Dear Friends,
Thanks for finding the Help for Writers blog! There is great content here for writers in the archives, but I won’t be putting up anything new. I am busy writing and editing, and blogging has to take a backseat. For now. If you want to get in touch with me, you can still email me at: lara [at] help4writers [dot] com.
Thanks, and happy writing!
Once again, the lovely Margaret Yang stops by to help illuminate a writing topic. This week, she’s tackling publishing myths, especially as they relate to ebooks. Take it away!
Maybe it’s because of the media hype around writers like Amanda Hocking and John Locke. Maybe it’s because writers have spent so many years learning traditional publishing, they can’t accept a new business model. Maybe it’s because there’s too much information on the internet, most of it contradictory.
Whatever the reason, there are a lot of myths about self-publishing. Here’s a look at the eight biggest ones—most of them easily busted, a few somewhat plausible.
1. All self-published books are crap. Editors serve as gatekeepers, keeping out the flood of bad books.
If editors can always spot a great book, why did so many of them reject Harry Potter and the Sorcerer’s Stone before it was finally published? Editors don’t choose the best books, they choose the books they think will make a profit. That is why Simon and Schuster published two horrible books by “Snooki.” Sometimes editors protect us from crap, sometimes they sell crap to us.
The popularity of self-publishing means more total books published, and yes, some of those books are really, really bad. Readers have to dig through the bad books to find the good books. Just like they’ve always done.
2. Self-published authors have sour grapes. They’re angry because they can’t get a traditional publishing deal.
Many authors self-publish after years of trying to break into traditional publishing. They desperately want to reach readers, which means they are embracing a new business model that lets them do so. Most self-published writers never mention the traditional publishing system, because it’s become irrelevant to them. On the other hand, some of the most vocal critics of traditional publishing are writers who had traditional book deals and walked away from them.
3. Everyone should self-publish. Who needs traditional publishers anyway?
While self-publishing is great for some kinds of books, like fiction for adults and general non-fiction, it doesn’t make sense for others, such as children’s books or specialized reference. Traditional publishing is also the best alternative for superstar authors, the ones who are household names. The huge advances and marketing support these authors get makes traditional publishing a good deal for them.
Successful self-publishers write amazing books that millions of people want to read and they work extremely hard at marketing and they are lucky. In other words, the things that make a self-published book a success are the same things that make any book a success.
4. There are huge upfront costs to self-publishing.
To self-publish a book, a writer needs to edit it, proofread it, format it, make a cover, and upload it. Each of those steps will cost a writer something. She will either have to spend money to hire those jobs out, or she will have to spend time and energy to do them herself. It is possible (but rare) for a writer to spend absolutely no money out-of-pocket to produce a finished book.
5. Self-publishing is difficult, therefore I’d better hire a consultant, facilitator, or agent to shepherd my book through the process, paying them with a percentage of my earnings.
There are a lot of details to take care of when you self-publish, but all of it is easy to learn, or you can hire those jobs out for a flat fee. If someone, no matter how reputable, wants a percentage of your earnings for the rest of the life of the book, just walk away.
6. Self-publishing hurts my chances of getting a traditional book deal later on.
On the contrary, self-publishing has become the new slush pile. Traditional publishers contact the most successful self-published authors, trying to get them into the traditional publishing system. And if your self-published book is not successful, you can remove it from sale, and start fresh with a new book. Editors and agents do not care about your failed self-publishing effort and you need not mention it.
7. I already know everything there is to know about self-publishing.
Things are changing fast, and information that was accurate two years ago is out of date now. There is something new in publishing every single day. No one can keep up with it all, but try to stay as current as you can by reading blogs, looking at industry news, and talking to other writers.
8. With all the publishing options I have, there has never been a better time to be a writer.
Actually, this one is true.
Margaret Yang is the co-author (under the name M.H. Mead) of Fate’s Mirror, Good Fences and other short fiction. You can visit her at www.yangandcampion.com.
If you live in the Ann Arbor, Michigan area and are curious about self-published ebooks, mark your calendar for February 9, from 7:00-8:30 P.M. The super smart Margaret Yang and I will be at the Ann Arbor District Library’s Traverwood branch with a workshop that will help you navigate the brave new world of indie books. Please help me spread the word about this event, or email me with questions at: at lara [at] help4writers [dot] com.
One of the best pieces of writing advice I ever got came in the form of an explanation for writer’s block.
“I kept trying to make my characters do things they didn’t want to do,” my writer friend said. “So my story was stuck.”
This idea was very recently on my mind when I was quagmired in a scene that just wouldn’t go anywhere. I had two “frienemies” who needed to communicate with one another, but the writing just wasn’t gelling.
And then I wondered if it was because I was forcing my characters to act in ways that just weren’t … them. My smart, cynical protagonist, for example, was too easily getting on the phone with her former bestie. Why would my protagonist pick up the phone and dial this girl who had hurt her so much? When I went back and gave the situation more thought, I realized I needed more urgency in the scene so there’s a reason for the protagonist to contact her ex pal. With that one small tweak, the scene started flowing more easily.
If you’re experiencing writer’s block, one reason may be because you’re strong-arming your characters into behaving in ways that aren’t compatible with their personalities. It’s worth going back to the scene that’s giving you trouble and making sure the character actions gel with the character traits.
[Image source: Russell Pollard]
Before DONUT DAYS or any of my other novels, I’d penned a manuscript called THE DISAPPEARED. The premise is that a Brittney Spears-like protagonist decides to give up her in-the-spotlight life and fake her death, in order to “retire” to a desert island. There are loads of other “dead” celebrities on the same island as well — Kurt Cobain, Elvis, and even JFK.
The problem is, the island has a seedy underbelly and when the main character decides that maybe this isn’t the life for her, things turn dangerous. And if she dies on the island — well, how would anyone know she was murdered since she’s already dead? A decent setup to be sure, and in fact I think I’ve heard about a couple books and films with a similar premise. But — and this is a big but — the story just didn’t gel. My writing, plotting, and pacing weren’t bringing this potentially great tale to life. It would up being flat, without high enough stakes or a very likable main character.
I wound up shelving it. It’s in a box somewhere in a closet, collecting dust, which is exactly where it should be. That might sound a little nuts since — after all — I have an agent now and a plot like that could be re-worked and re-visited. Right?
Wrong. At least not in this case. THE DISAPPEARED was, for me, a practice novel. The book I needed to write so I could put it out there and get feedback about the fundamental ways in which my writing fell short. A lot of people read this book. And a lot of people had feedback, much of which was hard to hear. But after THE DISAPPEARED, I applied much of that feedback to writing DONUT DAYS. And that book got me an agent and a contract.
The moral of the story here is to not despair if you write a novel that just doesn’t quite … click. It doesn’t mean your effort was in vain. Most writers have a practice novel they can point to and say, “I had to write that so I could write the book that actually sold.” Successful writers often open themselves to feedback on their practice novels, then put all that they’ve learned into the next manuscript.
Do you agree? Do you have a practice novel, or do you believe in sticking with your first project until it sells?
[Image source: Ehow.com]
I’ll admit, when I first heard the word NaNoWriMo (pronounced nah-no-wry-mo) I was confused. What did it mean? And why were all the writers I knew talking about it, asking me if I was going to “do it?”
So you don’t experience the same confusion I did, here’s the skinny:
What is it?
NaNoWriMo is short for National Novel Writing Month. It’s a creative endeavor in which writers commit to using one month to write a novel of at least 50,000 words. (Update: I had previously listed it at 60k. Thanks, Amity, for the clarification!)
When does it take place?
Now! It starts today and goes through November 30. The schedule is the same every year.
How many people do it?
Lots! There is an entire community built around NaNoWriMo. You can go online to “partner” with other writers, and you can also track your progress through some of their web tools.
Is it a good idea to write a novel in a month?
Yes and no. The discipline of sitting down to write every day and reach a goal is great. The problem is when writers stop there and don’t revise/edit. Lots of agents complain about submissions in the month of December, because they receive everyone’s NaNoWriMo text — usually unpolished and fresh off the presses. Completing a first draft is awesome, but that’s where the hard work really begins.
What happens if I reach 50,000 words in a month?
Writers often use the phrase that they “won” NaNoWriMo — and that means they reached the 50,000-word mark. You can also get a little badge for your website or blog showing you completed the endeavor.
Have you ever done it?
No, I haven’t. I’m great at pounding out stories really quickly. What I like to challenge myself with is taking my time with a story, really developing the characters and the setting.
Where can I go for more information?
I’ve linked to it above, but NaNoWriMo has a website chock-full of information, which you can access by clicking here. It’s not too late if you want to sign up! Just don’t forget to edit, edit, edit after November is complete.
[Image Source: ithree graphic design]
The other evening at dinner, a friend mentioned Roy Baumeister’s new book, Willpower: Rediscovering the Greatest Human Strength. The premise of the book says that willpower is a finite resource: you can deplete it by over-using it, but you can also build it up through certain “exercises” as well as smart diet and plenty of sleep.
This notion that willpower is a finite resource got me thinking about writing, and how hard it is sometimes to overcome writer’s block. How some days, it’s all I can do to look at my laptop, much less open it up and keep pounding away at my manuscript.
Certainly writing takes willpower. And, yes, it takes creativity and smarts and a whole lot of other stuff too. But willpower wise, writing a book is up there. Finishing a novel is an exercise in discipline: sitting your butt in the chair over and over again, working away until you have a completed project — it’s not for the faint of heart. So when the going gets tough and the words just aren’t coming, it might help to think about where your willpower might have been depleted, thereby putting a strain on your prose.
Did you start a new diet? Are you exercising more than usual? Those are two things that require ample amounts of willpower!
How about you moms out there? I bet raising a family and making sure their needs are met — usually before yours are — drains your stores of willpower right quick.
For those of you who work a fulltime job, it can take bucketloads of willpower to keep your head in the game for eight hours every day, five days each week. It can be a true challenge to come home and write after that.
While I haven’t read Baumeister’s book, I know the premise says that willpower reserves can be built up, and that there are ways for conserving it in critical situations, too. Which is great. But even if you don’t read the book, just remember: If you feel too tired to write, or the words just aren’t coming, instead of beating yourself up about it, try instead to examine all the ways your willpower may have been depleted before you sat down to work on your novel. I’m sure many of you have added “write a book” to lives that are already overflowing with activities and goals. So if the process isn’t always a smooth one, that’s okay. It just means that you might write better on a day you didn’t run six miles and give a presentation at work.
[Image source: EurekaAlert.org; credit: Florida State University]
Perhaps you’re an indie author looking for an amazing cover, or perhaps you’re a traditionally published writer who needs exactly the right image to explain something in your book. Whatever the situation, if you’re in need of an image to complement your prose, here are some strategies for acquiring the perfect pic:
Use a stock photo. Sites like Shutterstock and iStockphoto can give you access to a plethora of images for a reasonable price. Some sites like iStockphoto work on credit packages, so you may need to purchase credits to get your image. But don’t worry, they explain how to buy credits right on the site.
Put aside a little cash to get a truly great image. Between $50 and $100 is a standard stock photo price. Depending on your needs and if you’re working with a designer, you may need to purchase an image and then send it to a third party for them to design around/modify. Some places, though, will design a cover for you for a flat fee and you don’t have to go through the hassle of purchasing a stock photo. If you simply google “book cover designer,” myriad options will pop up.
Sometimes, you can get art or images for free. Here are the circumstances under which that might happen:
Just remember: Don’t expect to be able to take an image off the web and use it as a cover image or in your book as art. It might be free, but it’s doubtful it will be the right resolution, not to mention it’s someone else’s image and you’re not obtaining it correctly – i.e. without permission.
Disclaimer: Many of the pictures I use for my posts I grab off the web and credit to the site where I found it. This is not considered getting permission, and I do this knowing I may be asked to pull down a photo that I’ve used. This is a risk I undertake willingly. If you opt to do the same thing, fine, but just remember that it’s a lot harder to delete a book cover than it is a photo on a blog post.
[Image credit: MoistWorks.com]
A lot of time and attention is paid to fiction query letters. But how about nonfiction?
The general premise is the same — you want to hook and editor or agent in one page and make them want to read more, more, more of your book! But there are some key differences.
It’s About You, Baby! It’s important to emphasize why your background and experience make you the ideal person to pen this book. Are you a fitness expert who has a fresh take on getting healthy? Are you a veterinarian with a book about caring for pets? If so, tell the editor/agent, as it’s critical information! Spell out your years of experience in the field and how you’ll use that in your text.
Solve My Problem, Please! Many nonficiton books offer solutions or insights to common issues — whether in the workplace, in finance, in their personal lives, etc. Highlight the specific problem your book will tackle and how it’s different from the other books out there on the same subject.
Tell Me a Great Story. If you are writing narrative nonfiction–think Devil in the White City or The Poisoner’s Handbook — the story will be key, just like in a fiction query. Who is the real-life protagonist in these true events? What is the problem they will solve? With nonfiction, though, you’ll need to spell out your sources, how you researched this topic and, going back to the first tip, why you’re the right person to pull all this together.
A nonfiction book will require more than a query letter, however. A publisher will want to see a complete nonfiction proposal. The best resource I’ve found for crafting a proposal — from penning the query to doing market research to honing in on the right publisher — is The Complete Idiot’s Guide to Getting Published, which has an insanely helpful index in the back that shows samples of everything. But that’s just me.
[Image Source: ehow.com]
The article below on query letters is from the Help for Writers newsletter, delivered quarterly to your email inbox with supplemental tips, information, and pricing deals from yours truly. If you are interested in signing up for the newsletter, please fill out the form after the query letter article. It’s free, and your information always remains confidential. Also, spam sucks and I’d never clutter your inbox like that. And now … on to making your query letters rock!
Pump Up Your Query Letters
How to zero in on exactly the information editors and agents want
Save your query letter from the slush pile by focusing on critical details that highlight the best parts of your story.
A great query will grab the reader’s attention by succinctly outlining the protagonist’s problem. One way to do this is to give an agent or editor a sense of what’s at stake. Think of it as a formula, where you solve for X: Unless the protagonist can accomplish X, then X will happen and then the protagonist will lose X.
Without bogging the query in backstory, you’ll also want to highlight why solving for X is nearly insurmountable. What hurdles are in the protagonist’s way? What is stopping them from achieving their goals? The things that could stop them will be both external (they are poor but in love with a queen!) and internal (they’ve had their heart broken and are afraid to fall again!).
A great query will also showcase a fresh storyline that hasn’t been done before. It’s great if you want to write about a regular boy who finds out he’s a wizard, but you’ll need to convince editors and agents that you’ve done it in a new way. Ask yourself: what’s truly unique about the storyline? For example, perhaps you’re taking readers into a unique world — think behind the scenes of a Depression-era circus as in Water for Elephants, or inside a remote hotel in the frigid winter months as in The Shining. Or perhaps you are putting an empowered twist on a familiar tale — creating an all-female pack of werewolves, for example, and reversing the romantic roles (human boy in love with female werewolf), as author Christine Johnson did in her debut, Claire de Lune.
For more tips on avoiding mistakes that will keep your writing in the slush pile, see this Help for Writers post by Carina Press submissions editor and published author Rhonda Stapleton.
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