Evan Marshall's Blog, page 2

I Am Selling a Lot of Historical Fiction These Days

What is historical fiction?

A historical fiction novel is set in the past, and typically during a significant time period. ‘The Book Thief’ by Markus Zusak, for example, was set during World War II, and Kathryn Stockett’s ‘The Help,’ was set in Mississippi during the civil rights movement in the 60s. The time period is an essential part of the setting and, frequently, the story itself.

It’s common for a novel like this to include well-known historical figures. ‘Girl With a Pearl Earring’ by Tracy Chevalier describes the world of 17th Century Dutch painter Johannes Vermeer.

A historical fiction novel may feature purely fictional characters, however, or a mixture of fictional characters and real-life figures.

Lately, I’m seeing clear signs of renewed popularity throughout historical fiction’s subgenres, including adventure, epics, prehistoric, romance, and mystery.

The popularity of historical fiction

One reason for the popularity of this genre is that they are set in a very real past, but the stories told through the lens of a modern writer. It’s a fascinating combination inherent to all historical novels.

Another reason for historical fiction’s popularity is that readers enjoy novels that transport them from their everyday worlds. By delving into the past, readers can enjoy escapism.

Many readers enjoy the echoes of the past and our contemporary lives. People often wonder what it might have been like to have been born in another time. Reading historical fiction can be an entertaining, immersive experience that satisfies that intellectual wanderlust.

Since these books generally require a lot of research to write well, they can be resoundingly realistic. They can be thrilling and educational; transporting and enlightening.

If this has inspired you to write a historical fiction novel …

In the words of David Mitchell, author of Cloud Atlas and historical fiction novel The Thousand Autumns of Jacob de Zoet:

“I didn’t set out to write a historical novel just for the heck of it – you’d have to be mad. Rather, only within this genre could the book be written.”

Writing a historical novel can mean months or even years of research. It’s not a task to be taken lightly. If you are up for a challenge, or if you have relevant education, background or life experience, this will be helpful.

In his article for the Telegraph newspaper, Mitchell goes on to support the idea that one of the best ways to learn how to write, in addition to practicing, is to read.

“This being my first [historical novel], I read a number of others to avoid reinventing wheels. Small hope, but my reading led me to a new respect for a genre that sometimes gets associated with blue-rinses and rags-to-riches sagas set in Liverpool.”

Novels That Read Like a Synopsis

Unfortunately, some writers are writing a synopsis while thinking that they are writing a novel. More and more, I am receiving novels that read like an outline or a movie treatment.

As an agent, I know that I’m not alone in spotting this basic story-telling error. If you suspect that your writing is flat, or more like a blueprint than a finished product, don’t worry. There’s an easy fix, though it will take some practice and dedication to make it a habit.

First, repeat to yourself the adage:

Show don’t tell.

If you can embrace this concept, you will transform your writing. You’re never too experienced to remember this advice and apply it when a scene isn’t working.

I’ll take my own advice and show you the kind of thing I’m talking about.

Telling:

“The apartment was a mess and nothing worked, but John had to rent somewhere. His mother was relying on him to find somewhere for them to live.

The landlord was a miserable slob and he couldn’t believe that John was willing to pay the asking price, but John had no choice.

That was how John and his mother moved to Shady Lane. He knew straight away that he’d made the wrong decision.”

I’m almost intrigued by this, but there’s no atmosphere. It’s more synopsis than storytelling. Even a synopsis benefits from an atmosphere to convey the storyline to an agent or publisher. While I can follow the story and what happens when, I don’t feel like I’m there.

Now let’s look at how that passage might be improved.

Showing:

“The landlord tried to turn on the light, revealing a sweat stain under his arm.

“Power must be out,” he grumbled, flicking the switch again and again with no effect.

The only light in the room came from the setting sun, visible through the dirty, cracked window. In this glow, John saw the damp wallpaper sliding down the walls, attempting to escape the mold.

The landlord wheezed as he put his cigarette out on the gray carpet, grinding the butt under his boot heel.

“So?” he snapped.

“We’ll take it,” John said, choking on the words.

The landlord regarded John icily, licked a dirty thumb, and counted his deposit in front of him. He even held one note up to the brown window to make sure it wasn’t fake.

Later, John used his cell to call his mom.

“I found somewhere,” he said. “We won’t be on the street.”

On the wall of the apartment across the street, someone had written: “WELCUM … 2 HELL!”

“Everything’s going to be okay,” he said.

This still needs work, but now I’m in the room with the narrator. I’m feeling itchy and claustrophobic. I even feel for the protagonist, who has character now. And the writer is still moving the story along.

Here are 6 tips to help you show instead of tell.

When writing descriptive passages:

• use your imagination, so that the world you create is as realistic and solid as it can be.

• use metaphors and similes. Comparing one thing to another is a good way to bring your descriptions to life.

• use the actions of your characters to give the reader information about character and setting, as well as to move the story along.

• use restraint to avoid intrusive narration. Consider allowing your voice to take a back seat, while your characters take the wheel, providing readers with insights into their viewpoints, thoughts, and feelings.

• use your remote to turn off the television; just long enough to read some more. Pay attention to how your favorite stories are told. How do your favorite authors develop characters and scenes?

• use your discretion. There will be times when you think it’s better to tell than show. The choice is yours. What is important is that you make it a conscious decision. Note also that the scene might not be relevant at all. You may be able to write the hell out of it, but if it’s got no business being in your book, that’s wasted time and effort.

If you want to be noticed by an agent or editor – for the right reasons – demonstrate that you understand your craft by showing not telling.

The Rise of the Unreliable Narrator

What is an unreliable narrator?

This doesn’t refer to the day Morgan Freeman failed to show up to work. An unreliable narrator is a character who tells the reader a version of the story that can not be taken at face value. He or she might be lying, insane, or in denial. Their point of view could be biased or incorrect for any number of reasons.

Having an unreliable narrator tell the story is a great way for a writer to manipulate the reader. In the nicest possible way. Or perhaps not. The choice is yours. This kind of novel can be very satisfying to read as well as being a lot of fun to write.

When should you reveal the narrator’s unreliability?

Again, this is up to you. It might be obvious from the start of the story that the reader can’t rely on the narrator. For example, he or she might come out immediately as a blatant liar, such as a criminal making outrageous claims to profess his or her innocence.

Alternatively, you could reveal the narrator’s unreliability gradually, which can create a compelling atmosphere of unease.

Or the narrator’s unreliability could appear as a revelation, providing a major plot twist. On that note, now read Agatha Christie’s classic The Murder of Roger Ackroyd. In 2013, almost 90 years after the book’s release, The British Crime Writers’ Association voted it the best Crime Novel Ever. When you read it, you’ll see why.

Are all unreliable narrators malicious?

Not at all. Take a look at Mark Haddon’s ‘The Curious Incident of the Dog in the Night-Time’ to see the world through the eyes of its young autistic narrator. Or Emma Donoghue’s ‘Room’, which is narrated from the viewpoint of a boy who is five years old.

What genres work well with unreliable narrators?

Crime and mystery are great genres for effective unreliable narrators.

‘Gone Girl’ by Gillian Flynn is an excellent example. The source of the novel’s suspense is protagonist and narrator Nick Dunne and the question of whether or not he is involved in his wife’s disappearance.

‘The Girl on the Train’ by Paula Hawkins is in a similar vein. This story is told in the first person from three women’s perspectives. The untrustworthiness of these narrators does not only add depth to the stories, but is integral to their construction.

Do you have to make the narrator’s level of trustworthiness known by the end of the book?

In the end, it’s not always clear whether readers are being misled or not. It takes skill to pull off a novel that leaves the reliability of the narrator open. When it works, however, the effect is electric, making a fantastic talking point for readers and critics.

In ‘The Life of Pi’ by Yann Martel, readers continue to discuss whether or not its narrator can be trusted. And in ‘We Need to Talk About Kevin,’ Lionel Shriver leaves the final judgement to the reader: it’s up to us whether or not we think that Kevin was a bad child or that Eva was a bad mother. The beauty of this story is that it works however you interpret it.

To write an unreliable narrator, planning and plotting are crucial. If you reveal that the narrator is full of it, it works most authentically if there are clues that the reader could have spotted. Some foreshadowing works nicely. Consider including a strange reaction to the narrator, and one or two subtle ambiguities. Your reader should be able to look back over the book and say: “Of course!” as opposed to: “Where in hell did that come from?”

Whatever your genre and whatever your narrator type, The Marshall Plan can help you structure your story so that it remains coherent. It will help you to tie up loose ends. Leave nothing to chance. And you’ll be able to do it in a fraction of the time it would take without help.

Enjoy support from our software or support from our forum, and breathe life into your unreliable narrator.

The Eternal Appeal of Christmas Novels

When we think of a Christmas novel, what comes to mind? For many, it will be Charles Dickens’ ‘A Christmas Carol’. Never mind that it’s actually a novella! With its ghosts of Christmas past, present, and future, this classic story is closely linked to the annual Christmas experience.

More recently, Mary Higgins Clark has written a number of Christmas novels, including ‘Dashing Through the Snow’ and ‘Santa Cruise: A Holiday Mystery at Sea.’ She co-wrote the latter with her daughter Carol.

Anne Perry, whose work normally falls into the categories of historical, murder mysteries, and detective fiction, has also published numerous Christmas novels.

The growing trend of authors writing Christmas novels year on year shows no sign of slowing.

Why Write a Christmas Novel?

Kinky Friedman is the author of the eponymous detective novels. On the subject of why he wrote the mystery novel ‘The Christmas Pig’, he said:

“Money … I wrote it to pay the rent.”

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While some people will think of Dickens’ classic tale when they think of Christmas novels, others will hear the sound “ka-ching!” Writing a Christmas novel can be lucrative.

Here are some reasons why:

• Just like movie producers and toy manufacturers cash in on Christmas buying sprees, so can book publishers and authors.

• Christmas is largely a secular holiday, so it is celebrated in more than 160 countries. For many people it’s the biggest holiday of the year. Setting a novel at Christmas means creating a setting that is special, but to which many people can relate.

• Cynicism aside, Christmas is atmospheric in many parts of the world. Winter weather can be beautiful but harsh, it’s a time of great joy and yet extreme stress. It’s a time when families and friends come together and have fun. This all makes a neat backdrop for a romance story, or for a disruptive murder mystery tale!

• Books make great Christmas gifts. The gift of a book that is set at Christmas-time is particularly poignant.

What makes a good Christmas novel?

Setting the story at Christmas time is not enough. How do you write a story that is read and re-read, generation after generation?

• As in any novel, you need great characters, a compelling plot, and a setting that contributes to the mix. When all three not only work together but are inseparable, you’ve got a solid foundation.

• Consider your theme. Try to design a plot and story that hasn’t already been trampled into the snow under writers’ feet already. In general, judging by readers’ tastes, you can’t go far wrong with love and romance when it comes to themes for Christmas books.

• Like A Christmas Carol, which tackles social injustice and poverty, try to have your novel’s concerns extends beyond the Christmas holiday to achieve timeless, universal appeal.

If you can write a successful Christmas novel that captures the mood of the season and the imagination, it could be a gift that will keep on giving year after year!

How to Work a Conference

If you want to get ahead in life, you need to be able to communicate. In publishing, whether you are independently published or working with a traditional publisher, you’ll be working with others, including editors, booksellers, and the reading public. In our increasingly digital world, communication applies to face-to-face conversations, phone calls, and text-based communications online.

Being able to express yourself, interact with others, and listen can boost your success. Authors are often shy, but if you’re looking for an agent, communicating effectively is imperative. Developing your verbal and non-verbal communication skills can set you apart from others in your field.

I like and recommend “How to Work A Room” by Susan RoAne, the introvert’s guide to how to walk into a room of strangers and know how to talk to them. By following the advice in this book, you’ll be able to walk into any conference, pitch your project to the right agent, and sell your fiction.

How to choose from so many conferences?

A good way to prioritize which conferences you should go to is to look at the agents who are attending. Evan has signed clients who have attended a conference because he was going to be there.

Consider your genre, make a shortlist of your ideal agents, and visit the conferences at which you might have an opportunity to speak with them in person. Do your homework on the agents who are right for your book and prepare your pitch. Then make an appointment to meet the agent.

Be consistent and persistent

How to work a room could also be described as the art of being seen. Keep popping up on the radar by attending relevant social functions, cocktail parties, and meals.

Bear in mind that many other writers will also be at the conference. If you’re feeling nervous or overwhelmed, remind yourself that writers tend to be introverts. You won’t be the only person who doesn’t feel in their comfort zone. Attending a conference is a first step towards making valuable face-to-face connections.

Stand, sit or circulate wherever the action is

At a recent NINC (Novelists, Inc.) conference, the main action took place in the lobby of the hotel, so that’s where we parked ourselves. Many people approached us because we were in the right place at the right time. To paraphrase Queen Elizabeth II, you have to be seen to be believed.

Share your business card

Your business card should make it clear that you are an author, what kind of fiction you write, and, of course, your contact details. Having good quality business cards is an inexpensive way to demonstrate your professional attitude and they will help you to forge lasting connections.

For people you meet without cards, have them write their contact info on one of your cards.

Always follow up. Say how much you enjoyed meeting each contact. Making a connection with someone who lives near you gives you the opportunity to meet with them again when you return home.

Finally, although there will be many useful contacts and knowledgeable speakers at conferences, conferences are not all about what you can get out of them. Think about what you can do for others. Don’t be afraid to offer your help.

When you give to others, you’ll be rewarded many times over. Being helpful is a fantastic way to make a lasting impression and to be thought of favorably by people in the industry.

Freelance Editors

After I sold a new client’s proposal, she said to me, “Now that I’ve sold, I’m going to save some money and fire the freelance editor who helps me with my writing.”

This was not one of her better ideas.

A freelance editor helps authors make their work tighter and more engaging. Ultimately, the work will then sell better, both to a publisher and to readers.

Against DIY Editing

It’s difficult, if not impossible, for an author to perform a final edit of his or her own novel as effectively as an editor. An author is typically too close to their work, even after a period of several months or a year. It is particularly difficult for an author to remain impartial if he or she has spent years on the project.

Working with a freelance editor allows your novel to be seen with fresh eyes. A new perspective can be invaluable, not only for spotting errors in grammar, but also structural and thematic issues.

An editor may highlight opportunities for adding depth and solidity, making the most of a manuscript’s strengths and identifying problems that might otherwise get between the story and the reader (whether that reader is an agent, a publisher, or a potential fan of your work).

Freelance editors build relationships and careers

An editor with whom a writer already has a working relationship is precious. This person will be familiar with the author’s style and aims, making his or her advice more personalized than that of an editor who has never encountered the author’s work before. If an editor knows your work, it will be easier to identify recurring issues, which will improve your current project and your writing going forward.

The editor as a tutor

Working closely with an editor is a good way for a writer to develop his or her craft. Over time, authors can learn to see things from the viewpoint of an editor. Avoiding plot holes or weaknesses is far better than having to fix such issues in subsequent drafts. Editors can make better writers. Better writing saves time and money, in addition to satisfying readers.

Chuck Sambuchino, for example, is an inspiring editor over at Writer’s Digest Books. He also works as a freelance editor and has worked with many authors who have gone on to sign with literary agents. Chuck knows as well as anyone that writers who work with editors improve the general standard of their writing dramatically.

If a fiction editor’s job is to make a novel as good as it can be, then this is someone that authors want at their side. A good freelance editor is worth good money, because they can and will make your book more salable.

Here is valuable advice from Sambuchino:

“The cost for freelance editors varies greatly. It can be anywhere from $2-10 per double-spaced page. It all depends on the editor in question and what you’re getting out of the edit. If you want an in-demand editor with a track record of success stories, prices will be higher. The good news is that if you do your research and look around, you will find all kinds of options out there. You can find people who specialize in proofreading and copyediting. You can find people who pride themselves on developmental story editing. And you can find people who specialize in a certain area or genre, such as a mystery writing book doctor, or a picture book guru.

Since freelance editors cost money, here are three quick things you can do to protect yourself before spending a lot of cash:

Ask other writers for referrals. It’s a lot easier to pull the money trigger when a writer you know vouches for someone’s skill and professionalism.
Engage in a small edit before you engage in a big edit. Let’s say your novel is 250 pages. Perhaps you can arrange a small deal where the editor critiques your first 30 pages for a fee. That way, you can gauge their work on that small chunk of pages and decide if you want to move forward with a full edit, which will be more costly. Some freelance editors will even critique a few of your pages for free in an effort to show you their skill and vie for your business.
Look for success stories, not necessarily just testimonials. A testimonial is when a writer says “Editor Bill Smith did such a great job with my story. He was worth every penny!” Freelance editors use testimonials such as this (from former clients) to attract new business. But these are surprisingly easy for freelance editors to drum up. All I would have to do is contact writers X, Y, and Z (perhaps they’re even my friends or acquaintances) and say “Hey, if I critique your book for free, will you write me a nice blurb of praise?” Of course they’ll say yes. Voila. I’ll have three fat testimonials real quick. So testimonials aren’t necessarily the telltale sign of an effective editor. This is why I don’t list these on my freelance editing website. I only list success stories, which is praise provided only after a writer signed with an agent, or got a traditionally published book deal. These are a lot harder to provide, but they go a lot further in terms of conveying the effectiveness of the editor. So look for success stories.”

Romancing the Extremes

In the romance category, we’re seeing titles trending to two extremes. On one end, we have romance stories that are sweet and contain no sex at all. At the other end are romance stories that are highly erotic and may include explicit sexual content, including BDSM.

Sweet

In a sweet romance, also called clean romance, the relationships at the core of the story are deep and tender. Expect characters to fall in love rather than become consumed by lust. There will be conflict along the way, but the focus of the story is the experience of love and the development of a relationship.

Amish romance falls perfectly into the sweet romance category. We have friends who read Amish romance before going to sleep at night. What they like about Amish romance is that there is nothing disturbing in these books; nothing that will make them feel anxious.

Charlotte Hubbard is the popular author of several series, including Simple Gifts, Seasons of the Heart, and Home at Cedar Creek (writing as Naomi King) among others.

Rebecca Kertz’s romance novels are published by Harlequin under the heartwarming inspirational romance category. Her titles include Elijah and the Widow, Noah’s Second Chance, and Jedidiah’s Bride.

Emma Miller, who once taught in an Amish schoolhouse, is also with Harlequin, publishing many Amish romance titles including Rebecca’s Christmas Gift, Leah’s Choice, and A Love for Leah (out in February 2017).

We are pleased to say that we represent all three of these fantastic authors. They are finding plenty of readers with a penchant for sweet romance novels.

We’re not the only ones noting this trend. Selena James, an executive editor at Kensington Publishing, says:

“Kensington is seeing strong demand for wholesome books, particularly ones featuring a sweet romance. As part of our Bouquet program, these historical and contemporary women’s fiction and romances are published under several imprints in both trade paperback and mass market. Some of our most popular authors include Charlotte Hubbard, Kelly Long, and new on our list, Lisa Jones Baker and international best-selling author Davis Bunn.”

Sexy

As you know, the romance genre is not all about beards, bibles, and barn raising, however. At the other end of the spectrum, we have a huge fan base demanding highly erotic novels. These may have dark themes and explicit scenes featuring BDSM.

Bared to You by Sylvia Day is the first chapter in the Crossfire series, selected for Amazon’s Best Books of the Year in Romance, and described in one review as a book with steamy, raw passion, electric love, and much more.

The Marriage Bargain by Jennifer Probst is the first part of the bestselling Marriage to a Billionaire trilogy. Laura Kaye (author of Hearts in Darkness) says that it is “full of nonstop sexual tension that crackles off the page.”

Rush by Maya Banks is the first book in the Breathless Trilogy. One reader described this title’s hero as, “sexy, assertive, intense … sex on legs.” Readers love this novel, although some find its BDSM controversial. Read the Paris scene and you’ll understand exactly why.

Our tips on how to ride this romance trend

We think that there are two factors to keep in mind if you want to write and publish in this popular and lucrative genre.

Go to the extreme.

Whether you decide to write a sweet romance or a super-sexy thrill-ride, immerse yourself (and the reader) in the best that the genre has to offer. Make your characters the cutest you have ever read and go for that fairytale happy-ever-after ending that’s so compelling and irresistible. Or push the sexual and emotional boundaries of your characters. If you can make your hero sexier and more of an alpha male, then you should do it.

Romance readers know what they want. They will judge a book by its cover, its blurb, and its customer reviews. If you say that you’re going to deliver a novel in their favorite genre, satisfy their desires by making the novel an extreme example.

Don’t mix sexy and sweet.

For the most part, romance readers tend to like sweet stories or sexy tales. If you try to do both in one story, you risk confusing your audience. Stick to your plan if you want to avoid making your readers uncomfortable or turning them off.

We’re looking forward to seeing more work in these two categories. There are always new characters and scenarios to explore, and readers are begging for more.

Whether you prefer sexy or sweet, use these tips to focus your writing and bring your chosen characters to life.

Research, Write, and Promote Your Novel Without Ever Leaving Your Home

Writing a novel isn’t easy. In some ways, however, it has never been easier. Remember when writers used typewriters to prepare manuscripts? No? Be thankful.

And that’s not all that’s changed. Whether you have mobility problems due to age, handicap, a lack of money, or you just don’t like the look of the weather, you can now handle researching, writing, and promoting your novel without even getting near your front door.

Researching Your Novel Online

Going to the library and visiting the settings you want to use in your novel is a great idea. Many writers supplement this with any of the many online tools that aid research. And let’s face it – that big search engine beginning with G is a great starting point. In many cases, it’s possible to do all your research without leaving your chair.

Even if you need to research a location, Google Street View allows you to visit places and look around 360 degrees. This can save you time, as well as potentially saving you a fortune on air fare.

Also remember that people like to be helpful. Quora is a great place to find experts who will answers your questions for the love of sharing their specialist knowledge and building their platforms online.

Writing

Today’s authors have the power of desktop publishing at their fingertips. You can outline, plot, write, and redraft your novel without taking a step outside your home.

When you’re ready, send your book to your editor by email. Then review the edits via Office’s Track Changes. Finally, you can read your page proofs online.

This not only makes things more convenient, but it also makes the writing and publishing process faster.

Writing and publishing is still a collaborative occupation for most people, but collaboration with other professionals can happen via your laptop, which is good, because many authors like to collaborate in their pajamas at 5 in the morning.

Promoting

If you’re an author, you will have heard about the importance of your author platform, which comprises your website, social media presence, and email newsletters.

Guess what? You can create and maintain all of these from your desk chair.

Many authors handle much of the business of being a writer via their smartphones. They are connected to their readers via Twitter, Facebook, LinkedIn, Pinterest and many more.

Facebook, in particular, has fantastic tools for targeting readers and advertising to them. With the right social media platforms, some reading, and some persistence, you can put the power of a small marketing team behind your words.

 

People say that writing is a solitary profession. The tools now available to you as a writer mean that it is potentially more solitary than ever. For some, this will be a blessing. For others, don’t forget to get out for a walk every now and then.

Winding Up for the Pitch

Not long ago I participated in a “pitch slam” session, this time at ThrillerFest at the Grand Hyatt, New York City. The purpose of this event, dubbed PitchFest, is to get authors and agents together in a scenario that’s not far off speed-dating! Authors get a few minutes to pitch to an agent, get a reaction, and then move on to another agent.

Here are some observations and tips for pitching to an agent or an editor at a conference.

Authors have become savvier than ever when it comes to selecting the editors and agents they want to pitch to. Gone are the days when authors tried to sit down with everyone and hoped for some interest.

As a result of this increased focus, the projects we heard about were more often appropriate for us. This is great news! Agents are busy people and most of us simply can’t read or listen to every pitch that comes our way. A pitch that is inappropriate in terms of age group, genre, and tone, is a waste of time for both agents and authors.

Pitching appropriately demonstrates your professionalism. It means that you did your homework. A healthy respect for our time and yours is part of the foundation for building a career.

What I didn’t care for at pitch sessions are the pitches that are obviously rigorously memorized performances. They are usually accompanied by a steady stare as the author recites. It’s almost as if the intention is to hypnotize. I get too focused on the performance, which is shame for the pitcher.

Yes, you need to make your pitch have an impact, but I recommend a more informal, relaxed exchange, even when time is limited.

Finally, it’s worth remembering that you don’t need to be nervous. Readers are often surprised to find that their favorite writers are friendly, down-to-earth people. The same can be said of most agents.Your novel is important to you and our time is precious, but don’t let getting tongue-tied get in the way of telling us about your idea or asking us questions about the industry.If you meet an agent at a conference, the chances are good that you are both looking for opportunities to network, discover, and share. There isn’t a better time to pitch your novel.

Pitch sessions like these are the best way to get quality time to discuss your project with a publishing professional. It’s no wonder they are more popular than ever.

Make the most of these opportunities by following these tips and preparing a little beforehand.

What Can Booklovers Do to Help Bookstores and Libraries Affected by Hurricane Harvey?

Hurricane Harvey displaced more than 30,000 people and has caused economic losses estimated at over $70 billion.

Despite this, a number of bookstores opened their doors to allow people in for relief from the storm and to demonstrate that life goes on.

The most well known of these events might be the reopening of Murder by the Book, which is a mystery bookstore in West University Place. It opened to offer free coffee, charging stations, and respite.

Teacher Kathryn Mills helped those affected by the hurricane by starting the Hurricane Harvey Book Club on Facebook. She did so by posting a video of herself reading a picture book, considering it a small thing that she could do to bring some kids some calm despite the storm.

The group quickly reached 71,000+ members. While it was a great moment of solidarity, comfort, and the power of shared literature, it did come to an end – mostly due to copyright and legal issues – but the spirit of the movement lives on.

Simon & Schuster is offering assistance to public and school libraries in Texas, as well as Texas booksellers, providing copies of 20 new releases and bestsellers to help attract customers and get businesses back on their feet. They will also donate 250 “best of” titles to help restore collections at damaged Texas public or school libraries, expressing appreciation for the role of public and school libraries in a community.

What You Can Do

1. Spread the word about The Book Industry Charitable Foundation .

You might think that every bookseller will have heard of such an organization, but that’s not the case. And those who have heard of BINC may not have got in touch with them.

BINC can help bookstores re-open by helping with mortgage or rent payments, clean-up expenses, replacement of furnishings or inventory, storage costs, and repairs. They will work with individual booksellers affected by Harvey too. They can help with such things as evacuation, relocation, repairs, lost income, and emergency food and clothing costs.

Help bookstores by sharing BINC’s contact information.

866-733-9064

help@bincfoundation.org

www.bincfoundation.org

2. Donate to Reading is Fundamental

RIF was created to address literacy problems in the US. Alongside local officials, they are actively involved in donating 25,000 new educational resources and books to children who have been displaced by Hurricane Harvey.

You can donate to the organization here.

3. Get Back on Your Feet

Another way to help a bookseller or library that has been affected by a disaster is to visit them. If the store or library is open and you can get there safely, they are sure to appreciate a visit as they get their operations back up and running.

Show your support with a kind word, by making a purchase, or just by being there.

Whether your interest veers towards literacy, peace, or a convivial coffee, a bookstore is an important part of local life. Support a bookseller and you are supporting a community.