How Much “Grammar” Do You Really Need?

Put Your Editing Nightmares to Bed!

Across the online landscape for writers, there’s a lot of anxiety about producing that error-free query, synopsis, or draft. With reason—the first letter in “professional” is “p” for “perfect.” There’s no wiggle room on this one, is there? It’s got to be capital-R Right.Sad Editing!

As someone who taught college writing for 25 years and as a published novelist, I’ve been on the front lines of the effort to spread “good grammar.” The fact is, the whole question of what’s Right is more complicated than you think.

In the next few posts, I’m going to make an argument that we don’t need to obsess quite as much as we do. In fact, there are some “grammar rules” we can even trash!

Yes, You Have to be Able to Edit Your Work. . . .

I’m not for one minute telling you that your command of English syntax and usage is not important. It’s vital. But writers can all too easily get bogged down on trivia and even on myths (“OMG! I ended a sentence with a preposition! :-0”). One common cause of writer’s block is thinking that every comma is radioactive, ready to explode and destroy the known universe if mishandled. So for us writers, a little bit of a reality check is a good thing!

Today’s topic: What is good grammar? Answer: Depends on whom you ask.

(Yep, whom you ask. Why? Because it’s the object of the verb “ask.” Eeek! Relax. Nine times out of ten, “who” would be just fine in that line. Hang around; later I’ll explain why.)

Linguists, people who study how languages work, generally agree on three things: Continue reading

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Filed under College writing, correct grammar for writers of fiction, Finding literary agents for writers, grammar rules for writers, Learning to write, looking for literary editors and publishers, Myths and Truths for writers, punctuation for writers of novels, self editing for fiction writers, style for writers, Working with literary editors

A New “Amazon Kindle Direct” Report

Amazon Pricing

After creating considerable confusion earlier about how I could sign up for a 70% royalty rate for my two books, I returned to my site to change my settings to the higher rate. I seem to have succeeded, but not without a further bit of confusion, which I now hope I have clarified.

This time, more intelligently, I queried the support team via the email option, and received a  helpful and timely reply. (One of my hoped-fors for my online ventures: a quick “help” response process.)

Who, exactly, is Amazon.com”?

Here was the problem: When you pick “70%,” you receive a chart showing in which sales territories you will earn 70%. For some (e.g., Brazil, Japan), a small box informs you that in order to earn the higher amount in these countries, you must enroll in Kindle Select, which, you may know, requires you to give Amazon an exclusive for several months. Because I had already uploaded to Smashwords, I couldn’t easlly make this choice, and I’m not sure I would want to.

The confusion for me arose because sales made at “Amazon.com” were shown as paying only the lower rate of 35%. So what sales, specifically, were these? In my idiom, items bought at “Amazon.com” include books bought by U. S. buyers. Did this chart mean that books bought in the U. S. would never earn more than 35% royalty?

Here’s the reply to my query:

“Hello,
You’ll receive 70% royalty for books sold to U.S customers from Amazon.com.
However, customers outside of the U.S. often purchase books on the Amazon.com Kindle store. The books sold to customers outside of the applicable sales territories will be calculated at 35% royalty rate.
The 70% Royalty Option is only applicable for sales to customers in these sales territories:

[I’ve cropped the long list of the countries in which the 70% option is available.]

*70% Royalty in Brazil, Japan, Mexico, and India: Digital Books enrolled in KDP Select are eligible to earn 70% royalty for sales to customers in these countries as long as the 70% List Price requirements are met. Otherwise, you will earn 35% royalty.
Sales to customers in all other locations will receive a 35% royalty and are recorded separately in your royalty reports at the 35% rate.
For more information, please visit our Help Page:
https://kdp.amazon.com/help?topicId=A30F3VI2TH1FR8
I hope this helps. Thanks for using Amazon KDP. Have a nice day!”

Therefore, it looks as if I was successful in making the change, and as if I’ll earn 70% in most cases.

Questions I had about Logging into Amazon Direct Publishing

I had some difficulty figuring out exactly how to return to my KDP account. When I signed in using the account I had created to associate with the books, I could find no links to my KDP account. The customer-service representatives with whom I initiated a chat for help had no idea what to tell me. Finally they directed me to the “contact us” link for KDP, which is apparently a separate section of Amazon. I know now to log in at kdp.amazon.com/bookshelf, where I then sign in with the email address I created.

I hope this help others easing into the process. I assure you, the Smashwords process was less complex, almost certainly because of the complex royalty and distribution components of Amazon.

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Amazon Pricing Confusion Resolved!

Brittneysahin (below) got it right (unless I am misreading again :-))!

Here is the text:

“But if you choose the 70% Royalty Option, you must further set and adjust your List Price so that it is at least 20% below the list price in any sales channel for any physical edition of the Digital Book.”

Obviously the operative word here is “physical” edition. In other words, a book can be priced the SAME as a DIGITAL edition at any other sales channel. The 20% reduction is only necessary if you have a print edition (I assume this includes POD editions but that is not clear).

In my defense for missing this word, I was taking in a lot of information at once and was probably not attuned to the idea of a physical versus digital edition, since “physical” versions of my books are out of print. Of course, they’re being sold by used book dealers at all sorts of prices, but presumably this is not relevant since I earn nothing from these used book sales and have no control over them.

If you’re tempted to buy a copy of the old paperbacks for like $0.01, or some such price, let me know and I’ll send you a Smashwords coupon for a cheaper (yes!) edition. Both books have been revised, Blood Lies a fair amount.

Thanks so much to Brittneysahin and others for input on this. If anyone gets any new information via direct communication with Amazon, thanks in advance for letting us all know. And I’m going to change my royalty rate to 70%.

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Filed under Amazon Kindle Direct Publishing, Amazon pricing policy, ebooks publishing and selling, Money issues for writers, Self-publishing, Smashwords, V. S. Anderson, Virginia S. Anderson, writing novels

Creative Nonfiction Conference

Check out this conference if you write creative nonfiction of any sort:

Hippocamp15 bannerAugust 7-9, Lancaster, PA.

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Off to Upload to Amazon Kindle Direct Publishing

SELF-PUBLISHED BOOK LAUNCH DAY at Smashwords! And the day I bite the bullet and upload to Amazon! So far it looks a lot more complex than uploading to Smashwords. If any of you have been through this process and have any advice for me, please let me hear from you! In the next day or two, I’ll report back on my own experiences. King of the Roses coverIn the meantime, you can now order the books at Smashwords.com in addition to ordering them through any of your favorite ebook retailers, including Barnes and Noble and iBooks. Blood Lies coverLet me know if you run into problems. I may not be able to help, but I will try! Also later today I will post some direct links on my web site, www.virginiasanderson.com.

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Does your group speak truth?

I’ve written about my writing group numerous times. Here’s a somewhat different take on writing groups, picking up on a guest post by Jennie Nash on Jame Friedman’s blog. I found Nash’s column very thoughtful. Personally, I couldn’t live without my group, but some of the points Nash makes are worth considering. Points that resonated: 1) if you really want the truth, you have to ask for it. You may have to dig for it. Maybe only one or two people will provide it. Treasure them. 2) Accept truthful comments! Too often people come to the group to argue with us about our comments. When I encounter this, I sometimes say my say, then shut down. But most of the time, the rest of the group backs up sincere “good notes.” Here’s where I would differ: Maybe struggling writers can’t fix your work, but they are READERS. They sure can tell you what they heard–what they thought you were saying, what confused them. One member of our group constantly disparages her own comments. But they are among the most useful, because she’s the reader out there who will be judging my work. Maybe she’s not a member of my ideal audience, but if she gets lost in the middle of page 2, how many others will get lost there as well? I’d like to cut that number down as far as I can.

Jean M. Cogdell's avatarJean's Writing

Reading the post at Jane Friedman’s by guest writer Jennie Nash on 

The 4 Hidden Dangers of Writing Groups

The first fix Ms. Nash wrote, that stood out in this article for me was:
  • Give each writer time to talk about the weaknesses they see in their work and the solutions they are contemplating. Let them try to sort those things out in a supportive space. Often, simply having to articulate your problem goes a long way towards solving…

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How I Got More Reviews On My Self-Published Book | BookDaily #AuthorTips

I came across this just now and thought I would share it with anyone who is interested. As soon as my books are officially released, I’m going to follow this practical tip. BTW, I Blood Lies coverwelcome (and wish for) reviews of King of the Roses and Blood Lies! KOTR_F300They’ll be up at Amazon soon.

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Charles Suddeth’s new novel!

I want to give a shout-out to my Green River Writers colleague Chuck Suddeth for the publication of his novel, The Eighth Mask, with Library Tales Publishing. We’ve been through lots of words together over the years at GRW meetings. To learn more, visit Chuck’s website, http://ctsuddeth.com/.

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Authors’ Guild Advocacy on Fair Contracts for Writers

Found this on Twitter today. Absolutely essential knowledge for all of us approaching this point. This information mirrors much of what I learned the hard way when I published in the 1980s and 1990s: for example, that you never get the lump sum you think your advance is going to be. I am lucky in that I had reversion-of-rights language in my contracts (thanks, J and L) so that I have been able to self-publish my previously published books as ebooks. But it looks as if not everyone is so fortunate. In any case, this information is worth keeping up with:

https://www.authorsguild.org/industry-advocacy/the-authors-guild-fair-contract-initiative-a-preview/?utm_content=buffer1c2c9&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

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Quick Digression: On Thinking about Criticism of Our Work

I was doing some clean-up work on the blog and came across this post from last year. It seems so apropos to so many of us as we solicit criticism through agents’ and editors’ rejections. It was a good reminder for me.

vanderso's avatarJust Can't Help Writing

I came across an article in today’s New York Times, “Learning to Love Criticism” by a writer named Tara Mohr. She is meditating on a study that found that in performance reviews on the job, women receive many more (and more personal) criticisms than do men. The column discusses strategies for defusing the debilitating pain of such challenges to a person’s sense of self-worth and to the value of her work. It occurred to me as I read that some of her points might apply to writers of all genders, in particular this passage.

Women [and others faced with negative reactions from critics of their work] can also benefit from interpreting feedback as providing information about the preferences and point of view of the person giving the feedback, rather than information about themselves. In other words, a negative reaction from five investors doesn’t tell a woman anything about the…

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