Keeping Your Butt in the Chair

This is, à mon avis, the most difficult part about writing, folks. I've been having some trouble with it lately myself, so I thought I'd dedicate a post to the subject.

• Make a list of your usual distractions. It's helpful to recognize your weaknesses before they become an issue. Do you obsessively check e-mail? Go out for a coffee? Play Farmville? Whatever it is, write it down. Being aware of it will help you stop doing it (see below).

• Block out time to write. Scheduling is half the battle, mes auteurs. Pick a time that works well for you and do your best to stick to it. If you're a morning person, 6:00 am is great; if not, maybe not so much. Be as regular in your commitment to writing as you can, even (especially) if you're not writing every day.

• Get any distractions out of your system before you sit down to write. Trying to quit all your distractions cold turkey will probably result in your caving and going back to them to blow off steam, potentially during time you'd otherwise spend writing. Play your games, check your e-mail, tweet, update Facebook. Then write. And write when you're supposed to, not just in between rounds of StarCraft.

• Take steps to prevent distractions while writing. If you can't stop checking Twitter, turn off your Internet connection. If you keep getting up to see whether the guy next door is still trimming his hedges into the shapes of Jersey Shore cast members, close your blinds. &c, &c.

• Schedule regular breaks. You're not a machine; it's just as important to know when to stop writing as it is to set a time to start. I usually take ten minutes off for every hour I set aside. If you try to write through your break and you're not seriously on a roll, you'll probably end up more prone to your usual distractions anyway.

• Reward yourself for sticking to your schedule. After you finish your hour of writing, go get that coffee. After a week of sticking to your schedule, buy yourself a new book. The more you reward yourself for a job well done, the more you'll start looking forward to that scheduled writing time you've set aside. Pavlov! He was perhaps on to something.

That's all I've got for you today, meine Autoren. How do you keep your butts in your chairs each day?

An Open Letter to the Industry

Dear everyone: please, please stop asking me to fax things.

The publishing industry gets made fun of enough for its technological prowess—or, really, lack thereof—as it is. Please let me scan documents and e-mail them to you rather than force me to rely on a fax machine that is, in all likelihood, older than I am.

While we're on the topic, please let me use e-mail, cloud-based services, and flash memory devices to move information from one place to another. There is no need for me to write a PowerPoint presentation to a DVD. There is no need for me to print something out so I can fax it to you (this is happening less frequently, but really, it shouldn't be happening at all). There is no need for me to print something out so I can mail it to you when I could scan and e-mail it instead.

I understand that you're used to paper. There are many purposes for which I prefer paper, too. But the transfer of time-sensitive information is not one of them.

Speaking of! What are we doing chasing news stories with physical books, folks? By the time we set up, print, and distribute the book in question (assuming it's already been written, which is a big assumption), the public interest—and therefore the opportunity to make a sale—has passed. E-books, I say, or nothing.

Not that I'm an unapologetic advocate for the e-book, but I think this particular realm of publishing is an area in which the Internet will almost always do better. Many topical books need to be electronic in order to get them out in a timely fashion.

All of this to say, then, that time is money, and the less we do things because it's the way we've always done them and the more we look toward more efficient ways to get our stories out there, the better off we'll all be.


P.S. It's been over two years since anyone asked me for anything on a floppy disk. Keep up the good work.

Guest Post: Eating the Elephant

by Lexi George

As a mom with a full-time job, I’ve always had to squeeze time out of my busy schedule for writing. I’ve been writing steadily for more than fifteen years, but for the first few years it was hit and miss, a little writing here, a little writing there. No pressure or time constraints and no real goals, other than to finish the manuscript I was working on... at some point.

In my forties, with the ugly Five-O looming on the horizon like Godzilla with a bad case of hammer toe, I got serious about writing. If I was going to do this, I’d better get cracking, I told myself. I was going to finish the darn book and get published before my fiftieth birthday.

Good grief, fifty! Where did all the time go? If I didn’t do this thing by then, it was all over but the crying. Of course, I knew my odds of getting published were slim—my husband is a numbers guy—but I didn’t dwell on them. I had a goal.

With Doomsday looming ahead, most days I managed to carve out some writing time. I had a self-imposed deadline to meet, with dead being the operative word. Fifty, sheesh. D-Day crept closer and closer, and Godzilla eschewed orthotics.

As writing became a more regular habit, I began to get anxious if I didn’t get my daily dose of prose. There were still plenty of times when life intruded upon my creative efforts, so I cut myself a little slack. I set a goal of writing a chapter a week, which for me averages anywhere from 2500 to 3700 words. That way, if I missed a day because of work or the kids, I could make it up the next day without feeling guilty or anxious.

Did I mention that guilt is a motivating factor for me? Guilt is my friend and my enemy. It keeps me on the straight and narrow, but it also makes me crazy as a June bug.

I finished the manuscript I was working on before Doomsday, but I didn’t get published. I have the pile of rejection letters to prove it. A quite impressive pile of rejection letters, I must say. Enough to wallpaper several bathrooms.

Fifty came and went and I kept writing. I decided to try my hand at something else, a romance about Addy, a small town Southern florist and a hunky immortal demon slayer named Brand. Lo and behold, thanks to luck, prayer and a lot of help from friends, Demon Hunting in Dixie sold to Kensington in a three-book deal! Holy smokes! Great jumping Jehoshaphat, I’m a published writer. Whoo hoo!

Then I got a reality check. I was given my first deadline, a deadline set by the publisher and not my inner nag. I had to complete a 30,000 word novella in three months. Having learned a little about time management and goal setting over the years, I gave myself a goal of 10,000 words a month, highly doable, given the fact I haven’t quit my day job or turned in my mom card. I am happy to say I met my first deadline. The novella, The Bride Wore Demon Dust, comes out this August as part of a Halloween anthology from Kensington entitled So I Married A Demon Slayer. The icing on my cake of happiness is the fact that I’m in the anthology with paranormal romance writers extraordinaire Angie Fox and Kathy Love. Somebody pinch me!

Then my second reality check came: the deadline for book two of the demon hunter series. I’m hard at work on it, but I will admit it has been challenging. I am a slow writer (I revise as I go) and I haven’t given up my day job or put up my teenager for adoption. But I will get there!

So, my advice is to set goals, whether they be daily, weekly, or month. Whatever it takes to get your butt in the chair.

When you set out to eat an elephant, take small bites. That’s my philosophy and it works for me.

Oh, and by the way, I’m fifty-four. Life didn’t end at fifty and neither did my passion for writing.

Or my ability to dream and reach for that big, brass ring.

Hmm, wonder what I should shoot for next?


Lexi George is an appellate lawyer by day and a romance writer by night. She started her writing career in the third grade penning bad poetry about hydrangea bushes and Erik the Red. Ironically, she ended up marrying a Viking, a Northern boy who came to Alabama with the Air Force and stayed. She wrote poetry all through high school and college. And then she decided to go to law school and the muse left in a huff. The muse hated law school.

The muse returned when Lexi’s oldest child was a toddler and Lexi has been writing ever since. After piling up an impressive number of rejections on her first book, a fantasy romance that she worked on for more than ten years, Lexi decided to try her hand at something else. The result was Demon Hunting in Dixie, a paranormal romance about demon hunters in the Deep South. The muse is very happy, and so is Lexi.

Visit Lexi on Facebook and Twitter (lexigeorge12) and check out her website at www.lexigeorge.com.

Demon Hunting in Dixie is available from: Amazon.com, BarnesandNoble.com, BooksaMillion.com, indieBound.org, Borders.com, or your favorite retailer.

How to Book a Reading

A few of you have asked me about this, mes auteurs, and since I recognize many of you are working with reduced marketing dollars/publicity attention (or are perhaps even tackling the publication process solo), I thought I'd offer a few pointers.

First of all, make sure you're really ready to read your work in front of friends, family, and strangers, and be sure you've got something to offer that will encourage various venues to host you as a reader. I think it goes without saying, but the more of an "in" you have with the owner, staff, reading organizer, &c, the less well-published or well-known you really need to be.

If, on the other hand, you want to read at Fancy New York City Lounge and you don't know any of the staff there, you'll need an impressive publishing credit or two (or a well-connected friend) to help get your foot in the door.

Next, I'd make a list of the following three types of venues:

1. Places that host readers/reading series where you have a connection with the owner(s) or staff;
2. Places that don't necessarily host readers/reading series but where you have a connection with the owner(s) or staff;
3. Places that host readers/reading series that you admire (but you have no connection with the staff).

In that order! As I've said before: after a certain point, who you know becomes much more important than what you know.

Don't limit yourself to bookstores, either (though they're a great option); cafés, bars, and community centers (your local YMCA, synagogue, community college, library, school auditorium, you name it) are also excellent options.

Once you have your list of potential venues, get in touch with them about a possible reading. A few tips on this:

· If you know the person who runs the readings/venue, give them a call! No-brainer.

· If the venue has a dedicated person who arranges these kinds of events and you're not already best bros with them, call or send a Very Professional E-mail to that person. Call during business hours; shoot an e-mail if it's very early or very late.

· If there's no dedicated contact person, call or e-mail the venue's general number/e-mail address. If you call, be prepared to be handed off to a couple of different people, especially if the place you're calling doesn't usually do readings. Don't lose heart! Or your patience.

· Be professional! If you call, be prepared to talk a little bit about yourself (assuming they ask). If you e-mail, feel free to include a short bio or a link to your website. Remember: the less well you know the venue and its staff, the more established you'll need to be to get a positive response.

· I wouldn't include any kind of sample material with the initial e-mail; most places that are interested in hosting you will ask for it, either as an electronic file (poems, short stories) or in the form of your most recent book.

And that's pretty much it! Once you've cast your net, all you need to do is wait for a response. If you don't receive one, I think it's fair to follow up in a week or two to check in.

If they say no: try again elsewhere.

If they say yes: congratulations! You're doing a reading! Here are some tips for that, courtesy of Brad Phillips.

Schedule, Schedule, Schedule

If you've been reading this blog for awhile, mes auteurs, then you're familiar with my opinion that, even beyond talent and luck, a writer needs discipline in order to succeed. John Gardner once wrote: "Most of the people I've known who wanted to become writers, knowing what it meant, did become writers" (bold emphasis mine). So: what does it mean to be a writer?

· You need to create and keep a schedule. If you can only write from 6:00 am to 6:45 am on Tuesdays, guess when you're writing? Bingo: 6:00 am to 6:45 am, every Tuesday.

It can be difficult to dedicate time to writing when you feel you have very little of it, since the payoff takes so long to realize. Even writing forty-five minutes a day, however, will get you a first draft of a short novel in about a year (assuming a modest 250 words in 45 minutes x five days per week x 52 weeks per year = 65,000 words).

· You need to be disciplined. Not only do you have to carve out the time to put your butt in the chair, you have to use that time wisely. No checking e-mail, no reading webcomics, no on-line shopping. Write longhand, go somewhere without wi-fi, turn off your router if you have to. When you're writing, you're writing. Period.

This can be difficult if you work long hours or have kids to take care of, but remember: there must be some time in the day, if even only a few minutes, during which you can write. Find it, set it aside, and use it regularly.

· You need to be willing to revise. Virtually nothing comes out perfectly the first time. While it can be frustrating to write that final sentence of a first draft and realize you're not even remotely done, you can't quit and decide your first effort will have to be good enough. Find some trusted readers and get busy cutting, recasting, and expanding.

· You can't give up easily. Every writer's life is full of rejection; I don't need to bust out the tired clichés and examples for you. Your short stories will get rejected, your novels will get rejected, you may have to try a dozen times to find an agent. If you're self-publishing, you may find your first half-dozen attempts sell as many copies before settling to the bottom of Amazon's title list. If you're thin-skinned, build some calluses. If you're prone to giving up easily, this isn't the business for you.

· Maintain your relationships with other writers. If people you know are writing, submitting, and publishing, it'll keep the pressure on you to stay on top of your game. Ultimately, your own expectations and motivations will determine your success, but it helps to have other people pushing you forward, intentionally or not. Plus, as I've said, it never hurts to network. Recommendations and referrals jump-start literary careers all the time.

But! You tell me, folks: what do you do to keep yourselves motivated?

Getting Your Name Out There

As I've mentioned a few times, gentle readers, an author's name is a brand, a social currency, a form of capital: it can signal cultural awareness ("Have you read the new book by so-and-so?"), serves as synecdoche for a book's actual content ("Have you read the new Suzanne Collins? Well, she wrote it, it must be good,"), and even acts as a seal of approval (e.g. reviews and blurbs).

So how do you get yours out there?

Well, the most obvious answer is to write a fantastic book that people love. Until then, however, there are a few things you can do to get your name and your writing on readers' radars.

Attend events. There's no substitute for face time, mes auteurs. Attending readings, book signings, panel discussions, conferences, conventions, and other literary events in your genre of interest will not only help you fill out your mental Who's Who, but will help raise your profile among other readers and writers interested in the sorts of books you are.

Write reviews. Just behind talking about themselves, people love reading about themselves. Write reviews of books you love by authors you admire, link to them, and spread a little good karma. The worst that'll happen is your name will be in print or on-line in one more place than it was previously; the best that'll happen is that the author will repost, retweet, link to, or otherwise call out your stellar review, and that can help raise awareness of your name significantly.

Participate in social media. You won't have the time or money to attend every in-person event you'd like, but that doesn't mean you're in any way cut off from the writing community of your choice. Social networking sites like Facebook and Twitter allow you to communicate with people you might never otherwise meet, and maintaining a web presence (website and/or blog) provides you a sort of digital storefront for you and your work. Networking has never been easier than with the biggest network (of networks) on the planet: the Internet.

Publish your short fiction. If you write short stories, submit 'em for publication. A nice array of publication credits in print and/or on-line will not only help build awareness of your brand, but may attract attention from agents and editors. Should you decide to go it alone and self-publish your work electronically, you can sell your short stories on the cheap to attract consumers for your novel. Again: worst case scenario, your name comes up more often in print, in conversation, and/or on-line.

Ideas? Theories? Tried-and-true methods? To the comments with you!

The Cons of Procrastination

We all do it, mes auteurs, whether it's at work, with our writing, or doing simple chores around the house. Why haven't you put together that Excel file that will literally take you ten minutes? Why have I spent three weeks avoiding a bucket of dirty paintbrushes instead of investing the necessary 30 minutes to clean them? Why didn't you write your 1,000 words today, but instead promised yourself you'd write 2,000 tomorrow? And why on Earth did I put off writing this post until eleven o'clock at night?

These questions are somewhat rhetorical, but if you're looking for actual answers, I encourage you to check out this blog post. (The blog as a whole is actually pretty interesting.) More importantly, however: how can you (we) stop procrastinating?

Acknowledge that you're procrastinating. The first step, as they say, is admitting you have a problem. In all seriousness: if you don't recognize that you're putting off something that's important to you (in this case, writing), you can't stop procrastinating and start getting work done. We're all expert rationalizers and justifiers. If you direct your energy at explaining away your lack of progress rather than—well, progressing—you're never going to get that short story or novel written.

Try to identify the cause of your procrastination. Ideally, you'd rush home every day from work to sit down at your computer/desk/notebook/&c and start typing/scribbling away. If you aren't, try to figure out why. Does work drain too much of your energy? Are you stuck on a scene you're not having much fun writing? Is your writing space depressing, distracting, or (worse) non-existent? Once you know why you're having trouble putting pen to paper (or fingers to keyboard), you'll hopefully be able to overcome the problem.

Set small, manageable goals and stick to them. If your goal is 1,000 (or 100!) words a day, write 1,000 (or 100!) words a day. Period. No excuses, no rationalizing, no justifying. Caveats: emergencies arise. Family is more important than writing. Sometimes you're not going to get those 1,000 (or 100!) words written. What does that mean? It means that tomorrow, you write 1,000 (or 100!) words. Keep moving forward and don't look back.

Periodically reward yourself for sticking to your goals. Whether you do it by scene, chapter, or word count, reward yourself when you achieve a major or meaningful milestone. It needn't be anything big, but the prospect of getting or doing something you truly enjoy as a reward for maintaining your writing schedule can work wonders. There's absolutely no need to "punish" yourself when you fall short; you just won't get your chocolate/iTunes/True Blood/&c fix. (Make sure you pick something you really want.)

That's all I've got for you today, mes auteurs, but if you have any tips for defeating procrastination, don't hesitate to share them in the comments!

What You Can Do: Twelve Easy Steps (Rerun)

A blast from the past, mes auteurs—here's a post I wrote almost exactly one year ago. Enjoy! — E

Episode: "What You Can Do: Twelve Easy Steps"
Originally aired: Tuesday, August 4th, 2009

(Edit—for more on royalties, see this morning's post by Jessica over at BookEnds.)

So, caveat: this isn't meant to be a complete list. I'm sure I'll revisit this post and add to it as time goes on, but I've been thinking about it for awhile now and would rather share it with you sooner than later.

So, without further ado: what can you do to sell you book, and more importantly, when should you do what?

1. Completion of your novel. Congratulations! You've written an entire novel (~60,000 – 100,000 words)! Now go edit it. No, don't tweet about how awesome your book is (yet). Edit.

2. Six months later... congratulations again! Between your critique group, your trusted first-readers, and your biggest editor/critic (i.e. you, at least at this point), you've polished your novel to a high lustre. Such a high lustre, fact, that you've begun using British spelling and grammar without even realising it. Ace! (Apparently you are also stuck in the 1980s.)

Have you written a truly smashing query letter yet? You have? Ace again. All mod cons, as they say. (British slang, incidentally, is weird.) Anyway—time to start querying Nathan, Janet, Kristin, Jessica, and all the rest. Cast a wide net, and remember: no exclusives!

3. Three months later... you're still querying? Of course you are, unless you're luckier than Malachi Constant. What, did you think this was going to be easy? Keep at it.

4. Three months after that... Hooray! After several form rejections, a few polite refusals on partials, and one or two fulls, you've gotten an offer of representation. (To make this as simple a scenario as possible, let's say this is one of your dream agents and you accept the offer immediately.) Don't start the party just yet, though. Now you've got real work to do.

If you've got representation, you're that much closer to getting published, and so at this point you need to start expanding (or straight-up building) your platform. If you've already got a blog, ramp it up; if you've already got a Twitter account, tweet it up; if you're on Facebook, start making connections like crazy. If not, get going right now. Start playing the networking game. Check Go Daddy to see if your name has already been registered as a domain name. If not, consider buying it. If so, try and figure out a good alternate name. (Hint: http://www.newjohnsmith1-2-3today.info/ is not a good name.)

To be honest, there's no such thing as "too early," but the offer of representation is, in my mind, when things get serious. If you haven't given thought to blogging/Twittering/website-ing/Facebooking/&c, start now.

5. Another three months after that... O frabjous day! Your book has been sold to an editor! You must now do the following:

• Party. Nothing major: you're a working author now. Live it up a little, but do not get outrageously drunk or stab your wife with a penknife. You are not Truman Capote or Norman Mailer (respectively).

• Hit the ground running. Discuss everything with your agent and newfound editor. Ask as many questions as you can think of. If you are, like me, unmarried, childless, and have relatively few obligations outside of your day job, I highly recommend you make promoting yourself and your book your new, all-consuming hobby. Figure out what you're willing to commit to (I recommend as much as you think you can safely handle) and let your agent and editor know you're willing to work hard. If you've got substantial commitments (e.g. sextuplets, reality TV show), find a balance.

• Ramp it up. If you haven't bought that mega sweet domain name yet, do it. Blog about yourself and your book. Tweet about it. Change your latest Facebook employment to "author" and announce your good fortune in your status. Network, network, network.

Let your critique group know. Go to literary events. If you don't already know the booksellers at your local stores (national chains and indies) by their first names, now's the time to start. Aside from the fact that they're most likely wonderful people who will turn out to be excellent friends, they're going to be very helpful later on (see below).

An aside: definitely talk this over with your editor, but if you feel like it's a good idea and your advance is big enough, consider hiring your own publicist. He or she may be able to work wonders for you.

Oh, and yes—if you're not too up on all this computer mumbo-jumbo (although you should be), see if you can get your computer science major nephew (or some similarly inclined relative or friend) to help you out for a nominal fee (or, better yet, for free). If you happen to know a web designer who can make you an awesome website, so much the better. At this point, it's all about who you know. Keep asking yourself that: who do you know who is able and willing to help you?

Now, in case you weren't keeping track, in this oh-so-magical best-case scenario, it's been fifteen months since you finished your novel. You now have representation. Is this unrealistic? Yes, I think, slightly, but don't assume that novel you finished fifteen months ago was your first one, and do assume that you're a talented writer with a good story, and suddenly it's not so far-fetched after all.

Oh—and order business cards. You're an author now.

Now then—

6. Nine months before on-sale: You might have comp titles already. Ask your agent to check on them for you. If you're neurotic and wealthy enough, pay to track the sales of your comps on BookScan. Discuss potential sales numbers with your agent. Be as realistic as possible. Do not drive your agent insane.

7. Six months before on-sale: You signed your contract long ago and the book has already been through launch meetings over at your publisher's house, meaning that everyone who's going to be involved in selling your book to retailers (marketing, publicity, sales, &c) has known about your book for a few months now. You've got your very own ISBN, retail price, descriptive copy, sell sheets, title information sheets—the works. What's happening now? Well, sales calls. And, if you're lucky, co-op. That means book stores are about to find out all about you.

Remember those friends you made at your local book stores 6+ months ago? Call them. If you haven't already told them about your book, tell them now. Ask if you can do author events, readings, signings, everything, anything. (Discuss this with your agent first.) If you have friends who are established authors, talk to them. See if they'll blurb or promote your book, allow you to guest-blog for them, read with them at area book stores, and so on. You can't do too much of this. You really can't.

Continue to blog, update your website, tweet, guest-blog, &c. The more people hear about you, the better. (Assuming you're always polite and professional—and you are, aren't you? Good.)

8. Three months before on-sale: Keep up your relentless self-promotion, but keep it classy. Follow through on everything. Keep the lines of communication between you, your agent, and your editor open. If you've committed to readings, tours, podcasts, blog posts, e-mail blasts, local radio shows, infomercials, impromptu subway performances, &c—make good on those commitments. If you got your own publicist (see Step #5), he or she will be helping to organize all of these things. Oh, and speaking of organizing, have you scheduled yourself a release party yet?

9. On-sale date: Breathe. Do not check the sales figures yet, they won't be up. Relax. You feel good, you feel great, you feel wonderful. Have that release party you planned three months ago, publish one more blog entry or tweet, and call it a week. You've earned it.

10. One week after on-sale: Your publisher will have your week one sales available. Ask your agent/editor if they can forward them to you. If you're sufficiently neurotic and wealthy (see Step #6), compare these numbers to your BookScan numbers and to the first-week sales of your comp titles. Celebrate or panic accordingly.

11. One month after on-sale: You might have some reviews. If they're positive, blog, tweet, podcast, &c about them. If they're negative, say nothing. Do not try to explain away a bad review in your blog—you're only creating more links to negative press. And for the love of God, do not pull an Alice Hoffman.

12. Three months after on-sale: You're hard at work on your next novel, mate. (This British slang thing is seriously addictive.) Publishing is a business and you're a professional now; celebrate your victories, be gracious about any pitfalls or shortcomings, learn from your mistakes, and keep writing.

The Year in Review: Part 5

The! World! of! Tomorrow!

Once again exhibiting his uncanny ability to read my mind (or simply read the same news sources), Nathan posted yesterday about Mike Shatzkin's post on the future of book stores. I largely agree with Shatzkin (his original article can be found here), and Nathan's assessment (though bleak) is pretty spot-on. To quote:

These last few years have been incredibly tumultuous for the industry. The recession and the Great Digital Transition combined forces to wallop the industry, and the effects are everywhere: shrinking lists, closing imprints, shuttering indie stores, a vanishing mid-list, and belt-tightening across the board.

However, whereas Shatzkin seems to have relatively little hope that publishers will be able to adapt to the massive transformation entailed by the "Great Digital Transition," I think Nathan and I are in the same, slightly more optimistic boat. People will still buy (possibly even more) books. The paper side won't disappear completely. A lot of things (writers writing, agents agenting, editors editing) will remain the same.

Thus, in the one, the only, Bullet-o-Vision™:

· In my opinion, e-books will comprise 50% of the market by 2015. I wouldn't be surprised if it were more (up to 70%).

· In my experience, e-book consumers are never "between books"; that is, unlike with physical books, they don't finish a book and take any sort of break. Even if they take a month to read the next one, they generally start it as soon as the previous book is finished. I think this behavior, along with the lower cost and greater convenience of e-books, is behind the booming sales numbers we're seeing.

· As the cost of e-readers decreases (read: falls to around the $100 mark across the board), e-book sales will sharply increase.

· The vast majority of e-book readers also buy physical books (and more of those who are "physical books only" are making the transition every day), so I think publishers would be wise to bundle the two products together at a discounted rate, at least for now.

· I don't think the transition to e-books will democratize publishing any more than Gutenberg's press did 560 years ago.


What do you think, mes auteurs?

The Year in Review: Part 2

Today: covers!

As I've mentioned before (and once or twice or thrice since), cover art is important for your book. Yes, we've all heard that age-old adage about judging a book by its cover, but really, who doesn't do that? I don't know about you, but I go for that foil-stamped hardcover at the front of the store every time, and I'm inundated with the marketing back-and-forth that got it there on a daily basis.

To briefly rehash my initial post on the subject, a good cover should do at least three things:

1. Tell us what the book is called and who wrote it;
2. Give us an idea of the book's genre (thereby already telling us whether we're likely to enjoy it);
3. Provide an iconic, interesting image, so as to—as Seth Godin puts it—"tee up the reader so the book has maximum impact."

Occasionally you can break a rule or two; for example, it's not always a cardinal sin to omit the author's name from the cover of the book (assuming the cover image is sufficiently arresting). But a major misstep here (such as broadcasting the wrong genre or creating an easily forgettable cover) can tank a book's sales.

I'd like to add two more items to the List of Three (rendering it now, I suppose, the List of Five):

4. The cover should "pop" on a large display table;
5. Don't forget about the spine.

In yesterday's comments, Adam wondered whether thicker, fancier spines might be good investments for publishers. While thicker could be a problem (shelf dimensions are pretty standard, meaning the book would either become too tall or too wide for regular bookstore shelves; additionally, thicker books tend to warp more easily), I'm all for more eye-catching spines. It's tricky work, but if you're stuck without co-op, a unique spine design can get you off the shelf and into readers' hands.

As for "popping" on a display table—well, I look for our front-of-store titles on a pretty regular basis, and there have been a few that I've missed that were right in plain sight. If I can't find them when I'm looking for them, how are you, the consumer, supposed to find them when you're just casually browsing? Successful books stand out from the crowd, and the only way many books will get into browsers' hands in the first place is for them to distinguish themselves through eye-catching, unique cover art.

What can you do if your cover doesn't blow your mind? Again, rehashing an earlier post:

• Tell your agent as soon as possible. (Preferably during business hours.) He or she will be able to discern whether your concern is 1.) appropriate and 2.) something that can be addressed/fixed by the publishing house, and will then do everything he/she can to communicate the problem to the editor/publisher and get it fixed.

• If your agent is temporarily unreachable, write an e-mail to your editor. Please calm yourself down before you do this. Don't send an e-mail or make a phone call in anger or panic. This is never a good idea.

• Look on the bright side. Best case scenario: the publisher eats the cost of a cover adjustment and all is well. Worst case scenario: nothing changes and your sales may suffer as a result, but it's very unlikely your career will be seriously damaged. Most likely, some in-between scenario will occur, and you're likely to emerge from it relatively unscathed. And if your book is coming out in hardcover, remember—there's always the paperback.

I'll also add:

• There's always the e-book. The cover counts here, too, but not as much as in the world of physical books. It's far from optimal, but you can still see good digital sales numbers with a bad cover.

Monday: comp titles, revisited!

Happy Birthday to Me! Or, The Year in Review: Part 1

No, it's not my personal anniversaire, mes auteurs (I'm a Pisces), but today marks the anniversay of a monumental moment in publishing history—perhaps the most game-changing since Johannes "Johnny" Gutenberg came out with his crazy moveable-type Bible over five hundred year ago.

Yes, friends: today, PMN turns one year old. Please forward inquiries regarding where to send your presents to the Pimp My Novel inbox.

In celebration, I'll be running a multi-part series (re)covering the most popular topics on the blog over the past year. This includes (but is not limited to): book covers, comp titles, co-op, e-books, genre-specific sales, returns, and self-publishing. As always, if you have any questions, requests, praise, vitriol, or delightful non-sequiturs, feel free to post them in the comments.

Today's segment: co-op!

I've discussed and/or referenced traditional co-op (and, to some extent, electronic co-op) before, but I think it bears revisiting.

Basically, co-op is the system by which vendors (a.k.a. publishers) pay retailers to place their titles in various eye-catching locations throughout stores. The main octagon table at the front of Barnes & Noble, the new release table at the front of Borders, the ends of bookstore aisles (called "endcaps," featuring face-out rather than spine-out copies) are all examples of co-op placement. Sometimes publishers pay a lump sum for a promotion or set of promotions; other times, they'll allocate co-op dollars based on how many copies of the title the store or chain takes.

Needless to say, if you can get such placement for your book, you'll have a significant leg up in the market. Also needless to say, with the bajillions of titles that drop into stores every Tuesday, only a tiny fraction receive co-op placement (front-of-store, such as the aforementioned "new title" tables, or in-section, such as endcaps or face-out copies on section shelves). Oh yeah, speaking of: that's why book store staff will turn your book spine-out if you wander through the store and turn it face-out. No co-op dollars, no co-op placement.*

If you're curious about getting co-op attention for your book, the first thing you'll want to do is talk to your agent. Promotions are generally figured out about five or six months ahead of publication, so if your book is coming out this holiday season, now is the time to ask your agent if he or she has heard anything in terms of co-op and marketing planning. It's not the end of the world if you can't secure major placement, but even a face-out in-section promotion can help. You can't get what you don't ask for!

Speaking of asking for things, if you don't already know the folks at your local independent book stores, now is the time to make their acquaintance. While being bros with the local Barnes & Noble or Borders folks is also good, they don't always have a ton of control over what goes on in the store; even managers (especially managers) are subject to corporate direction. But if you make friends with the owner of a local indie and then mention you've got a book coming out, not only is there huge potential for in-store events and good word-of-mouth, but you can also try to get a little piece of prime real estate (front-of-store is best, but any co-op is tremendously helpful) in return. Remember: your publisher is selling you and your book, but so are you. Nothing ventured, nothing gained.

Tomorrow: another look at book covers!



*This isn't 100% true; some co-op is engineered at the store's discretion. As mentioned above, independent stores generally have a lot more leeway than chain stores, whose co-op is determined at the corporate level.

A Rose by Any Other Name

Sad but true, author-amigos: sometimes the title you pick for your book is terrible.

Sometimes an author selects a title that simply doesn't work for his or her genre (e.g. titling a romance Guns and Bros and Explosions). Occasionally an author unwittingly (or worse, wittingly) gives his or her book a title that's uncomfortably similar to the title of a very different, much more widely known work (e.g. naming a memoir about directing a summer camp for disabled youth in Germany Mein Kamp). Once in awhile the name of the book is just straight-up terrible (My Summer Running with the Werewolves and My Bitchin' Winter with the Vampires Also There are Zombies) and needs to be changed in order for the book to sell.

Editorial changes are often a thorny subject with writers, and changes to a title can be especially hard to take. Remember, though: this is your novel, not your child. And if you can't remember that, remember this: if you name your son Boonswoggle, he's going to get beat up in school. (Editors will make fun of your terrible title in meetings. Trust me.) So: don't give your children or your books awful names.

What makes a good title? Well, I'm glad you asked. The following (in tried-and-true Bullet-O-Vision™) may be of help:

· Give your book a title appropriate to its genre. Read widely and do a lot of research in that genre to ensure this.

· Unless you're trying to capitalize on a trend (which I discourage you from doing), try to pick a title that stands out a bit from the crowd. If your book is about the albino philanthropist daughter of a fighter pilot, I'd rather see The Albino Philanthropist than The Fighter Pilot's Daughter.

· Don't try to riff on the title of another book unless you're writing a parody/satire (or some other comic work).

· Google your title (or run it through Amazon) to be sure no one else has used it (or something uncomfortably similar). If someone used your title for an obscure book written forty years ago, it's probably safe to use.

· Pick something that will stick in readers' heads. To borrow from the above example, The Philanthropist might not stick very well. The Albino Philanthropist will.

Whatever you end up choosing for a title, mes auteurs, try not to be offended if the publisher suggests you change it; if they make such a recommendation, they're doing it for a good reason, and you'd do well to seriously consider anything they (or your agent) recommends.

POD: The Future of Print?

Again, sorry for my unforeseen silence last week, lords & ladies, but I've returned from my... what did Laura call it? Spiritual retreat? Arctic expedition? Whale-watching cruise? Voyage through the seventh dimension? Anyway, I'm back, and it turns out that the publishing world continues to turn regardless of whether I'm trying to insinuate myself into the center of it.

Today's news comes out of Rice University, where it turns out their academic press is switching over to print-on-demand. The reason for the move? It saves them a ton of cash.

The print runs of academic titles are only fractions of the print runs of most commercial titles, so (generally speaking) academic publishers pay more per unit than commercial publishers do when having their books printed, bound, and shipped. This is for two reasons: first, there are a number of flat-rate costs (e.g. typesetting) that are unaffected by the number of copies produced, and are therefore diluted as as the size of the print run increases; second, many printers will offer better variable rates as print runs increase, so it may be disadvantageous for an academic publisher to produce print copies traditionally (as they'll either be forced to print more copies than they can sell or to produce relatively few copies at a high price). This is where POD comes to the rescue.

With POD, publishers only produce a copy of a text when it's requested; while this may not be feasible for high sales volume titles like Twilight, it's ideal for smaller titles (e.g. most academic titles or volumes of poetry). As the technology becomes better refined and the speed with which individual copies can be produced increases, it may become a more reasonable option for commercial midlist titles, as well. Not only would this save publishers the higher per-unit cost of publishing traditionally, but it avoids the high-cost tango of shipping and returns altogether.

While it seems to me that e-books are going to become a major force in the industry over the next decade or so, I'm certain of two things: one, people will still be attached to print in some capacity, and two, if this introduces a tiered print structure in which the megabestsellers are published traditionally and as e-books, then I think any non-electronic presence that smaller titles will have will have to be through some kind of print-on-demand setup.

What do you think, author-acquaintances? Will smaller-run titles be permanently relegated to the digital world, or will POD rescue them from print oblivion?

Out With the Aughts, In With the Teens

Christmas turkey: consumed, tenth anniversary of the apocalypse: celebrated, and now our regularly scheduled programming: back in full force. Thanks again to our three guest posters from last month, and I hope you all had enjoyable holiday breaks!

I figured I'd ease back into the publishing biz with today's post (it is, after all, the first Monday of the new year), partly because I don't trust myself to write a thoughtful and engaging industry-related post so early in said new year (I'm still accidentally writing "2001" on all my checks), but mostly because I am distracted by 1.) all the cool toys I got last week and 2.) the mounting feeling of dread associated with coming back to an overflowing inbox at Ye Olde Publishinge House. Therefore, I present to you my resolutions for the new year and humbly request that you do the same in the comments:

1. Read all the books on the Modern Library Best 100 Novels list that I haven't already read. (Ambition level on a scale of 1 to 10: 7.)

2. Get back to exercising regularly. (Ambition level: 5.)

3. Drink more wine (hopefully learning something about it in the process) so I can make a cool bulletin board out of all the corks. (Ambition level: 3.)

4. Make good on my threat of buying myself an Xbox 360. (Ambition level: 2.)

5. Finish the Current Novels-in-Progress—yes, sirs and madams, I am a noveliste as well! (Ambition level: 12.)

What about you?

Rerun Week

Dear Readers,

Since I'm on vacation this week, I've set the blog to re-run some of my more informative posts. Happy Thanksgiving, and I'll be back again on Monday, 11/30!

Yours in print,

E

Episode: "What You Can Do: Twelve Easy Steps"
Originally aired: Tuesday, August 4th, 2009

So, caveat: this isn't meant to be a complete list. I'm sure I'll revisit this post and add to it as time goes on, but I've been thinking about it for awhile now and would rather share it with you sooner than later.

So, without further ado: what can you do to sell you book, and more importantly, when should you do what?

1. Completion of your novel. Congratulations! You've written an entire novel (~60,000 – 100,000 words)! Now go edit it. No, don't tweet about how awesome your book is (yet). Edit.

2. Six months later... congratulations again! Between your critique group, your trusted first-readers, and your biggest editor/critic (i.e. you, at least at this point), you've polished your novel to a high lustre. Such a high lustre, fact, that you've begun using British spelling and grammar without even realising it. Ace! (Apparently you are also stuck in the 1980s.)

Have you written a truly smashing query letter yet? You have? Ace again. All mod cons, as they say. (British slang, incidentally, is weird.) Anyway—time to start querying Nathan, Janet, Kristin, Jessica, and all the rest. Cast a wide net, and remember: no exclusives!

3. Three months later... you're still querying? Of course you are, unless you're luckier than Malachi Constant. What, did you think this was going to be easy? Keep at it.

4. Three months after that... Hooray! After several form rejections, a few polite refusals on partials, and one or two fulls, you've gotten an offer of representation. (To make this as simple a scenario as possible, let's say this is one of your dream agents and you accept the offer immediately.) Don't start the party just yet, though. Now you've got real work to do.

If you've got representation, you're that much closer to getting published, and so at this point you need to start expanding (or straight-up building) your platform. If you've already got a blog, ramp it up; if you've already got a Twitter account, tweet it up; if you're on Facebook, start making connections like crazy. If not, get going right now. Start playing the networking game. Check Go Daddy to see if your name has already been registered as a domain name. If not, consider buying it. If so, try and figure out a good alternate name. (Hint: http://www.newjohnsmith1-2-3today.info/ is not a good name.)

To be honest, there's no such thing as "too early," but the offer of representation is, in my mind, when things get serious. If you haven't given thought to blogging/Twittering/website-ing/Facebooking/&c, start now.

5. Another three months after that... O frabjous day! Your book has been sold to an editor! You must now do the following:

• Party. Nothing major: you're a working author now. Live it up a little, but do not get outrageously drunk or stab your wife with a penknife. You are not Truman Capote or Norman Mailer (respectively).

• Hit the ground running. Discuss everything with your agent and newfound editor. Ask as many questions as you can think of. If you are, like me, unmarried, childless, and have relatively few obligations outside of your day job, I highly recommend you make promoting yourself and your book your new, all-consuming hobby. Figure out what you're willing to commit to (I recommend as much as you think you can safely handle) and let your agent and editor know you're willing to work hard. If you've got substantial commitments (e.g. sextuplets, reality TV show), find a balance.

• Ramp it up. If you haven't bought that mega sweet domain name yet, do it. Blog about yourself and your book. Tweet about it. Change your latest Facebook employment to "author" and announce your good fortune in your status. Network, network, network.

Let your critique group know. Go to literary events. If you don't already know the booksellers at your local stores (national chains and indies) by their first names, now's the time to start. Aside from the fact that they're most likely wonderful people who will turn out to be excellent friends, they're going to be very helpful later on (see below).

An aside: definitely talk this over with your editor, but if you feel like it's a good idea and your advance is big enough, consider hiring your own publicist. He or she may be able to work wonders for you.

Oh, and yes—if you're not too up on all this computer mumbo-jumbo (although you should be), see if you can get your computer science major nephew (or some similarly inclined relative or friend) to help you out for a nominal fee (or, better yet, for free). If you happen to know a web designer who can make you an awesome website, so much the better. At this point, it's all about who you know. Keep asking yourself that: who do you know who is able and willing to help you?

Now, in case you weren't keeping track, in this oh-so-magical best-case scenario, it's been fifteen months since you finished your novel. You now have representation. Is this unrealistic? Yes, I think, slightly, but don't assume that novel you finished fifteen months ago was your first one, and do assume that you're a talented writer with a good story, and suddenly it's not so far-fetched after all.

Oh—and order business cards. You're an author now.

Now then—

6. Nine months before on-sale: You might have comp titles already. Ask your agent to check on them for you. If you're neurotic and wealthy enough, pay to track the sales of your comps on BookScan. Discuss potential sales numbers with your agent. Be as realistic as possible. Do not drive your agent insane.

7. Six months before on-sale: You signed your contract long ago and the book has already been through launch meetings over at your publisher's house, meaning that everyone who's going to be involved in selling your book to retailers (marketing, publicity, sales, &c) has known about your book for a few months now. You've got your very own ISBN, retail price, descriptive copy, sell sheets, title information sheets—the works. What's happening now? Well, sales calls. And, if you're lucky, co-op. That means book stores are about to find out all about you.

Remember those friends you made at your local book stores 6+ months ago? Call them. If you haven't already told them about your book, tell them now. Ask if you can do author events, readings, signings, everything, anything. (Discuss this with your agent first.) If you have friends who are established authors, talk to them. See if they'll blurb or promote your book, allow you to guest-blog for them, read with them at area book stores, and so on. You can't do too much of this. You really can't.

Continue to blog, update your website, tweet, guest-blog, &c. The more people hear about you, the better. (Assuming you're always polite and professional—and you are, aren't you? Good.)

8. Three months before on-sale: Keep up your relentless self-promotion, but keep it classy. Follow through on everything. Keep the lines of communication between you, your agent, and your editor open. If you've committed to readings, tours, podcasts, blog posts, e-mail blasts, local radio shows, infomercials, impromptu subway performances, &c—make good on those commitments. If you got your own publicist (see Step #5), he or she will be helping to organize all of these things. Oh, and speaking of organizing, have you scheduled yourself a release party yet?

9. On-sale date: Breathe. Do not check the sales figures yet, they won't be up. Relax. You feel good, you feel great, you feel wonderful. Have that release party you planned three months ago, publish one more blog entry or tweet, and call it a week. You've earned it.

10. One week after on-sale: Your publisher will have your week one sales available. Ask your agent/editor if they can forward them to you. If you're sufficiently neurotic and wealthy (see Step #6), compare these numbers to your BookScan numbers and to the first-week sales of your comp titles. Celebrate or panic accordingly.

11. One month after on-sale: You might have some reviews. If they're positive, blog, tweet, podcast, &c about them. If they're negative, say nothing. Do not try to explain away a bad review in your blog—you're only creating more links to negative press. And for the love of God, do not pull an Alice Hoffman.

12. Three months after on-sale: You're hard at work on your next novel, mate. (This British slang thing is seriously addictive.) Publishing is a business and you're a professional now; celebrate your victories, be gracious about any pitfalls or shortcomings, learn from your mistakes, and keep writing.

What You Can Do: Twelve Easy Steps

(Edit—for more on royalties, see this morning's post by Jessica over at BookEnds.)

So, caveat: this isn't meant to be a complete list. I'm sure I'll revisit this post and add to it as time goes on, but I've been thinking about it for awhile now and would rather share it with you sooner than later.

So, without further ado: what can you do to sell you book, and more importantly, when should you do what?

1. Completion of your novel. Congratulations! You've written an entire novel (~60,000 – 100,000 words)! Now go edit it. No, don't tweet about how awesome your book is (yet). Edit.

2. Six months later... congratulations again! Between your critique group, your trusted first-readers, and your biggest editor/critic (i.e. you, at least at this point), you've polished your novel to a high lustre. Such a high lustre, fact, that you've begun using British spelling and grammar without even realising it. Ace! (Apparently you are also stuck in the 1980s.)

Have you written a truly smashing query letter yet? You have? Ace again. All mod cons, as they say. (British slang, incidentally, is weird.) Anyway—time to start querying Nathan, Janet, Kristin, Jessica, and all the rest. Cast a wide net, and remember: no exclusives!

3. Three months later... you're still querying? Of course you are, unless you're luckier than Malachi Constant. What, did you think this was going to be easy? Keep at it.

4. Three months after that... Hooray! After several form rejections, a few polite refusals on partials, and one or two fulls, you've gotten an offer of representation. (To make this as simple a scenario as possible, let's say this is one of your dream agents and you accept the offer immediately.) Don't start the party just yet, though. Now you've got real work to do.

If you've got representation, you're that much closer to getting published, and so at this point you need to start expanding (or straight-up building) your platform. If you've already got a blog, ramp it up; if you've already got a Twitter account, tweet it up; if you're on Facebook, start making connections like crazy. If not, get going right now. Start playing the networking game. Check Go Daddy to see if your name has already been registered as a domain name. If not, consider buying it. If so, try and figure out a good alternate name. (Hint: http://www.newjohnsmith1-2-3today.info/ is not a good name.)

To be honest, there's no such thing as "too early," but the offer of representation is, in my mind, when things get serious. If you haven't given thought to blogging/Twittering/website-ing/Facebooking/&c, start now.

5. Another three months after that... O frabjous day! Your book has been sold to an editor! You must now do the following:

• Party. Nothing major: you're a working author now. Live it up a little, but do not get outrageously drunk or stab your wife with a penknife. You are not Truman Capote or Norman Mailer (respectively).

• Hit the ground running. Discuss everything with your agent and newfound editor. Ask as many questions as you can think of. If you are, like me, unmarried, childless, and have relatively few obligations outside of your day job, I highly recommend you make promoting yourself and your book your new, all-consuming hobby. Figure out what you're willing to commit to (I recommend as much as you think you can safely handle) and let your agent and editor know you're willing to work hard. If you've got substantial commitments (e.g. sextuplets, reality TV show), find a balance.

• Ramp it up. If you haven't bought that mega sweet domain name yet, do it. Blog about yourself and your book. Tweet about it. Change your latest Facebook employment to "author" and announce your good fortune in your status. Network, network, network.

Let your critique group know. Go to literary events. If you don't already know the booksellers at your local stores (national chains and indies) by their first names, now's the time to start. Aside from the fact that they're most likely wonderful people who will turn out to be excellent friends, they're going to be very helpful later on (see below).

An aside: definitely talk this over with your editor, but if you feel like it's a good idea and your advance is big enough, consider hiring your own publicist. He or she may be able to work wonders for you.

Oh, and yes—if you're not too up on all this computer mumbo-jumbo (although you should be), see if you can get your computer science major nephew (or some similarly inclined relative or friend) to help you out for a nominal fee (or, better yet, for free). If you happen to know a web designer who can make you an awesome website, so much the better. At this point, it's all about who you know. Keep asking yourself that: who do you know who is able and willing to help you?

Now, in case you weren't keeping track, in this oh-so-magical best-case scenario, it's been fifteen months since you finished your novel. You now have representation. Is this unrealistic? Yes, I think, slightly, but don't assume that novel you finished fifteen months ago was your first one, and do assume that you're a talented writer with a good story, and suddenly it's not so far-fetched after all.

Oh—and order business cards. You're an author now.

Now then—

6. Nine months before on-sale: You might have comp titles already. Ask your agent to check on them for you. If you're neurotic and wealthy enough, pay to track the sales of your comps on BookScan. Discuss potential sales numbers with your agent. Be as realistic as possible. Do not drive your agent insane.

7. Six months before on-sale: You signed your contract long ago and the book has already been through launch meetings over at your publisher's house, meaning that everyone who's going to be involved in selling your book to retailers (marketing, publicity, sales, &c) has known about your book for a few months now. You've got your very own ISBN, retail price, descriptive copy, sell sheets, title information sheets—the works. What's happening now? Well, sales calls. And, if you're lucky, co-op. That means book stores are about to find out all about you.

Remember those friends you made at your local book stores 6+ months ago? Call them. If you haven't already told them about your book, tell them now. Ask if you can do author events, readings, signings, everything, anything. (Discuss this with your agent first.) If you have friends who are established authors, talk to them. See if they'll blurb or promote your book, allow you to guest-blog for them, read with them at area book stores, and so on. You can't do too much of this. You really can't.

Continue to blog, update your website, tweet, guest-blog, &c. The more people hear about you, the better. (Assuming you're always polite and professional—and you are, aren't you? Good.)

8. Three months before on-sale: Keep up your relentless self-promotion, but keep it classy. Follow through on everything. Keep the lines of communication between you, your agent, and your editor open. If you've committed to readings, tours, podcasts, blog posts, e-mail blasts, local radio shows, infomercials, impromptu subway performances, &c—make good on those commitments. If you got your own publicist (see Step #5), he or she will be helping to organize all of these things. Oh, and speaking of organizing, have you scheduled yourself a release party yet?

9. On-sale date: Breathe. Do not check the sales figures yet, they won't be up. Relax. You feel good, you feel great, you feel wonderful. Have that release party you planned three months ago, publish one more blog entry or tweet, and call it a week. You've earned it.

10. One week after on-sale: Your publisher will have your week one sales available. Ask your agent/editor if they can forward them to you. If you're sufficiently neurotic and wealthy (see Step #6), compare these numbers to your BookScan numbers and to the first-week sales of your comp titles. Celebrate or panic accordingly.

11. One month after on-sale: You might have some reviews. If they're positive, blog, tweet, podcast, &c about them. If they're negative, say nothing. Do not try to explain away a bad review in your blog—you're only creating more links to negative press. And for the love of God, do not pull an Alice Hoffman.

12. Three months after on-sale: You're hard at work on your next novel, mate. (This British slang thing is seriously addictive.) Publishing is a business and you're a professional now; celebrate your victories, be gracious about any pitfalls or shortcomings, learn from your mistakes, and keep writing.