Category Archives: Myths and Truths

How Can You Tell Legitimate Publishers from the Bad Guys? – by Anne R. Allen…

Via Chris the Story Reading Ape, one of the most comprehensive guides to publishing options I’ve yet seen. I learned a lot. With a new manuscript almost ready to go that won’t fit into a lot of traditional niches, I am hungry for this kind of guidance and thought you might be, too.

Chris The Story Reading Ape's Blog

New writers have much to be wary of these days. New publishing scams are landing in writers’ inboxes faster than we can send out warnings.

Probably the most dangerous predators for the newbie writer are phony publishers, because they can shatter dreams as well as drain bank accounts.

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Filed under Amazon Kindle Direct Publishing, business of writing, indie publishing, Money!, Myths and Truths, novels, Publishing, publishing contracts, Scams, Self-publishing, small presses, Writing

BELIEVE! Do Not Pay Someone to Publish Your Book! ALLI Agrees.

Your book ready to publish--dreamscape!

Dreams of publication? Yes!

Here’s support from ALLI, the Alliance of Independent Authors, for my claim that you SHOULD NEVER PAY SOMEONE TO PUBLISH YOUR BOOK. Yes, there are some reputable book packagers out there who will charge you for various services, but the chances that you will make back what they charge you are slim. YOU CAN DO THIS YOURSELF. This ALLI article explains why it is so easy to fall for vanity scams. Here’s an important quote:

Many vanity presses will try to persuade authors that they are incapable of producing a professional book without an expensive full-service publishing package. This is particularly effective on authors who may not be comfortable with new technology; the idea of handing off the details of publishing to someone who will take care of it for you is alluring.

Do not be fooled. You can start your book off with a very modest investment if you apply very basic skills to get it formatted and posted. Spend your money on a cover and an ISBN, not on thousands of dollars for “publication” you’ll never get back.

Maybe you’ll notice that I’m very passionate about this. I just hate scams.I swear I'll catch up my SEO!

 

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Filed under Amazon Kindle Direct Publishing, business of writing, indie publishing, Myths and Truths, novels, Print on Demand, Publishing, publishing contracts, Scams, Self-publishing, Writing

Dialogue tags and how to use them in fiction writing – by Louise Harnby…

Here’s an excellent discussion, via Chris the Story Reading Ape, of one of the simplest and most useful tools in a writer’s kit: using and abusing “said” and other dialogue tags. I also note that “said” can control rhythm, acting as a strong beat at the end of a scene sequence or before a break. Try it!

Chris The Story Reading Ape's Blog

Dialogue tags – or speech tags – are what writers use to indicate which character is speaking.

Their function is, for the most part, mechanical.

This article is about how to use them effectively.

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Filed under dialogue, Editing, Learning to write, Myths and Truths, punctuation, self editing, style, Writing

Now That CreateSpace is Being Absorbed: Try Ingram, Too.

A story hook is like strange headlights coming at you out of the dark on a lonely road. What lies ahead?

Publishing journeys into the unknown?

Now that you’re looking at new options in light of Amazon’s demolition of CreateSpace in favor of KDP Print, here’s help adding Ingram to your mix of choices, from Melinda Clayton at Indies Unlimited. In my how-to book, You CAN Format Your Print-on-Demand Book!, I explain why you SHOULD publish at Ingram as well as at Amazon and show you how to format using InDesign, which Ingram supports. Be sure not to opt for the free ISBN at Amazon. Buy one from Bowker.com that you can take with you anywhere!

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Don’t Google to Find a Publisher: So Says Victoria Strauss!

So many books!

Here’s another of Victoria Strauss’s valuable words-to-the-wise about the business of becoming a published author: what can go wrong if you type “Find a Publisher” into Google. As always, Strauss provides an excellent Writer Beware list. Her spotlight on the scams writers face is one of the most valuable resources writers can consult.

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How to Evaluate Small Publishers—Plus Digital-Only Presses and Hybrids – by Jane Friedman…

Thanks to Chris the Story Reading Ape for making this terrific Jane Friedman article available! I’m closing in on the decision as to whether to self-publish or go the traditional route with a small press, so this article is a godsend!

Chris The Story Reading Ape's Blog

In my annual chart,The Key Book Publishing Paths, there is one column that is most vexing and problematic for writers to navigate: small publishers.

Into this category falls some of the most prestigious publishers you can imagine, that can boast of New York Times bestsellers, and that writers dream of working with.

But it also includes publishers that started up last year out of someone’s home office, run by people who may not know anything more about the publishing industry than you do.

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Is It Worth Your Time to Pitch Your Book?

Book in dramatic sunset landscapeOver at Indies Unlimited not too long ago, I ran across this comment from multi-award-winning author @MJBowersock:

[A]nyone who has not already been published, who is not a name that people recognize and that will draw sales, will not win a publishing contract with a traditional publisher. It’s like winning the lottery. It could happen, but the chances are, it won’t.

That’s not quite the kiss of death to our dreams of one day breaking into the publishing big time (the big houses call themselves “legacy” publishers now, Bowersock says). But it’s close.

Books as stairs to publishing success

So my question is, what about all those conferences that bring in rafts of agents and editors who claim to be starving for new talent (like you and me)? Are they scamming us? Do they consider a day at a conference listening to pitches some sort of paid vacation?

If Bowersock is right, I guess so. And our chances of coming away from a conference with real hopes for a contract are nil. Conferences aren’t cheap. Pitching is scary. Why go through such an ordeal?

Here’s one answer: because there are benefits from pitching to actual editors and agents that you can’t get any other way.

I’m not suggesting that any writer invest thousands of dollars in conferences. But I am arguing that a judicious choice of conference at the right moment in your process can be worth at least as much as what you’re paying for that cover or that expert to format your text—

—Because pitching gives you several kinds of feedback you won’t get from any other source.

Publishing success is like a sunny day

You know what you get from query letters: “Sorry, we’re not the right agency for this book.”

What about your writing group? I consider writing groups essential. But the members of your writing group read as friends and colleagues. They don’t read as business people, charged with making money out of your book.

And therein lies all the difference. They hope to make money off of you!

I’m not plugging for any conference, but I’ve been to quite a few, and I’m sharing my experience. I’ve learned things from pitch sessions that no one else ever told me. I’ll do it again.

If you do decide to pitch, be sure to make your investment count:

  • Be ready. Don’t rush to a pitch session with an unspellchecked draft while you’re still trying to figure out whether your main character’s hair is black or red. Exhaust your writing groups and beta readers first.
  • Review the faculty to make sure you can pitch to people who work with your genre. Make sure they work for good agencies and aren’t just somebody’s Facebook friend.
  • Get one-on-one critiques as well as pitches. If at all possible, pay extra to have the right person at the conference read a query letter or a first page and meet with you so you can ask follow-up questions. Pay for “pitch practice” if you possibly can.

Your words fall into your book!

Here are the kinds of questions you can get answered even if there’s scant hope of a contract. They’re the questions you would pay an editor to answer, and Lord knows good editors aren’t cheap.

Do I know what my book is about?

You can muse all day with your writers’ group about your story question, your main character’s goals, why she can’t achieve them, how her journey ends, and so on.

In a pitch session, you have five minutes to lay it out. Five minutes with a steely eyed editor daring you to make him buy it. Get tongue-tied with that agent smiling ever-so-sweetly at you?

Then you haven’t figured it out.

Seeing that stare glaze over or that smile turn to a frown tells you that it’s time to take a good look at your structure so next time you’ll know what your book is about.

What’s derailing my book?

When was the last time you got a response from a query that said, “Sorry, here’s why we don’t want your book.” [Interject sound of strangled laughter from author]

In contrast, you’re three minutes into your pitch, and Steely Eyes says, “I don’t understand why anyone would do that.” Sweet Smile says, “That sounds like a really unpleasant character.” They both say, “I’m lost.” (Often followed by a specific hint as to where and how the road signs got turned around.)

Yeah, I know, if they’d just read the darn book, they’d get it. But the fact is, you’ve just recited part of the back cover blurb that will make readers buy the darn book, and now you know a few things that can turn readers off.

And you have specific issues beyond just-not-good-enough to consider before your next submission: motivation, characterization, style.

Is my idea the high-concept, totally original, million-dollar gem I think it is?

Agents and editors see hundreds of ideas in your genre. You may well be asked, “How is this different from all the other books I’ve seen recently about crazed werewolves in New Jersey?” That five minutes will tell you whether you know the answer to that.

How does my work stack up with someone who is not my friend?

Really, it all comes down to this one: An agent or editor at a conference does not need to make you feel good.

They don’t need you to be in the mood to give them friendly, constructive advice at the next writing group meeting. They don’t need to keep you happy so you’ll hire them again the next time you need an editor.

They’ll give you your five minutes, but after that, they’ve got twenty other people lined up, one of whom might have THE BOOK they came to the conference to acquire.

So the instant they know your pitch isn’t clicking, they won’t string you along.

Pitching at a conference isn’t the way to learn how to make your structure work or how to make your concept a stand-out. But it’s one sure method of finding out fast how close you are to those goals. The day the frown is accompanied by a business card and a willingness to take a look, you’ll know you’ve finally managed to answer the questions that will sell your book.

Book publishing success

Do you have advice for making the most of pitch sessions? Share!

 

 

 

 

 

 

 

 

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