T.R. Robinson's Blog, page 7

September 11, 2020

How Should One Read a Book? by Virginia Woolf (October 2020 Edition) – Editorial Review

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The reader’s independence is a primary focus in Virginia Woolf’s essay. Consequently, she clearly states her intention is not to give direct advice but to share thoughts which will hopefully help the reader find their own path. An intent that is successfully achieved. Her suggestion is readers approach each book with an open mind, without preconceptions, and with an expectation of being introduced into new worlds. Each author has their own way of sharing their tales and the reader needs to make allowance for this. The one primary attribute readers really require is an imagination. Another clear principle the author draws out is not to allow others, professional critics for instance, to determine the reader’s opinion of a book. They should really make their own diagnosis.





It is hard to do this excellent, insightful essay justice in a short review unless its content is to be repeated, which would make this a pointless exercise. The only further points to draw out from Virginia’s essay, that was originally delivered as a lecture at a girl’s school, are: despite the title it is an essay not just for readers but also for authors, critics, and reviewers; and her viewpoint of reading being half reception (receiving the story) and half judgment. This really is an essay that covers all aspects of reading and deserves to be read in its own right. Not an onerous task considering the excellent content and concise length.





This enhanced edition of Virginia Woolf’s essay includes a forward and afterword by Sheila Heti: an internationally published author who has also been the subject of media features.





The forward endeavours to fathom and define the abstract, intangible, ambiguous, and ambivalent nature of reading, books, and the stories they contain. To provide them with a defining shape. The result is a composite of the writer’s own speculations and notions and her attempt, by drawing upon the primary essay, to interpret Virginia Woolf’s own thoughts. It also clarifies how a reader’s memory and recollections of a book may alter over time. How often it is about the impression left rather than the actual content. This forward certainly provides food for thought.





In the afterword Shelia Heti seeks to inform the general reader of what it is like to write a book. The pain, frustration, fear, joy, and ultimate sense of achievement. It is in fact an essay of her own which has little connection with this book’s primary subject. Nevertheless, it provides an insight into the character of an author. An insight some will find enlightening and one that helps them comprehend how the book they have just read came to be.





This is a short book that takes little time to read. However, if a reader is constrained for time they are recommended, despite the interesting concepts propounded, to skip the forward and afterword and concentrate on the primary essay. After all that is what this book is principally about: the nature of reading and the reader.





The hardback edition of this book, to be published by Laurence King Publishing Ltd, is currently available for pre-order from several book retailers, including Amazon. Publication date is 12 October 2020.





An internet search of the book’s ISBN: 9781786277527 will reveal all outlets.





The following are Amazon pre-order links:





Amazon.com





Amazon.co.uk





Note: An earlier DIFFERENT kindle edition is available from Amazon but it should not be mistaken for the one reviewed here: it omits any forward or afterword.





The edition read was obtained from NetGalley by the kind generosity of the publisher.

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Published on September 11, 2020 06:31

September 1, 2020

Plotter v Pantser – The Differences

[image error]When this topic is raised among authors it can lead to increased blood pressures resulting in heated, defensive, and sometimes argumentative, debate. It is true some hold very firm ideas and can come across as intransigent and accusative. Naturally, as with any such demeanour, those on the opposite side of the fence may consequently feel their hackles rise.


Those who have not come across the terms before, and those who are uncertain about the differences between these two approaches to writing, may find the following helpful and enlightening.


Note: As usual the topic is under consideration from the perspective of an author.


The Differences
Plotter

A plotter is someone who plots out almost every detail of their book before writing the first sentence. This usually includes an in-depth outline of every chapter and scene and incorporate details of:



every character;
each setting;
the situation;
the protagonist’s objective;
arising obstacles;
resulting conflict;
final resolution.

A plotter knows ahead of time what is going to happen and where the story will lead.


Pantser

The term originates from the old fashioned expression, ‘To fly by the seat of your pants.’


A pantser prefers to write without any forethought or planning, or very little. They opt to:



pluck ideas from their imagination as they progress;
let the plot develop itself;
allow characters to formulate their own story;
permit scenes to intuitively evolve.

Benefits and Drawbacks

Naturally, as with most activities, there may be positives and negatives to each approach.


Plotter Benefits

Clear concept of story’s path.
Does not have to stop midway to decide next scene or action.
Unlikely to get stuck.
Diminishes possibility of dead-ends.
Forces focus.
Easier to break writer’s block, if it occurs.
Likely to get book written faster.

Plotter Drawbacks

Considerable upfront work with the consequent time consumption.
Confined to the plan.
Dampens intuition.
Lack of spontaneity.
Any changes likely to have a knock-on impact.
Because less free creativity, may feel more of a chore.

Pantser Benefits

Less upfront work.
Not restricted by defined plot.
Can take story in any direction.
Broad flexibility.
Intuition and imagination have free rein.
Redirections feel more natural.
Can easily change anything.

Pantser Drawbacks

More likely to get stuck.
When stuck, have to find way to dig out.
Story may meander aimlessly.
May encounter more dead-ends.
Vulnerable to writer’s block.
Tendency to abandon project if not going well.

Arguments

Pantser’s will argue plotting everything beforehand destroys, limits, inhibits, or completely kills, creativity. They feel allowing characters and plots to develop as they progress provides a more natural tale. Plotters argue there is no loss of creativity with their method. They also consider not to plot ahead leads to disjointed, wandering, stories. A plotter believes it is necessary to construct a frame for the story, similar to those used in house construction.


There are also those who argue if a writer wishes to make a career out of their writing, with multiple books, they really need to be a plotter. Alternatively, if someone is not too concerned about a writing career, and only intend to produce a limited number of books, two to four for example, then pantsing is fine. Of course, this is open to debate.


Right or Wrong

Is there a right or wrong way to write a book? Are there rules that determine this? The unequivocally answer to both is: NO.


First and foremost it must be recognised everyone is unique and different and allowance should always be made for individual character and personality.


The truth is, no one is one-hundred percent plotter or pantser. Both will commence with an idea of what their story is about, where it is likely to go, and who the characters will be. By default, the pantser will, even though it may not be in writing, have some sort of plan. A plotter, more than likely before sitting down to draft their plan, will have some intuitive ideas about the story.


The ultimate choice must be the author’s, based upon what they feel is more natural and comfortable. Nevertheless, they would be wise to consider some of the alternative arguments, benefits, and drawbacks.


Best Approach

Of course, this must be subject to individual choice nevertheless, there is another approach that has not been mentioned so far:


Outlining

In general an outline is an account that:



indicates the main features;
provides a sense of the main aspects;
comprises a summery of the overall content.

Whether a plotter or pantser, authors, prior to commencing, need a general idea of the story and, to some extent at least, where it will go. Detailing how to get from beginning to end; scene to scene; chapter to chapter; etc., is undoubtedly the preserve of the plotter whereas a pantser has the tendency to leave that to their muse. In both scenarios it cannot be argued an outline would not be helpful, whether mental or written.


Conclusion

There is no right or wrong way to write a book. There are just different approaches. An author’s character and personality usually dictate what method they will adopt. However, despite personal preference, there may be times when they should attempt to adopt the process favoured by their opposite. A pantser may benefit from some structure and a plotter may gain from some spontaneity.

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Published on September 01, 2020 09:07

August 28, 2020

Author Spotlight – Jill Dobbe

[image error]Caveat: The following has been gleaned from information in the public domain without the prior knowledge of the author. Consequently, the writer bears no responsibility with regard to accuracy. All information has been interpreted or reproduced ‘as found’.


Jill is an international educator, travel writer, amateur photographer, and author of three travel memoirs who writes about her experiences living and working in schools and countries around the world. She presently lives in her seventh country, Honduras, with her husband and Yorkie-Poo, Mickey. While working as an elementary principal, Jill continues to read, write and take photos of the beautiful people and countries of Latin America, while muddling her way through the Spanish language. Jill loves her life as an international educator and traveler, and most days feels like she is living her dream.


Jill also admits to, ‘… making a few cultural faux pas along the way.’.


There is no question Jill Dobbe and her husband Dan are an intrepid couple. When first setting out on their international teaching career, primarily in non-industrialised countries, their children, who they took with them, where but one and two years of age. Many thought them mad but time has proven them not to be.


A lot more about this author, her family, and her adventures may be gleaned from reading her memoirs. Further information about Jill and her books may also be found at the following:


Facebook


Amazon Author Page


Twitter


Goodreads


Disclaimer: Other than being a reader of her books and ‘friends’ through social media, Neither T. R. Robinson Publications nor T. R. Robinson have any commercial or financial affiliation with Jill Dobbe. Nor do either receive any remuneration for mentioning or sharing information relative to the author.


Jill has previously participated in an author interview which may be enjoyed here.


All three of Jill’s existing memoirs have been reviewed in this website.


Click on the appropriate cover image to read review.


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Published on August 28, 2020 06:51

August 18, 2020

Dedications & Acknowledgments

[image error]Authors and readers alike will comprehend, the parts of a book generally referred to as front and back matter are where details not specific to the story or content are included. Dedications and acknowledgements come into that category. Several of the other elements have been previously discussed, a list may be found at the end of this article.


Prior to looking into dedications and acknowledgments, the question must arise whether it is mandatory to include either in a book. The indisputable answer is NO. Nevertheless, when appropriate, they do serve a purpose.


Dedications

A dedication is a means by which an author may publicly bestow: honour, affection, respect, or praise upon someone. Though it may be occasionally directed toward a group, in the majority of instances it is just one person who is mentioned. Care should be taken not to mix these up with acknowledgements, which are discussed later.


The target of a dedication may be anyone: relative; friend; supporter; inspirer; muse; etc. Muse is not a term heard often in modern society nevertheless, it bears a mention. A muse is defined as:


‘A person, or an imaginary being or force that gives someone ideas and helps them to write, paint, or make music.’ (Cambridge Dictionary)


‘A guiding genius.’ (Merriam-Webster Dictionary)


‘A person or personalised force who is the source of inspiration for a creative artist.’ (Oxford English Dictionary)


As may be seen, a muse tends to be very personal and therefore usually merits being the subject of a dedication.


There is no specific format for a dedication. The majority tend to be short and direct, either simply naming a person or naming them with a brief explanation of why the author values them. However, there are examples of lengthier ones where the author wishes to highlight various factors that make the person, or persons, special to them. In essence, a dedication is a personal note from the author to the one being honoured. In a few instances they take more the shape of a short letter than a concise statement of appreciation but these are rare and need to be carefully thought out. Prior to writing any dedication, the author needs to sit down and think through exactly why they wish to dedicate their book to the specific person or group (e.g. a non-fiction book may be dedicated to the category of readers it has been written for).


A very important point to note, whatever is written WILL BE PUBLIC. Not only to the book reader but also to anyone who utilises the ‘Look inside’ option some retailers offer. Consequently, it is wise to omit anything too personal or detailed. Regrettably, there are some very unkind, not to mention criminally inclined, people in the world. There is also the aspect of ensuring the dedication makes sense to all who encounter it. A simple, short naming with perhaps a one sentence expansion should be clear enough. However, if the author feels it necessary to go further, they need to view it from the reader’s perspective. Will it make sense to them? Will it tie into the book’s content? Admittedly many readers skip front matter nevertheless, there are those who do not.


A question that sometimes arises is whether to commence a dedication with ‘To’ or ‘For’. The truth is, it does not really matter. It is essentially the author’s personal preference. Nonetheless, some suggest: ‘To’, when specifically thanking someone or formatting it as if they writing to the individual. ‘For’, when seeking to honour someone or framing it as a précis about the person. But, as said, it is the author’s choice. Naturally, if the dedication is in memorial it will usually commence ‘In memory of’ or something similar.


Acknowledgments

‘Recognition or favourable notice of an act or achievement.’ (Merriam-Webster Dictionary)


Acknowledgements are the means for an author to publicly recognise, thank, and give credit to, those who have helped or participated in the creation of their book. For example, though not exclusively:



an editor;
a proofreader;
a cover designer;
an illustrator;
a formatter;
a supporter;
etc.

It is immaterial whether these are personal or professional acquaintances. If they have contributed in a meaningful way then, in this writer’s opinion, they deserve to be recognised. However, there are mixed opinions as to how extensive such a list should be. Some consider only the primary contributors should be named, others that all who have supported the author must be included. The author must choose but it is suggested they take care not to diminish the value of any contributor through neglect. It is possible to simply name the contributor without any explanation but most agree at least a short comment should be included clarifying how the person contributed. Of course, it may be the author, especially if they are an independent one, has undertaken all the tasks alone resulting in there being no one else to thank.


A point worth drawing out is, an acknowledgement is about the person named, not the author. This is not the place for an author to blow their-own-trumpet or to self-promote in any manner. There is also the issue of sincerity. When writing the list of who to publicly credit, authors need to think through why they want to thank the person. What is it they have contributed? What made their input valuable? This will be the time to decide whether to include someone they may not have got on with or with whom they have disputed. For example: there can frequently be disagreement between the author and an editor; or the author does not consider an illustrator has provided the quality of work they anticipated. In these circumstances there are varied options:



Omit reference to the person all together. However, if the author has utilised any of the person’s input, it would be unjust not to give them some credit.
Simply name the person, preferably with a clarifying tag e.g. xxxxx xxxxx, editor or xxxxx xxxxx, illustrator. The tag helps readers comprehend why the person has been named.
Name the person with a brief statement relative to any points the author feels positive about. Whether liked or not, or got on with or not, everyone deserves to have their input acknowledged.

As always it is the author’s choice whether to give credit but they should think about it the other way round: They appreciate it when a reader leaves a review and thereby acknowledges the work and effort they put into their book.


There are varied considerations regarding length. Some state it should be limited to one page, others it is immaterial as long as all are mentioned. It is the author’s choice again. Traditionally, acknowledgments where incorporated with the front matter of a book however, with the advent of digital reading and ‘look inside’ features, most suggest it is now best for them to be added to the book’s back matter.


A further important point: as with dedications, acknowledgments are public. The matter of privacy must be accounted for. If there are concerns about expanding upon a person’s contribution, the author may simply follow the procedure mentioned earlier, that of just naming the person with a tag or concise statement as to what constituted their input.


Conclusion

Dedications and acknowledgments provide an avenue for authors to publicly show affection or appreciation and to give credit to those who have helped or supported them. These are however optional, there are no hard and fast rules demanding inclusion.


Where incorporated, authors must ensure what they say is clear, honest, and relevant. When they expand upon a point privacy must be to the forefront of their thoughts. What is written will be publicly accessible.


Occasionally confusion arises as to what constitutes a dedication and what an acknowledgment. For example, an author may wish to dedicate the book to their spouse, partner, or children but also wishes to dedicate it to a relative no longer living. In this instance it would probably be best to dedicate to the relative and name their spouse etc. in the acknowledgments with an explanation (e.g. thank them for their patience and tolerance, etc.).


As mentioned earlier, several elements which may constitute a book’s front and back matter have been previously considered. This is a list of those. (Click on the topic title to access the information.)


Preface

Prologue

Epilogue

Blurb

Synopsis (Though this is not generally a constituent of front or back matter.)

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Published on August 18, 2020 09:07

August 14, 2020

Writer’s Digest – Personal Essay Awards Competition

[image error]In January 2020 notice was given, due to lack of interest, competition notifications would no longer be published in this website. To date that policy has been adhered to. However, details of a new awards competition have recently come to light. A competition, that due to its nature, may be more relevant to, and of interest, to readers of this website blog. The unusual decision has therefore been taken to publish the information.


Writer’s Digest has announced a new personal essay awards competition. A summary follows:


Prizes: Grand winners down to tenth place winners will receive cash prizes ranging between $2.500 and $100. The essays will also be published in the May/June 2021 issue of Writer’s Digest Magazine. The grand winner’s prize will also include a paid trip to the Writer’s Digest annual conference. Eleventh through to twenty-fifth place winners will receive a $50 certificate to spend in the online Writer’s Digest shop.


Eligibility: Entires must be in English and must not have been previously published in print, digital, or online publications. However, it will be considered if it has only been self-published in a blog or on social media.


Format: Entries must be formatted in 8-1/2×11 or A4 paper size. They must be double spaced and must not include name, address, or phone numbers.


Word Count: Essays must be no longer than 2,000 words. Any entries exceeding this count will be disqualified. The title is not included within the count.


Fees:


Early-Bird deadline – ends 15 September 2020: $25 and $20 for additional entires.


Final deadline – ends 15 October 2020: $30 and $25 for additional entires.


Edits: Once an entry has been submitted it cannot be edited. If the author wishes to submit a revised edition they have to make a fresh application and pay the relevant fee.


Copyright: ‘Writer’s Digest retains one-time nonexclusive publication rights to the Grand Prize and top winning entires to be published in a Writer’s Digest publication. Authors retain all ownership of their work.’


These are just some of the competition details. Further information may be viewed at the:


Writer’s Digest site.

Disclaimer: Neither T. R. Robinson Publications nor T. R. Robinson have any affiliation to Writer’s Digest. Nor do either receive any remuneration for publishing the information or for referring to them. This notification has simply been published for the assistance of authors who may be interested.


If wished: The desisting notification referred to may be viewed here.

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Published on August 14, 2020 06:32

August 4, 2020

The Purpose of Backstories

[image error]With the modern tendency of interchanging, or interposing the meanings of, different words it may help to first consider various definitions of backstory.


‘A history or background created for a fictional character in a film or television programme.’ (Unknown)


‘A story that tells what led up to the man story or plot (as of a film).’ (Merriam Webster Dictionary)


‘A narrative providing history or background context, especially for a character or situation in a literary work, film, or dramatic series.’ (Dictionary.com)


‘An account of the events leading up to what is being written about now.’ (Macmillan Dictionary)


The interchanging and interposing mentioned at the start primarily revolve round the two words ‘backstory’ (or ‘back story’) and ‘background’. As may be seen this even arises in the first and third definitions.


In this context background is defined as:


‘The conditions that form the setting within which something is experienced.’ (Merriam-Webster Dictionary)


‘Information essential to understanding of a problem or situation.’ (Merriam-Webster Dictionary)


‘One’s origin, education, experience, etc., in relation to one’s present character, status, etc.’ (Dictionary.com)


‘The circumstances surrounding something.’ (Oxford English Dictionary)


The above consist formal dictionary definitions but as may be seen there still appears to be some overlap in comprehension.


Grass Root Comprehensions

The following lists reveal how grass root readers and authors tend to generally identify the properties of backstory and background.


Note: Bear in mind, as is usual in this website, it is literature (books) the focus is on, though some of the principles may apply equally to film and stage plays.


Backstory

Some define backstory as something that:



is directly tied to the essential growth and development of a story.
develops reader’s understanding of character.
raises the stakes by identifying past issues that may impact how a character is going to react to a current situation.
shows a character’s psychology.
indicates why a character acts as they do.
reveals why a character thinks the way they do.
adds realism.
comprises events that happened earlier than the story itself.
lists events that directly lead to the story.
is a set of events presented as preceding and leading up to the plot.
fills in gaps relating to a character’s motivation and depth.

Background

These are some of the ideas people attribute to background:



Family history (where born; parents; etc.)
Education.
Work experience.
Hobbies.
Likes and dislikes.
Environment.
Social heritage.
Personal development.

It is easy to understand why the words have become interchangeable and why their meanings tend to be interposed. However, there is a distinction as a careful reading of the above will indicate.


In strictest sense, a backstory’s purpose is to provide the reader with insight into a character’s current psychology and motivations and should directly impinge upon the immediate activity. The reader needs this information to make sense of why something is happening or of the world within which the story takes place (e.g. fantasy; science-fiction). Without it they may get lost or confused and fail to appreciate the tale.


Background should only be included where it is considered essential for the reader to comprehend and make sense of how a character developed into the person they are. For example: their parenthood and education may not have any bearing upon the story and therefore do not merit inclusion. However, there may be occasions when it is appropriate to provide a more rounded insight into a character’s persona. Then, as long as the author is sure, details may be incorporated but they should be as circumspect as possible. Too many unwarranted details can easily detract from a reader’s enjoyment. Of course, equally, too little may lead to confusion and misunderstanding of where a story is going or what or why something is happening.


Survey Results

Prior to writing and publishing this article, a survey was conducted to gain grass root opinions on the topic.


Respondents were asked: What do you think a backstory should consist? Five options, from which they were requested to select all they considered relevant, were presented. This is what they had to say.


42.9% – Events immediately before and leading up to the current story.

57.1% – Prior occurrences now influencing a character’s behaviour.

39.7% – A character’s history (Family; Education; Work; etc.).

14.3% – World and social background against which the story is set.

7.1% – Other (Please go to next question to enter details.)


Here are some of the additional comments that were entered under the next question referred to in the fifth option. All respondents were given the option to add their own thoughts.


‘Only the information that is critical to moving the plot forward or that is necessary for character development.’


‘Information about the past which creates more tension in the characters current circumstances.’


‘Information that makes the character 3 – dimentional without interrupting the flow of the narrative.’


The question was also posed, in varied formats, across a range of social media sites. The responses were not as clear but in general break down into similar percentages as those for the survey.


As may be seen a reasonable majority do appear to have the right idea about backstories, though there remains a proportional percentage who are sufficiently unclear to warrant a highlighting of the issue.


Conclusion

The overall, and generally accepted, purpose of a backstory is to provide such information as is necessary for a reader to comprehend a character’s current psychology and motivation.


Though it may be interesting for its own sake, a character’s detailed background is not usually required.


Naturally, the final decision must be the author’s however, they would be wise to consider the opinions shared by grass root readers and fellow authors (who are also readers).

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Published on August 04, 2020 06:51

July 31, 2020

Dear Reader by Cathy Rentzenbrink – Editorial Review

[image error]The first thing to say is, Cathy Rentzenbrink is a true advocate of reading. This may be a personal memoir but the value and importance of books is to the forefront throughout. Indeed, for avid readers, and even for the not so avid, this book may be viewed as a reader’s treasure trove.


The dialogue opens smoothly, with great ease and charm. Straight away the reader is treated to a vast range of snippets from well known, familiar, treasured, tales, classics included. It is a delightful run through many favourite stories. The author’s enthusiasm for reading and books in general is readily apparent and will convince even the most minimalistic of readers to explore and venture further.


Through extracts and quotes, with intervening comments and observations, Cathy Rentzenbrink begins to share her own personal story. Her emotions, concerns, fears, and joys are evident throughout, though in such a way as not to disturb the flow or reader’s enjoyment. In fact she is circumspect and often simply provides a hint of what is really going on. Nevertheless, readers are able to empathise as they continue the journey together. They will share some of her heartache, concerns, and frustrations.


In the first half the author relies heavily upon her eclectic range of reading to convey her account of life. Indeed the range is vast covering a massive selection of genre, which she honestly and unashamedly shares. Her reading does venture into many areas some, more traditional readers, may shy away from. However, there is no offence or undue criticism. The second part develops into a more traditional style of memoir with fewer quotes and extracts, though sufficient remain to satisfy any book lover. Her work experiences are more detailed providing those unfamiliar with her world, especially the book retail environment, a glimpse behind-the-curtain. These are truly enlightening and help comprehend the challenges many face unseen.


With constant little clips and insights the reader will follow the author’s life from childhood up to the current day. It is a journey of mixed fortunes and emotions. The author’s honesty, self-delving and introspection make this a relatable memoir within which many readers, if they are honest with themselves, will recognise attributes they can identify with.


The book ends with implied heartfelt encouragement for the reader to pursue their own lives, especially the gift of books and reading.


The book is currently on pre-order for 17 September 2020.


Pre-ordered is available from several book retailers, including Amazon. The publisher Pan Macmillan has provided links to each which may be accessed here.


The following are Amazon pre-order links:


Amazon.com           Amazon.co.uk


An internet search of the book’s ISBN: 9781509891528 will provide full details.


The edition read was obtained by the kind generosity of the author and publisher from NetGalley.

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Published on July 31, 2020 06:51

July 21, 2020

NetGalley – What It Is and How It Works

[image error]NetGalley is a site where book reviewers and other professional readers may obtain and read books BEFORE they are published. The term ‘Professional Readers’ equates to bloggers, book reviewers, booksellers, educators, journalists, and librarians. The private, individual, reader should therefore not be put off, provided they do publish reviews (on, book retail pages, social media, book related sites) and/or maintain an active blog within which they also publish their reviews. They will consequently fall into the ‘blogger’; ‘book reviewer’ categories.


The site was launched in 2008 with the primary aim of distributing digital, e-galley, proofs of yet unpublished books. Traditional publishers, as well as independent authors, utilise the site as a means of lending books to readers in exchange for a ‘meaningful review’. Readers may also provide other feedback intended to highlight any aspects they consider relevant.


‘Galley Proofs’: Preliminary version’s of publications meant for review by authors, editors, and proofreaders. (Wikipedia) These are sometimes also referred to as ARCs (Advanced Reader/Reading Copies).


NetGalley has two account types: Member and Publisher.


Member

Anyone may sign up for a member account. It is free and easy to do. The usual information of name, email address, country, etc. is required. The applicant will also need to indicate in what role they wish to be a member. A list is provided from which they choose one. There are also options for how they wish to be shown on their reviews. There is a choice of two. An unusual addition is the requirement for a company name. For the private individual this may simply be the name of their blog.


Members have the option of searching for books by Publisher; Genre; and date of upload to NetGalley. They may also search by Recently Added; Featured; Audio Excerpts; and Categories. When they find a book they would like to read they click the cover to request a copy and indicate what appeals to them about the book: Author; Cover; Description; or that they keeping hearing about it. There is also an additional option to give a thumbs up or down for the cover image. Their request is forwarded to the publisher’s representative who makes the decision to approve or decline. If approved the reader is presented with a choice of formats, at the publishers discretion, these may be ePub, Kindle, or PDF, all of which are downloadable onto most devices though, in some instances, it may be necessary to download a specific app (software application) beforehand. The NetGalley site contains clear guidance and help notes.


Members must note, there is no automatic right to a copy. The whole system operates upon the informality of requests.


Members are expected to provide a minimum of eighty percent (80%) feedback i.e. for every ten proofs received they should be providing feedback for at least eight. Ideally they should provide feedback for more if not all. This percentage needs to be maintained if the reader wishes to retain access to titles. NetGalley and Publishers take this seriously. The level of feedback will be taken into account when making decisions whether to approve or decline a request.


Bearing in mind, these are pre-publication galleys with the aim of enhancing book launches and publicity, feedback is expected to be given PRIOR to the publication date. Therefore, readers, before requesting a copy, should check the publication date and ensure they will have time to read and provide feedback in time. They are also expected to publish reviews on book retails pages and in Goodreads.


Publisher

NetGalley provides for both traditional publishers (most large publishers utilise the site); self-publishers; and independent authors. These, as part of their publicity and pre-book launch campaigns, list books on the site in order to obtain feedback, including reviews. However, whereas member accounts are free, publishers (includes independent authors) have to pay a substantial fee.


Six Month Standard Title Listing – $450



The title will be available on the site for six months.
The publisher will be able to view profiles of those requesting a copy.
NetGalley provides e-mail support.

Marketing Plus Title Listing – $849



Everything included with the Six Month Title Listing above.
One NetGalley newsletter spot, if available . (There is no guarantee.)

IBPA (Independent Book Publishers Association)


IBPA members may obtain NetGalley publisher services at a reduced fee:


–  Six Month Title Listing – $399

–  Three Month Title Listing – $199


Users should not forget to add the IBPA fee, currently $139 and above, per annum, for existing authors.


Fees shown are those applicable at the time of writing this article.


Conclusion

Avid readers will find NetGalley an excellent source for free copies of books. It is also a good way for them to support authors they enjoy as well as fellow authors, if they are one themselves. Membership has the advantage of being free. However, they need to be aware the expectation is for them to provide regular, and on time, feedback. The only possible drawback is having to deal with frequent refusals. These should not be taken too seriously: the publisher is merely ensuring those to whom they offer prepublication galleys are relevant and influential within their own domains.


Though NetGalley may be a useful resource for authors, for publishers it requires a substantial financial outlay with no guarantee of receiving feedback or reviews. It is all down to whether a reader chooses their book and whether the publisher’s representative considers them appropriate. The amounts may be out of reach for many, especially independent authors. If they have the resources and do not mind the risk of no take-up, it may be worth having a go.


Further information may be obtained from the NetGalley site.


Disclaimer: Other than holding a member account, neither T. R. Robinson or T. R. Robinson Publications has any affiliation to or with NetGalley. Nor do either receive any remuneration for mentioning them.


The NetGalley badge image has been unitised under Fair Use legislation.

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Published on July 21, 2020 09:07

July 17, 2020

Ernesto San Giacomo – Interview

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Welcome Ernesto San Giacomo

Author of Storm of Divine Light: The Tales of Tyrennia, Book One and several other books.


(Links to where books may be found are provided at the end of this interview.)


Please tell us a little about yourself.

The quick and easy answer is, I’m from an Italian American family of devout Catholics. They say you can’t plant roots in NYC. But they must be strong to penetrate the concrete and steel. I’ve taken them with me wherever I go. For instance, grandma and mom taught me how to cook. I got the hearty Italian peasant cooking from grandma. Although mom expanded my horizons into other cuisines, those simple staples from grandma will also be my comfort foods.


I’ve also been lucky that wherever I’ve lived, there is always a robust Catholic community.


What first inspired you to write?

I’ve always needed an artistic outlet, or two, or three. When I realized that writing, especially as an Indie Author, allowed me to create and reach an audience without interference from anyone else – that sealed the deal.


In what genre(s) do you prefer to write?

I’m a multi-genre author. Although my first novel is fantasy, I’ve done horror, crime-thriller, paranormal, post-apocalyptic, religious, and sci-fi short stories. My next collection has a smattering of many genres. There’s also a series of sci-fi novels in the works, and a novelette series that’s religious / paranormal / urban fantasy / horror / comedy.


How/Where do you get the ideas for your stories?

They come like a bolt of lightning. I can be sautéing mushrooms, and suddenly get the idea for a detective story.


Are you working on another book?

The sequel to Storm of Divine Light is coming along. I’ve completed the first draft and the polishing has begun. I’d say the first 150 pages are ready for beta readers. But the short story collection should be done first.


If your books have required research: What do you consider the best resources?

Believe it or not, fantasy does require some research. I have pretty good knowledge of table-top gaming and that helped. But sometimes I need to second guess myself. Those player guides for D & D and Pathfinder are loaded with information about weapons, armor, monsters, and magic.


Do you consider your books convey messages to readers?

At first, I’d fancied the idea of hope as a theme. Some of the feedback from readers has confirmed that they got the message. Also, there are moments of reckoning for some characters where they take an honest look at themselves. Katrina did that a number of times in Storm of Divine Light.


What advice would you give to authors who are just starting out?

First, get involved with a critique group to help you produce the finest product that you can. Second, learn all about marketing. A wonderful book does not guarantee a single review, or even a single sale.


Do you self-edit or do you think a book should only be professionally edited?

I self-edit, and then pass it off. My wife happens to be quite gifted at story editing, copy editing, and proof-reading. If you don’t have such a resource available, then you have to turn to an editor. Also, having a mix of readers and writers as beta-readers helps immeasurably.


How do you go about marketing your books?

I thought using social media as a promotion was good enough, which was a big mistake on my part. But now I understand the importance of pre-release marketing, including ARC copies for advance reviews. However, when it comes to purchasing advertising, I don’t think I’ll ever go down that road. Also, other somewhat successful Indies have mentioned that the first and most important key to author success is “write a good book.”


How important do you think reviews are?

Extremely important. I should have released ARC copies and sought out those sources. I’ll put some ideas to the test when my short collection is released.


If you consider reviews important, how do you go about obtaining them for your books?

I’ve always been the type to let the chips fall where they may. I got put off the idea of ARCs because of the nefarious practice of paying for reviews. I thought that ARCs were simply a roundabout way of paying for reviews so I refused to do it. Now I know otherwise.


Do you have a preferred genre for when you read?

Absolutely not. You can see from the reviews I post on my blog that my taste is diverse.


This is an age old question but one I consider of interest. If you were stranded on a desert island, which three books would you like to have with you?

That’s like asking for my three favorite Beatles’ songs. But I’ll bite. The Bible, “The Name of the Rose” by Umberto Eco, and “Blow Up and Other Stories” by Julio Cortázar.


Please share with us links to where readers may obtain more information and insight into who you are.

Blog: https://ernsangia.wordpress.com/


Amazon Author Page


Facebook


Twitter


Goodreads


Storm of Divine Light: The Tales of Tyrennia, Book One


Thank you Ernesto for sharing your knowledge and experience with us.

Ernesto’s book ‘Storm of Divine Light: The Tales of Tyrennia, Book One’ has been reviewed in this website.


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Click on cover image to read review.

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Published on July 17, 2020 08:50

July 7, 2020

Blog Tours – What They Are and How to Set One Up

[image error]In traditional publishing it used to be normal, and expected, authors would tour their home country and perhaps others, with news of their latest release. These tours comprised various public engagements in which the author would speak on: some topic from the book; their writing habits; where their inspiration came from; the writing life; etc. Readings and book signings were also incorporated. In essence these tours formed part of the publisher’s publicity machine. With travel, accommodation, venue fees, stock of physical books, etc., these tours were not inexpensive and were therefore principally reserved for well known, popular, authors or ones the publisher anticipated would become so.


A blog tour is the ‘virtual’ equivalent of the above. An author will ‘visit’ a number of different participating blogs over a specified period of time. The idea is to primarily promote an author’s book (new or old) and sometimes the author them self. These tours used to be very popular but, with the advent of easier access to live video, webinars and podcasting either through dedicated sites or social media applications, have largely fallen out of favour. Nevertheless, they remain a valid means for communicating information about books to the online community. The occasional tour may still be encountered.


Content

It is important to note a blog tour is very different to a blog blitz, which is where a number of bloggers post the same content at the same time. An authentic blog tour will consist of unique posts for each of the blogs visited as part of the tour. These may consist of any of the following:



Book Review.
Book Synopsis (blurb).
Book excerpts.
Author Interview (written, video, or audio).
Q & A (question and answer) about the book and/or author.
Topic relevant to the book’s content or theme.
Author’s research into book subject(s).
Character Interview(s).
Subject relevant to the hosting blog’s usual content. (Some sort of reference to the book/author being promoted should be incorporated.)
Giveaway details. (Some like to include an incentive to readers.)
A competition. (People enjoy winning something. Prizes do not have to be expensive.)

Just a few ideas to start with. Undoubtedly people will be able to think of other interesting and informative content for posts. Remember, each post should be unique to each blog with the content not being repeated in any other.


Naturally what to include or omit is entirely at the author’s and/or blog tour organiser’s (more about them in a moment) discretion. Giveaways and competitions are not necessary though some have found them useful for attracting attention.


Important: The author and/or blog tour organiser is responsible for providing most of the content not the hosting blogger (unless it is their review of the book being promoted).


Time Period

There is no hard and fast rule for how long a blog tour should run. A rough guide is one to two weeks though some have been run for as little as three days while others have continued for a month. Again, the decision is entirely the author’s and/or tour organiser’s. However, they should always remember, and take into account, the requirement to provide unique posts for each blog visit. Normal procedure is for people to visit different blogs on consecutive days during the tour period. (It is acceptable for a blog to host a different event on more than one occasion during the tour but not too many; two would be okay but anything beyond that may become questionable. There should be no repetition of content.)


Aim/Goal

As with any such event, the author needs to decide beforehand what it is they wish to achieve with the tour:



Publicity for one or more of their books.
Raise awareness of them self, the author.
Draw readers to their website/blog.

These are the more obvious ideas but authors may have other aims. Whatever the goal, preplanning is a necessity.


Finding Host Bloggers

To make a tour meaningful and to reach as many people as possible, the tour should incorporate a variety of different blogs. Along with other organisational elements, this can be one of the more time consuming. As far as possible, a hosting blog should coincide with the author’s ethos. For example, a blog that predominantly features erotic romance would not be a suitable venue for YA (young adult) books or authors. No doubt there may be temptation to utilise whichever blog is willing to participate but the author/organiser would do well to adopt a practical outlook, even if it means limiting the number of hosting blogs. Directing tour followers to an inappropriate blog could, and probably would, be counterproductive and is unlikely to be forgotten.


The first place to start is with friends (in life and/or online), fellow authors and dedicated readers. Care should be taken not to apply undue pressure because of the perceived relationship: The blogger should be a willing participant. After that, if not already known, the author should search for blogs where the general content falls within their own genre or ethos.


Assuming the author is, as they should be, following and visiting blogs with similar content and aims, they should be aware of those that are considered influential. These are ones where people listen to what the blogger has to say and frequently take up their recommendations. Getting one or more of these to participate will undoubtedly enhance the tour’s impact. However, the author must accept it is the blog host’s decision whether to participate or not: These people are usually very busy and continuously bombarded with requests for assistance.


Invitations

In ALL instances requests should be by ‘open’ invitation that makes clear the author will fully accept and understand if they choose to decline. By intimation (e.g. wording, phraseology) these should also make clear a grudge will not be held.


Invitations may be:


– General: simply asking if they would like to participate in a blog tour without providing any details of content type.


– Specific: asking if they are interested in hosting a particular element.


How many participants are required will be determined by how long the tour is to run for. Accepting some will be unable or unwilling to participate, more than the required number of bloggers should be approached. In the unlikely event of more than required accepting, the author/organiser should make a note and ask if they would be willing to have their details held for any future tours.


Acknowledgments

In all instances the author/organiser should respond:


– Declined: Thank them for taking the time to read and respond.


– Accepted: Thank them and, if invitation was a general one, request clarification about which element they would like to host (naturally, if invitation was specific, this will not be necessary); ask which date(s) they are interested in or offer a date; confirm full details will follow.


Tour Organiser

It will be apparent from the above, organising a tour is a time consuming, intensive, undertaking. Undoubtedly the idea of a tour will immediately appeal to many authors however, there is no quick fix. It requires dedication, determination, perseverance, and a thick skin to deal with the inevitable rejections/refusals and perhaps even criticisms.


Some authors, especially if they have established connections and relationships with fellow bloggers and/or do not have the resources to pay someone else, choose to undertake the organisation of a tour upon themselves. Prior to commencing they should ensure they realistically, taking into account all their other activities including ‘real’ life, have the available time to complete all the requirements including the live administration of the tour.


Authors who prefer, not to burden themselves, and who have the resources, may opt for employing a blog tour organiser. The organiser may be, and often is, an individual or could be a small dedicated organisation. The fees are usually reasonable, apparently £100/$100 is an average. Considering the amount of time and effort it takes to organise and administer a tour such a fee is more than reasonable. A simple search of the internet for ‘book blog tour organisers’ will return lists for the author to peruse. These people are usually busy and in demand and consequently, tend to be pre-booked for months ahead. The author needs to take this into account when planning a tour. As with all marketing, they should be thinking far ahead.


Whoever undertakes the task needs to be organised. Some sort of document(s) or spreadsheet(s) needs to be maintained for recording:



who has been invited;
what their response was;
the date the blog will participate;
what element the blog will host;
when to send a reminder;
when, and where, to publicise each event;
any other information considered relevant.

Such a document/spreadsheet may also be maintained to list bloggers who are willing to participate in future tours. And also, to note those who are definitely unwilling to ensure they are not contacted again.


Publicity

Naturally, if people are to be aware of the tour, the author and/or organiser needs to publicise the event. This is normally done via the usual channels: author owned website and/or blog; newsletters; email lists; social media. Paid advertising is not usually included though there is no reason why, if wished, it may not also be employed though it obviously increases the cost of the event.


The publicity needs to be constant, without spamming. Not an easy task but each days event should be highlighted and communicated throughout the relevant day: people are busy and frequently require a reminder.


Responding

The success or failure of a tour is partly down to the author. They need to acknowledge and respond to all comments and reactions wherever they occur: the hosting blog; their own blog; social media, email responses; etc. People need to feel engaged and appreciated for their own efforts.


Note: Unless the author is the organiser, this is a task that falls to them, not the external tour organiser.


Assessing Results

Despite the energy and effort put into a blog tour, there is no guarantee of success relative to the original aim. However, such a tour will result in the book/author coming before multiple readers, hopefully many new. To that extent it may be considered a success. There is also the likelihood of new relationships being built, which is a positive from all perspectives.


Statistics from these tours are not readily available nevertheless, some idea of response may be gained from assessing:



the number and type (positive, negative, upbeat, critical) of comments left;
how many views tour posts gained compared to other posts (i.e. those normally published in the host blog);
any direct communications (e.g. via email, contact forms, social media messaging);
noticeable increase in sales and/or website/blog subscribers.

Conclusion

A blog tour is the virtual equivalent of a traditional author tour round various physical locations. In this instance it is blogs that are visited. Such tours may, usually, form part of an overall marketing plan. Though not as popular as they once were, blog tours remain a viable marketing tool.


Organising and running a tour requires commitment. Authors should ensure they have the time available to do all that is necessary, before, during, and after the tour.


In view of this website’s commitment to authors and books, the article has been written from that perspective. Nevertheless, with perhaps slight adjustment, the principles apply to tours for any product.


Apologies for the unusual length of this article but the topic did not lend itself to splitting.

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Published on July 07, 2020 09:07