Category Archives: Publishing

Write This Not That

Completing a 100,000 word manuscript is a daunting task. Craft elements can go rogue and crash a well-intended plot. Months, and yes, years pass in the process of writing and editing. Babies are born. Children graduate from school. And everyone grows older except for the fledgling characters in the story. For many, even writers disciplined enough to attend writers’ groups, workshops or conferences, the hurdle of a completed manuscript is too high, at least initially. If the goal is publication, then contests are an opportunity to build a writing resume.

Ah contests, I remember them well – working each entry until the last minute before the midnight deadline, correcting stupid (and stupider) mistakes and editing phrases or lines to finish with the right word count or page number. For the price of a contest entry fee, you get all this nail-biting and neurotic sort of fun.

Fortunately, contests also provide a test market for your work, a marking to market of your ability. In other words, how do I compare to a pool of equally aspiring writers? Sometimes, the winners, especially in literary magazines, are so amazing I’m tempted to abandon writing and begin any number of long neglected chores like taxes, continuing education or even cleaning. Other times, the winning entries bring a jaw dropping, head scratching, and audible “huh.” Writing is the quintessential Olympic ice dancing event as opposed to the timed or measured track and field sport.

You can slant the odds in your favor. Creative pursuits require sound project management grounded in probability. For example, is it possible that I might get my first-ever written manuscript published? Yes, but it’s not probable. Can I hone my skills and compete in contests with a possibility of publication? More probable. A combination of strategy, research, practice and numbers makes small wins lead to bigger wins.

Strategy begins with contest selection. Highly advertised contests receive more entries. If my odds of getting struck by lightning are higher than winning – all ego aside – I’m skipping the contest. Contests held by non-writing organizations draw a wider range of writing levels and are better for increasing the odds of placing at the top. Note – the uber literary MFA types are less likely to enter a short story contest sponsored by Ducks Unlimited. Competing against unpublished writers, defined differently by each contest, is another viable strategy. Additionally, research can enhance strategy. I read the publications hosting the contest or writing samples of the past winners. If the judge is announced, I research (i.e. internet literary stalk) the judge’s style, education, publications and demographic factors that might make an entry emotionally connect with him or her. Know the audience. My writing improves from the research alone (if I’m not driven to binge cleaning by the past years’ winners).

Compared to the first two steps, practice is the easy part of the process. This year, my practice area is short stories, and in the coming blog posts, I will share more about short stories, contests, and publications. Finally, the contest process depends on the law of averages – the numbers. The more contests a writer enters (assuming strategy, research and practice) determines the likelihood of success. With that in mind, here is my plan for the coming year, and perhaps, your plan also:

Search for smaller, less publicized contests.
Compile a contest spreadsheet sorted by deadline and word count lengths.
Assess your current writing inventory available for contests.
Look for opportunities to experiment with different lengths or genres.
Identify specific contest deadlines within the next three months.
Research the publication, contest winners, and judges.
Write. Edit. Edit. Write.

Submit. Wait. Submit again.

How Important is the Title?

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What weight should we give to the title of a novel?

If the sum of a book is 100%, is the title worth 20% or 80%? On the one hand, if the title isn’t catchy then potential book buyers may never pick it up. All the efforts the author has put in will never be tested. What a waste for both author and reader. On the other hand, if the title is too convoluted readers may not understand the direction the author is taking them. Like a four-star chef, authors want readers to finish their creation. Putting it aside half-finished is worse than having never started. It is the difference between telling the waiter, “I’ll try something else, thank you,” and telling your friends, “I’ll never eat in that restaurant again.”

This question has been weighing heavily on my mind for the past few months as I turn the final corner on writing Knock Softly (working title). I’ve asked a few fellow writers – those who are in my writing group and have read the manuscript so far – to think of something better. Nothing is sticking. I try not to fret about it, tell myself it’s not important until you finish, but that finish line is now in sight and the fret is turning into sweat.

Let’s look at the responsibility of a title. That’s right, a title has responsibilities. First and foremost it has to succinctly sum up your story. It also has to be catchy enough to cause a reaction. It should say either “pick me up” or “not for me.” But is that all? Shouldn’t the title also come into to play at the end of the read? Shouldn’t the reader be able to see that title again on someone else’s shelf and be able to recall the entire story? Have an engaging conversation with that person over the book? Gone with the Wind does that. So does Hunt for Red October and To Kill a Mockingbird, and numerous others. That’s my dilemma with Knock Softly. I want a title that will recall the entire tome when next you see it again.

I came up with Knock Softly strictly as a constant reminder to myself that no main characters die in this story – there are things worse than death. Cancer is the villain. Curing our heroine is the story’s master thread, and keeping that central to the other events in the story hasn’t been difficult. Those other events include our heroine’s infidelity and a tortured past life she’s kept secret from her husband and children. Only mitochondrial DNA can save her now. To get it, her husband must delve into her dark past. Her desire to die with her secret is almost as strong as her will to live for her children and the child she carries. Knock Softly doesn’t convey any of that.

In Knock Softly, we have a mother of two, pregnant with another man’s child and suffering stage-4 cancer. She refuses to abort the baby, even though it increasingly diminishes her own chances of survival. Her husband rides the full length of the emotional rapids as he discovers there is so much more to the woman he married.

I don’t have the answer to my question; what weight should we give to the title of a novel?

I suspect it’s a squishy number, based on how strong the author’s own name is. Steven King could call his next novel Untitled and it would sell out. I doubt 100 copies would sell if my name were on it. For someone like me, a mild-mannered suspense writer whose day job is composing coherent internet ads in forty characters or less, I suspect the title is worth nearly half of everything written. It is in advertising, and in selling newspapers.

Now taking good suggestions for A.K.A. Knock Softly. Anyone?

Why You Should (Shamelessly Self-) Promote Yourself

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I believe in shameless self-promotion and so should you.

I don’t mean just with your writing but with all aspects of your life. You need to be passionate. Who else is going to get excited about you and your work if you aren’t?

I have never taken off work on my birthday, and I never will. It’s a waste of a good opportunity. When someone asks that standard “How are you doing today?” question, I reply, “I’m doing great; today’s my birthday.” I always get a smile and some variation of “Oh, I didn’t know. Happy Birthday!” It’s a bonus when that comment is followed by a “Let me treat you to lunch/coffee/spa day/paid week off” offer.

I’m all about free stuff. My husband and I celebrate every fifth wedding anniversary in Walt Disney World. The resort staff knows we’re there for our special occasion–they know because we told them–so they give us large, cheerful Happy Anniversary buttons that we wear. Because these days being married more than nine weeks can be an accomplishment, I tell everyone we meet “It’s our ##-year wedding anniversary.” Compliments feel good. We get numerous congratulations, free drinks, special appetizers and special treats. On our 2013 trip, a gift shop cast member took our buttons and surprised us with free personalization of our names and “10th anniversary” artfully crafted in gold calligraphy. Those buttons were the most complimented, commented and coveted aspect of our trip.

The point is no one knows to celebrate you if you don’t share that information. By telling people, you are celebrating you yourself. Others will follow your lead and celebrate.

No one would have done anything if we weren’t bold. Being bold is not egotistical or vain. It is being proud of your accomplishments, whether they are personal or professional.

Think about the kids you know, yours or others. Would you be hesitant to share the fact that one of them made first trumpet in the band? Would you be embarrassed to brag that he or she won the science fair? Would you volunteer that information? If you don’t hold that back, then why would you hesitant to share your writing success?

To increase your success, you must promote your work. Promoting can be as simple as telling people, “I am a writer.” With every book I publish–three to date, all available through kindle on Amazon–I send an email out to my family, friends and acquaintances stating, “I published a book, (Title). Go to (this link), please buy my book, and then leave me a review at (this link). Thank you.”

When you ask, you may be surprised by what you will get. With emails like that, I received reviews of Lessons from Dad: a Letter to You and a 4-star rating of my first fiction book, Jimmy the Burglar. My most successful project publication to date is my first short story, Mom, Star Trek and Las Vegas: a Grand adventure with 10 reviews, two first place state awards and one third place National award. Give them a read yourself, and let me know what you think.

In order for people to know you’re a writer, you must tell them. By promoting yourself, you are holding yourself accountable to others, thus motivating you to set goals and deadlines. It also encourages you to write when you feel uninspired or stuck. Will this generate sales? Maybe and maybe not. If sales are a part of your goals, then exposure is what you need.

Doing self-promotion can be intimidating. I’m outgoing,–I get that spirit from my Dad–so it’s not as scary for me. This does not mean I am not tentative. What if no one likes my writing? If no one knows I exist, I’ll never know. And I want to know.

I promote myself on a variety of social media sites: Instagram, Twitter, Pinterest and, reluctantly, Facebook. The more people who see me, the more I am noticed. Those two statements are different.

Am I that important to merit or deserve all this media attention? Yes I am. I’m a talented wordsmith with three books, two columns staff for Michigan Scrapbooker Magazine and one award-winning blog. However, some people may think these are modest successes and therefore, I’m not worth all this fuss. I’m simply pretending to be more than I am.

But I’ll never be more than I am without believing I am. You need that fierce approach to your writing.

If you’re not proud of your work and share your pride, why should anyone else be excited? I won’t be.

Be strong. Be fierce. Be shameless. Be successful.

Imagining Fiction in the Electronic Age

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I received a good response to last month’s apocalyptic post on pulp, mostly notes of reminiscences. I had no idea people time-stamped their best reads like they were best dates. Two folks thought enough to put fingers to keyboard and tell me just how wrong I was, and one good friend about chewed my ear off with the same message. But one woman wrote about following a person off a subway, up a flight of stairs and all the way to the crosswalk without that person ever looking up from their Kindle. She didn’t say if they were male or female, old or young, but earlier she had seen the same thing play out from subway to crosswalk, only this person was reading a paperback. What she noticed was how engrossed both readers were in their stories, not the format they were reading them on. To her, and to me, it proves that Content will always be King.

Thanks to all who commented.

Tomorrow’s bestselling fiction authors need to wade through new and exciting waters if they want readers to enjoy their digital content. The future fiction story has to be engaging on every page. Good news! Authors can now use more than just words to engage their readers!

Meaningful graphics strategically placed in the body of the works is soon to be the new norm. Children’s fiction has always been picture book format, so it will just be business as usual for that age group. Adult fiction authors, however, strive to paint just enough of a character or a scene, yet still leave something for the reader’s own imagination. We want to draw characters that remind readers of someone they’ve known: the bitchy boss, the nearsighted neighbor, the real estate lady who knows no quit.

Authors run great risks in the future if they use the wrong graphics. This becomes a fault, graphically speaking, when authors use a well-known person as a metaphor. For example, one of my references to Elizabeth, a main character in my upcoming novel, Knock Softly (working title), says she looks like Little Orphan Annie in one childhood photograph. The reader already knows that Elizabeth is a redhead so that is all I say. I leave all her other attributes to the reader’s imagination; young Elizabeth’s height, voice, dimples or not. Adult fiction readers can color in all the “known” minutiae much faster, and clearer, than the author can. In this case, any companion image of a young Elizabeth would spoil the reader’s own imagination.

Other trip-ups include using well known locations, like Disneyland or the Grand Canyon for example. You don’t want to alter whatever image your reader already has; you want them to recall it. Authors can only do that with words that metaphorically develop their characters against such landmarks. The great e-novel of the future will illuminate the text with images that only the author can bring to life.

Color, not black and white, will adorn future e-pages. Without ink, there is no cost consideration for digitally printing in color, so descriptive hues, shades and shadows will matter as never before. For that reason, future authors need to be just as considerate for what they choose to leave out as what they choose to spell out. Even the very colors that illustrators use have to complement the scene’s mood and drama, otherwise the visuals will wind up competing with the words. It’s a subliminal thing, but ad agencies have been refining the use of color for decades to convey stature, sensuality and attitude. This is nothing new, it’s just found a new home. Black and white will only be used to depict dark and dreary scenes, or to shadow horror too repulsive for vivid interpretation.

Here’s the rub: e-novel readers cannot see how “heavy” a tome is before they buy it. There is no page count. Robert Frost’s The Road Not Taken weighs as much as James Joyce’s Ulysses in e-book format. Instead, there is an indicator at the bottom of each page showing what percentage you’ve completed. It feels like a journey, not a read. Authors need to be aware of this from their first draft onwards. That indicator is like the kids in the backseat of your mind asking, Are we there yet? There is less time for a story to “breathe” in the future e-novel, where pictures purpose the pauses. Each page has to be reason enough for the reader to carry on. Authors are going to have to make the journey just as entertaining as the destination if they want to shut up the brats in the backseat of their reader’s mind. The percentage indicator is neither good nor bad; it’s just a new way of telling time in a novel. We’ll all get used to it. By next Thursday.

E-novels will probably be 75,000 to 100,000 words with a dozen-odd illustrations to richen up the read. Last chapters will be written like soap opera; effectively, lead-ins for tomorrow’s adventure in a continuing series. Authors who create quirky characters that readers want to follow from adventure to adventure will do well.

I Published a Book in 10 Hours

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I did it!

Families inspire us and intimidate us. Jimmy’s mother, father and brother are all members of the Burglars Union Guild (BUG), and he is expected to follow in their footsteps. Jimmy has slippery fingers and not in the slick, pickpocket ways; he drops things. That lack of dexterity is just the start of his struggles to gain entrance into the most elite thief organization. The story of his life is now immortalized in electronic bytes. I published a book.

I didn’t do all that writing in one day, as I proposed in my original challenge. I also spent more than 10 hours writing Jimmy the Burglar. Regardless, I completed the challenge.

I feel really good about that because this is my first fiction piece in a long, long time. Fiction is easier to write than memoir because I could make up whatever stuff I wanted. Fiction is also harder to write than a memoir because I had to make up whatever stuff I wanted.

This is my third self-published book, and I learn new elements with each effort. This time, I experimented by writing the first draft in longhand. At 2 hours and 56 minutes of writing, I hit a wall: great story elements, but no tension. Typing that first part in gave me time to think about the story I wanted to tell here and now and in 10-ish hours. I initially focused on the entire family history as related to the evolution of the Guild, but in that writing, I developed incredible backstory fodder for future Jimmy short stories. The tale worth telling today is the evolution of Jimmy’s final exam for BUG membership: his MOTH (Modus Operandi Thesis Heist). After the humiliation he experienced working with Big M, it is vital that Jimmy’s MOTH get all the details right.

At 7 hours and 42 minutes, I was having Too Much Fun writing. So much fun that, I forgot to reset the timer at one point.

After 16 hours (approximately) and 5100 words (23 pgs.), you can read Jimmy the Burglar’s first adventure on Amazon.com.

How did your story turn out? If you completed the challenge, post your link below. If you didn’t, share your thoughts now about the experience for all of us so we can learn from it. And for me, I’d love to know your thoughts about my book. Whaddya think?

If you’re looking for some inspiration and encouragement to complete a book like this, there is a day-long workshop planned for early 2015 in the metro Detroit area. Stay tuned for the details.

Even if publication isn’t your goal, doing a challenge like this is immensely satisfying. I have typed “The End” on a piece of my writing and am now moving on to “The Next.”

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