R.W. Richard's Blog, page 36
September 14, 2014
Working writers
I know I write about craft, but hang in there as I get something off my chest.
I've been corresponding with various authors about a new phenomena, 'the little sales boat.' We all think KDP Select or Amazon Prime is the culprit. Amazon, as I said before, won't pay us for anybody who reads 10% or less of your book when they borrow. They also announce a pool of money for each month that they'll give to the authors and what do you think the chances are that the pool of $ is less than the amount we would have made on sales? When someone buys our books, we never know whether they complete it or not and we don't offer them a free rebate, usually. Right?
I'm seriously considering not putting the next book out (Double Happiness should be out in the next month or sooner) into Prime or Select and then compare results with my A MORE PEREFECT UNION.
I need feedback from other authors on their recent experiences with Kindle, so please comment.
CRAFT: It's not the money, it's producing a work of art that one hopes someone will enjoy, hopefully many someones. Artists starve and I suppose if most of us didn't have day jobs, we would be sleeping under a tarp. What, you say, you're still ranting about money. Maybe I'm partially guilty, but there is always a craft solution that can help improve things. If you have a book that is not catching on, don't wait to change the promotional or jacket materials. That's writing too. I have found when I wrote in a flamboyant style for my cover and description of THE WOLVES OF SHWERWOOD FOREST that my sales went up. I knew I had done my job when I received good reviews and other comments.
Working Girl, a 1988 movie is all about ferver for the job, creative thinking and in 1988 especially smashing stereotypes. Here's the trailer:
I couldn't find one of my favorite scenes in which Melanie Griffith explains to the CEO how she came up with the idea (That saved the day).
I've been corresponding with various authors about a new phenomena, 'the little sales boat.' We all think KDP Select or Amazon Prime is the culprit. Amazon, as I said before, won't pay us for anybody who reads 10% or less of your book when they borrow. They also announce a pool of money for each month that they'll give to the authors and what do you think the chances are that the pool of $ is less than the amount we would have made on sales? When someone buys our books, we never know whether they complete it or not and we don't offer them a free rebate, usually. Right?
I'm seriously considering not putting the next book out (Double Happiness should be out in the next month or sooner) into Prime or Select and then compare results with my A MORE PEREFECT UNION.
I need feedback from other authors on their recent experiences with Kindle, so please comment.
CRAFT: It's not the money, it's producing a work of art that one hopes someone will enjoy, hopefully many someones. Artists starve and I suppose if most of us didn't have day jobs, we would be sleeping under a tarp. What, you say, you're still ranting about money. Maybe I'm partially guilty, but there is always a craft solution that can help improve things. If you have a book that is not catching on, don't wait to change the promotional or jacket materials. That's writing too. I have found when I wrote in a flamboyant style for my cover and description of THE WOLVES OF SHWERWOOD FOREST that my sales went up. I knew I had done my job when I received good reviews and other comments.
Working Girl, a 1988 movie is all about ferver for the job, creative thinking and in 1988 especially smashing stereotypes. Here's the trailer:
I couldn't find one of my favorite scenes in which Melanie Griffith explains to the CEO how she came up with the idea (That saved the day).
September 7, 2014
Tell lies, show the Truth
To compare "show don't tell," to tell lies, show the truth is invalid. Tell lies, show the truth is just another tool in the professional writer's toolbox.
"No, I don't love you. You must leave now."
But her eyesbrows were drawing together and her foot tapped. She felt something for him. "Don't worry, there are guards about but if I make too much noise they'll think it a Nightingale. If I fall, they'll make a fair cushion."
"Please be careful." She leaned over the balcony squeezing the railing.
He bounced up. "So you do love me." He hopped back in her suite and put his arms around her.
"You know I do."
Later in the scene (which includes a kiss) she tells the truth about why he must leave.
[The dialogue comes from my vague memory of a famous scene from the 1938 version of Robin Hood.]
A subcategory of this technique involves the awful "info dump." If you must use an info dump, because the story can not be told any other way that you know, [IMHO, there's always a way] have one of the two in dialogue lie, have the other a body language expert or just plain tuned in notice subtle descepincies. As an example, the woman is a NCS agent and the guy is from the NSA. They have just been assigned to each other and there's a bit of distrust, a bit of lone wolfing, etc. Oh and a bit of chemistry, right?
This week I want to present one of the songs from my new novel A MORE PERFECT UNION. For this story I felt it worked to set the mood for each chapter. I listened to the song and wrote. I recommended to readers who like to listen to music while reading that they consider my suggestions per chapter.
The song for Chapter Seventeen: Ray Charles, Hit the Road, Jack, 1961
"No, I don't love you. You must leave now."
But her eyesbrows were drawing together and her foot tapped. She felt something for him. "Don't worry, there are guards about but if I make too much noise they'll think it a Nightingale. If I fall, they'll make a fair cushion."
"Please be careful." She leaned over the balcony squeezing the railing.
He bounced up. "So you do love me." He hopped back in her suite and put his arms around her.
"You know I do."
Later in the scene (which includes a kiss) she tells the truth about why he must leave.
[The dialogue comes from my vague memory of a famous scene from the 1938 version of Robin Hood.]
A subcategory of this technique involves the awful "info dump." If you must use an info dump, because the story can not be told any other way that you know, [IMHO, there's always a way] have one of the two in dialogue lie, have the other a body language expert or just plain tuned in notice subtle descepincies. As an example, the woman is a NCS agent and the guy is from the NSA. They have just been assigned to each other and there's a bit of distrust, a bit of lone wolfing, etc. Oh and a bit of chemistry, right?
This week I want to present one of the songs from my new novel A MORE PERFECT UNION. For this story I felt it worked to set the mood for each chapter. I listened to the song and wrote. I recommended to readers who like to listen to music while reading that they consider my suggestions per chapter.
The song for Chapter Seventeen: Ray Charles, Hit the Road, Jack, 1961
August 31, 2014
A MORE PERFECT UNION
This week, I will release the novel pictured below. I would love your feedback on the cover's artwork or words. I won't be changing the title.
Thanks for any feedback,
Bob
.................................................................................................................
[image error].............................................................................................................................
Do I need to say they're running for president against each other?
Thanks for any feedback,
Bob
.................................................................................................................
[image error].............................................................................................................................
Do I need to say they're running for president against each other?
August 24, 2014
Sheep in wolves' clothing
Many people, including J. Edgar Hoover, studied the demeanor of Jimi Hendrix and thought he was a bad guy. Back then if you were against the war or all wars J. Edgar kept an eye on you. Besides, Jimi associated with insideous foreigners, LOL, like the Beatles.
Jimi was a patriot (who had served in the U.S. Army) with a romantic heart. He said, "When the power of love overcomes the love of power the world will know peace."
Can you have a hero who pretends to be or just looks like a bad ass (or a hippy—back in the sixties the observation led to the same prejudice)?
In CRY WOLF by Tami Hoag, classified as a murder mystery set in the Louisiana Bayou, but very much a romance, the bad boy, Jack Boudreax, oozes 'avoid me' unless you want a roll in the sack. But his conflicted heart is struggling to be noble. Write characters like Jimi or Jack and you've enriched your story. Ain't easy to do, I suspect.
Jimi Hendrix composed and published THE WIND CRIES MARY, 1967. When his girlfriend, Kathy Mary Etchingham, after an argument, left him, he penned this song. He's basically saying he'll miss her forever and hears her name in the wind. What a sap, LOL. Jimi was no tough guy, he had a huge heart and tried to fit every human being inside it.
This video should serve to remind us, to not let sit (gathering dust) work we love and sometimes, your own voice, not some mixing of critique suggestions, for alternative ways of saying something, is the most authentic and readers sensing it will appreciate it!
Extra credit: Where did you stand on the Vietnam War, the woman's movement, the civil rights movement? Where do you stand today and if you changed, why?
Jimi was a patriot (who had served in the U.S. Army) with a romantic heart. He said, "When the power of love overcomes the love of power the world will know peace."
Can you have a hero who pretends to be or just looks like a bad ass (or a hippy—back in the sixties the observation led to the same prejudice)?
In CRY WOLF by Tami Hoag, classified as a murder mystery set in the Louisiana Bayou, but very much a romance, the bad boy, Jack Boudreax, oozes 'avoid me' unless you want a roll in the sack. But his conflicted heart is struggling to be noble. Write characters like Jimi or Jack and you've enriched your story. Ain't easy to do, I suspect.
Jimi Hendrix composed and published THE WIND CRIES MARY, 1967. When his girlfriend, Kathy Mary Etchingham, after an argument, left him, he penned this song. He's basically saying he'll miss her forever and hears her name in the wind. What a sap, LOL. Jimi was no tough guy, he had a huge heart and tried to fit every human being inside it.
This video should serve to remind us, to not let sit (gathering dust) work we love and sometimes, your own voice, not some mixing of critique suggestions, for alternative ways of saying something, is the most authentic and readers sensing it will appreciate it!
Extra credit: Where did you stand on the Vietnam War, the woman's movement, the civil rights movement? Where do you stand today and if you changed, why?
August 17, 2014
Bad Girls
In real life, guys who are looking to marry might consider a bad girl too much work, too much risk. In the movies and in our stories it's a different story altogether. Lauren Bacall was nineteen in the following famous scene. Bogart was forty-four. Not only was he intrigued for the movie, they married. The director had asked her to lower the register of her voice. The sass came naturally. A friend of mind succumbed to the charm of a complete tease, so it does happen, and it is he who now teases her too. Guess he learned a bad habit from a good friend and lover. This clip from the movie, To Have and Have Not, 1944, showcased a new talent, Lauren Bacall, opposite the great Humphrey Bogart in a sexually charged scene. He had no chance.
August 10, 2014
INDIE IS BEAUTIFUL
To say that indie records has a cult following wouldn't do it justice. While in college or HS if you couldn't express love for some indie artist you might have been considered a meathead. There are all sorts organizations and awards shows dedicated to indie music success. These songs sometimes break into the top 40 or top 200 charts of various, but their music can be 'different' and therefore harder to reach a mass audience. For these artists creative freedom is king. The gate keepers require money to play your independent song so just like in our industry money can be a consideration.
What does indie (novel) publishing have going for it? Amazon. This is a good start. Many groups are starting to take up the indie cause much like what happened years ago in indie music (BTW in indie music the term is used in two ways; the way I've been talking about and the indie producer who is a middleman in getting records on the air.)
Both indie songs and books can get their wares out easily these days. We share profits with Amazon to accomplish this. Singers can Youtube initially. So why don't we have a useful free outlet? Stand outside in the rain and wait for lightning on this idea.
Ultimately our art form is less encombered now by special interests, gate keepers (those who say you are not following a formula). For a retailer's small charge, you can let the reading public decide the value of your novel. And good luck.
One of the top indie love songs of all time: The Trapeze Swinger by Iron and Wine, 2004
Other facts:
Indie films have long had their champions, especially Sundance. What will come along in publishing that will deliver the same impact for indie authors?
Some movie directors seek out indie songs to use in their movies and some indie novels make it to the big screen. But has there ever been an indie movie written by an indie author and populated with indie songs?
EXTRA CREDIT: Here's a portion of Wikipedia's info on Indie singers.
Many acts choose to go from an independent label to a major label if given the opportunity as major labels have considerably more power and financial means to promote and distribute product; thus increasing the chances of greater success.[ citation needed ]Some acts, however, may choose not to go to a major label if given the opportunity as independence generally offers more freedom.[ citation needed ]
Similarly, others may become independent label acts after having already experienced recording on a major label. Bradley Joseph requested to be let go from his major label deal with Narada/Virgin Records and subsequently became an independent artist. He states "As an independent, business is a prime concern and can take over if not controlled.[4] A lot of musicians don't learn the business. You just have to be well-rounded in both areas. You have to understand publishing. You have to understand how you make money, what's in demand, and what helps you make the most out of your talent.[5] But some artists just want to be involved in the music and don't like the added problems or have the personality to work with both". Joseph suggests newer artists read and study both courses and pick one that best suits their own needs and wants.[4]
A successful independent label with a strong musical reputation can be very appealing to a major label. Major labels look at independent labels to stay current with the ever-changing music scene.[6]
If an act moves to a major label from an independent, they are awarded greater opportunity for success, but it does not guarantee success. About one in ten albums released by major labels make a profit for the label.[7] Some artists have recorded for independent record companies for their entire careers and have had solid careers. Independent labels tend to be more open creatively, however, an independent label that is creatively productive is not necessarily financially lucrative. Independent labels are often operations of one, two, or only half a dozen people, with almost no outside assistance and run out of tiny offices.[8] This lack of resources can make it difficult for a band to make revenue from sales. It can also be more difficult for the indie label to get its artists' music played on radio stations around the country when compared to the pull of a major label. A testament to this fact could be that since 1991, there have only been twelve independent label albums that have reached the number one spot on the US Billboard 200 Album Chart. There have, however, been dozens of independent albums that have reached the top 40 of the US Album Chart.
Some major labels have created an opportunity for independent artists to be featured on a distribution/marketing CD project with no strings attached in an effort to help boost awareness of the Independent Music community[ citation needed ].
The difference among various independent labels lies with distribution; this is probably the most important aspect of running a label. Examples are:
Independent label that signs and distributes its own acts. These independent labels find and sign their own acts; then the label manufactures, distributes, and promotes its own product.
Independent label distributed by a major label. These independent labels are similar to the type mentioned above in that they find and sign their own acts, but they have a separate contract with a major label to handle manufacturing, distribution, and/or promotion. The major label has no control over the independent label, simply an agreement to distribute its product. Either the independent or the major can terminate the pact at the end of the contractual agreement if they so choose. The independent provides for its own financial stability, and has no outside monetary assistance from a major label. -If signing to an independent label, this type of venture probably affords the better benefit. This is because the act's contract is actually with the independent label, which may offer more creative control, yet the act is having its album distributed by a major label, which also has an interest in seeing the album become successful.
Independent label owned by a major label. Some major labels have started independent labels or purchased an existing independent label outright, and have these labels use, or continue to use, independent distribution for their product. The reason for this is because independents usually are on the cutting edge of new sounds and potential hit artists, and signs acts and releases albums for less money than would have otherwise been spent if the acts were signed directly to the major label. One benefit of this scenario is that if the act eventually proves successful enough on this type of independent, and is seeking a major label deal, it may see its subsequent albums released directly on the major-label owner of its independent label. The moniker "independent" is sometimes associated with these major-label owned independent labels because they use independent distributors to distribute their albums instead of their affiliated major-label distribution system. However, these labels are not true independents, the differences being: a) these independent labels can seek the financial backing of their major-label owner should they ever fall on hard financial times. b) the major-label owner can sign acts itself, and then place acts on its independent label if it chooses, even though the independent label signs acts itself. c) the major-label owner can potentially steal away any act from its independent label at any time and bring that act directly to the major-label owner, regardless of if the act is still under contract to the independent label. d) the major-label owner could completely shut down the independent label entirely or sale it off for financial reasons or for restructuring of the overall conglomerate. None of these are circumstances that pertain to true independent labels like those in the first two examples. A record label needs more than independent distribution to qualify as an independent label, otherwise it is an arm of a major label.[9]
It can be very difficult for independent bands to sign to a record label that may not be familiar with their specific style. It can take years of dedicated effort, self-promotion, and rejections before landing a contract with either an independent or major record label. Bands that are ready to go this route need to be sure they are prepared both in terms of the music they offer as well as their realistic expectations for success.[10]
What does indie (novel) publishing have going for it? Amazon. This is a good start. Many groups are starting to take up the indie cause much like what happened years ago in indie music (BTW in indie music the term is used in two ways; the way I've been talking about and the indie producer who is a middleman in getting records on the air.)
Both indie songs and books can get their wares out easily these days. We share profits with Amazon to accomplish this. Singers can Youtube initially. So why don't we have a useful free outlet? Stand outside in the rain and wait for lightning on this idea.
Ultimately our art form is less encombered now by special interests, gate keepers (those who say you are not following a formula). For a retailer's small charge, you can let the reading public decide the value of your novel. And good luck.
One of the top indie love songs of all time: The Trapeze Swinger by Iron and Wine, 2004
Other facts:
Indie films have long had their champions, especially Sundance. What will come along in publishing that will deliver the same impact for indie authors?
Some movie directors seek out indie songs to use in their movies and some indie novels make it to the big screen. But has there ever been an indie movie written by an indie author and populated with indie songs?
EXTRA CREDIT: Here's a portion of Wikipedia's info on Indie singers.
Many acts choose to go from an independent label to a major label if given the opportunity as major labels have considerably more power and financial means to promote and distribute product; thus increasing the chances of greater success.[ citation needed ]Some acts, however, may choose not to go to a major label if given the opportunity as independence generally offers more freedom.[ citation needed ]
Similarly, others may become independent label acts after having already experienced recording on a major label. Bradley Joseph requested to be let go from his major label deal with Narada/Virgin Records and subsequently became an independent artist. He states "As an independent, business is a prime concern and can take over if not controlled.[4] A lot of musicians don't learn the business. You just have to be well-rounded in both areas. You have to understand publishing. You have to understand how you make money, what's in demand, and what helps you make the most out of your talent.[5] But some artists just want to be involved in the music and don't like the added problems or have the personality to work with both". Joseph suggests newer artists read and study both courses and pick one that best suits their own needs and wants.[4]
A successful independent label with a strong musical reputation can be very appealing to a major label. Major labels look at independent labels to stay current with the ever-changing music scene.[6]
If an act moves to a major label from an independent, they are awarded greater opportunity for success, but it does not guarantee success. About one in ten albums released by major labels make a profit for the label.[7] Some artists have recorded for independent record companies for their entire careers and have had solid careers. Independent labels tend to be more open creatively, however, an independent label that is creatively productive is not necessarily financially lucrative. Independent labels are often operations of one, two, or only half a dozen people, with almost no outside assistance and run out of tiny offices.[8] This lack of resources can make it difficult for a band to make revenue from sales. It can also be more difficult for the indie label to get its artists' music played on radio stations around the country when compared to the pull of a major label. A testament to this fact could be that since 1991, there have only been twelve independent label albums that have reached the number one spot on the US Billboard 200 Album Chart. There have, however, been dozens of independent albums that have reached the top 40 of the US Album Chart.
Some major labels have created an opportunity for independent artists to be featured on a distribution/marketing CD project with no strings attached in an effort to help boost awareness of the Independent Music community[ citation needed ].
The difference among various independent labels lies with distribution; this is probably the most important aspect of running a label. Examples are:
Independent label that signs and distributes its own acts. These independent labels find and sign their own acts; then the label manufactures, distributes, and promotes its own product.
Independent label distributed by a major label. These independent labels are similar to the type mentioned above in that they find and sign their own acts, but they have a separate contract with a major label to handle manufacturing, distribution, and/or promotion. The major label has no control over the independent label, simply an agreement to distribute its product. Either the independent or the major can terminate the pact at the end of the contractual agreement if they so choose. The independent provides for its own financial stability, and has no outside monetary assistance from a major label. -If signing to an independent label, this type of venture probably affords the better benefit. This is because the act's contract is actually with the independent label, which may offer more creative control, yet the act is having its album distributed by a major label, which also has an interest in seeing the album become successful.
Independent label owned by a major label. Some major labels have started independent labels or purchased an existing independent label outright, and have these labels use, or continue to use, independent distribution for their product. The reason for this is because independents usually are on the cutting edge of new sounds and potential hit artists, and signs acts and releases albums for less money than would have otherwise been spent if the acts were signed directly to the major label. One benefit of this scenario is that if the act eventually proves successful enough on this type of independent, and is seeking a major label deal, it may see its subsequent albums released directly on the major-label owner of its independent label. The moniker "independent" is sometimes associated with these major-label owned independent labels because they use independent distributors to distribute their albums instead of their affiliated major-label distribution system. However, these labels are not true independents, the differences being: a) these independent labels can seek the financial backing of their major-label owner should they ever fall on hard financial times. b) the major-label owner can sign acts itself, and then place acts on its independent label if it chooses, even though the independent label signs acts itself. c) the major-label owner can potentially steal away any act from its independent label at any time and bring that act directly to the major-label owner, regardless of if the act is still under contract to the independent label. d) the major-label owner could completely shut down the independent label entirely or sale it off for financial reasons or for restructuring of the overall conglomerate. None of these are circumstances that pertain to true independent labels like those in the first two examples. A record label needs more than independent distribution to qualify as an independent label, otherwise it is an arm of a major label.[9]
It can be very difficult for independent bands to sign to a record label that may not be familiar with their specific style. It can take years of dedicated effort, self-promotion, and rejections before landing a contract with either an independent or major record label. Bands that are ready to go this route need to be sure they are prepared both in terms of the music they offer as well as their realistic expectations for success.[10]
August 3, 2014
I can't make you love me, if you don't
Black moments in rewriting
I’ve been farming out my four yet unpublished novels to freelance editors. On one of the stories the editor wrote back suggesting the proper placement of black moments, the development of story arcs (in this case more intermingling of some of the main characters) and the need for more backstory here and there. This editor also loved the story and wrote using these terms: gripping/dramatic/gritty/emotionally-wrenching tone/distinctive and compelling narrative voice/brisk pace/multi-faceted protagonists, colorful cast of secondary characters, complex villians. She edits for Harlequin which follows formulas. I use Christopher Vogler’s The Writer’s Journey or Story by Robert McKee (as prime examples). In short, this particular novel (romantic elements) follows a general fiction path unsuitable for Harlequin. But she also makes a point about how I can improve it.
Basically, I prefer gray moments rather than black moments if I think the interior journey of my heroine/hero has hit bottom. I will change some of this manuscript because her input was valuable.
In defense of gray moments, Jill Shalvis admits to preferring gray moments. Other best selling authors have said the same thing. I like the idea of taking a different and unexpected path, with all due care to not bore the reader. The main problem with romances is the ending is known, it's also its strength, but that doesn’t mean you can’t take a different (and refreshing) bumpy road. In romance the guy gets the gal, in a mystery the puzzle is solved, in a thriller the bad guys are thwarted.
In short, and for this novel, I can say to Harlequin, “I can’t make you love me, if you don’t.” This novel (AUTUMN BREEZE) will be indie published. Next week I’m going to attempt to compare indie-publishing to indie-records. I Can't Make You Love Me, Bonnie Raitt, 2010. This song is not about my editor, who is on my team, but about Harlequin. A company, I fear I'll never write for. It's time to move on and find a new lover.
BTW, if I made all the changes my editor suggested, I'd be at 120,000 words! Harlequin would say no because it wouldn't fit their word count guidelines.
I’ve been farming out my four yet unpublished novels to freelance editors. On one of the stories the editor wrote back suggesting the proper placement of black moments, the development of story arcs (in this case more intermingling of some of the main characters) and the need for more backstory here and there. This editor also loved the story and wrote using these terms: gripping/dramatic/gritty/emotionally-wrenching tone/distinctive and compelling narrative voice/brisk pace/multi-faceted protagonists, colorful cast of secondary characters, complex villians. She edits for Harlequin which follows formulas. I use Christopher Vogler’s The Writer’s Journey or Story by Robert McKee (as prime examples). In short, this particular novel (romantic elements) follows a general fiction path unsuitable for Harlequin. But she also makes a point about how I can improve it.
Basically, I prefer gray moments rather than black moments if I think the interior journey of my heroine/hero has hit bottom. I will change some of this manuscript because her input was valuable.
In defense of gray moments, Jill Shalvis admits to preferring gray moments. Other best selling authors have said the same thing. I like the idea of taking a different and unexpected path, with all due care to not bore the reader. The main problem with romances is the ending is known, it's also its strength, but that doesn’t mean you can’t take a different (and refreshing) bumpy road. In romance the guy gets the gal, in a mystery the puzzle is solved, in a thriller the bad guys are thwarted.
In short, and for this novel, I can say to Harlequin, “I can’t make you love me, if you don’t.” This novel (AUTUMN BREEZE) will be indie published. Next week I’m going to attempt to compare indie-publishing to indie-records. I Can't Make You Love Me, Bonnie Raitt, 2010. This song is not about my editor, who is on my team, but about Harlequin. A company, I fear I'll never write for. It's time to move on and find a new lover.
BTW, if I made all the changes my editor suggested, I'd be at 120,000 words! Harlequin would say no because it wouldn't fit their word count guidelines.
