Some Editorial Scoldings

 I just went through a major structural edit on my most recent YA novel. I thought I had it pretty tight, seamless and moving at a fairly swift pace. Dudes, was I wrong. I seem to keep making the same mistakes over and over again. These are just a few examples that really stood out and caused some major problems. I had to cut 15 pages of text from this first, initial pass, and it's a very small book. There's more to come, I'm sure. But do any of you share these types of blunders? Pay heed and stop and think about them in your first revision. They somehow got by my in droves, much to my embarrassment.

I'm now convinced that if I don't stop blatantly foreshadowing every frickin' plot point in the novel and giving away everything before it happens, then I'll be sentenced to manuscripts full of red chicken scratch track changes for the rest of my life. I hope I've learned my lesson on this one. You can’t have a character think about, or plan what they’re going to do to solve a problem then have that character commit the act in the next scene, page or chapter. You see, you’ve already hinted or given it away. What’s the use? Use a red herring that whispers of an up-and-coming event, but leave it logically fragmented or incomplete somehow, at least enough to draw curiosity. Then, drop the bomb shell later on.
 

And, I better not catch myself going into an internal monologue or any other type of exposition or extended narrative smack in the middle of physical action scene. Nothing slows down an action sequence faster than interrupting it and trying to explain some nuance or reason for the conflict. This especially applies to character thoughts and motivation. Don’t underestimate your reader; they don’t need as much explanation as you think. Try to avoid blow-by-blow description—keep your fight or chase scenes open enough to reveal what else is happening nearby that is directly related to the scene. Huge battles that cover a lot of geographic territory and participants can be handled in tight 3^rd or even Omni. Think of the battles and major wars in the Lord of Rings trilogy. The camera has to pull back to get everything covered—much like the writing would have to do. If you have a pitched fight between two characters, like in Rocky or Real Steel, then go ahead and try some blow by blow, but don’t overdo it.  
 
 
Redundancy. OMG. Why must my last two or three sentences in a paragraph drive the same point across? What am I trying to do—craft a paragraph summary like in an article or a tiny novel? Who the hell ever heard of an epilog in a paragraph for gawd's sake? I got recently got smacked up-side the head for that one more than once. Here’s an example:

            She studied his eyes, looking for that inner light of recognition—that certain spark.  It only took a microsecond to make the determination.  Nobody was home.  He might have been fine as first impressions went, like a trendy piece of clothing pulled off the rack.  But once donned, it itched and felt clunky.  Candidate number two did not look promising.

There is just no way that last sentence is needed. We already know from the preceding words in the paragraph that this guy doesn’t look good. Full ahead STOP, when you’ve made your point. I call this driving the point home and I’m famous for this type of repetition—fluff that adds nothing and takes up only white space. In fact, that certain spark is repetitious. Kill your darlings; knock out prose that restates or repeats anything. Use a short, stark sentence to get your meaning over and done with. Now, if you’ve been paying attention, you’ll see that I’ve committed this blunder again in this very paragraph. Conclusion: don’t write like me, hah!

Writer's Bios and Credit History

I keep seeing this topic pop up every now and then. It seems it always come to the front when a writer is asked for a bio and credit history from an agent or publisher. It is sometimes stipulated in the guidelines and it's a very popular, normal request. I've never had a problem getting an agent--I feel that I excel in that regard. Same with publishers--I use the same bio and credit list for both. You're actually selling yourself right along with the manuscript, whether it's sample pages, a partial or full. Some writers have no previous credits at all, and this is not uncommon for the newbie. You simply can't list what is not there. Therefore, that writer has to fall back on a short bio--just a piece that highlights their vocational interests, writing habits or works in progress. Of course, any degrees (or seminar, workshop attendance) in writing are a welcome addition to a credit list or bio, and I would encourage anyone to list such accomplishments if their overall presentation is small or lacking.

I've been praised, especially for my credit list or history of  past publications. It's not huge, it's not that exceptional. However, you'll notice many categories that fill it out and add another dimension to the profile. No one told me to add the extras, I just took it upon myself to include anything that was writer related. It's just well-rounded and average. Like I say, it's not Bradbury's listed publication history for sure, but it is well-organized and reaching out for all possible (writing experience) venues of interest. I'll include it here, and the bio for your perusal. I chose a format between detailed and very simple, so an editor or agent can read the list at glance and a half and be done with it. I hope it helps. It's never failed me, and I have a suspicion that it's landed me more than one contract, given that the manuscript was on the fringe of acceptance.

Bio


Chris Stevenson, originally born and raised on the beaches of southern California, moved to Sylvania, Alabama in 2009 and settled in with his twin sister. His occupations have included newspaper reporter, front-line mechanic and federal police officer. He has been writing off and on for 36 years, having officially published books beginning in 1988. Today he writes science fiction, fantasy, paranormal romance, young adult, adult thrillers and horror. He has a total of nine titles appearing on Amazon, the last of which is The War Gate, a paranormal romance suited for the young adult crowd. His latest YA near-future tale, The Girl They Sold to the Moon, took the grand prize in a publisher's novel writing contest and garnered six offers of publication. He intends to keep writing and coordinating with his agent, Sara Camilli.

PUBLICATION HISTORY

PUBLISHING CREDITS--Books:

Auto Repair Shams and Scams (Forward--Ralph Nader), 1990, Price Stern & Sloan, Los Angeles--226 pages, non-fiction, consumer warning and repair book.

Garage Sale Mania, 1988, Betterway Publications, Crozet, Virginia--190 pages, non-fiction—1988.

Word Wars, a SF novel, to Rain Publishing, Canada—May, 2007.

Once Upon a Goddess, a Fantasy novel, to Rain Publishing, Canada—January, 2008

Planet Janitor—Custodian of the Stars, a SF novel sold to Engage Books, May 2009

Gate Walker, a Paranormal Fantasy, sold Lyrical Press—January, 2009.

The Wolfen Strain, a fantasy thriller sold to LBF (Lachesis) Books, February 2009

The War Gate, a Paranormal thriller, to Pen and Press, 10-12-2012

The Girl They Sold to the Moon, a YA dystopian sold to Intrigue Press, August 2013

MAGAZINE—SHORT FICTION:

Stellar by Starlight, to Amazing Stories, 1988.

The Lonely Astronaut, to Amazing Stories, 1988.

Temperamental Circuits, to Gordon Linzner of Space & Time, 1989.

Things that go Clump in the Night, to Richard Fawcett of Doppelganger, 1989.

Dance the Macabre and Dance it Well, to Erskine Carter of Ouroborous, 1989.

Future School, to Chris Bartholomew of Static Movement, January 2006.

The Incredible Mr. Dandy, to Not One of Us.

Planet Janitor The Moon is not Enough, to Enage Books, 2012

Planet Janitor Journey Interrupted, to Engage Books 2012

Other magazine appearances from 1988 to 1991 include, Alpha Adventures, Small Press Writers and Artists Organization and Sycophant.

RADIO PLAYS:

The Summit, 15-minute horror play to Night Sounds, Embassy Cassette Inc, Santa Ana, California—1990

Night of the Moa, 13-minute horror play to Night Sounds, Embassy Cassette Inc, Santa Ana, California—1990.

AWARDS:

Finalist in the L. Ron Hubbard Writers of the Future Contest, for Temperamental Circuits, 1987.

First place, grand prize winner for The Girl They Sold to the Moon, a YA distopian novel,  to a Publisher's Novel Writing Competition. Advance and publication offered—June 2012.

JOURNALISM AND MAGAZINE ARTICLES

350 newspaper profiles, stories, and interviews to Sunset Publishing, Anaheim, California, appearing in The West Coast Jewish News, The Senior Citizens Reporter, and The Military Review. From 1988 to 1991. Seven automotive articles to Dollar Stretcher Magazine, from 12-2-2011 to 2-28-2012.

CONTENT AND CLIENT

I have written and published over 1,700 non-fiction automotive, aircraft, marine, home and garden and science articles for Demand Media Studios, under the Beta-Automotive and E-How stations. Six automotive articles to Examiner.com—6-2012. Published  250 automotive and general articles to TextBroker. Content writing for a total of three years.

ORGANIZATIONS/POSITIONS:

Served as content editor of Sunset Publication (see above) for three years. Responsible for all writing assignment content, filler and artwork.

President and founder of Heartland Writers Group, Huntington Beach, California, from 1987 to 1991.

AGENTS:

Past agent--Richard Curtis Associates, from 1988 to 1991.

Past agent—TriadaUS (Dr. Uwe Stender), from 2005 to August 2009

Present agent—Sara Camilli

CURRENT FINISHED BOOKS (AVAILABLE):

Fusion, a military espionage thriller.

Valley of the Mastodons, a non-fiction book involving the Ice Age megafauna discoveries in Hemet, California, during the Diamond Valley reservoir dig. Proposal, chapter outline, and 100 pages available upon request

Dispossessed Incorporated, an urban ghost fantasy.

The Omega Wars—SF, apocalyptic alien invasion (Sequel to PJ)

Screamcatcher, a YA fantasy

I usually place the bio and credit history right after the email query or synopsis, and include it in the body of the email. It makes no sense to attach it, since it's not very attainable or convenient. If I'm asked to attach a credit list, then it follows the rear end of the synopsis--same page, not an extra one. 

Small Press Pros

 Someone asked me if I had experienced any bright spots with the small press, and the answer to that is yes. So it's only fair to point out some of the advantages and perks that small press can bring to the seasoned or aspiring author. After all, the primary goal of any publishing venue is to get a quality product out there that is well received by the public, one that provides great structural and copy-editing, cover art, good distribution (even if limited) and some type of an organized marketing campaign.

I never said that I was flat against the idea of publishing with the small press. Only that I was having a more difficult time with it than most. Now here's the caveat: my SF publisher, Engage, has done absolutely everything right and beyond. The CEO and editor have degrees in publishing from a prestigious Canadian university and both served as apprentices in publishing and printing shops before they even opened their doors. They specialize in science fiction only, print classic back titles for coffer money, and remove all stops when it comes to hiring the highest quality professional art designers, who render book covers in original oil and water colors. They attend every conference and show out there, spreading their brand name and have a voluminous list of review and publicity sources. Each books gets its own website, with full descriptions, press news and author bio.

My most recent publisher, Intrigue, seems to have all their ducks in a row. Between the president and editorial director, they boast 22 years in publishing experience, having produced books for the past 10 years. They are selective and exacting in their acquisitions. The editorial director teaches writing at the community college level and is always on demand for panels and speaking engagements. There is no conference or show that goes without their attendance and they are particularly good at keeping their brand consistently in the public eye. They have a marketing director who leaves no stone unturned when it comes to exploring the newest social media applications, and is always in touch with the publisher's authors, to teach, inform and direct them in gaining maximum exposure. 

Small press editors are one up on beta readers. It's probable that an author's book, once purchased, will fall under multiple qualified eyes, to suggest small or vast improvements in structure, continuity and plot. There might be multiple edits that span weeks or months until final proofreading. Galley versions (final book layout) will usually be sent to the author for final approval. These types of editing services are very expensive in a professional or freelance setting. When you consider that a full multi-stage edit can run anywhere from two to five dollars a page, you'll begin to see how much of an investment you're in for if you decide to self-publish. Nearly all legitimate, non-vanity small presses include multi-stage editing in their contract that is free to the author. This is one of the huge investments that publishers make to create a quality product fit for commercial consumption.

Someone has to format the book for either digital e-book, print or both, and this is handled by a trained professional who has done this work before, preferably dozens or hundreds of times. This is no easy task, and if an author has no experience in this area, they will have to take a small course and learn its intricacies. This can be very complicated when you consider any type of artwork, chapter  headings and design, table of contents, footnotes and other formatting issues that require precise font and style text placement. A service like this can start at $100 and go up.

You rarely see totally incompetent book cover design by the small press today. There are definitely losers out there, but even they can be re-worked through a compromise between the artist and the author. Authors are almost always given the opportunity to share in the book cover creation and are encouraged to participate in its concept and design. Good cover design requires a solid knowledge of colors, bordering, font, style, tone and overall presentation. Good to great cover art grabs and intrigues. It's meant to hold your attention. The best graphic designers can command up to $500 and more for quality book covers. Of course, if you're lucky, your small press will have an artist on board who can render the ideal cover that fits your book perfectly.

Small press publishers are more apt to get book review requests, author interviews and guest blog spots during the all important publicity stage. They also seem to do a much better job of obtaining celebrity endorsements and blurbs. Now why is this? Well, for one thing, they've probably got a database filled with book reviewers that they've used in the past, or go after the ones they know have the most influence, like Library Journal or Kirkus. Review sources are literally clobbered by desperate authors, wishing to expand their brand-name recognition--they're a dime a dozen. Publishers carry more weight and legitimacy since they are inclined to be a bit more impartial and less desperate--it's just business to them--not the end of the world if they are denied. They can send out a dozen or more ARCs (author review copies) in digital or print, do it swiftly and hit the right targets. Experience is a key factor here.

Most small press publishers are inclined to attend conferences and shows where they can network with influential media sources--face to face contact. Physical product placement is achieved by setting up booths, with display banners, new releases, back-list titles, free samples and, ultimately, direct sales.

I've actually seen and been the recipient of small press publishers who have taken out Internet banner ads, or page ads in popular genre magazines. They often get a discount if they group their books together for multiple listings instead of taking out ads for single titles. One of my publishers hired a publicity company to get the word out--an expenditure that most authors would be hesitant to invest in.

There are many other things that go on behind the scenes of a small press publisher. Many things that writers take for granted or gloss over. When you consider the major expense or labor involved in bringing a book to fruition, the small press is certainly a better alternative (IMO) than going the self-publishing route, which could cost you an arm and a leg before you're even ready for Amazon and the retail outlets. Legitimate small press handles all of that for you, allowing you to get your ass back in your typing chair or cuddled up with your laptop. 

Now, where can or does small press go wrong most of the time? Since most of these small houses rarely have full distribution, the sales of print copies are really going to suffer. By that, I mean dive bomb unless the author and marketing director hit on some epiphany that shoves the book onto some store or library shelves. Promotion and marketing are the big problems today--not book production. Getting the book sold--it's a numbers game. 

So what's happened to effective promotion and marketing in the small press world that has brought down the sales numbers compared to 10, or even 5 years ago? Self-publishing. And I don't mean the author/writers. I mean the collective machine that has caused such a glutonous monster that there aren't enough reviewers or social media hosts in all the world to handle the daily influx of all the new titles that are swamping the market.  Compound this by years and you'll begin to see the problem here. If too many people get on the bus, it's going to break down or be immobile.

Don't get me wrong, self-publishing opened up some locked doors and many of these books deserve to see the light of day. Most of them do not. Why? Because, effectively, they don't have the bases covered like most of the commercial small press publishers (see above). Remember I wrote about the self-publishing bubble months ago and made a prediction? I might have overstated that the bubble will burst, but there is every indication that self-publishing is going to level off, stagnate or begin to lose a huge chunk of its future membership. Add to the fact that self-publishers have priced themselves into poverty levels, which has had a chain reaction that's keeping everyone down at below basement level. News flash: "free" doesn't work anymore.

So what's the biggest argument against small press vs self-publishing? Well, gee, it's that 70% cut from Amazon--that's where self-publishing shines. Okay, first tabulate any money you've put into this book and wait until it's earned out before you start counting your larger sales cuts. If you reach 1000 copies in a month or two after release, consider yourself luck and possibly on your way. More? Jump for joy. But don't be surprised if you're staring at two-digit figures after three months, or even more.

An interesting article about the state and perception of self-publishing:

  http://www.palamedes.co.uk/new-book-...rch-published/          

Small Press Woes?

My views about small press and indie houses have drastically changed over the last seven years. I was trashed the first time out (2006, just returning to the Internet) with two books to the same publisher. They took 26 other authors down with me and closed their doors. The other four publishers (over the years to the present) resulted in lack-luster sales, no concerted promotion/marketing other than a few listings, editorial mishaps and what not. Granted, there are exceptional small presses out there that seem to have all their ducks in a row: Sammy, Elora's, Liquid Silver, Entangled, Night Shade (older days), Soho, Arctic Wolf, Prometheus, and many more.

My experience with the small or "micro" press has generally been about the same.  I'm talking about the very small presses with limited staff, resources, zilch distribution, who use the POD model. I've heard the number of 75 copies from James, our resident Yog, and at first, I didn't believe it until I actually experienced it firsthand. I upped the figure to 150, to be generous, and that figure comes from several friends who have admitted their numbers to me. My one exception has been my SF publisher. We've moved 275 copies, and 14 of those were hardbacks priced at $29.99. That was in the first three months. The rest were e-books.

All of my print sales rankings from all of my publishers reside in the millions. My one self-published book has sold 23 copies (e-books) and it has been out for 14 months. The contract on my last book was not picked up because of poor sales--and this book was my number 1 pick out the the 17 that I've written over the last 26 years.

I can remember the days back in the mid and late '80s when small press made me thousands of dollars. That's because many small presses in those days paid nice advances and had very good distribution--I appeared in every Waldens and B. Dalton book store in the U.S., in addition to making tons of foreign sales, with multiple copies landing in all the libraries. They are still in the libraries to this day. As small as these publishers were, I pulled four major T.V. appearances, over 40 radio shows and God knows how many newspaper and slick magazine reviews and interviews. Today, I call these types of publishers "Mediums." They are not Big Five huge, nor are they tiny, limited-staff operations.

I can truly state that for average sales on an average book, with good editing, attractive cover art and a hot genre, are anywhere from 75 to 150 copies--which has been stated before. There are notable exceptions--breakouts. These publishers, the vast majority of them, offer no advances and have no distribution to get print copies into book stores or libraries and put forth the least amount of promo and marketing. Lots of them provide royalties on net. Some of them are not even listed with Ingrams. I consider many of them to be author mills in disguise--reaping profits from hundreds of authors who might sell double digit numbers during their contract time period. I give you Mundania as a prime example of this type.

If you have to resort to a small or indie press, you start at the top just as you or your agent would with the larger publishers. It's crucial that they have full distribution and offer advances, for me at least. If they perform off-set print runs, it icing on the cake. Check your local library and book store for their presence--make sure those titles are fairly current, too. A publisher can drop a distributor, or the other way around, and you'd find out about it too late in the game.

Email their authors and check sales ranks on the retailer sites, particulary Amazon. Not a real foolproof way to determine sales numbers, but an approximate picture on how their books are moving. Make note of any legit, recognized industry awards--always a good sign. Longevity: I like to see three years or more in business. Staff bios are very important--look for prior experience with verifiable references.

I like to see at least four staff members assigned to the different publishing areas, preferably more. Single operators, mom and pop or family owned houses or author collaborative presses wave red flags at me--accountability being the main issue, related to communication speed, funds dispersal, adequate promotion and marketing efforts, publication scheduling, editorial competence, attitude and tone, book-keeping and other relevant matters.

Are you really going to turn over a book to a questionable small press house, a book that has taken you three, six, nine months or a year to write-edit-polish, to a publisher that offers only royalties (maybe net) on a book that might profit you a few hundred dollars in its lifetime? Book after book after book? Have you sold or signed for a series of books with a publisher without receiving any type of advance or escalating royalty clause? Have you given up subsidiary rights that the publisher cannot exploit?

I know of three authors who've signed huge series deals with small houses, the last one with 18 books to the same publisher, and my gut-ripping thoughts wonder if these poor authors got anything substantial out of the deal. No commitment for your hard work? Why?

If sales and readership numbers mean nothing to you and you view writing and editing as a hobby, then I ask you how you'll feel about this after half a decade or more of this blind dedication and hellish production. Do you think you'll change your mind after that stint and be receptive to getting really paid for your work? I ask you to think about that right now before you even contemplate submitting your books anywhere.

To a point, it's true that a publishable book can appeal to multiple publishers, and if you've received one or two offers, chances are there are more down the line that will snap you up. Caveat: beware that in the last couple years we've seen a glut of people claiming to be publishers that are only interested (first) in building their writing stable. You'll see them via their grandiose mission statements and calls for publication all over the Internet. Their Home page will entice writers--not readers. The quality of the story will be secondary. In all probability, their decision to offer you a contract may be based on your brand name (if you have one), your marketing plan (media reach and platform), and your past (publishing) credit list.

Don't take the first offer unless you are absolutely sure that they are the perfect fit for your book. Research all publishers until hell won't have it--P & E, Absolutewrite, Piers Anthony listings, Ralan's (for re-print, editor/CEO names) and the SFWA Writer Beware site.

Just so this isn't a complete Debbie Downer, my last YA title sold six times and I handed the contracts off to my agent. They were all small press outfits. When the dust settled, we copped a great royalty clause and a high three figure advance--pretty remarkable for one of the little guys. You can do this too, if you find the right one and negotiate the contracts sans an agent. Never be afraid to pow-wow with the purchaser--trust me, you won't chase them off. You'll just make them think harder about how much they want the book. 

Don't Sub Until You See the Whites of Their Eyes

The topic of perseverance came up in my writing group today. And here is my comment/answer to a friend who has been there and back again with me through some hectic and lengthy submission trials.I received some reps for it and was told that I should post it on my blog, just as a record of note. I think this applies whether you have an agent or not, but especially if you are without representation. I have an agent, but I go into full gear if we don't make that all important sale. I'm backup, or what you might call fail-safe mode, just in case everything doesn't go the way we planned. 


Lisa, you and I have shared a gazillion emails and PMs about the most pertinent information on the small and pro indie publishing business extent. I admire your drive in facing that gawd-awful fire when you thought the chips were down and the world was against you. We've spent hours swapping information, deciphering rejections, analyzing markets, negotiating/contemplating R & Rs, comparing advances, talking cover art, trading publisher information, going toe to toe with editors and, yes, ranting and bitching a lot too.

Without an agent, or with an agent that has exhausted all leads, it's possible, even probable that a writer can take the bull by the horns and come out a winner. And girl, I know you searched high and low and in between the cracks until you scored big time with PP. I admire the frickin' hell out of you, and you did it solo. That was about the time I was launching my sub list and we were both fighting tooth and nail for every lead, referral, partial and full request.

When my agent hammered on NYC doors (for months and months) trying to raise the eyebrows of agents and came away bloody, I told her that my submission list was fresh and ready to go. "Take a well-deserved breather," I remember saying. After all, by prearrangement, she agreed that I could come in at the end and serve as backup. Well, that was like Humungus clipping the chain on Mohawk dude in the Road Warrior. There wasn't anything conservative in my submission process. I bull-rushed the markets, but I wasn't unprepared--I had the plan, the list and strategy already in place.

I knew who offered advances and carried full distribution, memorized the mission statements, styles, genre preferences, tone and info on just about every small and indie press out there. I knew many editors and CEOs by their first name, because from almost a decade back, I was their bad penny that kept showing up and getting under foot. I had my submission process down like a science, and with the help of Lisa, my targeting computer was dead on and I knew who to hit and why.

After a little over three months, the dust settled. I ended up with a grand prize contest win, six contract offers and a film option request. I didn't hesitate to bring agent back into the negotiations, where I think we staged the first ever bidding war in small press history. Those editors, I remember, at first sure didn't know what the hell hit them or what was actually happening. In end, the one that gave me the most got the book and me. My agent was instrumental in refining an already favorable contract, but she didn't miss a beat and rewrote half the clauses, upgrading every aspect that she could think of. A big thanks to Sara Camilli!

If any anything Yog has said that can be taken to the bank, rest assured it is "Submit until hell won't have it", a phrase that has stayed with me from the very beginning of my term at AbsoluteWrite. I don't and wont' take no for an answer.

You absolutely must make editors salute your book, stand up and cheer for your masterpiece. You can't melt and fall into a crack because you think your query stinks--you fix it. Same with the synopsis--you have to enter the gates of query hell before you dive into the depths of real submission hell. You must realize that rejections are jewels that can be used to tweak your story when you have a consistent problem that's been flagged. I rewrote my book four times during the submission process, throwing a new, revised edition of my baby out there every time multiple editors clobbered me with the same point.

If you fail and all of your options have been exhausted, pack that book away and revisit it down the road. Give it a new title and rewrite it if it suits you. Strengthen the plot, characters, accelerate the first pages--whatever it takes to breathe new life into it. Then go at it again. Expand your submission list--research the books that are sitting on the shelves of your favorite book store. Remember the "4-6" method--nudge for queries/synopsis/pages and partials at the 4-month mark and 6 months for a full. Unless you have an exclusive. There's always self-publishing if you feel that you've gone through enough bloodletting, ha!

There is an editor out there right now looking for your book. It's your job to find them and make your presentation if you are without representation. If you don't have an agent, then you're going to have to act like one and negotiate the contract. And there won't be any time for blushing and gushing and hurrying up to sign because you think they'll drop you--you'll be business-like and savvy enough to get what you think you really deserve--take Pawn Stars as an example on how to deal with an editor who is a stranger--a tit for tat back and forth. Believe me, you won't scare them off and they'll respect your stance. Negotiate--barter. Tell them why your book is special and what you intend to do about promotion.

But Chris, didn't you trample on five publishers, waste their time and make unreasonable, outrageous requests? No. Those publishers asked that they remain in my consideration loop for future books. One of them did run for the hills when they saw my agent's shadow, but I wouldn't have wanted a deal with that type of house anyway. One of the most unusual perks I came away with was a publisher's promise that they would offer me a contract with an advance for just an idea on my next book. One single-spaced page. Not that I would take them up on such a thing. I'm just impressed with the sincerity and their impression of my work.

Peace out and give 'em hell.

Sex In Young Adult?

An interesting article penned by Darren Shan:

http://www.independent.co.uk/arts-en...n-8844103.html

Horror author Darren Shan has claimed that publishers of books for young adults have a no-sex policy, believing it will turn off teenage readers.  The writer behind Cirque du Freak and the Zom-B series has sold 25 million books worldwide, and is renowned for treating his young readers to gory, violent scenes. 

"You can have heads ripped open and sacrifice," he said. "The only time you get in trouble with the publishers is if there's kissing."

This seems to be a pretty broad accusation encompassing the general publishing world and it isn't clear that Shan has ever made submissions featuring YA books that have sex. But he's talking about kissing here, which doesn't even touch on fondling/foreplay or full-on copulation. This is the first I've heard of kissing being excluded from the text and I'm wondering where he's gotten these impressions, unless he's talking about the major Christian Publishers. And even then, I can't understand why kissing would get the no-go from even a Christian publisher or imprint. It's been mentioned in a forum that John Green's books, featuring a male lead has teenage sex, as well as Patrick Rothfuss' work that does have some cross-over elements but features teenage characters that indulge. There is also the implication that male writers of YA that feature sex are far, few and in between and less likely to be published than female scribes. Although it's true there are many less male writers in the YA category, I don't think it's held against when it comes to sex scenes. We're getting into gender biased territory here.


I can't  see what's wrong with sex with consenting 18+ years or above in YA. Not that I've written it. I have flirty nude scenes and some kissing in my YA books and haven't had any editorial condemnation because of it. I have crushes and moments of passion, ending in no more than a thigh or shoulder rub. But I won't take it that far (full-on coupling), even with consenting 18+ teenagers only because I don't want to risk rewriting such scenes--either toning it down or yanking it altogether. I do understand a problem with underage participants indulging in "grownup" sex and this deals with morality issues like contributing to the delinquency of a minor and rape. 
However, I have been flagged for drugs, swearing and liquor use by some editors, and others have let it pass. I think the editors who've let it pass understand that underage drinking, swearing and drug experimentation are all part of life that a young person goes through and to deny that it is bordering on head-in-the-sand thinking and a very naive view. I do get that some publishers wish to keep their YA titles clean and uncomplicated, not wishing any controversy or back-lash from a reading public. Chances are such publisher will state their preferences upfront in their mission statement or guidelines. I think writers can avoid these types of issues by thoroughly reading the missions statements and guidelines before they even think about submitting their YA manuscripts.

Another questions that pops up: Are male writers afraid to write sex scenes, believing that such things should be left to more skilled female authors? I don't think so. I'm quite capable of writing believable sex scenes, backed by passion and romance. I just don't think male writers feel too comfortable with the topic and are more likely to avoid it. Would a young teenage boy be frightened off from a YA book that had sex scenes? It seems to be implied, but again, I don't see a problem with it. If the book has adventure, thriller or horror aspects to it that dominate the plot, where's the danger for a for a teenage boy reader? I think young boys are more prone to actively avoid romance-centered stories, where the romance is a focal point and the storyline is character-oriented. I'm wondering if the newish category of NA (New Adult) might be platform for venturing into a more daring sex-filled storyline, where obviously, most of the MCs are past the 21 year-old mark.

The bottom line is, feel the publisher out by reading a few of their YA titles. Be sure to read the mission statement and guidelines. Better yet, write to the publisher and get a definitive list of what they consider unacceptable or naughty.

PLANET JANITOR, CUSTODIAN OF THE STARS:


http://www.amazon.com/Planet-Janitor-Custodian-Illustrated-ebook/dp/B004IASH8K/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1330380990&sr=1-2



 

Having worked for his father in the reclamation business for ten years, he felt the need to strike out on his own. He found the first love of his life, a Russian-built ore freighter he named, Shenandoah, and set out on the spiral arm to clear the solar system of unwanted space trash. That was until he found mining for minerals and retrieving wayward satellites more profitable. Now, at 40 years old, and having been in business for the past six years, he feels he's reached a milestone in his career. Which means he's got one last great haul left before he hangs up his pilot wings and retires on some moon real estate he has his heart set on. Orion industries sets a bug in his pants that's got him itching for a job that will net him more than he could spend in three lifetimes. But he has no idea how his crew will react to the assignment because all he knows is that their journey is a god-awful long ways out there.

Are You a Marketing Chump?

Never give a sucker an even break or smarten up a marketing chump. Notice I didn't say promotion chump. I said marketing. There is a difference. Marketing has everything to do with what your publisher is supposed to do. Here's some givens, and this list is woefully incomplete:

Publish and distribute ARCs (advance reader copies) to main-list reviewers and library sources.

Create press kits to attract reviews, garner bookstore interest and alert all potential buyers on the publisher's mailing list.

Provide postcards, fliers, banners, bookmarks, press releases, bag stuffers, etc. 

Arrange book signings and provide print copies

Press kits to radio, TV and newspapers with requests for interviews

Trade advertising and product placement at retailers, magazines and online genre venues

Print and online ads to distributors, bookstores, newsletters or social media groups--Twitter, FB...

Publisher website listing

Organize giveaways and contests

Arrange blog tours, interviews and excerpt placements.

Create video trailers (if applicable)

Pitch to trade magazines

Trade show attendance 

Seek notable author endorsements (jacket blurbs)

Now, one thing is patently clear; these tasks, even though part of every publisher's job, are not always carried out to the fullest extent. Every publisher should commit themselves to at least 60% of the above list. Some of the major NYC publishers ring all the bells and blow all the whistles, even purchasing end cap displays. However, dear friend, such treatment is reserved for the authors who have brand names and bring in the bucks via their best-selling titles. It's not true that publishers don't do any marketing any longer; they're just doing less of it--especially for the debut or new author. They'll watch a new-author title for signs of a breakout. That means if the book picks up sales speed, you can bet your butt they'll toss some marketing dollars at it. As far as these marketing tasks, you can expect quite a few of them from a large or mid-sized independent house that has distributions, pays advances and has solid bookstore placement. I liken marketing to a publisher spending money, time and labor on my book. That's the good news--you'll get a good basic marketing package from a biggie.

What's promotion? Promotion is something the author does--mainly, she/he gets kissy faced with all their friends, relatives and family, begging/asking to buy their book. It involves all social media, interacting in and on writing groups, FaceBook, Twitter, Pinterest, blogs, websites, display sites and anywhere else you can shout out your news.  This is basic promotion and just about every author on the planet does some of this. Although, some authors have admitted to doing nothing in this vein but writing the next book. Uh, either those authors have a big six monster behind them, or they're lying through the teeth. You don't write a book and tell me you don't mention it 'round town or give it a push. I don't believe you. If anyone asks you if you've written such and such a title and wants to know where to pick it up, if you tell them--you've done something, my friend. You're guilty of promotion.

It's true that many authors routinely send out free review copies (at their own expense), arrange blog and video tours, buy bookmarks, bag stuffers, arrange giveaways, solicit and attend signings (providing their own copies), and go hell-bent for indie bookstore (consignment) and library placement (donation). Ya, know, that's okay. It's understood. It's the thrill of a first publication or the desire to establish or keep a fan base. We've all been there. Stunningly, I found myself busy for 35 days straight writing to every major book reviewer in the U.S.A and Canada--I think I got personalized press releases out to 1,700 editors/reviewers before I collapsed of exhaustion. I pulled about 55 positive responses. Problem is, my publisher only sent out five review copies then declared bankruptcy a week later.

Here's my point: if you're doing any more than that, or spending money on your campaign, you're a bona fide marketing chump. You've willingly infringed upon your publisher's marketing territory because either you think that your efforts are going to help, you don't believe your publisher will do it, or you suspect (or know) they never intended to do it in the first place. If you cover, or try to cover all of the long list major marketing chores (above), you're a dumb-ass chump. 

It's NOT your job to market like that. Market a little and promote all you want, but don't shoulder the whole G-Damned production! In the first place, if you are orchestrating this whole show, what makes you think you know what you're doing? Do you have all the contacts? Do you personally know who the contacts are? Do you know how to reach them and know what to say? Are you aware that Library Journal is not going to jump up and click their heals because you sent them a press release? Do you know that if you donate a POD book to a library they're likely to reject it, or if you mail it in, they'll trash it? You do know that your publisher's name carries more weight and they are more impartial when it comes to direct solicitations? You are aware that better than 98 percent of advertising is wasted and doesn't show a return?

Small Press--the devil's in the details. Here's where it really gets interesting. For the sake of simplicity, we'll use a small press business model that doesn't include an advance, solid distribution to the trades or any bookstore placement. I've just described about 90 percent of them out there. Very rarely does a small press outfit have all three of those in place. They are out there, but they're swamped like the Boggy Creek Monster in Fouke, Arkansas. More and more each year, we're seeing small press asking for Marketing Plans from authors. This is usually before the contract is signed or just prior to release. Here be monsters, friend. These editors and CEOs know exactly what their asking. Look at the long list up at the top. You know, the things a publisher is obligated to do if they're serious about selling books to the trade. Do you know that it's highly likely that your acceptance and a contract might hinge on this point--your answer about what you intend to do...FOR THEM?

Your answer: "Oh, I expect to promote quite a bit. I don't intend to spend any money on marketing, though. What do YOU INTEND TO DO FOR ME IN A MARKETING SENSE?" That's right, turn it around and see where they stand on the issue. Don't take their word for it. Google some of their titles and see where they pop up. If the titles show primarily on a handful of retail sites and nothing more, chances are they're getting ready to dump the whole shebang in your lap. Case in point: I had one publisher cop me a guest blog on a romance site and that was the end of their two-year commitment to my book. Two other small press publishers did no better in their marketing attempts, with not only me but the whole stable, including their best-sellers. I've had one decent small press publisher fire off the big guns and pull its weight. And that was an exception. 

Do I recommend that you do nothing and start on the next book? Oh, hell no. And I've seen-heard those declarations from some of my peers. I think a good promo push by the author is essential to getting the word out. Who in the name of the seven sisters is going to find your book if you don't send up some flags or blow the horn? You think magic and luck will propel you and your book to stardom? Oh, please don't tell me that a voracious reading public always finds a great book and spreads the word via mucho mouths. There's two exceptions to that way of thinking: either great marking is in place, or you have more friends and relatives than Carter has pills and you've just hit the Amazon best seller list in your genre because you had a purchase flood in the first week. 

Well how do I know which publisher does what? Research. Look up the directory in the Bewares section of AbsoluteWrite.com and read all about it. You'll eventually come to know the difference between a publisher like Entangled and Eternal. You'll find out that the highest selling and ranking e-book publishers appear over and over again in the trade journals, Publishers Market and best seller lists. Names like Samhain, Ellora's Cave, Liquid Silver, Loose I.D. and others. These publishers not only market well but they have established huge fan bases BECAUSE OF THEIR MARKETING EFFORTS.

Remember this: any publisher who wants a detailed, in depth marketing plan from you has got some serious issues going on behind the scenes. Author mills are the spring from which these types of publishers flow. Start at the top of the publishing chain and work your way down. But not down so far that you'll accept any type of contract that identifies you as the principle marketer in charge. 

A  CHARACTER FROM THE SF EPIC PLANET JANITOR; CUSTODIAN OF THE STARS 

http://www.amazon.com/Planet-Janitor-Custodian-Illustrated-ebook/dp/B004IASH8K/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1330380990&sr=1-2



"He's a galoot" was the first thing the mother said upon her son's birth. The father, a large man by any standards, agreed and knew that his son would be very special some day. Galoot's first baby rattle was a piston from an old diesel engine. As the child grew, his interests in anything mechanical opened up a new world for him. After working in the space port ship yards for 20 years, Galoot earned his masters certificate in aerospace engineering and function. When he joined Zaz's crew, Galoot was single, lonely and almost eight-feet tall and 500 pounds. Shunned by those who feared him, rejected by women for his awkward mannerisms, Galoot soon found his home in the company of true friends aboard the Shenandoah. He would also find the love of his life.

Publisher Not Renewing the Contract?

I'm sure you all remember the scene in Logan's Run where the blinkers report to carousel for renewal because they've reached their maximum age limit. It was kind of a privilege to make that transition. Now, imagine that you were exempt from renewal...

So your time for renewal with your publisher has come up and they have decided to pass on extending the contract for an additional two years, or three or what have you. Bummer. Actually it really sucks and there can be only one good good reason for such a decision--you haven't got the sales numbers. In reality, with the way this world works, you could have had a tiff with an editor or the CEO and pissed them off, but that's not typical. What's more likely, is that your book didn't pull it's weight. And there could have been any number of reasons for this problem: bad cover art, ineffective blurb, substandard editing, lack of promotion and marketing, lack of brand-name recognition, few or no retail sales channels and the list goes on. In my situation, I knew exactly where the fault was since all the other bases were covered. So this might turn out to be sort of a rant. 

My publisher did not promote or market this book. The one exception, giving credit to their initial effort, was one guest blog post in a romance reader site two weeks after it hit Amazon. And that was it during its two-year journey in the big bad world of consumerism. It was listed on three other retail sites, when I believe there were at least five or six available and easily attainable. I rather had my suspicions from the onset that this publisher was asleep at the wheel when they breached contract with me before publication, then had two editors ditch the house, leaving me stranded. Oh, the warning bells and scarlet flags! When we finally got back on track, two years and four months had elapsed. And they were in possession of one of the best multiple viewpoint, adventure thrillers I'd ever written in my life. The Wolfen Strain came out of the starting gate at a full gallop, kicking up great clods and pulling ahead of the pack. It sat on the top 10 list of two retail sites, taking number 1 and 2 slots for horror and thriller and stayed on them for months. I shoved hard every day, hitting every display site, ad site, writing group, FB, twitter and blog site I could find, letting the world know there was new werewolf book in town.

All this time, I knew my publisher was doing nothing. All I had to do was Google my title and I could find out exactly where my book was and who was talking it up. Every source I found came from my efforts. Every one of them. Every time I reported some milestone to my publisher about some exposure, article, interview or accomplishment, it was met with a "hey, that's great" and nothing more. They pretty much had me right where they wanted me--I was their perfect patsy--a shoe-in free sales person. So why did they even need to expend any type of effort? In reality, they probably had no promotion, PR or marketing team to begin with. So I'm not that surprised. And neither should you be if this happens to you, and it does happen a lot in the small and indie press world.

So what do you do in a case like this when you know you've been short changed and you have a great book?

KDP and KDP Select is here. There's no reason to let your book die. I know of dozens of authors who've re-published their back-list and realized new life in their titles. I've already done it. You'll need to re-edit just as a precautionary measure, even if you believe you have a fairly clean copy. Change your storyline at this point if you wish to beef it up or make improvements. Hire an editor if you're in doubt about the editorial passes made my your previous publisher. Create a new book cover or hire out for a graphic artist to craft one for you. You won't own the copyright to the last one. Format for Amazon Kindle--Smashwords has a nice program complete with step-by-step instructions, or hire out for this service. Change up your front matter a little, and be sure to add links to any other books you have available. I would suggest changing the title (or tweaking it), although you don't really have to do this.

Download your new (yes, I said new) book on Amazon and on any other retail site you wish. Go print if that's your desire. Promote like hell won't have it. But this time you'll be taking 70 percent and in control of the entire process. Success is the sweetest revenge, and the proof of this is, that in my own experience, my re-published back-list title has now out-sold its first incarnation. Now who would have thunk it? 

 

Welcome to The War Gate, a paranormal romance/thriller with a time-travel twist.

“This was a solidly written tale with a trace of fantasy and complex thought used in defining the concept of leaping from one time gate to the next—excellent job of structuring.”
Terrie G, Bitten by Books, 4 out of 5.

“The War Gate is a captivating book. Mystery, magic and the paranormal blend together in a perfect mix. I would thoroughly recommend this book to fantasy enthusiasts who also like romance.
Orcid, Aurora Reviews, 5 out of 5.

Tag Line: Through a miraculous conception, Avalon Labrador must give birth to herself before she is executed, to solve her husband’s murder and her own wrongful conviction.

When the reincarnated Avy Labrador is kicked out of her stepfather’s house on her 18th birthday, she has no idea that the man who raised her framed her mother to cover his murder so he could acquire a major software empire. Now, years later, with the help of her magician boyfriend, Sebastian, Avy is about to discover that her birth was otherworldly and for a purpose. The ancient Roman God Janus was so appalled by the heinous murder of Tom Labrador by his brother Drake that he opened up a War Gate.

Avy has received half of her mother’s soul light and half of a God’s essence. Her mission is to put the real killer behind bars. The only catch: she must learn to “Gate-Walk”, that’s time traveling to the layman. She soon finds out that she is a drunk driver on the space/time continuum super highway.
Just when she believes she has too much on her plate to contend with, she learns that she’s pegged the wrong man as the killer…her boyfriend is not who he appears to be…and Janus, the so-called God of new beginnings, doorways and gates, just might be the biggest conman and liar she has ever met.
The War Gate has a heavy mystery structure, as well as paranormal/magic and romance elements.

War Gate Author's Note: The antagonist character, Wax Man, is not for the squeamish. I warn you ahead of time that he is the most disgusting, vile creature/human you're ever likely to read about. Not for younger readers under 13.