T.R. Robinson's Blog, page 13

The Business of Being a Writer by Jane Friedman

[image error]It is difficult to do this book justice in a short review. It is indeed a remarkable and comprehensive aid, especially for those new to the writing world. Note ‘writing world’ rather than authoring because this covers far more than just authoring books though it does of course also deal with that. To clarify it will help to repeat the book’s blurb:

‘Writers talk about their work in many ways: as an art, as a calling, as a lifestyle. Too often missing from these conversations is the fact that writing is also a business. The reality is, those who want to make a full- or part-time job out of writing are going to have a more positive and productive career if they understand the basic business principles underlying the industry.

The Business of Being a Writer offers the business education writers need but so rarely receive. It is meant for early-career writers looking to develop a realistic set of expectations about making money from their work or for working writers who want a better understanding of the industry. Writers will gain a comprehensive picture of how the publishing world works—from queries and agents to blogging and advertising—and will learn how they can best position themselves for success over the long term.

Jane Friedman has more than twenty years of experience in the publishing industry, with an emphasis on digital media strategy for authors and publishers. She is encouraging without sugarcoating, blending years of research with practical advice that will help writers market themselves and maximize their writing-related income. It will leave them empowered, confident, and ready to turn their craft into a career.’

Among the items considered are:

How publishing works.
Queries.
Agents.
Blogging.
Advertising.
Brand building.
Social Media.
Author platform.
Self-publishing.
Different types of publications.
Obtaining degrees.
Job application.
Suitable startup employments.
Requirements for various positions.
Contracts.
Legal Issues.
Etc. Etc.

There is a lot more but it would be unwieldy to list every item.

This is a book for ALL writers no matter the form they choose: book, journalism, freelance, online, digital, etc. As the blurb makes clear, the primary aim is to look at publishing business principles: trade, traditional and self-publishing. There is also a lot regarding the different avenues a writer may follow. The information provided is clear, complete, honest and realistic.

Jane Friedman not only utilises her own vast knowledge and experience but has also taken hold of all the confusing information floating round and made it understandable and relevant. This really is a great book for the uninitiated. It would also make a good reference book for those already familiar with the publishing and writing world.

For those looking to make a career in the writing/publishing world the author provides helpful details and advice upon how and where to get into the business together with information of what is generally required by each position. There are also details of various resources the reader may find useful.

Some argue this is not really a book for authors because, though it does deal with authoring, the majority of the content concerns business principles and other forms of writing. However, there is a considerable amount within each section from which an author may benefit, gain insight, find assistance and learn. This includes independent authors.

As already mentioned this is a realistic work and without being unnecessarily brutal the author outlines the difficulties and limitations of working in the publishing and writing world however, at the same time, she provides abundant insights and details into how the individual may proceed.

To repeat: it is difficult to do this book justice in a short review. It is a pity, when it comes to books like this, most rating systems are limited to five stars. In a ten star world this would be a twelve plus but to stay within the limitations, there is no question of it being a five star plus (5+*). It is well worth the outlay and represents real value for money. And it is by no means boring. The style is easy without undermining quality. Recommended for all those serious about getting into the writing and publishing industry.

Available in paperback, hardback, digital (e-book), and audio formats.

Amazon.com                  Amazon.co.uk

Book Awards – The Why and How

[image error]Any author would be pleased to receive an award for their book(s) and no doubt eye with some degree of envy those who are fortunate enough to be recipients of one or more. But how does the award system operate? To answer the question author Lucinda E Clarke, who has received multiple awards for several of her books, has kindly agreed to share her experience in this Guest Post which follows the question-answer format.

Did you personally apply to the award committees or did readers put your books forward?

In some cases, in the early days, my books were put forward without my knowledge, chosen by other authors who held their own awards and also for Read Freely (Read Free.ly).

Was a fee payable? If so, what was the average fee?

For awards that I have entered, in almost every case there was a fee – the average price is about $75. A couple are free, but I don’t have a problem with awards charging for entry. It takes time, effort and staff to organize the judges, collate entries, administer the processes and create medals, certificates, postage and publicity. I personally don’t pay more as I do not have a huge book marketing budget. Most of the awards accept Paypal. The annual Amazon Storyteller is free, but the timeframe for publication is only 4 months for a previously unpublished work.

How did books have to be submitted: Digitally or in physical format by post?

This varies. For the IPPY Awards (Independent Publishers Book Awards) you need to send a physical book. If there is a separate eBook category, I choose that one, as it is cheaper. Most of the others will accept electronic submissions. If you win and attend the Readers’ Favorite Awards in Miami, they ask you to bring 3 copies of your paperback – one for display at the hotel, the other two for the RF stand at the Miami Book Fair. Later, they are donated to charity.

What information did the award organisation require?

Apart from the obvious such as name, title and contact details they require a brief blurb, similar to that you might upload to your product page on Amazon. You usually have to choose the best genre for your book and, of course, a copy of the book.

Where there any restrictive conditions e.g. Minimum number of reviews; Not previously published; Only self-published (e.g. not through traditional or vanity press); etc?

There is usually a time frame for publication date. Thus, it’s unlikely I will ever win any more awards for my first memoir published in 2013 (there are a very few exceptions). Most will not accept the same books a second time. I’ve never been asked to list numbers of reviews – I guess they could check, but I suspect they are given to the judges who make decisions based on their opinions of the entries. A few are for self-publishers and small presses only, but I’ve never seen any exemptions for vanity books. Basically, it’s up to each author to submit their book. The huge, prestigious prizes such as the Booker, are only open to recognised publishers, but I was told by one, that the entry fee is in the thousands!

Did you hear from the organisation if they decided not to make an award?

I have had emails from some of the companies if I have won an award, but it is usually up to the entrant to check online to see if they have won. All the awards publish the date the winners are announced. If a book is not successful then you don’t hear at all. I have been told that most of these contests have in excess of 10,000 entries annually so they are unlikely to send out that many emails.

Were you given advance notice of an award?

I do get emails from the Awards I’ve won in the past asking if I would like to enter again this year. There is usually a lower price for Early Bird entry. Before that, I honestly can’t remember where I heard about them but probably from reading blogs and posts from other authors on Facebook.

Did you always have to attend an awards ceremony to receive the award?

Only two of the Awards I’ve entered have ceremonies – Readers Favorite and the IPPY Awards. I’ve attended the RF Awards in Miami twice, but I can’t afford to go this year. I’ve never been successful in the IPPY awards. For all the others, they send you a virtual certificate via email you can print out yourself, and a medal through the post – but you do have to pay the postage and also for the foil stickers. I don’t order these now as I can grab them for free via email and then put them straight on the book covers myself.

Would you recommend authors with few readers/fans apply?

I don’t think it matters how many readers or fans you have. The more readers who see your book the better. And yes, I would recommend it for the reasons below.

In your experience, do awards gain increased readership and sales?

I think so, but then most of us Indies are flying blind – do we know where our sales come from? Was it that Tweet, the post from an enthusiastic reader on Facebook, the book cover on a Pinterest board? The payback for me is the knowledge that some faceless judge who is neither friend nor family has judged my book and found it worth reading. I do not enter competitions where I ask people to vote for me. With a lot of fans, you can win, but it would not reassure me that my book was good, bad or indifferent.

If sales tank, then it is really cheering to remind yourself that some people, somewhere out there, liked your book and gave it lots of votes!

I have been very lucky with the number of awards I’ve won, but, as I expected, my minor successes have not taken me into the stratosphere. However, if you want an honest appraisal of your book, then this is a good yardstick. You sometimes get feedback and it’s a lot cheaper than paying for a Kirkus review and you can plaster the medal on your book cover to ensure prospective readers will see it. It gives you personal and public credibility and if some sites criticise the awards as money-making schemes, the average reader is not aware of this and will hopefully be impressed. One thing is certain. You can’t buy an award since the judges are anonymous.

On those bad days when I know I can’t string two words together I secretly admit to taking a peep at the medals and certificates to cheer me up.

Thank you Lucinda for your willingness to take time from your busy life to help fellow authors comprehend this interesting topic.

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Lucinda receiving a Readers Favorite award in Miami.

Photographs by courtesy of Lucinda E Clarke

Lucinda E Clarke is a prolific author who writes in several genre. Readers may learn more at her Blog, Website, Amazon Author Page, Facebook account and elsewhere.

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As mentioned, Lucinda has received several awards for a selection of her books. As of 17  September 2019 these are:

 

WALKING OVER EGGSHELLS

[image error]5 star Readers’ Favorite

2016 Readers’ Favorite silver medal in Inspirational

2017 IAN Awards Finalist in First Non fiction

2017 Literary Titan Book Gold Award

Review

 

AMIE AFRICAN ADVENTURE

[image error]5 star Readers’ Favorite

2017 IAN Awards Finalist in Literary Fiction
2017 Book Excellence Awards Finalist in Adventure

2017 Literary Titan Book Awards Gold Award December

2016 Pinnacle Book Awards Winner in Adventure

2016 Global Ebook Awards Bronze in Popular Literature

2016 Readers’ Favorite Awards Honorable Mention in Fiction Action

2015 #17 in Read Freely 50 Best books of 2015

Review

AMIE AND THE CHILD OF AFRICA

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2018 Wishing Shelf Red Ribbon Award

2018 Global eBook Silver medal

2018 Readers’ Favorite Gold medal (Adventure)

 

AMIE STOLEN FUTURE

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5 star Readers’ Favorite

2017 New Apple Book Awards: Action / Adventure Solo Medalist

2017 #45 in Read Freely 50 Best books of 2015

2018 Gold medal eLit Book Awards (popular fiction)

2019 Kindle Book Awards semi finalist

2018 Readers’ Favorite Silver medal (thriller/terrorist)

AMIE CUT FOR LIFE

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2019 Silver medal eLit Book Awards

2019 Gold medal Readers’ Favorite Awards

 

UNHAPPILY EVER AFTER

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5 star Readers’ Favorite

2017 New Apple Book Awards: Humor Solo Medalist

 

 

All books available from Lucinda’s Amazon Author Page.

Update to Survey – Preferred Reading Method(s)

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It has only just come to light that a question has been omitted from the original survey requesting feedback on which formats readers prefer. The original survey was published 6 September 2019.

The omitted question relates to whether, when utilising a digital device, readers prefer text, audio, or both.

 

The updated survey may be accessed by clicking here.

 

Note: If you have NOT PREVIOUSLY PARTICIPATED in the survey please use the above link to do so. Your input will be valued and appreciated. If you have already completed the survey, please see below.

Already completed the survey?

Apologies are extended to those who have generously already completed the survey. Unfortunately, you will not be able to re-enter the survey nevertheless, it will be appreciated if you would add your response to the new question by utilising the poll below. Your responses will be combined with those from the original and revised survey when the results are published.

Take Our Poll

Thank you for taking the time to do this and once again apologies for the original omission.

New Authors – Digital First?

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A better title may be ‘Why New Authors May Wish to Consider Digital Only in the First Instance’. However, it is thought too unwieldy, despite SEO considerations.

 

In the midst of prevailing advice to publish in all formats, it may appear contrary to suggest otherwise, at least in the first instance. Nevertheless, there are potential advantages to the idea, especially for new authors. Established authors may also find the idea beneficial. Read on.

Just in case someone not familiar with book formats is reading this article, the following may help clarify the differences between them:

Hardback: A physical book bound in stiff covers.

Paperback: A physical edition bound in soft thin card covers.

Digital (e-book): An electronic version for digital devices.

Audio: A recorded rendering (mostly in CD or MP3).

Learning Curve

With any new venture there are normally skills to develop and assimilate. It is no different with the publishing industry. Beside the actual writing of a book, for which there are many aspects and advice not to be gone into here, there are several other matters to be understood e.g. formatting; metadata; cover; publishing platforms; etc. It can be mind boggling.

The format makes no difference to the actual writing but does start to impact when the time to publish arrivers. It may therefore be sensible, while still learning the craft, for new authors to stick with the easiest format which is digital (hereafter referred to as an e-book).

The majority of services offered to independent (indie) authors for self-publishing have easy to understand, and use, e-book software systems. There remains a learning curve but most sites also have clear guidance notes to assist the novice. A further advantage is, while entering all the information required, the new author is exposed to, and will undoubtedly assimilate, all the varied elements of publishing. This will greatly assist when the time arrives for them to prepare the book in other formats.

Paperback Requirements

In the self-publishing world what is commonly known as a paperback is technically a ‘print-on-demand’ edition. The term simply refers to the fact a copy is NOT printed until someone orders it e.g. there is no stockpile, which saves on costs and the possibility of having stacks of unsuccessful books to dispose of. Hardbacks are included in the paperback definition for the purposes of this article.

Formatting

Paperback editions usually require some additional formatting, even where the publishing service offers to convert the e-book edition for the author. This is therefore something further for the new author to learn. As with all education, it is wise for topics to be broken into sections and for the pupil to learn utilising the building-block method. In this instance the author will be able to build on the knowledge gained when publishing the initial e-book.

Cover

Whereas an e-book only requires a front cover a paperback requires front, spine and back. Naturally, it is possible for an author to create these but the majority usually purchase them. Bearing in mind most of the services indie authors utilise come free of charge, and many of them have little in the way of resources, an outlay for a complete cover, in the first stages of becoming an author, may be undesirable.

Some of the services offer a free cover template an author may use. However, they will need to have some comprehension of digital art and how to combine the varied parts. In most instances it is not excessively onerous however, at first, it is time consuming and can be confusing. It may be advisable for the new author to have got all the other aspects under their belt before venturing into this additional area.

Book Shops

Except for a few independent book shops, it is extremely difficult, though not impossible, for books by indie authors to find shelf space in bricks and mortar book shops.

Naturally, there are many readers who prefer to hold a physical copy of a book in their hands however, many surveys show even they will frequently read in a mix of formats. Consequently, there is no pressure for the author to initially provide all formats. In fact, there are a number of authors who have found success without ever publishing physical copies of their books.

Serialisation

Instinctively, when considering a new publication, most authors will think of a complete one volume edition. However, there are those who suggest a serialisation to start. Serialisation has become a popular structure for all sorts of entertainment e.g. television, magazines, etc. The same is true for some books. The e-book format, by virtue of its instant accessibility, is the one that lends itself most to the serialisation structure.

It is accepted this method will not appeal to everyone but there are advantages authors may wish to consider before writing off the idea all together. A serialised story is a way of attracting readers to a new author’s work because: by nature, each part will be a shorter read thereby acting as an introduction to something new; and by virtue of its conciseness it will have a lesser purchase price (see under ‘Price’ below).

Serialisation has been a method many established authors have used for generations. Charles Dickens but to name one. Now, in the modern digital world, the serialisation structure is growing even more in popularity.

Price

Finding a readership is a major challenge for all authors no matter who they are. Even established names constantly seek to expand their reach. How much more is this true for the new, upcoming author. This is where the purchase price may help. Few like to take a chance on an unknown where the price is substantial. E-books, due to them incurring no actual publishing costs, attract a much lower price tag than their physical counterparts. Consequently, they are more attractive to an adventurous reader who may be willing to try something new. (Note: Offering a book for free, for which there are varying opinions, is not under consideration here.) Many will be more willing to pay 0.99 as apposed to say 6.99 for something new.

Extended Exposure

Assuming the author will eventually wish to also publish in other formats publishing in digital first has an added advantage. The initial e-book will, naturally, be publicised and marketed to the fullest extent though, as with any product, that period will have defined limits. By subsequently publishing a paperback edition the author has a further opportunity to market meaning the book will be kept in front of readers for a much longer period. Of course, this is not limitless however, it will, hopefully, help the new author gain attention.

Conclusion

Publishing in e-book format first has advantages, especially for new authors. Of course, the choice is the author’s own and they may prefer to go for all edition options straightaway. There are no hard and fast rules.

Naturally, what has been shared above is not conclusive and there may be other advantages or disadvantages not discussed but it is hoped new authors in particular may find food for thought.

Audio has not been discussed because it really is a very different format with its own requirements. There is plenty of advice available for those who wish to also utilise that structure.

Born for Life: Midwife in Africa by Julie Watson

[image error]This is the author’s second memoir regarding a midwife’s life and experience. The first ‘Born for Life: A Midwife’s Story’ incorporated much about her own personal growth, life and experience. This latest one deals with the time she and her husband spent at a missionary hospital in a remote part of Zambia, Africa. It is just as informative as the first.

The reader is initially given an insight into the difficulties and frustrations faced when proposing to enter such a country, despite the fact they were going there to help the local, indigenous population.

Subsequently, the author shares details of what it is like to live in an area where there is little in the way of western world products, supplies and services, which most living in those societies take for granted. She also provides insights into local attitudes, housing, and foods and how they survive despite the limitations. One point that impresses her and will also the reader, is how happy these people are despite having so little. Julie also details a few excursions she and her husband make into the surrounding countryside, and more when on their way home after the five month term they committed themselves to. Anyone who has read descriptions of the African terrain by those who have lived on the continent will find a similar love for it in Julie’s renditions.

The primary purpose for their stay was for Julie to serve expectant mothers. Her husband busied himself helping with construction of a new operating theatre, maintaining missionary homes, and keeping mechanical machinery and vehicles in operating order. The tender hearted may find some of Julie’s accounts upsetting. She clearly defines how difficult it can be for the often undernourished, hardworking, women when it comes to birthing. There are many accounts of joyful resolutions but there are also several that end in sadness. The picture, frequently portrayed in the past, of African women simply squatting in a field and giving birth is far from the reality. The detailed explanations and descriptions are very interesting and informative, especially to those unfamiliar with midwifery and birth in general. Some may find it too much but Julie’s accounts are not so grotesque as to cause offence. To help the reader’s understanding a glossary of medical terms, with explanations, is provided at the end of the book though it would probably assist most if its existence was highlighted at the start. This book, along with the first, would probably make good reading for those considering a midwife career or those just starting out on such an occupation.

Unquestionably this book has been written in the authors own unique voice. However, this has led to some repetition in places and the book would benefit from some additional editing to tighten it up. Nevertheless, these do not detract from the authenticity, honesty and insightfulness of this book.

The technical knowledge and information shared within this account make it worthy of a four star (4*) rating.

The book is available in paperback and digital formats.

Amazon.com         Amazon.co.uk

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Born for Life: A Midwifes Story has been previously reviewed.

Click on cover image or within this sentence to read.

The Purpose of Author Interviews

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Naturally, any author will be gratified if someone invites them to participate in an interview. Nevertheless, do these interviews really serve any purpose beside satisfying an interviewee’s narcissistic nature? If so, who will be interested? In answer to the first question most will agree these interviews do have a purpose, as will become evident in the following exegesis. With regard to the second question, perhaps it would be better to ask, who gains from such an interview. There are three potential beneficiaries: The Author; The Reader; The Interviewer.

The Author

Interviews give the author further opportunity, in addition to all the other things they should be doing, to gain extended exposure and to interact with their readers. They may share:

insights into who they are as an individual (family background; interests; hobbies; etc.);
how and why their books came into being;
their creative processes;
why their work will appeal to readers;
publishing and writing experiences which may help fellow authors;
etc.

In responding to interview questions an author should, of course, first and foremost be honest. Subsequently, it is sensible for them to bear in mind the interview will be primarily of interest to their readers and fans. Fellow authors may also enjoy insights into their life, practices and habits from which they may learn and may even choose to emulate.

An acknowledged fact is, many authors are introverts and consequently, shy away from any notion of actual public exposure. Most modern day interviews are conducted in writing (usually by e-mail), or sometimes over the telephone and therefore negate the author’s fears. The author therefore gains all round.

The Reader

It is without question, readers will have the greatest interest in an author interview. After all it is them who purchase and read the books and who are often intrigued to gain some knowledge of who the figure in the background is and how the book(s) came into being. Of course, in the past, most successful authors did not always participate in interviews; their reputation was usually sufficient to gain sells of new publications. However, in those days, most book dust covers, sometimes referred to as dust jackets, (a paper cover that wrapped round the whole book), either on the back or in the front or back flap, included a short biography. Media publications (newspapers, national or international magazines, radio programmes, etc.) would also occasionally highlight an author whose name had become well known. But other than that, interviews were not common place.

A reader may gain the following from an interview:

Insight into who the author is as a person;
Why the author wrote their book(s);
Where the author gets their ideas;
What will be of interest to them in a book;
etc.

The Interviewer

Though there are mainstream journalists who occasionally interview authors the majority are now conducted by, and published by, bloggers. This is especially true for interviews with independent (indie) authors which, bearing in mind this website and blog have been primarily designed for indie authors as well as readers of their books, this article is principally highlighting, though, undoubtedly most of the points made will apply equally to other interviews, whatever their nature. An important point interviewers should keep in mind is to ensure what they share is pertinent to their audience.

Benefits for the interviewer:

Authenticity for their publication (Blog);
Good reputation (where interview considered quality);
Audience gratitude;
Increased visitors and followers (by virtue of the interviewee linking to the interview);
Promoting the work of those they admire or whose work’s they enjoy;
etc.

Before interviewing anyone the interviewer must ensure they have done their research. Unless they have, the interview may end up a fiasco. At a minimum they should have read at least one of the author’s books and know the genre or genres within which the author chooses to write. If they fail to do this it is very possible their authenticity and reputation will be damaged.

Conclusion

Naturally, the lists provided above are in no way exhaustive. There are any number of aspects a person may be interested in or wish to share. The variety is as diverse as the people themselves.

Out of the three possible beneficiaries mentioned there may be no doubt the reader is the most important because it is they for whom an author writes and publishes, even if it is simply for their own relatives and friends.

The benefits of an interview for the author and interviewer are similar. Both may gain authenticity and greater exposure in an oversubscribed and inundated world.

Book to Screen Opportunity – Screencraft Cinematic Short Story Competition

[image error]Most authors will undoubtedly love to have their book(s) made into a film. It is a goal many aspire too but few, very few, ever see accomplished. The Screencraft competitions are therefore very welcome, especially as there are not many such opportunities available.

Caveat: The following information is provided ‘As Is’. No endorsement or guarantee of validity is implied.

Screencraft have announced their

‘Cinematic Short Story 2019 Competition’

is now open for submissions.
Deadline: Saturday 30 November 2019

Note 1: The judges are looking for short stories (not scripts) with special cinematic potential.

Note 2: Links to appropriate information and forms are provided at the end of this article.

Prizes

Winner: $1,000 and and personal introductions to literary agents, managers, producers and publishers.

Top 5 finalists: Details will be shared with network of over 60 literary and entertainment industry professionals.

Eligibility

Short story of no more than 20,000 words.
May have been published.
Author must hold all rights.
Author must be eighteen or over.

Submission

May only submit electronically.
Must be in PDF format without any unusual fonts or font size.
Must be submitted by author.
Fee must accompany.

Entry Form

Following details required:

Name: First and Last.
Project title.
PDF & Page Count.
Format: Dropdown list defaulted to ‘Short Story (Prose).
Genre: Choose from dropdown list.
Logline: e.g. 1 – 2 sentences similar to book blurb.
Optional Reader Comment: May be left blank.

Fee

$59 per submission. (No limit to number of submissions.)

Regrettably the ‘early bird’ deadline, when a reduced fee was payable, has passed.

Copyright

In all instances copyright remains with the author.

Links

The information provided above is an overview. Full details may be viewed at the following:

Complete Rules and Eligibility may be accessed by clicking anywhere within this line.

Entry Form may be accessed by clicking anywhere within this line.

Books over 20,000 words

For those who have books longer than 20,000 words, Screencraft also have a Cinematic Book Contest.

Conclusion

Both competitions ‘Short Story’ and ‘Book’ are great opportunities for authors who do not generally have access to film agents and producers.

Submission is easy and the fee, per submission, is reasonable.

Disclaimer: Neither T. R. Robinson Publications nor T. R. Robinson have any affiliation to Screencraft.org. Nor do either receive any remuneration for publishing the information or for referring to Screencraft.org. This notification is simply designed to offer assistance to authors.

National Novel Writing Month – Who For?

[image error]Most authors, especially those who are active online, will have encountered reference to NaNoWriMo (the acronym principally utilised when referring to the programme) at some point in their career.

Though the programme commenced its existence in 1999 it has never been discussed in this website blog. It is about time that omission was corrected. Though a few details of how the programme operates are shared, the primary aim for this article is to consider who would benefit most by participating and who would not.

The ethos behind NaNoWriMo is to present a yearly challenge to would be authors to write a fifty-thousand word novel within thirty days (1-30 November). In its own words:

‘NaNoWriMo is a 501(c)(3) nonprofit organization that provides tools, structure, community, and encouragement to help people find their voices, achieve creative goals, and build new worlds – on and off the page.’

Clearly the idea behind this is a good one, with its aim of helping (prodding) those who have considered a writing life, but so far have either not put pen to paper/fingers to keyboard or are experiencing a stagnation, into actually doing something about it. But, who will benefit the most from participation and who is it really not for.

Beneficiaries

Undoubtedly those who have considered writing a novel but for some reason such as, fear of not being up to it; fear of what others will say; fear of editorial criticism; uncertainty of how to go about it, etc, have not done so, will benefit from taking part. In addition those who may be experiencing ‘Writer’s Block’ (this is not a place to discuss that issue) or for some other reason a hiatus in their writing may find participation in a project that focuses their mind helpful. The programme:

Has a defined goal.
Sets milestones.
Enables participants to track progress.
Provides public exposure.
Facilitates connection with other writers.
Includes a supportive community.
Shares ‘pep talks’ about writing.
Encourages participants to finish their project.

Bearing in mind 50,000 words equates to an average of 1,666 words per day the ability to record progress, in the writer’s own dashboard, provides constant encouragement. It is too easy, without such a visible record, for authors to undermine their own abilities. This record also provides a discussion point for sharing in social media communications, etc. In fact, over the years, it is the word count that appears to be the most shared fact during the month. The update frequency is at the writer’s discretion: daily, weekly, twice weekly, etc.

Non-Beneficiaries

As may be seen, this project is time demanding. Those to whom the following applies are already busy people consequently, to take on another time consuming project is probably not a good idea:

already write,
have published books,
regularly blog,
do their own marketing,
are active on social media,
etc.

There is also the fact because they are already writing, publishing and connecting with their readers and fans, there is little to gain by burdening themselves further. One thousand, six hundred and sixty-six words a day may not sound a lot but as many authors will acknowledge it is not easy to achieve such a goal day by day. Of course, there may be days when the writer is able to achieve a greater count but these are usually offset by days when there are far less.

How it Works

Those wishing to participate in the challenge have to sign up first.

Enter profile details: Email address; Password; Username.
Give novel a title: System cannot be used until this is done. (Title may be changed later.)
Select region: Enables updates on local events. (Region must be entered even if updates not wanted.)

Once signed up:

Earn participation and writing badges: Earned by completing specific milestones.
Get inspired: Includes talks from published authors.
Start writing: From 1st November and update word count in dashboard.
Claim a win: From 20th November copy and paste text into the NaNoWriMo word count validator.

Note: The novel cannot be written on the NaNoWriMo site. The author has to write it on their own device and then copy and paste as appropriate.

The site includes a help guide: ‘NaNo Prep 101’ that may be accessed from the ‘Writer’s Resources’ portion of the footnotes.

Advice is to commence outlining, etc., from September so that time is not wasted in November when participants should be concentrating on the actual writing of the novel.

Conclusion

NaNoWriMo is a great programme for those who have considered writing a novel but have not got round to it or have started but have lost impetus.

For those already writing and publishing the time commitment required is a drawback. They have enough to do without adding to their burden. Naturally, it is a matter of personal choice but, if they are inclined to participate, they should seriously determine what the benefits would be.

The November writing project is just one of the programmes available. Further details may be found at the NaNoWriMo website.

Disclaimer: Neither T. R. Robinson Publications nor T. R. Robinson have any affiliation to NaNoWriMo. Nor do either receive any remuneration for mentioning them or their products. What has been shared here is simply designed to help aspiring authors and anyone else who may benefit.

Image courtesy of National Novel Writing Month.

Writing/Review Opportunity – BookLife Non-Fiction Contest

[image error]The large number of independent (indie) author books being published each day are making it more and more difficult for authors, especially unknown indie authors, to gain public exposure. Consequently, it is worth their while to consider other opportunities for getting their works published and/or reviewed.

One primary aim for this website and blog is to assist authors in their authoring career by providing free tips and suggestions about the processes, etc. In that spirit the decision has been made to share news of occasional writing/review opportunities when encountered and considered suitable.

Caveat: The following information is provided ‘As Is’. No endorsement or guarantee of validity is implied.

BookLife is now open for entrants to its Annual Non-Fiction Writing Contest
Categories

Memoir/Autobiography; Self-Help; Inspirational/Spiritual; Business/Personal Finance

Word Count

All categories: 40,000 to 100,000 words.

Eligibility

Unpublished or Self-Published works are eligible provided the author has born the costs.
Book may only be submitted into ONE (1) category.

Fee

$99 per submission. (Non-refundable.)

Deadline

Wednesday 1 January 2020

Prize

$5,000;
Author profile in Publishers Weekly;
$1,000 of BobBaby’s Facebook & Instagram for Authors services;
Critic’s Report.

The Odds

The BookLife contests receive thousands of entries (number not specified) the odds of success are therefore equally limited. However, if you do not try you will never win.

Entry

All entrants must have a BookLife Account (Easy to apply for. No special requirements.)

Click anywhere in this line to access Step by Step Guide.

Click anywhere in this line for the Entry Form.

Disclaimer: Neither T. R. Robinson Publications nor T. R. Robinson have any affiliation to the company or organisation referred to above. Nor do either receive any remuneration for publishing the information or for referring to the company or organisation. These notifications are simply designed to offer assistance to authors.

Adapting Books for Film

[image error]This article is principally aimed at authors, though others, screenwriters/scriptwriters for instance (hereafter collectively referred to as ‘screenwriters’), may also find the content of interest.

Where an author is fortunate enough to have someone interested in converting their book to film they should be looking at how they may assist the screenwriter in the interpretation of their book’s content. They may be surprised to find this is not as easy or straight forward as they may have thought. The following applies equally to any author who decides to undertake the adaption themselves.

Due to the length, consideration was given to splitting this article in two but it was concluded that would be counter productive for those interested in the topic.

Visual Impact

Prior to considering any element of the conversation process the visuality of film, whether mainline or television, must be taken into account. Many aspects that require detailed outlining in the written word may be conveyed within moments in film. This is an important and primary consideration that must be fully taken into account at all stages of the adaption process. Authors need to be prepared for this.

Budget and Time

Film makers in these financially constrained days, whether mainline or independent, have to keep an eye upon costs. They need to have some certainty the project will be a commercial success. It should be remembered it is not just the filming or screenwriter which have to be paid for. There are: producers; technicians; camera personnel; actors; makeup artists; wardrobe assistants; location fees; taxes; transport; accommodation; and so much more, all of which require payment prior to the film being released or bringing any income in. Consequently, it is more than likely producers will insist upon any proposed lavish or intricate scenes being curtailed or cut altogether. Authors need to be aware of this and accept their ‘baby’ may undergo some radical manipulation. Parts may even not be identifiable as having originated from the book.

Another point that must also be born in mind: most mainstream films aim to be between one-and-a-half to two hours in length; and small screen films tend to aim for forty-five minutes unless it is to be serialised. These time restraints will undoubtedly impinge upon how various elements of the book are interpreted.

Core Theme

First and foremost, the author and screenwriter must decide upon what the core theme for the film should be. With some books e.g. true life tales, there may be more than one primary storyline which may be supported in writing however, with film it is not so easy or desirable. Film works best with just one and most producers and directors will insist upon it. It is also what most filmgoers will expect and after all, the intention and need is for the film to appeal to them and to be a commercial success.

Framework

This section will look at some of the various elements of a story and consider what needs to be included and what may be, or needs to be, omitted.

History

Whether; personal, national, international, or global, once the film’s theme has been settled it will be necessary to decide how much of the background, or past, history is required for the viewer to make sense of the tale.

Social Customs

Some decisions here will depend upon where the characters have their roots or upon the location within which the story is set. For example, United States and United Kingdom citizens may have no idea what are important customs within the Indian culture e.g. how and why cattle are venerated. In addition, there may be occasions where the viewer needs to understand a social custom to make sense of why a character behaves in a certain way.

Secondary Characters

As already mentioned, it is important the time constraints of film are constantly born in mind. And, naturally, cutting secondary characters is an attractive means for shortening a book story to film length. However, unless the film is to be exceptionally minimalist and possibly dull and boring, and to make the story realistic, it will be necessary to ensure some of these secondary characters are included. Without them it will probably not be possible to effectively convey a protagonist’s progress whether positive or negative. Authors should have determined which they consider the most important before meeting up with the screenwriter.

Scenery

Books, especially older ones, frequently contain lengthy descriptions of countrysides; urban settings; universe (space), where the book is in the science-fiction genre; interiors, etc. In film these are omitted because the camera is able to convey them within a couple of frames. Obviously the director will have chosen the physical locations carefully so as to convey the appropriate setting. The author should have decided beforehand if a specific location or the positioning of a tree say, is crucial to the viewer’s comprehension.

Architecture

Sometimes the structure or atmosphere of a building is pertinent to the flow of a story however, where it is not, the author should be prepared to let the director select where the film will be shot. Of course, if it is crucial the author may point this out but must still be willing to discuss the issue.

It should always be remembered, the camera may convey architectural style and atmosphere within a few shots.

Fashion

Style, clothing, jewellery, etc., may easily and instantaneously be conveyed in film. Bear in mind these are not always an important element for a story but if they are, the author may notify the screenwriter accordingly but again be willing to consider alternatives which may still provide the same impression(s).

Countenance

Malevolent, Cruel, Angry, Sorrowful, Sympathetic, Kind, Genteel, etc. In film these, sometimes combined with body language, are how a character’s inner thoughts and emotions are conveyed. In a book these may require paragraphs, perhaps pages, of description. However, in film it is up to the actor and makeup artist to create the relevant characteristic. The camera then conveys them concisely. Again, the author should identify which of these they consider vital for the story and which may safely be omitted without distorting the tale.

Subplots

Just as secondary characters have to be considered so do subplots. This is perhaps not such an easy area because sometimes the subplot feeds into the main theme. However, frequently, in books, the subplot is simply a nicety and could be omitted without detrimentally impacting the tale. These may therefore be safely ignored in an adaption. Naturally, if the subplot is considered essential to the comprehension of the film the author and screenwriter will have to determine how to incorporate it.

Dialogue

At first the inclusion of dialogue may appear to be a straightforward matter. However, issues frequently arise. As already mentioned, time has to be constantly born in mind. In a book the author may take as many pages as they like to create a discussion, argument or equivalent. In film there is a defined limit that has to be adhered to. A rough guide, perhaps not so rough, for film is that one page equates to one minute of film time. That one page also includes instructions as to location, who is speaking and sometimes, though these should be avoided as much as possible, camera directions. Another area of difficulty is where the book is narrated and therefore usually has little, if any, in the way of actual dialogue. The author can do a lot of preparatory work here by employing their creativity to draft appropriate dialogue in advance of meeting with the screenwriter.

Chronology

Generally, all stories follow in an identifiable line of beginning, middle, and end. However, it is not always necessary and may even prove laborious to follow this format. Chronology will also be impacted by the decisions previously made as to what to include and what to omit. If there is an occurrence which requires highlighting for the purpose of understanding a current situation or topic, the ‘flashback’ facility could be utilised though considered advice is to avoid too many of these and in some cases not to use them at all. Naturally, the final decision will have to commence with the screenwriter and author and be further considered by the director and maybe even the producer(s) if it impacts upon costs. The important issue is for the film to make sense to the viewer.

Fictionalisation

It may appear odd to include this but, bearing in mind a substantial percentage of those who visit this website blog are interested in memoirs, it merits mentioning. There is ‘advice’ out there, on the internet and elsewhere, suggesting screenwriters not burden themselves with the ‘truth’ when adapting a true life tale. These consider it fair to substantially fictionalise to the point the end film ultimately bears no resemblance to the life it purports to portray. Though their reasoning (cinematography and commercialism) may be comprehended it is hoped most will consider this unacceptable. Of course, there must be some leeway and it maybe appropriate to fictionalise some elements if the film is to be visually appealing but not in entirety.

Conclusion

Adapting a book to film is by no means an easy task for most authors. After all the book is their ‘baby’ into which they have put endless hours of effort, sweat and possibly tears. Nevertheless, if they really do want to see the story in film, they will have to do some letting go.

All films have a team behind them of which the author may be invited to be part. One thing is for sure, the author has to accept there will be changes: no book is capable of conversation in its entirety, if for no other reason than the different formats. If the author considers an element is essential they will have to argue the point with the team but should accept their voice may be ignored or, at best, filtered.

Throughout this article the screenwriter and author have been mentioned as the people deciding what to incorporate and what to omit nevertheless, they must accept that frequently the final decisions will be made by the producer(s) and director.

Of course, the author has the option of signing over copyright to the corporation in which case they are unlikely to have any input into how the final film will look.

The above is not intended to be a final comprehensive treatise on the topic, undoubtedly there are other elements readers may think of. Nevertheless, it is hoped this article provides a starting point for those contemplating the adaption process.

Once again apologies for the length of this article but for it to serve the intended purpose it is best if all the information is kept together.