Sunday Reads: 24 June 2012

Kylie Quillinan Sunday Reads The Writing Life No Comments

Well, Publishing Month is drawing to a close.  We’ve got just one week left to go.  Stay tuned for our  final Publishing Month guest bloggers, Brandon Sanderson and Gini Koch.

In the meantime, here’s 10 reads worth your time:

Rachelle Gardner talks about what to expect from your agent in Understanding Your Agent.

Also on the topic of agents, Red Sofa Literary lists some basic mistakes writers make when approaching an agent in How to “win” over an agent.

Lois H Gresh discusses the necessity of submitting your work in Rewriting Treadmills: Traditional Publishing versus ePublishing.

Philip Goldberg talks about the benefits of traditional publishing in Who Needs Publishers? We All Do!

Writers In The Storm discusses how a writer’s business needs should affect his choice of publisher with Gettin’ Busy With It.

Dean Wesley Smith dispells a few common myths in The Secret Myth of Traditional Publishing.

The Intern discusses Five Signs You’re About to Land an Agent.

At The Art and Craft of Writing Creatively, Cheryl Shireman guest blogs about the prejudice against indie writers with Dear Traditionally Published Writer.

Rainy of the Dark looks at Just What Percentage of Book Sales are eBooks?

Ashley Barron discusses lessons learnt during the indie journey with A Self-Publisher’s Dilemma.

 

Missed any Fictorians articles this week?

Moses Siregar III – So, You’re Considering Indie Publishing…

Nancy DiMauro and Colette Vernon – Women Writing the Weird: Publishing in an Anthology

Joshue Essoe – Editing Saved My Life. And It Could Save Yours

 

Joshua Essoe: Editing Saved My Life. And It Could Save Yours.

Editing Guest Posts Joshua Essoe Publishing Rewriting The Writing Life 8 Comments

Writers frequently ask me if an editor is really necessary. The answer is no. An editor is not necessary, an editor is essential.

Many indie authors say, “But, I can’t afford it.” The truth is, if you can’t afford it, then don’t publish a book. Something I think many indie authors tend to miss is that you guys are running a small business. You’re the boss and the employee and everything in between, and should expect a certain amount of upfront cost. Releasing a book before it’s ready because you won’t hire an editor or cover designer does more harm than good. It is better to wait and make sure that your book is as strong as you can make it before you throw it to the wolves.

Especially your first book. There are thousands and thousands of self-published books out there and they’re all inexpensive and easy to get. If a reader gets hold of it, finds a few spelling errors, a missed word here or there, and an abundance of passive voice, they’ll put your book down (or remove it from their e-reader) and just move on to the next thing. They’ll never give your potentially wonderful story a chance to be potentially wonderful—and there goes your chance for future sales to that reader. Think what your reaction would be as a reader. First impressions mean everything. That goes for your first book in a new series, your first book ever, your first chapter, your first page, your first sentence.

The New York Times has editors, TV news stations have editors, Vogue and Maxim have editors, all the publishing houses have editors. Why would successful businesses like those all use editors? There must be a reason. . . . Ah, yes. It is because they’re essential to a finely tuned, professional product.

An indie editor is different from a trad editor. The only person who pays an independent or freelance editor is you. The only person that editor is beholden to is you. Their job is to strengthen your words and your voice to help make your story as good as it can be. The way you want it. A good one will be enthusiastically in your corner, working to help make you a success. And you want them in your corner. You wouldn’t think of going into an MMA match without having had a trainer. You’d get killed. Likewise, you shouldn’t throw your darlings to those wolves without some ninja skillz.

An editor’s job is not to rewrite you. Writing is your job. Their job is to help you make that writing shine as brilliantly as possible.

And another huge difference between indie and trad editors? Between hiring your own editor and having one imposed on you? If you hate what they do, you don’t have to use it—any of it.

So what can your friendly neighborhood editor do for you? There are several forms of editing; copy or line, content, substantive, proof reading. We’ll focus on line and content which will be the most applicable and reasonable for an indie author.

A copy or line edit, as the name suggests, is a meticulous edit of each line in the text looking for missing and misspelled words, superfluous language and redundant phrases, mixed tenses, and all technical inconsistencies. Line editing is editing for tone, style and flow—focusing on polishing the author’s words to improve the overall effect and increase the impact of the writer’s message. And to make sure that horrible passive voice is not yammering all over your story. You don’t want readers to admire your writing. You want them to be so engaged by the story that they don’t notice your words.

A content edit is more involved. It is checking the story for logic holes, inconsistencies of plot and character, patching any holes in the fourth wall, finding spots in the story that are weak or don’t make sense, then suggesting possible solutions.

An editor’s job is to help you get the movie you see running in your head playing the same way in the heads of your readers. What makes a story work is an emotional connection with your readership. If you get that, they’ll love your book and they’ll love you.

A good content editor is not easy to find; there aren’t many out there who can tell you what’s wrong and offer solutions on how to fix it. So be careful. Get references, talk to people you trust or people with experience.

When you contact an editor be professional. Be prepared to send a sample. Be prepared to give the editor a deposit for reserving time for you. Be prepared to meet your deadlines so that you have time to do a couple passes on your own before handing it off. Not only will those passes make your editor happy, but it will make your wallet happy. Make sure you know what format the editor needs. For example, I use industry standard—I know how long an MS formatted to those specifications will take me to edit based on a five page sample.

What will amaze and appall editors of all shapes and sizes is that a large percentage of manuscripts submitted for review have not even basic formatting set correctly. It immediately gives the impression of laziness, that the author didn’t care enough to do a little research.

If you are curious what the vaunted Industry Standard looks like, read Vonda McIntyre’s handout. This is a good starting point, but keep in mind that the industry is in flux and many online submissions will vary from this. If they do, they’ll certainly state it in their submission guidelines. If not, always go with the old standard.

A good content editor will also be able to help you sculpt your story to best appeal to the audience for which it is targeted. Do you want to enrapture teenage girls? Or do you want men in their thirties on the edges of their seats? Knowing who you are writing for and what appeals to them is as important as having a wonderful story. Because what might be an amazing story to that thirty-five year old guy is almost certainly not going to appeal all that much to a sixteen year old girl.

So, all you indie authors out there, go out and find an editor you love (and hate—if the editor is any good you’ll curse their name more than a few times). Get that editor working for you, and let them help you and your business produce the best product possible.

 

Joshua Essoe is a full-time, freelance editor. He’s done work for best-seller David Farland, including the multi-award winning novel, Nightingale, Dean Lorey, lead writer of Arrested Development, best-seller, James Artimus Owen, and numerous Writers of the Future authors and winners, as well as many top-notch independents. He is currently the finishing editor at Urban Fantasy Magazine.

Together with tie-in writer Jordan Ellinger, indie success-story, Michale J. Sullivan, and traditionally published author and NY Times best-seller, Debbie Viguie, he records the weekly writing podcast Hide and Create. You can find his interview episode here.

When not editing . . . ha ha, a joke. He was a 2014 finalist in the Writers of the Future contest, and lives with his wife, and three horrible cats near UCLA.

 

Women Writing the Weird – Publishing in an anthology

Colette Black Nancy Greene Publishing Superstars Writing Seminars The Writing Life No Comments

Nancy:  Welcome back to The Fictorian’s Publishing Month. Colette and I wanted to talk a little about our experience with the Women Writing the Weird (WWTW) anthology published by Doghorn Publishing since participating in an anthology is a bit different than other forms of publication. So, Colette, what did you think about the opportunity to participate in an anthology?

Colette: I was thrilled when you told me about the upcoming anthology, in part because of the publishing opportunity, and in part because it consisted entirely of women speculative fiction writers. I was excited about that opportunity. I’ve always meant to ask, how did you find out about it in the first place?

Nancy: Accidental networking. Seriously though, I met the editor, Deb Hoag, through an online writing group. Deb approached her publisher – Doghorn – and asked if she could put together an anthology of genre defying stories by women writers. When she got the go ahead, she contacted a group of writers she wanted to work with. Fortunately, I was in that group. Deb later opened submissions up and I sent an e-mail to the Superstars Writing Seminar group to see if anyone had a story that might work. When you said you thought you just might have a story if Deb was willing to accept previously published works, I put the two of you in contact.

Colette: Even though my story, Beneath the Skin, was published in SNM Horror magazine under the title, Becoming, it seemed like the best of my current stories for an anthology called Women Writing the Weird. A were-beetle burrowing into your leg with nefarious purposes fits weird. I was very flattered that despite it being a reprint and one of my earlier stories, Deb still accepted it. Of course, it’s definitely a different tone than a guy in a monkey suit.

Nancy: Yea. The Gorilla in the Phone Booth was definitely very different than your story. The idea for the story came out of a Writing Excuses episode where they were talking about the promises we make to our readers. Howard Taylor mentioned that if you put a gorilla in a phone booth you’d better have darned good reason for it. So I spent the weekend figuring out why. I came up with a twist on the genie story and some land selkies. One of the fun things about WWTW is the stories cross a lot of genre lines and, at least one of the stories, defies classification (in a good way) in my mind.

Oh, and because Colette’s too modest to mention it, I should tell you that Beneath the Skin got a really wonderful review at http://www.kathulhu.com/2011/11/women-writing-weird.html

Beneath The Skin, by C.M. Vernon gives a different twist to the were-creature tale and I think this story would make a great movie. I also couldn’t help but think of Kafka’s Metamorphosis while I was reading it.

You have to love being compared to Kafka.

I won’t put Colete on the spot and ask her about the review. But I will ask her about her thoughts on this publishing experience. So . . . ?

Colette: I thought it was amazing that even though the book didn’t come out in hardcopy until last month, you put together a book promo at World Fantasy Convention in October, 2011. I couldn’t believe what a great job you did with posters, flyers, food…the whole deal.

Nancy: Thanks. Putting together the book launch was a lot of fun and a bit nerve wracking. World Fantasy is a huge writer’s and agent’s convention. Tor hosted a huge party in the suite we used later that evening. For the book launch, Doghorn printed a small number of the book so we could promote it at World Fantasy. Adam Lowe (the head editor at Doghorn) sent me the artwork so I could make the posters, postcards and flyers. I’m not sure the postcards were effective swag, so I probably won’t use them as promotional items again.

We were also lucky enough to get a lunch-time slot to promote. There were no competing lectures. We were also next to the hospitality suite, and when it ran out of food, they directed people to us because we had food. We probably had an extra thirty people drop in because of the food. And they stayed for the readings.

Of course, the book launch wouldn’t have been as successful if I hadn’t sweet talked you into helping. Your reading was great.

Colette: I’ve read in public before, but never my own piece. I was so nervous, but once I started, I have no idea if I did a good job, but I loved it. I would love to be an author who does presentations in schools, book readings, signings, the whole deal.  I look forward to that part of publishing. Speaking of which, it seemed rather odd that you had the book in October, but it didn’t come out in bookstores until May. I haven’t heard much buzz on it, either, but I haven’t been in this business long enough to know if that’s just normal.

Nancy: The book’s been available at the publisher’s website since October, but for some reason the general release was delayed until May, 2012. I’m not sure why Doghorn decided to stagger the release or if the delayed release was just part of its agreements with Amazon and Lulu. Amazon’s currently out of stock on it as well.

I know with the two short story collections I’ve published through Musa Publishing (yes, I had to get them into this post) , Paths Less Traveled and Shots at Redemption, Amazon had the book within hours of it going on the Musa site. But then, the Musa collections are e-books and that might make a difference.

Colette: I have no idea if the book will do well from this point on, but it’s been a fun ride, don’t you think? I wish I had researched the anthology a little better before I jumped on board, not because it isn’t top quality, because it is, but I’m afraid that my participation in a book fondly called by our friends, “the booby book,” is a bit of a misrepresentation of my name as a brand.  I don’t write erotica, and the beautiful cover suggests there’s a fair amount of content in that category. That’s something I’ll pay more attention to in the future, so I don’t confuse any readers as to what they might expect from my writing.

Nancy:  Ah, yes, our cover. One of the things you often can’t control as a writer – what your cover looks like. Coming up with a cover that captures the scope of the anthology would have been tough, and I understand the decision to base the cover on the short story by the best known writer.  But I’ve had web designers decline my job and promotion sites decline the listing because the catfish girl on the cover has very prominent and very naked breasts.  And don’t get me started on telling my folks about the anthology. The artwork is gorgeous but, in accurately rendering the light coming from above, the artist placed a lot of emphasis on the breasts. It wouldn’t have been my choice of a cover if we’d had any say in the matter, and my story did have erotic elements. I think this is one where a bit of strategically placed seaweed would help attract more people to the anthology.

Colette: More than anything, I’ve enjoyed the publishing experience and the chance to interact with fellow writers and readers. I also loved the launch party you put together at WFC.  I may not make any money from this particular sale, but I’ve learned a lot from my experience. I’m grateful for that.

Nancy:  WWTW made me realize how difficult putting together an anthology is.  We have a lot of short stories in the anthology from very different genres.  Deb did a great job bundling them into the three sections based on the type of weirdness. If you’re looking for stories that balance on genre edges, this is the anthology for you.

It’s definitely been fun. I got to know a lot more writers than I would have if I hadn’t participated. I wouldn’t turn down another opportunity to work with Deb or Doghorn. Being invited to submit to the anthology was an honor. Having Deb select my story for it was amazing and my first professional sale. So, WWTW will always have a special place in my heart.

 

 

So, You’re Considering Indie Publishing “¦

Moses Siregar III Publishing The Writing Life 6 Comments

Hello, neighbor. It’s so nice to see you again. I heard you’re thinking about dipping your toes in the indie end of the publishing pool. Well then, come away with me to a world of wonder, where authors can do anything they wish and even make a little money at it (but sorry, you’re not getting laid-that’s only for rockstars, CEO types, and firemen).

Right. Onward. Resources … resources are very good. They help you do stuff. You want resources. So then, knowledge … leads to power. Power. You like power! Yes you do. That’s why you’ll want to do some reading, follow some blogs. Otherwise you’ll fail, and failure is, like, really bad. So start with these, because the world of indie publishing changes at lightning speed. You’ll always need to stay on top of what’s happening (and be wary of any e-book on the subject that’s more than a day old).

The Writer’s Café at Kindleboards. It’s a jungle over there, but if you’re looking for current discussions, be there now.

Lindsay Buroker. Lindsay is quietly conquering the world. The best part? She shares all of her secrets.

David Gaughran. This one is quite the hub. Keep it on your radar. Btw, David actually wrote a better version of this very blog post.

Kristine Kathrine Rusch’s The Business Rusch. Good stuff.

Victorine Lieske’s “Why Isn’t My Book Selling?” Vicki is one of the classiest humans around, and you can learn a lot from this blog.

The Passive Voice. Smart people read this. You’re smart. You should read this.

Dean Wesley Smith. After reading his blog and his great series of posts on killing the sacred cows of publishing, I met Dean at the recent Superstars Writing Seminar. He was cool.

Robin Sullivan. Her postings have slowed down lately, but she has a righteous blog.

Joe Konrath, poking bears in the eye with badass style.

Elle Casey recommends YA Indie, a blog run by some indie YA authors. Looks good.

World Literary Café. I’m not familiar with it, but Melissa Douthit says “WLC is good for connecting authors to readers and vice versa. If you’re new, it helps to get your books up off the ground.” So yeah. That’s good. Another one that some people like for this sort of thing is Wattpad.

Looking for something else? A particular service, maybe? Jennifer Powell has a nice list of resources for self-publishers. As does Katie Salidas. And here’s a crapton of useful links for indie authors, from kindleboards.

Next, neighbor, we will discuss philosophy. Writer’s write. So, write. Moving on …

Some basic advice:

Make sure your work is ready. Don’t be stupid. Everyone thinks their writing is great. Make sure you can find some total strangers who think your work is the bomb before uploading to Amazon.

The most common regret indies have is that they didn’t hire a good editor. Hire a good editor. Also, copyediting and proofreading are kind of important. Ask around, ask for referrals, and get an editing sample before you splurge and spend big bucks on a crappy editor. They’re definitely out there. Don’t pay for crap.

Joshua Essoe, one of my editors and a fellow Fictorian, isn’t crap.

If you’re writing science fiction or fantasy and you want to sell books, don’t even think about not writing a series. This also goes for any genre where series are a big deal.

A good book cover has two ingredients: art and typography. Lots of indies have great art and awful typography. If you don’t have the skillz, spend some money on typography. Find someone who knows what they are doing and pay them to make the lettering on your cover look professional (Don’t worry. I won’t tell anyone your secret).

If you’re the shy type …

You don’t necessarily have to do social media, you don’t have to have a platform, and you don’t have to do a ton of marketing. BUT, if this is going to be your path (the path of the shy gal/guy), you’ve got to write really frickin’ fast. Like, a lot of fast. And pick a big, hungry audience (for example, romance or thrillers), and know exactly what that audience wants, and then get up early every morning and make those readers their  frickin’ donuts. Serve up their donuts. You are going to be a slave to all of those hungry readers and you’re going to consistently give them what they want. Worship the readers, serve the readers, and you’ll do just fine. Yep, it’s a lot like a job. Disclaimer: I’m still working on this part.

If you’re the social type …

Set writing goals, stick to schedules, and make the writing the number bleeping one (#1) priority. Put your game face on. No smiling! Eye of the Tiger. It’s business time.

Thanks for going on this little trip with me. Just remember, the most important thing is to have fun and enjoy the journey. Don’t get too caught up with numbers. Live from your heart. And listen to Mr. Rogers …

 

Moses Siregar III is the author of The Black God’s War. It’s okay.