Molly O'Keefe's Blog, page 47
December 5, 2011
A conversation about category romance and effective promotion
I've done some blogs about category romance and royalties and while I am still very much a middle of the pack Superromance writer, sales as a whole have gone down. It's still a great place to write I adore Wanda Ottewell and deeply respect her eye for story. It's been a great place to write. It's pretty much anything goes over that at Superromance and while I think there are authors who sell better than I do because they might have branded themselves better in terms of the stories they write - or they stick to one kind of subgenre that appeals to the category reader, I have enjoyed writing pretty much whatever I want - probably to my detriment.
So, for those of you focusing on Superromance and for Stephanie whose first Superromance comes out in April - here are some tips for making the most of your career at Superromance (from someone who probably didn't, so take all of this with a grain of salt).
Cowboys and kids sell. And they sell pretty well from what I can gather. So if you can get that cowboy hat and a baby on a cover, chances are you'll see some sales. I've never managed to get this kind of cover - although maybe in July since I have a cowboy and some kids. I'll report back. Without that selling feature, unless your cover is different and really pretty radically different - I think covers are just covers. People aren't impulse buying like they were - they go by name recognition and recommendation - more on that in a second.
Yes, you do have to do social networking. But only do what you like. Readers want giveaways. Who doesn't? Do a little blog tour - there are a lot of websites out there who would LOVE to have guest bloggers. Do the blog. Giveaway some books. Be on Facebook - do some giveaways. Are you going to see sales - can't say. No idea. But giving away books in my opinion is the best promotion there is. Especially if you're proud of the book. I did a Good Reads giveaway, which is free - I do recommend that, they pull from a huge pool and get a lot of rabid readers who might not know your name, or romance.
Paying for advertising - be it on Facebook, Good Reads or Romantic Times - I honestly don't know if it makes a difference. I've stopped doing it for my category books because I just never felt like there was a huge result from it. If I would recommend one I'd say Good Reads - it's concentrated on readers and it's not outrageously expensive. Once again, no idea if it resulted in sales.
I have not done a bookmark or a trading card. I print up business cards for conference - which inevitably I forget to hand out. If I get my act together I think I'll do a trading card for my single titles, but for category...I probably won't do it.
Consistently, the best promotion you can do is write great books that your editor loves. Because your editor is your best sales force.
Now, the real surprise from my royalty statement is the number of ebook sales for my Feb book - HIS WIFE FOR ONE NIGHT. There were over 1,000 sales. The rest of my ebook sales hover between 200-400. Now, perhaps a contributor to this was my Good Reads ad and giveaway. I'd never done that before this book. So again, Good Reads - check it out. Another contributor might be that at Christmas there were a whole lot of new e-readers in stockings.
But the real factor I believe comes down to Internet buzz and the hand-selling of one very important librarian. I got a great review on Dear Author and it was before the book came out, most of my reviews have been long after the fact. So a good review at the right time. And Wendy the SuperLibrarian raved about this book practically door to door. Can not thank her enough.
We all know there are blogs in this business that have some clout. It takes some guts to send your book to Dear Author, Smart Bitches and All About Romance for review - because they might trash it and trash it hard. But if you can get over that - great. Do it. And maybe you don't approve of what they do on their sites - fair enough. But Internet buzz has become - in my opinion - the game changer and no one does Internet buzz like those sites.
That's my takeaway this time around. Thoughts?
So, for those of you focusing on Superromance and for Stephanie whose first Superromance comes out in April - here are some tips for making the most of your career at Superromance (from someone who probably didn't, so take all of this with a grain of salt).
Cowboys and kids sell. And they sell pretty well from what I can gather. So if you can get that cowboy hat and a baby on a cover, chances are you'll see some sales. I've never managed to get this kind of cover - although maybe in July since I have a cowboy and some kids. I'll report back. Without that selling feature, unless your cover is different and really pretty radically different - I think covers are just covers. People aren't impulse buying like they were - they go by name recognition and recommendation - more on that in a second.
Yes, you do have to do social networking. But only do what you like. Readers want giveaways. Who doesn't? Do a little blog tour - there are a lot of websites out there who would LOVE to have guest bloggers. Do the blog. Giveaway some books. Be on Facebook - do some giveaways. Are you going to see sales - can't say. No idea. But giving away books in my opinion is the best promotion there is. Especially if you're proud of the book. I did a Good Reads giveaway, which is free - I do recommend that, they pull from a huge pool and get a lot of rabid readers who might not know your name, or romance.
Paying for advertising - be it on Facebook, Good Reads or Romantic Times - I honestly don't know if it makes a difference. I've stopped doing it for my category books because I just never felt like there was a huge result from it. If I would recommend one I'd say Good Reads - it's concentrated on readers and it's not outrageously expensive. Once again, no idea if it resulted in sales.
I have not done a bookmark or a trading card. I print up business cards for conference - which inevitably I forget to hand out. If I get my act together I think I'll do a trading card for my single titles, but for category...I probably won't do it.
Consistently, the best promotion you can do is write great books that your editor loves. Because your editor is your best sales force.
Now, the real surprise from my royalty statement is the number of ebook sales for my Feb book - HIS WIFE FOR ONE NIGHT. There were over 1,000 sales. The rest of my ebook sales hover between 200-400. Now, perhaps a contributor to this was my Good Reads ad and giveaway. I'd never done that before this book. So again, Good Reads - check it out. Another contributor might be that at Christmas there were a whole lot of new e-readers in stockings.
But the real factor I believe comes down to Internet buzz and the hand-selling of one very important librarian. I got a great review on Dear Author and it was before the book came out, most of my reviews have been long after the fact. So a good review at the right time. And Wendy the SuperLibrarian raved about this book practically door to door. Can not thank her enough.
We all know there are blogs in this business that have some clout. It takes some guts to send your book to Dear Author, Smart Bitches and All About Romance for review - because they might trash it and trash it hard. But if you can get over that - great. Do it. And maybe you don't approve of what they do on their sites - fair enough. But Internet buzz has become - in my opinion - the game changer and no one does Internet buzz like those sites.
That's my takeaway this time around. Thoughts?
December 2, 2011
Stretching credibility
I will go a long way with a show or book that is exciting and keeps me guessing, or makes me laugh, probably past where a lot of other people will fall off. I'll accept if there is more good than bad.
I'm just past the point into bad with a show right now. Did anyone out there watch the first season of Camelot? I did, mostly for Joseph Fiennes and the clever, clever episode where it twisted the legend regarding how Arthur came upon Excalibur. The show is clever in some ways. They know that Fiennes is chewing scenery in a truly memorable performance. They know Eva Green is also chewing scenery, but like Fiennes she brings such energy to the screen that it elevates the show. Both actors are more interesting than the actual script and any scenes with them together are really fun to watch.
Then there is the plot of the actual King, Arthur and his love for Guinevere, a pretty blonde who's hair styles look like they came directly from the 1980's, not the distant past. Arthur is supposed to be a youth, growing into his responsibilities and that I buy. What I don't believe is the instant sizzling attraction between Arthur and Guinevere. In the show she is betrothed to Arthur's right hand man, a man easily ten years older than Arthur, one who is far better looking and more interesting and quite frankly, the moment he removed his shirt, the show lost me.
There is no way I believe Guinevere would ever be more attracted to Arthur than her fiancee, and this is the central concept of the romance on the show.
So even with Fiennes and Eva Green and some cool twists to well known legends, I'm done. There isn't enough good about the show to overcome the way they mishandled the subplot.
Anyone else watching? Are you more patient than I am?
I'm just past the point into bad with a show right now. Did anyone out there watch the first season of Camelot? I did, mostly for Joseph Fiennes and the clever, clever episode where it twisted the legend regarding how Arthur came upon Excalibur. The show is clever in some ways. They know that Fiennes is chewing scenery in a truly memorable performance. They know Eva Green is also chewing scenery, but like Fiennes she brings such energy to the screen that it elevates the show. Both actors are more interesting than the actual script and any scenes with them together are really fun to watch.
Then there is the plot of the actual King, Arthur and his love for Guinevere, a pretty blonde who's hair styles look like they came directly from the 1980's, not the distant past. Arthur is supposed to be a youth, growing into his responsibilities and that I buy. What I don't believe is the instant sizzling attraction between Arthur and Guinevere. In the show she is betrothed to Arthur's right hand man, a man easily ten years older than Arthur, one who is far better looking and more interesting and quite frankly, the moment he removed his shirt, the show lost me.
There is no way I believe Guinevere would ever be more attracted to Arthur than her fiancee, and this is the central concept of the romance on the show.
So even with Fiennes and Eva Green and some cool twists to well known legends, I'm done. There isn't enough good about the show to overcome the way they mishandled the subplot.
Anyone else watching? Are you more patient than I am?
December 1, 2011
Getting my ducks in a row...
As writers we often have to worry about our creative process. We need to think about structure characterization, conflict and plot, blah, blah, blah…
But sometimes we also need to focus on the business. That's where my head is out now. I'm almost ready to announce my new website that has all the bells and whistles it needs. Links to things… links are good.
I've dotted every I and crossed every T on my indie publication which will be released in December. (Where I will post a big splashy picture and ask everyone who is anyone to please buy this book because I really like it.) I've made decisions about branding, cover art and book titles. Yeah me!
Now I have to sit down and think about 2012. I have a book to finish and a new proposal to write, that's for certain. But do I want to write 2 or 3 category books? Do I want to schedule time to try and fit in my new historical? Do I want to focus more on the indie work and see if I can gain any traction in that market?
Hard decisions. And not creative at all. It brings home to me again that as "authors" we need to be both things – creative writers and logical business people. I've met author's whose work I thought was okay – but did an amazing job of marketing themselves. I've met author's whose work is amazing, but so few people have ever heard of them. Either group can get lucky – but I think long term success requires a blending of both skills.
If you are reading this blog – you know that we never say the easy things about writing and publishing. Was it you, Molly, who said realistically hitting it big in publishing is not all that different from winning the lottery? And that's the truth. But know that writing the great the book, crafting the best query, landing an agent, publisher, whatever… all those things are great things. Once you've done that, then it's… okay what's next – Are you tweeting?
(I am tweeting and some day I'm going to figure out how to tweet my blog – 2012 to do list!)
But sometimes we also need to focus on the business. That's where my head is out now. I'm almost ready to announce my new website that has all the bells and whistles it needs. Links to things… links are good.
I've dotted every I and crossed every T on my indie publication which will be released in December. (Where I will post a big splashy picture and ask everyone who is anyone to please buy this book because I really like it.) I've made decisions about branding, cover art and book titles. Yeah me!
Now I have to sit down and think about 2012. I have a book to finish and a new proposal to write, that's for certain. But do I want to write 2 or 3 category books? Do I want to schedule time to try and fit in my new historical? Do I want to focus more on the indie work and see if I can gain any traction in that market?
Hard decisions. And not creative at all. It brings home to me again that as "authors" we need to be both things – creative writers and logical business people. I've met author's whose work I thought was okay – but did an amazing job of marketing themselves. I've met author's whose work is amazing, but so few people have ever heard of them. Either group can get lucky – but I think long term success requires a blending of both skills.
If you are reading this blog – you know that we never say the easy things about writing and publishing. Was it you, Molly, who said realistically hitting it big in publishing is not all that different from winning the lottery? And that's the truth. But know that writing the great the book, crafting the best query, landing an agent, publisher, whatever… all those things are great things. Once you've done that, then it's… okay what's next – Are you tweeting?
(I am tweeting and some day I'm going to figure out how to tweet my blog – 2012 to do list!)
November 30, 2011
Tense and Tension and Night Circuses
I was talking to a writer-friend this past weekend who also recently read The Night Circus, by Erin Morgenstern. I loved this book and I'm 99% sure I would have loved it whenever I read it, but I do think I looked at it slightly differently as a writer. Writers often notice things readers don't.
The book is written all in present tense. Mostly in omniscient third person present tense, except for a few sections in 2nd person. But I'm pretty sure all of it is in present tense. (I don't have the book with me and I'm out of town, so I can't check.)
The present tense was a problem for the other writer I was talking to because the events in the book are happening in the past not the present so she didn't think using present tense made sense. She also said that although she couldn't stop turning the pages, she didn't end up caring about the characters or thinking about them much after finishing, and she thought present tense was to blame.
I thought for this for a while after our conversation and instead of e-mailing her with my opinions, I'll just post them here. :)
First, clearly not every book is going to speak to every reader. It's subjective. And full disclosure: I've written 3 books in first person present tense, including the ones I'm working on now. And I have a partially completed manuscript in 3rd person present tense. So I'm not totally unbiased here. :)
But I would assert that a lot of the tension and the rapid pace of The Night Circus comes from the author's use of the present tense. I don't think it would be as creepy or fascinating or as immediate in past tense. Present tense can make you feel as if you're watching a scene unfold. (Rather than hearing someone tell you about something they saw in the past.) I think present tense can pick a reader up and swoop her into a scene, even if that scene is in the past. I do assert that the present tense was responsible for creating tension in that book and it would have been flat in past tense.
I think that the omniscient viewpoint is a more likely culprit for the detachment she felt. In hindsight, I felt detached from the characters too. We're never fully in any characters' POV, so we never fully feel any of their emotions. Now I'm not meaning for a second to argue that this was a "mistake" or "bad choice" on the part of the author -- just a different one. I think in this particular book, the omniscient viewpoint had the advantage of creating mystery and allowing the author to show many, many points of view, but the disadvantage of emotional detachment. It worked for me. I also liked how it clouded things or kept the reader from immediately seeing which characters were the most important. Experienced readers know that when a character gets a POV they're going to be important for some reason or a major player. But in a book where virtually every characters' thoughts are disclosed, there's almost another layer of mystery to figure out who's important and who's not or why I'm being told about a little boy sent on a dare, or a German clock maker.
I also loved how the description of each circus tent/act was done in 2nd person, (but also present tense, I think. Again, I don't have the book on me.) These short 1-2 page chapters are scattered throughout the book and are presented almost as if the circus itself had written them as ad copy to entice people to visit. Or more likely as if one of the rêveurs (avid night circus fans) had written about his or her experiences. eg. You walk through a curtain and.... (I'm not quoting. Just giving the idea.) PS. This trailer was clearly done based on an old cover.... I kind of like this first cover better, but maybe they didn't think men would pick it up? UPDATE: It's the UK cover... Here's a link to an interview with Erin Morgenstern I just stumbled onto at Writer Unboxed. BTW. Erin and I are at the same literary agency which freaks me out to no end.
All of this also got me thinking about how and if a writer using present tense might use different techniques depending on whether she's writing in first or second or third person... In first person present, I'm of the opinion that you need to keep description of scenery and action simple and minimalistic or the reader will no longer be "in the moment" or believe that events are unfolding in real time. But in third person, I think you have slightly more leeway--especially when it's omniscient--but still, during scenes with action, I'm pretty sure she kept her sentences clean and clear and easy to parse. There's a ton of vivid description in this book, but I suspect not during actual action scenes. I see myself reading this book again to study it. :)
I have heard some people say they do not ever enjoy reading in present tense, but usually this comes from other writers and I suspect some English majors who were told by their professors that it was infantile to write in present tense. (A reviewer "informed" me that I was using an infantile style when my first person present tense women's fiction manuscript was in that Amazon Breakout Novel competition a few years back.)
Does present tense bother you?
The book is written all in present tense. Mostly in omniscient third person present tense, except for a few sections in 2nd person. But I'm pretty sure all of it is in present tense. (I don't have the book with me and I'm out of town, so I can't check.)
The present tense was a problem for the other writer I was talking to because the events in the book are happening in the past not the present so she didn't think using present tense made sense. She also said that although she couldn't stop turning the pages, she didn't end up caring about the characters or thinking about them much after finishing, and she thought present tense was to blame.
I thought for this for a while after our conversation and instead of e-mailing her with my opinions, I'll just post them here. :)
First, clearly not every book is going to speak to every reader. It's subjective. And full disclosure: I've written 3 books in first person present tense, including the ones I'm working on now. And I have a partially completed manuscript in 3rd person present tense. So I'm not totally unbiased here. :)
But I would assert that a lot of the tension and the rapid pace of The Night Circus comes from the author's use of the present tense. I don't think it would be as creepy or fascinating or as immediate in past tense. Present tense can make you feel as if you're watching a scene unfold. (Rather than hearing someone tell you about something they saw in the past.) I think present tense can pick a reader up and swoop her into a scene, even if that scene is in the past. I do assert that the present tense was responsible for creating tension in that book and it would have been flat in past tense.
I think that the omniscient viewpoint is a more likely culprit for the detachment she felt. In hindsight, I felt detached from the characters too. We're never fully in any characters' POV, so we never fully feel any of their emotions. Now I'm not meaning for a second to argue that this was a "mistake" or "bad choice" on the part of the author -- just a different one. I think in this particular book, the omniscient viewpoint had the advantage of creating mystery and allowing the author to show many, many points of view, but the disadvantage of emotional detachment. It worked for me. I also liked how it clouded things or kept the reader from immediately seeing which characters were the most important. Experienced readers know that when a character gets a POV they're going to be important for some reason or a major player. But in a book where virtually every characters' thoughts are disclosed, there's almost another layer of mystery to figure out who's important and who's not or why I'm being told about a little boy sent on a dare, or a German clock maker.
I also loved how the description of each circus tent/act was done in 2nd person, (but also present tense, I think. Again, I don't have the book on me.) These short 1-2 page chapters are scattered throughout the book and are presented almost as if the circus itself had written them as ad copy to entice people to visit. Or more likely as if one of the rêveurs (avid night circus fans) had written about his or her experiences. eg. You walk through a curtain and.... (I'm not quoting. Just giving the idea.) PS. This trailer was clearly done based on an old cover.... I kind of like this first cover better, but maybe they didn't think men would pick it up? UPDATE: It's the UK cover... Here's a link to an interview with Erin Morgenstern I just stumbled onto at Writer Unboxed. BTW. Erin and I are at the same literary agency which freaks me out to no end.
All of this also got me thinking about how and if a writer using present tense might use different techniques depending on whether she's writing in first or second or third person... In first person present, I'm of the opinion that you need to keep description of scenery and action simple and minimalistic or the reader will no longer be "in the moment" or believe that events are unfolding in real time. But in third person, I think you have slightly more leeway--especially when it's omniscient--but still, during scenes with action, I'm pretty sure she kept her sentences clean and clear and easy to parse. There's a ton of vivid description in this book, but I suspect not during actual action scenes. I see myself reading this book again to study it. :)
I have heard some people say they do not ever enjoy reading in present tense, but usually this comes from other writers and I suspect some English majors who were told by their professors that it was infantile to write in present tense. (A reviewer "informed" me that I was using an infantile style when my first person present tense women's fiction manuscript was in that Amazon Breakout Novel competition a few years back.)
Does present tense bother you?
November 29, 2011
Ambition
So I've been thinking a lot about structure lately and how I'm a little tired of the fact that every book I write starts at the beginning and goes to the end, over and over and over again. Beginning, middle end. Beginning, middle, end. Beginningmiddleend.
I've read two books recently whose structures blew me away. Sister by Rosamund Lupton (I think I've mentioned it before) and Secrets of Eden by Chris Bohjalian. They both mess around with the timeline. Starting at one point, hopping into the past, coming back to the present until both timelines meet up and then charging into the present/future. They were both awesome.
I had also been watching the first few seasons of Damages with my niece. The writers for that show also used a structure where you're in the present and then hopping into the past and then back to the present until the timelines merge near the end and pull you along to the conclusion.
We just started season 3, though, and they're even a little more ambitious with the timeline. There's the past then a mid point and then the present and frankly, I'm confused. They got too ambitious with their fancy storytelling technique and it's all gotten muddy.
I really want to try to do something more in my next book (not the one I'm writing now, I'm too committed to how that one works, but the one after that assuming there is one after that), but the idea of biting off more than I can chew is scary.
Have you seen that before where the writer or writers go too far in a book or a movie or a television show? Where they get too ambitious and instead of being intriguing, it's muddy and confusing?
I've read two books recently whose structures blew me away. Sister by Rosamund Lupton (I think I've mentioned it before) and Secrets of Eden by Chris Bohjalian. They both mess around with the timeline. Starting at one point, hopping into the past, coming back to the present until both timelines meet up and then charging into the present/future. They were both awesome.
I had also been watching the first few seasons of Damages with my niece. The writers for that show also used a structure where you're in the present and then hopping into the past and then back to the present until the timelines merge near the end and pull you along to the conclusion.
We just started season 3, though, and they're even a little more ambitious with the timeline. There's the past then a mid point and then the present and frankly, I'm confused. They got too ambitious with their fancy storytelling technique and it's all gotten muddy.
I really want to try to do something more in my next book (not the one I'm writing now, I'm too committed to how that one works, but the one after that assuming there is one after that), but the idea of biting off more than I can chew is scary.
Have you seen that before where the writer or writers go too far in a book or a movie or a television show? Where they get too ambitious and instead of being intriguing, it's muddy and confusing?
November 24, 2011
Happy American Thanksgiving...
This will be a short post as I'm traveling. Just wishing everyone who is celebrating today a happy T-Day.
My sister is already panicking that she doesn't have a big enough bird so we are off to the store to see what can be done.
We're thinking of using a rotisserie chicken and just mixing it in with the turkey. I mean really, who is going to notice!
Anyway to echo what Eileen and Maureen said... ditto about being thankful for good friends.
Wish us luck!
My sister is already panicking that she doesn't have a big enough bird so we are off to the store to see what can be done.
We're thinking of using a rotisserie chicken and just mixing it in with the turkey. I mean really, who is going to notice!
Anyway to echo what Eileen and Maureen said... ditto about being thankful for good friends.
Wish us luck!
November 23, 2011
Giving Thanks
Like Eileen, I too am very thankful for this blog and my great friends. (She said it so well, I'm simply going to say, "Ditto.") I'm grateful that I finally discovered (admitted?) what I wanted to do with my life and I'm thankful for all of you for keeping me going and not letting me quit the many times the going has gotten decidedly rough.
To give credit where credit's most due... I am especially thankful for Sinead. She was the first of this group whom I met and her determination and talent and encouragement inspired me to keep writing past just taking a class. Then she introduced me to Molly and the rest is history so to speak.
I'm also feeling grateful for my family and my health. Breast cancer claimed another of my cousins this week, way too young. She never even had the chance to be middle aged and that's just not fair. But I'm thankful to have known her.
I'm also always grateful for the many turkeys and pumpkins and cranberries and their contribution to Thanksgiving dinners -- even though I had mine back in October. ;)
To give credit where credit's most due... I am especially thankful for Sinead. She was the first of this group whom I met and her determination and talent and encouragement inspired me to keep writing past just taking a class. Then she introduced me to Molly and the rest is history so to speak.
I'm also feeling grateful for my family and my health. Breast cancer claimed another of my cousins this week, way too young. She never even had the chance to be middle aged and that's just not fair. But I'm thankful to have known her.
I'm also always grateful for the many turkeys and pumpkins and cranberries and their contribution to Thanksgiving dinners -- even though I had mine back in October. ;)
November 22, 2011
Thankful
I'm going to keep this short. I have a house full of relatives and more arriving by the day. We're having 25 for dinner on Thursday and I'm not entirely sure how I'm going to seat them all and we still haven't practiced getting my mother in and out of the van we rented to squire her around for the week. I wanted to make sure this was said, though.
I'm very thankful for this blog. I'm thankful for a place to put down the random thoughts I have each week about writing and to be able to do it in a community who understands what I'm talking about and why I want to talk about it. I'm thankful for the support. I'm thankful for the way you all make me laugh and think and stretch.
For those of you celebrating this week, have a safe and wonderful holiday. Hugs to you all.
Eileen
I'm very thankful for this blog. I'm thankful for a place to put down the random thoughts I have each week about writing and to be able to do it in a community who understands what I'm talking about and why I want to talk about it. I'm thankful for the support. I'm thankful for the way you all make me laugh and think and stretch.
For those of you celebrating this week, have a safe and wonderful holiday. Hugs to you all.
Eileen
November 18, 2011
Standing up for our rights or career suicide
One of the websites I love to read on a regular basis is Dear Author . Great website, thoughtful reviews, and always interesting information on publishing in general.
This week they had a brief article on an author suing her publisher for including promotional materials for other author's books at the back of her book. There was nothing in her contract against cross-promotional material, but she felt it went against the terms of her contract and because of this she has refused to hand in the third book in her three book deal.
There are lawyers involved, it's gotten ugly and for anyone interested, check out Dear Author's midday links for the details. Me, I read it and my immediate thought was this author is shooting themselves in the foot. Every other publisher will find out about this and would anyone agree to publish and author who had sued their publisher over something as common as cross-promotion. For more examples of this, see almost every Harlequin paperback.
I admire this author's self-confidence, her ability to speak out for something she thinks is wrong. I do think this is career suicide, but as writers, going through the critique process, through submitting to agents and editors, getting reviewed, there are so many ways our egos can be battered and I'm jealous of any author who can maintain their confidence through all of that.
Authors that will wait for the perfect agent rather than leaping at the first agent to offer representation, or can wait for the big deal rather than just accepting publication, the authors that believe inherently they are worth better treatment. Because I know I'm not that author and I wish I were.
Anyone think the above author was right in her stance? Would you have done the same?
This week they had a brief article on an author suing her publisher for including promotional materials for other author's books at the back of her book. There was nothing in her contract against cross-promotional material, but she felt it went against the terms of her contract and because of this she has refused to hand in the third book in her three book deal.
There are lawyers involved, it's gotten ugly and for anyone interested, check out Dear Author's midday links for the details. Me, I read it and my immediate thought was this author is shooting themselves in the foot. Every other publisher will find out about this and would anyone agree to publish and author who had sued their publisher over something as common as cross-promotion. For more examples of this, see almost every Harlequin paperback.
I admire this author's self-confidence, her ability to speak out for something she thinks is wrong. I do think this is career suicide, but as writers, going through the critique process, through submitting to agents and editors, getting reviewed, there are so many ways our egos can be battered and I'm jealous of any author who can maintain their confidence through all of that.
Authors that will wait for the perfect agent rather than leaping at the first agent to offer representation, or can wait for the big deal rather than just accepting publication, the authors that believe inherently they are worth better treatment. Because I know I'm not that author and I wish I were.
Anyone think the above author was right in her stance? Would you have done the same?
November 17, 2011
The Weekend That Changed My Life...
Sounds dramatic no? But I really believe it to be true. At least my writing life. We'll see in ten years or so if I'm right. But as Molly posted on Monday I was in Toronto this past weekend and it was awesome. A weekend of good food, good friends, beer and wine, book talk and let's not forget Friday Night Lights.
But the game changer for me was the brainstorming session. I had never been part of a critique group before. For many reasons. I often tell people who ask me about my writing that I'm the least creative person I know. I write simply because I like to control things. So the idea of a group talking about my idea or changing my idea… I thought, no.
And then there was this element of … if you accept help does it make it less your idea? I'm not great at accepting any kind of help and writing help in particular seemed like a foreign concept.
But then I did it. I told everyone my idea and they all listened (thank you for listening) and it was like watching someone with a Rubix Cube. All the pieces of my story were still there, but with a few twists this way and another few twists that way and what might have been a story that only had 3 sides of all the same color now was a completely finished cube.
I was stunned and amazed. And thrilled. Then Molly did her magic with the high concept stuff and bammo – I felt like I had this great high concept pitch married with a fully cohesive plot.
Now sure – I have to do some more work. The annoying business of actually writing the book. But I will forever be sold on the idea that it is not only okay, but downright smart, to pitch your book to other smart writers and let them find the holes you just can't see.
You don't have to use every idea – for instance my hero is not going to be German – sorry Molly! But it's not even like that really matters. Just throwing things out there made me think about things I hadn't thought of before.
I'm sold. And I absolutely want to do this again.
But the game changer for me was the brainstorming session. I had never been part of a critique group before. For many reasons. I often tell people who ask me about my writing that I'm the least creative person I know. I write simply because I like to control things. So the idea of a group talking about my idea or changing my idea… I thought, no.
And then there was this element of … if you accept help does it make it less your idea? I'm not great at accepting any kind of help and writing help in particular seemed like a foreign concept.
But then I did it. I told everyone my idea and they all listened (thank you for listening) and it was like watching someone with a Rubix Cube. All the pieces of my story were still there, but with a few twists this way and another few twists that way and what might have been a story that only had 3 sides of all the same color now was a completely finished cube.
I was stunned and amazed. And thrilled. Then Molly did her magic with the high concept stuff and bammo – I felt like I had this great high concept pitch married with a fully cohesive plot.
Now sure – I have to do some more work. The annoying business of actually writing the book. But I will forever be sold on the idea that it is not only okay, but downright smart, to pitch your book to other smart writers and let them find the holes you just can't see.
You don't have to use every idea – for instance my hero is not going to be German – sorry Molly! But it's not even like that really matters. Just throwing things out there made me think about things I hadn't thought of before.
I'm sold. And I absolutely want to do this again.
