, focus your energies on the project that will reach critical mass.

Then it’s more a matter of keeping up than pushing on.

Cannot Publish in Ignorance

December 27, 2013

Frank Morin

Craft & Skills Frank Morin Motivation The Writing Life No Comments

I love the theme this month and the stories that have been shared. It reminds me that we all struggle in life and in our chosen profession. I do wonder if any non-writers reading these posts might assume we’re all lunatics sharing our stories in an online Writers Anonymous meeting. We’ve proven it’s a tough, crazy journey on the road toward publication, but we keep plugging away, pursuing the dream, chanting, “Keep at it, and we’ll get there.”

Well, we’ll get there as long as we’re open to learning and growing. As they say, “Continuing to do the same thing while expecting different results is the definition of insanity.”

So we’re either on our way, or we’re nuts.

Growing up I always dreamed of being a writer and I hand-wrote hundreds of pages of drafts as a teen-ager. But life got in the way and I pretended to be normal and pursued other interests through college and the first years of family and career. Then through a series of events in 2004 the desire – the need – to write reignited, and I embraced all those imaginary friends I’d been pretending not to listen to for so long.

I remembered some cool ideas I had worked on all those years ago and thought, “Yeah, I’ll just write that. I read a lot, so how hard could it be?”

Now almost ten years and millions of words later, I laugh every time I think of that naïve wannabe writer sitting down and typing out those first words, “It was a dark and stormy night. . .”

Actually, those weren’t the first words, but they might as well have been for how terrible they were. But I didn’t know better so I wrote, and then I re-wrote. For almost four years I worked on that monstrous first novel that stood at about 300,000 words despite multiple re-drafts. I confidently sent out query letter after query letter to agents, and accumulated scores of rejection letters.

A wiser man might have quit at that point.

Actually, a wise man would have quit after his wife read the first frantically written 80 pages the very first weekend. With love in her eyes, she said as kindly as she could manage, “This stinks.”

But real writers are slaves to the Muse, or we are tired of people looking at us funny when we talk to ourselves. Or maybe we’re just a lot more stubborn than most people, so I kept writing. The problem was I had no idea why the book wasn’t selling. I had no clue what was wrong with it. I mean, my mom loved it, so it had to be ready.

I didn’t even understand enough about writing to work on other projects on the side. I was blind, stuck in a place I could not get out of, but didn’t realize it. Think Maxwell Smart, but without Agent 99 to bail him out.

Thankfully I found a way out of that rut of insanity. I took the Professional Writers Workshop from David Farland.

Amazing. What a revelation. They actually train people to write! I’d been doing it all by pure gut instinct for years, and proving why there was a better way. In that writing workshop, Dave took the time to meet with me over dinner and discuss my project. Using small words, he explained some of the reasons why the book would never work – like it was waaaay too long. I learned many things in that class and some of my blind spots were revealed.

What a milestone! I finally understood some of the reasons why I was not yet successful.

If I were really humble, I would have appreciated that much honest insight into my many writing flaws. What really slapped me in the face though was the magnitude of the challenge I faced: Either walk away from the entire writing gig, angry that the industry didn’t understand a brilliant talent like mine – walk away offended and console my wounded pride by thinking “they’re just not ready for so much pure awesomeness.”

Or I could admit that first attempt amounted to the scribblings of an uneducated beginner not even smart enough to take a class for four years, and all the hard work I’d poured into that novel counted as practice. I’d written enough to qualify a couple times over for ‘the half million words of crap’ we’re told new writers need to complete prior to writing anything good. Over-achiever all the way.

So I had that going for me, which I took to mean everything I write now will be awesome.

Bottom line, the goal remained: I will be a professional writer. So I had to choke down my pride and, after surviving that, I took my first major step wearing big boy writer pants. I acknowledged that first epic fantasy story could be treated as an Epic Fail.

Then I threw it away. All 1000+ pages of blood, sweat and tears.

And I started again from scratch.

Out of pure stubbornness, I didn’t even start an entirely different story. There was a little more blood to squeeze out of that first stone. I loved the core of that original idea, so I salvaged some of the world building, some of the characters, and the nucleus of the conflict. Then I redesigned the plot from the ground up.

Like building modern-day Rome on top of the ancient catacombs.

The resulting story is infinitely better than the original, and I’m now working with an agent to try to find it a home. And instead of waiting forever for that sale to happen, I’ve actually moved on and since written three other novels and e-published one of them. Four others are in various stages of outlining, all of which I plan to complete next year.

Still plenty of blind spots, but I try to identify them one at a time. It’s more satisfying that way and a lot less painful – like lancing a single blister instead of performing open heart surgery on yourself.

Still, it was that first major awakening that salvaged my writing career. I’ll always be grateful to David Farland for beating me down so thoroughly (in a nice way). Now that I can walk again, I’m a better writer for the experience.

And now I’m looking forward to paying forward the favor. You may find me roaming the halls at conventions and workshops, looking for blind spots to destroy.

It’s for your own good. Some day you’ll thank me.

Working with Editors

November 8, 2013

Frank Morin

Editing Frank Morin Publishing 3 Comments

As writers, we love to focus on writing, on creating that next great story. It took me a while to realize that typing “The End” is only the completion of the first part of the process. Once we finish that first draft, get the story out to beta readers, compile all the useful feedback, determine edits, and finish subsequent drafts, we finally have a story we feel rocks on all levels and is ready to go.

That’s when we need editors.

Some indie authors try to claim they don’t need an editor, but I’ve never seen any such story turn out well. Not as well as it could have been. Not as well as it should have been. Not well enough to compete in today’s market with well-read readers who can spot an unedited story fast.

A book without an editor is like a theatrical production without dress rehearsal. You’ve got the characters, the dialogue, costumes, and a setting, but the whole has not been polished to where an audience can enjoy it.

Why invest so much time in producing a book only to undermine the finished product?

Usually the reason is one of two things: Time or Money.

Time: with the internet making it so easy to get books available to readers, it is so incredibly tempting to skip the careful edit and just getting it out to readers faster. Why wait when you could be selling copies already? The truth is taking a little more time and polishing the story will result in far better reviews and far more copies sold. I’ve started reading books that skimped on final polishing, and I was universally disappointed and usually threw the book away without finishing.

Money: Editors are not free. Yes, they’re an investment and authors need to find a way to cover that investment. If you don’t believe in your story enough to make that investment, convinced you’ll sell more than enough copies to still profit, then how are your readers going to believe in it?

Then again, with avenues like Kickstarter available, it’s often now possible to raise the money to cover such costs up front instead of having to fork over all the cash yourself. I plan to launch a Kickstarter campaign for one of my stories next year.

How do you find a good editor? There are lots of editors out there, and just like anything else, there are good ones and bad ones. Here’s where networking comes in. Talk with other authors about editors they liked and ones they didn’t. Good editors will provide a listing of stories they’ve edited, and that can provide great insight into whether or not they might be a good fit.

Once you find an editor, you’ve got to get on their schedule. Good editors are sought after and usually their schedules are booked out weeks or even months. Get on the list early, and don’t be late with your work. If you miss your deadline, it may be a while before they can fit you in again. If you see you’re going to be late, notify the editor as soon as possible to make it easier for them to rearrange their schedule with the least amount of disruption.

I worked with our own Joshua Essoe on the manuscript for Set In Stone, a YA Fantasy novel currently in the hands of my agent. I realized I needed to make some significant changes to the manuscript prior to sending it in, so we had to reschedule a couple of times. Joshua was very accommodating, but I tried to warn him far in advance, as soon as I realized I was going to be late.

That brings up another point: make sure your book is really finished prior to hiring an editor. If you’ve just completed your first draft, I’d recommend you take the time to have some beta readers finish it and compile their feedback. It’s likely you’ll need to make some changes. Go through it a couple more times to ensure it’s really where you want it, and that the book you wrote is really the book you thought you were writing. Only then will you be able to maximize the benefit of an editor. If they’re so busy giving you feedback on major structural issues with the work, it’ll be harder for them to help you really polish it. And if you want to go back again to hire them for a second pass, that’s going to cost more since they now have to invest more time in the project.

Even when your book is DONE and ready to go, you’ve found the editor you think will be perfect for the work, and you’ve sent it off to them, there’s the question of style. Some authors and editors just don’t see eye to eye on matters of style. There’s no way I know of to completely protect yourself from running into a situation like this.

Working with Joshua, I was extremely pleased. His comments were spot on, thoughtful, and insightful. I agreed with his approach to editing, and almost universally applied his suggested changes. With a different manuscript (also in the hands of my agent), I wasn’t quite so lucky. The editor was very experienced and well respected in the industry, and much of their suggestions were beneficial. However, we differed over some aspects of style. At first this worried me, and I wondered which of us wasn’t getting it. That’s where working with a second editor on a different work proved beneficial. I could compare the two editors’ styles, and realized they approached the same questions sometimes from very different points of view, with very different resulting recommendations.

So I had to make very conscious decisions regarding my own style and how I wanted to apply tone and voice to each story. I had made some of those decisions while writing, but hadn’t clearly defined it. The editing process forced me to choose specific stylistic approaches in each story. Only then could I see clearly which advice to accept and which to ignore. In some cases, the editor didn’t understand the style, and gave bad advice.

Just like everything else, it’s a learning process, and I consider the funds spent on editing both manuscripts well worth the investment.

Take away:

Prior to engaging an editor, make sure the book is really done.
Find an editor you feel you’ll be able to work well with. Use advice from other authors, and do your research.
Get on their schedule well in advance, and don’t be late with sending them the manuscript.
Notify them early if you fear you’ll miss a deadline.
Study their feedback carefully. Some of it may not be right. In the end, it’s your book and all decisions are your responsibility.
Don’t ever release a novel without a professional edit.

Making Sure Your Ebook is REALLY Ready To Go

October 16, 2013

Frank Morin

Editing Frank Morin Marketing Publishing 1 Comment

These days publishing a book isn’t the roadblock it used to be. Many of us are e-publishing even while often still trying to land a traditional publishing deal. It is so easy to get a book out there – almost too easy.

I’m seeing some pretty wildly differing stats on how many books were published in the past couple of years. Bowker, the company that issues official ISBNs, lists the numbers of books published with those ISBNs, but many authors who only e-publish don’t bother getting an ISBN, so those numbers are woefully short. I saw one statistic that claimed 3,000,000 books were published in 2011, and estimated 15,000,000 in 2012.

Even if those numbers aren’t 100% accurate, I think it’s safe to assume millions of books are flooding the e-book marketplace. It’s so easy to e-publish that there are no quality controls out there. The sad truth is that many of the millions of ebooks flooding the market are terrible. I know several kids in high school and even middle school who proudly proclaim they’re published authors with multiple titles to their name. They look at me funny when I tell them I’ve been writing for years and just released my first ebook and ask what took me so long!

The problem is – if your book is one of the awesome ones, it’s becoming increasingly difficult to get noticed and not lost in the flood. That’s why promotion and marketing is becoming more important than ever.

When e-publishing the most important marketing tool you have is your book. If you release a book before it’s really finished, before it’s well edited, without a striking cover, you’re tying an anchor around your own neck.

I’ve read more than one ebook that showed great promise. It was ALMOST great. But the author clearly rushed the process, lacked the discipline to do it right and polish it that last 5% that would have made it shine. And as a result, all that hard work was wasted because the final book was merely decent.

In today’s market, we can’t afford to have a decent book, an okay book. When e-publishing it’s vital to take the time to make sure our books are really ready to go. Here are a few things to keep in mind to help get your book there.

Complete more than one pass.

A good author with a solid plan can write a pretty good book in a single pass, but that doesn’t mean it’s ready for immediate release. It needs to be polished, fine-tuned, with each scene carefully reviewed to maximize its potential. David Farland is famous for making up to 10 editing passes for his novels, each one focused on optimizing different aspects of the story.

Take the time to really finish your book.

Get it professionally edited.

Many e-authors hate this step and manage to convince themselves that they don’t need it. Why bother actually investing in our work? Better to just release it and watch the money roll in, right?

Wrong. I can’t stress this one enough. No matter how good you think you are as a writer, no matter how much blood, sweat and tears you’ve already invested in the work, you’re not done. Readers can tell when a book is not professionally edited and they’ll feel cheated and never buy another of your books.

It was a humbling experience for me to see all the marks on a recent manuscript when the editor I hired returned it. I don’t think there was a single page without some kind of mark. I learned a lot, got insights into blind spots I never knew I had, and the resulting manuscript really shines in ways it never could have before. Totally worth the money.

Like anything else, know your editor. Some who claim to be editors aren’t worth your time. You may have to contract with a few editors on different manuscripts to find one you really work well with.

One editor I highly recommend without reservation is our own Joshua Essoe. Check out his website here.

Get a killer cover.

Again, good cover art is an investment, although it doesn’t have to be a ton of money. There are great resources out there for covers at reasonable prices. Michelle Wilber, the woman who painted the cover for my ebook Saving Face is a talented artist who is a personal friend. Many artists are willing to help with covers for ridiculously small fees as a way to help them also break into the market and be noticed. It’s a win-win situation.

Unfortunately many authors just download the first clipart they can find on free sites and slap on a title. Worse, some just download any image they like, even if they don’t have rights to it. Don’t fall into that trap. A good cover needs careful thought to present the right tone and brand, including the right font. This is huge. A good cover draws readers in, while a bad cover kills the deal before the power of your writing has any chance.

Format the book carefully.

Don’t just assume you can take your Word file and convert it into an ebook without more work. Bad formatting marks you an amateur and drives readers away, and Word is notorious for inserting tons of special characters invisible while in that program but glaringly obvious when converted to ebook format.

I learned a ton about that process while prepping Saving Face for release. I found some excellent resources to help. If you are willing to do some simple technical work on your novel, it is definitely possible to produce quality output.

If not, there are great resources out there that will prep your ebook for you for a reasonable fee. I haven’t used them myself, so I can’t recommend one over another, but you can easily get recommendations from other authors. With a little research you can find the one that best fits your needs and budget.

I used two resources primarily in my formatting project:

First was Cheri Lasota’s ebook Design and Upload Your EPUB. The Steps To Your Success. This excellent resource is available for only $0.99 and is well worth the cost. She discusses her approach for formatting an ebook, and walks an author through the steps of prepping a book and uploading it to both Amazon and B&N.

I also followed an excellent series of blog posts by Guido Henkel where he discusses in great detail his process. His is slightly more technical, and if you have some basic HTML ability, is excellent.

There are many other great resources out there, and it doesn’t really matter which one you choose, so long as you make sure you follow one of them and carefully prep your ebook.

Even after utilizing both of these sources and carefully reviewing the final product, I still found a couple of minor errors after releasing Saving Face. Thankfully both Amazon and B&N allow for updating a corrected manuscript. Just don’t use that as a crutch to not doing the work up-front because anyone who’s already purchased your book is stuck with the errors.

If you nail all four of these areas, most likely you’ll have a rock solid ebook ready for release. Coupled with brilliant writing, you’ve covered all the bases to become a player in the game.

Now, just need to figure out how to reach the 10 million readers I know are dying to buy my book . . .