Thursday, September 13, 2012

Once more, with feeling

By Gayle Carline

My plan for today was to review a book I just read (once again invading Marlyn's space), but in reviewing it, I found myself thinking about the difference between a good read and a great read, for me. So I'm going to start with a short review, then talk about the kind of material that gets to me as a reader.

The book I wanted to review is "Black and White" by Wes Albers. It's a mystery and a procedural and a fine cop story that rings with truth. I'll go ahead and disclose that, although I did purchase this book, I've known Wes for quite a few years. In addition to being in law enforcement for eons, he is one of the directors of the Southern California Writers Conference, which I attend. He's also a damned good writer.

The story revolves around John Hatch, a patrol cop in the San Diego area and a veteran on the force. There is a murder to be solved, but the real story is about a man who has been at his job for such a long time, it has grown into his skin and penetrated his heart. He is saddled with a young partner and even younger sergeant. Each one pulls at him to leave his years of experience and instincts behind to join a world of computers, procedures and statistical studies that run counter to his street smarts.

There's plenty of action, and even a little romance. I loved the way Wes weaves information about police procedures in with each scene. Not only was I entertained, I felt like I was more knowledgeable about the how and why of chasing, capturing, and questioning suspects.

But more importantly, I liked the way this book left a feeling with me. By the last page, I was weary of the way some things never change, resigned to the fact I could not change them, and resolved to try to change them anyway. In other words, I had become the main character, to the extent that I will always remember and connect with that book on a visceral level.

I've read a lot of good books by a lot of wonderful authors. The stories are rich and well-told, the writing is perfect for the piece. But the books I remember are the ones that leave me with a feeling. I can always single out two books that had that effect.

One is "The Good Shepherd" by C.S. Forester. The story follows the captain of a battleship during WWII who is part of a convoy, escorting supply ships through U-boat infested waters, from the U.S. to England. It takes place over a three-day period where they know there is at least one U-boat in the vicinity and they are trying to keep their supply ships safe. Everyone is on high alert. The captain must keep his ship ready, but not trigger happy. For three days, he does not sleep, barely eats, and has to plan his visits to the head. The reader is there for all of it.

By the end of that book, I was exhausted. It's been years since I read it, and I still recall the scene where he downs a pot of cold coffee, grounds and all, because it is there and he needs fuel.

The other is "Wanderer of the Wasteland" by Zane Grey. Too many drinks lead to a gunfight over a pretty girl, forcing a young man to run for his life, straight into the Mojave Desert, where he has a bigger fight on his hands – how to stay alive where there is no food, no water, nothing but unrelenting sun during the day and shivering cold at night. It's a tale of self-discovery as much as survival.

The book has a funny, O. Henry-esque ending, but what sticks with me is the desert. I was parched by this story. Reading it made my skin feel as warm as if I were in that unbearable sun.

"Like breath of a furnace the heat rose from the rocky, sandy soil; and from above there seemed to bear down the weight of the leaden fire."

It's not just, when I think of these books, I feel these feelings. It's also, when I have these feelings, I think of these books. On days when I'm running from one task to the other and wolfing down a McD-burger in my car on my way to the next emergency, I think of that captain trying to figure out if he's got enough time to pee before the next U-boat sighting. Lately, it's been unbearably hot in southern California, and our air conditioning is on the fritz. I sit in the kitchen, under the fan, all the windows open, with a wet towel around my neck, and picture that young cowboy, throwing himself on the rocks in his despair and exhaustion, only to scramble back to his feet because the ground burns his skin.

And in these election days, I think of John Hatch's wealth of knowledge and know what a millstone it is, to have seen it all, know it's not going away, and yet be unable to keep from trying to stop the crazy.

Are you drawn to books that punch you in the gut until they're in your muscle memory? Or are you in love with finesse? Forget good books. What are some of the books you live with?

Wednesday, September 12, 2012

Is it Murder Writing a Mystery?

By Jenny Hilborne

In a literary sense, the word mystery always brings to mind the word murder. For me, the two go hand in hand, as comfortably as Mr. and Mrs. or Tom and Jerry. A good murder mystery usually includes a corpse pretty early in the story. The tension and suspense increase as the investigation takes place, culminating (hopefully) in a satisfying conclusion. Readers like me enjoy the dark, twisted elements of a murder and the psychology behind it, the thoughts of the killer.

Not everyone likes to read the strong language that usually goes along with a dark murder, or the graphic violence some authors include, which is understandable. Recently, a different question was raised in a forum I came across, which made me think. The reader asked if a good mystery always has to include a murder. I'd never thought about it before. I've never read a book or watched a movie where the mystery did not involve a murder. Not that I'm bloodthirsty or anything, but my initial thought was, 'how dull.'

I tried to imagine a good detective story with a crime other than murder. With no investigation and no body, how would it start? Other crimes could include theft, kidnapping, or a disappearance, but they all seem a bit flat to me. Not enough, I suspect, to hold my interest for the length of a novel. Maybe for a child, a mystery without a murder would be appealing read. It doesn't grab me.

I do like to be shocked when I read, which is one of the reasons I love mysteries and thrillers. Violence and bad language, as long as they fit the story and are not there just for the shock value, are fine. Murder is the most shocking crime of all for me and I can't imagine enjoying a mystery without a murder. What are your thoughts? What great mysteries have you read that don't include a single murder? If you haven't read one, do you think you'd find it satisfying?

Tuesday, September 11, 2012

A Day in the Life of a CSI

A few days ago a young student contacted me about a paper she was writing. What is a day in the life of a CSI like? It was an excellent question with a not so simple answer. You see, the job of a criminalist is largely reactionary. We have to wait for crimes to occur before we spring into action and criminals are never courteous enough to send an RSVP. The only things scheduled in our lives are meetings, courtroom testimony, and vacations, all of which can be upended in the blink of an eye. Knowing that, I wasn't sure how to answer her question because there never is a "normal" day in the crime lab. You walk in the door each morning with no idea what you might find. The day may be dull or you may get called to the worst mass murder in state history.  I suppose that CSIs have to remain emotionally and physically fluid. Like a race car ready to switch gears from neutral to red-line in seconds.We tend to go with the flow and accept change easily.  So I thought it might be best to describe both a "slow" day and a "busy" day while admitting that most days have elements of both.


The "Slow" Day:
I wish I could say that every day is like an episode of CSI: Las Vegas but I'd be lying. We don't even get a soundtrack. CSIs have a lot of boring duties. First, there's report writing. As writers, you may not fully appreciate how boring this can be but report writing is dull and unimaginative. It has to be. As Joe Friday loved to say we just want to convey the facts and rarely do we inject opinion. Then there are the meetings...ugh. Some productive, most a waste of time, and all of them mandatory. You may be stuck in a four hour meeting on verbal conflict resolution or a lecture on the proper investigative response to a nuclear detonation (which surprisingly to me was not run like hell). Some training is by request. These are the specialized schools or classes where we learn to apply the skills of our trade. Sometimes a good school feels more like a vacation but in the back of your mind you recognize that lab requests are piling up in your inbox..

Court can be a mix of both good and bad.  You never know what an attorney will ask you so that keeps you on your toes and presents a bit of intrigue to the proceedings. That's assuming you actually make it into the courtroom. Since there is no way to tell how long any given testimony will take you often have to wait around for your turn. This may be hours or even days. The magazines are old, the coffee sucks, and the television is permanently turned to either the weather channel or Judge Judy. It's kind of like hell without the culture.

When you aren't tied up with those fun activities you'll likely be working on laboratory requests. These too can run the spectrum from interesting to mundane. Let me tell you...after processing three hundred documents with Ninhydrin the shine of the assignment rubs off a little. Sometimes you get something fun like a gun or knife used in a serious crime or something requiring a novel or unique processing technique; but you're more likely to be processing trash or beer bottles from a stolen car or gang party. The good news is that there is never a shortage of lab requests from detectives all of which will be labeled "RUSH". It doesn't matter how petty the crime is, they needed it yesterday.

The "Busy" Day:
I think it's safe to say that every CSI lives for the busy day. Whether you are running from call to call or at one of the biggest scene of your career, the adrenalin rush and excitement seem to know no limits. Some CSIs in large crime ridden cities may disagree with that last part because they go from call to call every shift of every day but most CSIs don't experience that. You may go from a burglary, to a bank robbery, to a rape, and then a suicide; all before lunch! I've had seven deaths and an aircraft arson all in a twenty four hour span. Yes, it can be tiring and taxing on your body but it beats the hell out of report writing. You may be running on little or no sleep. If you're lucky you can stop by a drive thru window or a patrol officer will run and grab you something to eat. Oftentimes you're too busy to care. Of course, almost every busy day is followed by a slow day of paper work and report writing but, in that moment, out there running from call to call, you feel alive. You feel needed.

There is something about being a CSI I can't really put into words. Being entrusted with the responsibility of chasing bad guys is worth all the tedious aspects of the job.  Of all the people in the city or county, they called you. It's your turn to make a difference. The busy day is where we learn to be better CSIs. There is no college course that can compare to an actual crime scene. This above all else, is probably why I love the busy days. I learn, I grow, and I build my confidence in a career filled with criticism and doubt. So, what is a day in the life of a CSI? It's a spin of the Roulette wheel, a roll of the dice. You never know where your number will land but you know that no matter what...you'll be playing again the next day.

In some ways it's comparable to writing a novel. I have an outline but my story develops organically, much like you I would guess. There are times I write a scene that I love; a scene I never envisioned when I sat down to type that morning. Other days I just read and research. Sound familiar? If you're writing a scene with a CSI try to imagine what kind of day they are having. How will the activities of that day affect their demeanor, their dialog, judgement, or their critical thinking? Will they be physically taxed or ready to spring from the starting gate? No matter how you write it, a day in the life of a CSI is never the same. Whether slow of fast a CSI's day is just waiting to be written.

Written by Tom Adair, author of the 2012 crime thriller The Scent of Fear. Tom also blogs at forensics4fiction.com.

Monday, September 10, 2012

Forensic Psychologists in Fiction

Guest post by Stacy Green

Forensic psychologists aren’t profilers.                     

According to the forensic psychologist I recently interviewed, forensic psychologists as profilers is the biggest misconception the general public has of their profession.

These people are essential to our legal system. They make crucial decisions about offenders every day, but are usually grossly misrepresented in both fiction and television. I’ve spent several weeks researching forensic psychology for a trilogy I’m working on, and I wanted to share some of what I’ve learned with the readers of Crime Fiction Collective.

Forensic psychologists don’t visit crime scenes or consult with detectives in search of a serial killer. They work within the court system, and in most states, they have two primary functions: to ascertain if a defendant was insane when he/she committed the crime, and if the offender is competent to stand trial. Their testimony is vital in deciding how a criminal will be tried, and if deemed incompetent to stand trial, they will advise a course of treatment so the offender can recover to competency. 

So what’s the process? Once a forensic psychologist is contacted by the judge or an attorney, they collect all collateral data pertaining to the case: previous interviews, crime scene photos, police video and reports, etc. In other words, a pile of paperwork big enough to make the eyes bleed. But it’s a key part of their process. 

Then it’s time to talk to the offender. Depending on the age and type of crime, the interview consists of risk assessment and various psychological tests. One of the biggest problems forensic psychologists have is defendants who malinger – the psychological term for faking insanity. 

The McNaughton Rule is the highest standard for determining the insanity plea, and the vast majority of defendants don’t qualify. An individual must be so deeply psychotic they truly don’t know what they did was wrong, and that’s rare. 

The three types of most skilled malingers are those who have taken hallucinogens in the past, ex-cons who’ve been to prison and observed mental illness first-hand, and individuals with genuine mental illness, such as schizophrenics taking their meds. 

Experts know true mentally disturbed people don’t jump in and share information about their psychoses. It’s often hard to get them to engage and even more difficult to get them to discuss what’s going on in their heads. Fakers, on the other hand, love to talk about the voices in their heads and the various conspiracy theories they “believe” in. 

Fortunately, a forensic psychologist can rely on more than just gut instinct and observation to figure out who’s malingering. They can turn to the offender’s prior records. Is there a history of mental problems? Have other professionals suspected malingering? By combing through the paperwork, a forensic psychologist can get a pretty good idea of what’s going on. 

Structured testing also helps. There are questions designed to trick the fakers, and my favorite is: We only hear voices in one ear – do you hear voices in your left or right ear? Of course this isn’t true, but the malingerer doesn’t know that. The ones who are faking pick an ear and give themselves away.

So what can we take from this? Forensic psychologists aren’t profilers. They are soldiers, working diligently in the trenches to sort out the bad from the worse and making sure the offender gets the treatment and/or punishment they need. 

As Indie writers, we’re under a microscope, and creating realistic portrayals of popular professions will go a long way in gaining credibility. 

Writers, what do you think? Are mental health professionals and law enforcement often misrepresented in fiction? What are the biggest misconceptions you see?


Stacy Green has degrees in sociology and journalism and uses her fascination of the criminal mind to explore true crime on her popular Thriller Thursday posts at her blog, Turning the Page. When she's not writing, she spends her time with her precocious daughter and supportive husband.

Stacy's debut suspense novel, INTO THE DARK, releases from MuseItUp Publishing on November 30th.

INTO THE DARK: 

He sees her when she's sleeping. He knows when she's awake. Her life he’s determined to take. Featuring a heroine on the edge of disaster, a tormented villain, and Las Vegas’s infamous storm drains, Into the Dark mixes suspense with a dash of romance.

Stacy's blog, www.stacygreenauthor.com
Twitter: @StacyGreen26
Facebook: Stacy Green, Author
Website: www.stacygreen.net

Friday, September 7, 2012

How I Almost Killed My Series and My Best Book

by L.J. Sellers, author of provocative mysteries & thrillers

I've been reminded of that nearly tragic scenario because Dying for Justice, the fifth book in the Detective Jackson series, just won the silver in the 2012 Readers Favorite Awards in the Mystery category.

But I almost abandoned this novel and the whole series back in winter 2009/2010. I had decided to give up the series because it was floundering under a small publisher. I'd had two failed launches in a row and I wasn't making money. I thought if I could launch a new series with a new character and new publisher, I might be able to save my career. So I mapped out a plot in which Detective Evans, one of Jackson’s sidekicks, was the lead character with Jackson as a strong secondary character—hoping my readers would come along with the new series. I thought I had written my last Jackson book.

Then everything changed. I was laid off my newspaper job, e-books started to take off, and I re-envisioned my novelist career. I set aside Dying for Justice  to rewrite two standalone thrillers and publish them on Kindle, then to regain the rights to my other Jackson novels and self-publish them as well. That took six months.

Dying for JusticeIn October, my Jackson stories became bestsellers on Kindle and readers were asking for more. At that point, I was ready to start writing again. After reading through my outline for the Evans-based story, I decided I really liked the plot and would go ahead and write it, giving the two detectives equal POV roles.

Dying for Justice went on to become a readers’ favorite and the highest-rated crime-fiction novel on Amazon. It also fully launched the Evans character who later took a starring role in The Gauntlet Assassin, my futuristic thriller, another reader favorite. So today I'm celebrating the Jackson story that almost didn’t make it to publication, but I’m so glad it did.


Here's a link to an excerpt if you're curious. 

Have you ever abandoned a novel and regretted it? Or brought it back later in a new form?

Thursday, September 6, 2012

Bring Your Characters to Life by Showing Their Reactions



by Jodie Renner, editor, author, speaker 

 
Readers want to escape into your story world. They want to immerse themselves in your story and vicariously experience what your protagonist is experiencing. Your character’s reactions to what’s going on around them are what make the situation seem real and the character more charismatic, vulnerable and multi-dimensional. If your character’s reactions feel natural and believable to the reader, they will quickly suspend disbelief and become emotionally invested. They’ll be turning the pages with satisfaction.

So in order to bring your POV characters to life on the page and make the readers start to worry about them, it’s critical to constantly show their reactions to what’s happening to and around them. If you just describe events and skip over or minimize characters’ reactions to what’s going on, the characters will seem flat, boring, emotionless – or worse, cold and unfeeling.

Be sure to show your characters’ reactions.

As Jack M. Bickham says, “Readers want to know how your characters feel about what’s happening to them, and want to see their response to the words and actions of others and events unfolding around them.”

Here’s a scene I just made up quickly where a father needs to react more:

He just got into his office when the phone rang. It was his wife. “Hi, hon. What’s up?”

“David, I’ve been trying to reach you for hours. Cassie’s missing! She didn’t show up at school today and her bed hasn’t been slept in! She’s not answering her cell phone and none of her friends have seen her today. You’ve gotta come home.”

“All right, I’ll be there soon.” He grabbed his coat and told the receptionist he’d be gone for the rest of the day.

On the way home, he tried to convince himself there was a good reason for his 14-year-old daughter’s absence.

Not only does this guy not seem to care much about his daughter or be all that concerned that she’s missing, which unintentionally paints him in a bad light, his lack of reaction makes for boring reading, too.

But don't overdo it.

But do make sure the reaction actually fits the situation and is in keeping with the character’s personality and motivations. Cold, stoic, unfeeling characters won’t draw your reader in (unless it’s the villain), but neither will constant emoting, gushing, wailing, raging, or gnashing of teeth.

And have them react immediately, as they would in real life.

To bring your character to life on the page, have him or her react right away to exciting, frustrating, shocking, frightening, or stressful events. Don’t delay the reaction. Immediately following the stressful stimulus, show your POV character's visceral reaction and/or a short, vehement thought-reaction, like No way! Or You’re kidding. Or Oh my god. Or Idiot! Or What the hell? or You wish. Or What a hunk! Or Damn. (Or other swear word.) Or by some other quick emotional or physical reaction.

Two sisters are jogging in the park, deep in conversation when a loud horn behind them makes them jump. Show them jumping (automatic reflex) with maybe a verbal expletive, then looking back and laughing or whatever, before the cyclist passes with a wave or a laugh or a curse, and then they shake their heads and resume their conversation. The visceral reaction of your POV character and her immediate thought-reaction or surprised cry or swear word will make the scene more real to the readers. This is also "show, don't tell." Telling would be "The horn surprised them and made them jump. Then they continued talking." Show their reactions in a more compelling, right-there way.
Show the reactions in their natural order.
It’s important to show your character’s visceral reaction to a situation first, before an overt action or words. And show involuntary thought-reactions or word-reactions before more reasoned thought processes and decision-making, which lead to more considered, thoughtful words and conscious actions.

As Ingermanson and Economy put it, “Here’s a simple rule to use: Show first whatever happens fastest. Most often, this means you show interior emotion first, followed by various instinctive actions or dialogue, followed by the more rational kinds of action, dialogue, and interior monologue.”

And don’t skip those first steps! Remember, we’re inside that character’s head and body, so you deepen their character and draw us closer to them by showing us what they’re feeling immediately inside – those involuntary physical and thought reactions that come before controlled, civilized outward reactions.

Jack Bickham points out that credibility results from understanding the stages of response. Character reaction, like human reaction in general, has four individual parts. As writers, we don't necessarily have to put all four on the page at any given point in time, but any reactions we do show should be stated in the order they occur.

First, show the stimulus that has caused them to react.

Then show some or all of these responses, in this order:

1.                  the character’s visceral response  

-          adrenaline surging, pulse racing, stomach clenching, heart pounding, mouth drying, flushing, shivering, cold skin, tense muscles, sweating, blushing, shakiness, etc.

2.                  their unconscious knee-jerk physical action – yelling, gasping, crying out, snatching hand or foot away from source of heat or pain, striking out, etc.

3.                  their thought processes and decision to act

4.                  their conscious action or verbal response

If we violate that order, we’re depriving the reader of an opportunity to get further into the head and skin of that character, to feel what they’re feeling, to feel part of the story. And the reader may subconsciously feel disappointed that we didn’t give them a more complete picture, or they’ll wonder how the character really felt, how the event really affected them inside.

We also risk creating a tiny, niggling disquiet in the mind of our readers, a sense that there is something wrong, and that disconnect can bump them out of the story.

Readers and writers – any thoughts on this topic?


A great resource for character reactions is The Emotion Thesaurus, by Angela Ackerman and Becca Puglisi.

Copyright © Jodie Renner, September 2012

Resources:
Jack M. Bickham, The 38 Most Common Fiction Writing Mistakes (And How to Avoid Them)
Randy Ingermanson and Peter Economy, Writing Fiction for Dummies 

Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: Captivate Your Readers, Fire up Your Fiction, and Writing a Killer Thriller, as well as two clickable time-saving e-resources, Quick Clicks: Spelling List and Quick Clicks: Word Usage. She has also organized two anthologies for charity, incl. Childhood Regained – Stories of Hope for Asian Child Workers. You can find Jodie at www.JodieRenner.com, www.JodieRennerEditing.com, her blog, http://jodierennerediting.blogspot.com/, and on Facebook and Twitter.  

Wednesday, September 5, 2012

Ten Things to do if You Don't Want to Sell Your Book

By Andrew E. Kaufman

What does it take to sell a lot of books? In an industry that seems to change by the minute, I'm not sure anyone has the answer. I'm not sure I really do, either. But I do know what doesn't work. Here are a few of the biggies:

  1. Don’t hire an editor: That sounds really obvious, but it’s surprising how many skip the most important step in the process. Indie authors are often criticized for turning out substandard work, and in some cases, I have to agree. Not hiring a competent editor is one of the biggest reasons for low sales. Readers have become very savvy. Most read the samples, and most can spot poorly written work in a heartbeat. No matter how careful you might be, no matter how well you think you understand and implement the English language, you’re too familiar with your writing and have lost the objectivity necessary to turn out a polished manuscript. I often hear people complain that hiring an editor costs too much money, but you'll be wasting something far more valuable if you skip this step: your time. All the promotions in the world won’t make a bit of difference if you’re not turning out high-quality, professional work. 
  2. Don’t treat your writing as a full time job: Is selling a lot of books as important as having a social life? Sleep? More than likely, you’ll have to sacrifice both, maybe even more if you do this right. As competitive as things are, it’s become imperative to treat your writing career as second job if you already have one, a primary job if you don't. There’s an art to juggling writing and promoting, and time is an important part of that. I’ve yet to meet a bestselling author who says that getting there was effortless. 
  3. Don’t be persistent: Besides the rare exceptions, book sales won’t happen quickly—they might not even happen in a year or more; but that doesn’t mean it will never happen. This is a game of endurance and the ones who stay in it the longest (if they have a good product) are the ones who usually win. 
  4. Don’t enjoy what you do: If you don’t absolutely love what you’re doing, if you can’t wait to get back to writing, it will show not only in your ability to stay motivated but in the quality of your work. Passion is what drives us to success. It’s what keeps us from settling for Just Okay. You have to love doing this. 
  5. Don’t use the tools available to track and analyze your website traffic: 
Do you have a tracking system on your website and blog? If you don't, you're missing one of the best tools available for charting your progress and figuring out what does and doesn’t work. I use Statcounter.com. It’s free and it gives me more information than I’ll ever need, all in real time. I spend a lot of time analyzing my website traffic. One of the key features I use is the “Visitor Paths” section. It tells me where people come from (which of my promotions are working, which aren’t), how long they stay (overall effectiveness of my website), and where they go after they leave (did they follow the link to Amazon for my book? If not, we have a problem). It’s a great tool for figuring out which promotional tools to keep, which to toss.
    6. Be obnoxious as possible while promoting your book: I’m often horrified at the lengths some will go to in order to sell their books. I also wonder if they realize they’re repelling instead of attracting. Shoving your book down people’s throats makes them gag, or at the very least, want to ignore you. Be relevant, not intrusive. Give readers credit and let them figure out who you are on their own. Do not post a link to your book on other people’s Facebook threads or time lines unless they grant you permission. Do not follow people on Twitter, and then when they follow back, send them a “BUY MY BOOK BUY MY BOOK” message. It's icky.
    7. Don’t get to know your readers. Understand that every successful author builds his or her audience one reader at a time. It can be through word of mouth (which you have minimal of control over) or it can be through getting to know every reader you can, every chance you get (something you have a lot of control over). Take time to answer every email. Be gracious and kind. Say thank you so often that you feel like a broken record. And most important: realize that the readers owe you nothing and that you owe them everything. 

Before and after. 'Nuff said?
        8.  Don’t have a great cover, quality    formatting, or great synopsis: The best advice I ever got was from Indie Phenomenon, Amanda Hocking. She told me (with much nicer words) to lose the cover for While the Savage Sleeps, that it was amateurish and holding me back. And she was absolutely right: I created it myself, and it was horrid. I had to use Google to find the abomination, and when I did, I was horrified/nauseated to see it’s still out there. My only defense (and it’s a weak one) is that this was in the early days when most of us didn’t really know what we were doing. Hire a good artist and don’t settle until you are in love with your cover. It will make all the difference in the world.  Same goes for formatting. Hire a professional who knows what they’re doing. A poorly formatted book is a guaranteed return or bad review. Pay the extra money. Your work is worth it. About your synopsis: it must sing. This is one of the first things readers look at when deciding whether or not to purchase your book. Keep it simple, but make sure it draws them in immediately, then doesn’t let go. 

9.  Don’t use social media properly and to your advantage: I hear this all the time: social media doesn’t sell books. I agree; it doesn’t if you don’t use it properly. The key to using it successfully is to engage people, not hammer them over the head. I spend a lot of time on Facebook. When I talk about my books, I try to keep it relevant and not out-of-the-blue. I discuss my writing process, interesting and funny things that happen along the way. I do occasionally post promotions, but it’s a very small percentage of my total output. I also post other things about my life. Regarding Facebook book releases, most people I talk to find them really irritating. One of the problems is, as soon as an invite comes, the emails begin pouring in for every post and continue to do so unless you shut them off. I tried them myself in the early days but didn't find them helpful where book sales were concerned.
10. Don’t treat this as a business: It is one, and like any business, it takes money to make money. Invest in your business. Understand your industry. Pay attention to trends. If you’re selling widgets, you should probably have a good understanding about everything there is to know about the market, including the latest news and developments.

Andrew E. Kaufman is the author of The Lion, the Lamb, the Hunted and While the Savage Sleeps, both Amazon top 100 bestsellers this year. His books are the most borrowed, independently published books in the Kindle Owners' Lending Library, and his combined sales have reached far beyond the 100,000 mark.


Tuesday, September 4, 2012

25 Reasons to Self-Publish, Part I

By:  Kimberly Hitchens is the founder and owner of Booknook.biz, an ebook production company that has produced books for over 750 authors and imprints.

As part of our recent website overhaul--yes, still in progress, for those of you who've noticed--we're completely revamping our FAQ, Articles, Resources and Helpful Hints Sections.  One of the sections we're adding is our "25 Reasons to Self-Publish" list, which, in preview of the newly-revamped site (I swear, it is coming soon!), I'll be posting the first 13 today and the next 12 in my next scheduled post on the 18th.  So--ready?

25 Reasons to Self-Publish, Part I



1. "Thirty authors have sold more than 100,000 copies of their books through Amazon's Kindle self-publishing program, and a dozen have sold more than 200,000 copies, according to Amazon." Including indie big wigs like Darcie Chan, Michael Connelly, James Patterson and Kathryn Stockett. http://finance.yahoo.com/news/how-i-became-a-best-selling-author-.html  Wall Street Journal. December, 2011.  

2. As of April 2012, 145 self-published authors have sold more than 50,000 ebooks. And the Amazon CEO reported in his April 2012 annual shareholder newsletter that more than 1,000 KDP authors now each sell more than a thousand copies a month. A list of the 50,000 authors: http://selfpublishingsuccessstories.blogspot.com/  Self-Publishing Success Stories, May 2012.  

3. Jackie Collins explains her decision to self-publish to ebook. "And dealing with publishers, it might be fun just to deal with myself. I always say, "If you have faith in something, do it yourself." http://jackiecollins.com/jackies-blog/on-my-decision-to-self-publish/  

4. James Altucher explains why and how (step by step) he self-published. "Advances are quickly going to zero. Margins are going to zero for publishers.  There’s no financial benefit for going with a publisher if advances are going to zero and royalties are a few percentage points. The publishing industry does minimal editing. The time between book acceptance and release is too long (often a year or more). That's insane." http://www.jamesaltucher.com/2011/05/why-and-how-i-self-published-a-book/  

5. Stephanie Chandler outlines 12 Reasons to Self-Publish, including royalties and advance payments. "On average, traditional publishers pay authors around $1.25 per book in royalties. So if your book sells for $20, you earn just over a buck. You don’t have to be a mathematician to know that you have to sell a ton of books to actually make decent revenues with a traditional publisher. Conversely, when you publish yourself, your book printing and distribution costs might run around $4.00 per book. Sell a book for $20 and you earn $5 to $10 depending on the retail outlet, and $16 if you sell it yourself. Need I say more?" Regarding advance issues: "If you want to buy copies of your own books from your traditional publisher, expect to pay 40% to 50% off of the retail price. So if your book retails for $20, you will likely pay $10 per copy even though it costs the publisher just $2 or $3 to print your book. Yep, they make money off the authors too. When you self-publish, you buy your books at cost. The average author with a first-time book deal can expect to receive an advance of $5,000 to $15,000. Once your book is released, you won’t see another dime until you have earned back that advance–$1.25 at a time—until the advance is paid back in full." http://authoritypublishing.com/book-publishing/12-reasons-why-self-publishing-kicks-butt-over-traditional-publishing/  June 2011   

6. "Kerry Wilkinson's Jessica Daniel detective novels sell more than 250,000 copies on Kindle" http://www.guardian.co.uk/books/2012/feb/08/self-published-author-amazon-ebook  Guardian. February 2012.  

7. Self-publishing resources make self-publishing easy. "Five-year old publish-on-demand pioneer Lulu says it is doubling in size every year ... Lulu says it publishes 4,000 new titles each week and already has a catalogue of 232,000 books." http://www.guardian.co.uk/business/2008/feb/20/useconomy.booksnews  

8. Indie bookstores are now working with self-published authors: "In response to the growing number of self-published authors seeking shelf space at indie bookstores, savvy booksellers are establishing programs that clearly define their requirements and streamline the consignment process. Profitable programs range from a no-questions-asked spot in a store’s consignment section to an elaborate, tiered event option, including signings, readings, and publicity." http://news.bookweb.org/news/working-self-published-authors . Bookweb. April 2012.  

9. Publishers provide little-to-no marketing services for their authors. "Publishers claim they do a lot of marketing for you. That’s laughable."James Altucher's publisher claimed to have gotten him a review in The Financial Times, a segment about his book on CNBC, and an excerpt in thestreet.com. In reality, Altucher had a column in the Times and wrote his own review as a joke, had a weekly segment on CNBC and spoke about his book, and secured a spot on thestreet.com because he had recently sold them his last company. Why Every Entrepreneur Should Self-Publish a Book. http://techcrunch.com/2012/01/28/why-every-entrepreneur-should-self-publish-a-book/  TechCrunch. January 2012.  

10. Royalty specifics. Information taken directly from amazon.com and barnes&noble. Amazon Kindle Publishing Royalties: $2.99 and above:  70%, under $2.99:  35%  
Barnes & Noble Pubit Royalties: $2.99 and above: 65%, under $2.99:  40%  
i.e. A $2.99 book will result in $2.04 for the author (after Amazon's 30% cut and a small bandwidth charge).  50,000 ebooks sold at $2.99 pricing will generate $102,000 in royalties for the author.  

11. Sales numbers. "Abbott says Only the Innocent has been shifting more than 3,000 copies a day on Amazon. Contrast that with the 2,230 a day managed by last week's top-selling paperback, SJ Watson's Before I Go to Sleep." http://www.guardian.co.uk/books/2012/mar/04/self-publishing-ebooks-rachel-abbott  Guardian. March 2012.  

12. Timing of publication. "Traditional publishing can take 12 to 24 months to get your book published. Self-publishers who have a professionally edited manuscript can get their book to market in ten days!" http://www.thebusinessofwritingtoday.com/why-self-publish-the-tmc-factor  

13. Rise in worldwide consumption of ebooks. Australia, India, the U.K. and the U.S. are leading the world in e-book adoption rates, according to Bowker Market Research’s Global eBook Monitor, "The market for e-books is experiencing exponential growth internationally, with news each week of new e-readers and specialist e-tailers,” said Kelly Gallagher, vice-president, Bowker Market Research. “Publishers and retailers must adapt to a very changed landscape. This research is essential for effectively navigating that new landscape and creating successful business models.” http://www.bowker.com/en-US/aboutus/press_room/2012/pr_03272012.shtml  Bowker. March 2012.  

Had enough excitement for this week?  Meet me back here on the 18th for the reasons #14-25!  See you then, eBook Buckaroos!