Jean Harkin's Blog, page 5
February 25, 2018
Are Readers Trying to Escape?
Are readers trying to escape into sci-fi and fantasy? Has escapist literature surged ahead of other fiction genres? I wondered if others have noticed this trend, and do they theorize, as I do, that the times we live in are so full of existential dread that readers are fleeing to other realities—even fake ones. I did an opinion poll to find out. Replies came from other readers and writers, including an editor, a librarian, and a bookseller.
All responders noticed the increasing popularity of fantasy and sci-fi, although romance and mystery remain favorites too. A youth librarian, a bookseller, and a writer said they noticed a declining interest in dystopian novels and an upsurge in other types of fantasy. One reader said, “There’s enough post-apocalyptic material in our real lives.”
A writer in the poll recently switched from writing contemporary romance to starting a post-apocalyptic manuscript. She said she is attracted to sci-fi and fantasy for the “world building possibilities” and inventing her own rules outside the box of reality. Another writer said, “Fantasy is a much cheaper and safer form of escapism than drugs!” A writer of fantasy noted “depression and anxiety can be transformed into literal darkness or monsters.”
An avid reader said she likes sci-fi for “stretching the limits of science, and fantasy for stretching the boundaries of social science.”
While there is much agreement that our present reality tempts us to escape, some responses spotlighted further reasons for upward trends in sci-fi and fantasy literature:
Popular television shows, such as “Game of Thrones,” and movies such as “Lord of the Rings”, Marvel and DC comic universes, are driving tastes toward fantasy and super heroes. Writers such as J.R.R. Tolkien, J.K. Rowling, and Ursula Le Guin have attracted readers to other worlds.
What future trends might we expect in escapist literature? Librarian Mark Richardson sees welcome changes, with a “distinct move toward women authors and authors of color.” With movies’ influence and more authors of color, might we see a resurgence of Afrofuturism, such as the “Black Panther” epics?
Author Sarah Hawthorne sees a “burgeoning new industry” with technological capabilities in self-publishing that will bring radical changes to “our view of novel” in the next fifty years. “And sci-fi/fantasy writers are truly driving these changes.”
My thank you to those who participated in the poll:
Gregory Zschomler: Owner, Harbor Books and Gifts, Aberdeen, WA. Author, “From the Launch Pad to New Dimensions.”
Kate Ristau: Author, “Shadow Girl.” (Not a Pipe Publishing*)
Mark Richardson: Youth librarian, Cedar Mill Library, Washington County, Oregon.
Mikko Azul: Author, “The Staff of Fire and Bone” (Not a Pipe Publishing*)
Sarah Hawthorne: Author, “Enforcer’s Price” (The Demon Horde Motorcycle Club series)
Sheila Deeth: Author, “Subtraction” (Mathemafiction Novel series)
Virginia Simmon: Lifestyle magazine writer, non-fiction editor
Walt Socha: Author, “Contact” (The Crossover series)
*Not a Pipe Publishing in Independence, Oregon, is publishing only women authors in 2018, and all have written sci-fi, super-hero, or fantasy novels.
All responders noticed the increasing popularity of fantasy and sci-fi, although romance and mystery remain favorites too. A youth librarian, a bookseller, and a writer said they noticed a declining interest in dystopian novels and an upsurge in other types of fantasy. One reader said, “There’s enough post-apocalyptic material in our real lives.”
A writer in the poll recently switched from writing contemporary romance to starting a post-apocalyptic manuscript. She said she is attracted to sci-fi and fantasy for the “world building possibilities” and inventing her own rules outside the box of reality. Another writer said, “Fantasy is a much cheaper and safer form of escapism than drugs!” A writer of fantasy noted “depression and anxiety can be transformed into literal darkness or monsters.”
An avid reader said she likes sci-fi for “stretching the limits of science, and fantasy for stretching the boundaries of social science.”
While there is much agreement that our present reality tempts us to escape, some responses spotlighted further reasons for upward trends in sci-fi and fantasy literature:
Popular television shows, such as “Game of Thrones,” and movies such as “Lord of the Rings”, Marvel and DC comic universes, are driving tastes toward fantasy and super heroes. Writers such as J.R.R. Tolkien, J.K. Rowling, and Ursula Le Guin have attracted readers to other worlds.
What future trends might we expect in escapist literature? Librarian Mark Richardson sees welcome changes, with a “distinct move toward women authors and authors of color.” With movies’ influence and more authors of color, might we see a resurgence of Afrofuturism, such as the “Black Panther” epics?
Author Sarah Hawthorne sees a “burgeoning new industry” with technological capabilities in self-publishing that will bring radical changes to “our view of novel” in the next fifty years. “And sci-fi/fantasy writers are truly driving these changes.”
My thank you to those who participated in the poll:
Gregory Zschomler: Owner, Harbor Books and Gifts, Aberdeen, WA. Author, “From the Launch Pad to New Dimensions.”
Kate Ristau: Author, “Shadow Girl.” (Not a Pipe Publishing*)
Mark Richardson: Youth librarian, Cedar Mill Library, Washington County, Oregon.
Mikko Azul: Author, “The Staff of Fire and Bone” (Not a Pipe Publishing*)
Sarah Hawthorne: Author, “Enforcer’s Price” (The Demon Horde Motorcycle Club series)
Sheila Deeth: Author, “Subtraction” (Mathemafiction Novel series)
Virginia Simmon: Lifestyle magazine writer, non-fiction editor
Walt Socha: Author, “Contact” (The Crossover series)
*Not a Pipe Publishing in Independence, Oregon, is publishing only women authors in 2018, and all have written sci-fi, super-hero, or fantasy novels.
January 8, 2018
Blog Block: Question for the New Year.
Blog block now unblocked! My question is why is it so hard to write what readers want to read?
In her book “Wired for Story” Lisa Cron writes that our brains naturally respond to stories; through stories we learn by vicarious experience. Readers are hungry to know “what happens next” and “how does it end?” Why then, do we as writers find it difficult, and a learning process, to write good stories? Funny how our brains work—or don’t!
As readers, we follow a story and are not usually noticing the underlying construction the author has used to attract and hold our attention.
As writers, we know the whole story we want to tell, but we also must make it appear that what the characters know and feel is credible. For the writer it’s a balancing act of characters and who knew what—and when.
The writer must also show how the characters react in advancing the story. And every part of a story must have a bearing on the plot, character development, and progress of the story line. It’s a big job for a writer—whew! And readers are quick to pick up on something that doesn’t fit the ongoing action or slip-ups in the plot.
The writer must make it easy for a reader to identify with the characters and care about their stories. In order to do so, the writer must express characters’ feelings in words on a page. Techniques for doing this are not obvious because a story well done flows smoothly.
To show feelings, body language is extremely important. For techniques on showing feelings, I refer my writer friends to another helpful book: “The Emotion Thesaurus: A Writer’s Guide to Character Expression” by Angela Ackerman and Becca Puglisi.
In her book “Wired for Story” Lisa Cron writes that our brains naturally respond to stories; through stories we learn by vicarious experience. Readers are hungry to know “what happens next” and “how does it end?” Why then, do we as writers find it difficult, and a learning process, to write good stories? Funny how our brains work—or don’t!
As readers, we follow a story and are not usually noticing the underlying construction the author has used to attract and hold our attention.
As writers, we know the whole story we want to tell, but we also must make it appear that what the characters know and feel is credible. For the writer it’s a balancing act of characters and who knew what—and when.
The writer must also show how the characters react in advancing the story. And every part of a story must have a bearing on the plot, character development, and progress of the story line. It’s a big job for a writer—whew! And readers are quick to pick up on something that doesn’t fit the ongoing action or slip-ups in the plot.
The writer must make it easy for a reader to identify with the characters and care about their stories. In order to do so, the writer must express characters’ feelings in words on a page. Techniques for doing this are not obvious because a story well done flows smoothly.
To show feelings, body language is extremely important. For techniques on showing feelings, I refer my writer friends to another helpful book: “The Emotion Thesaurus: A Writer’s Guide to Character Expression” by Angela Ackerman and Becca Puglisi.
September 12, 2017
New Book Store; Prize Opportunity
My book of eclectic short stories, “Night in Alcatraz: and Other Uncanny Tales” celebrated its first anniversary of publishing in August. But my book will be NEW on the shelves of a NEW independent bookstore in Aberdeen, Washington. Harbor Books and Gifts will hold its grand opening Saturday, September 16. Find this brand NEW store at 510 West 1st Street, Aberdeen, Washington 98520.
With the first publishing anniversary of “Night in Alcatraz” I am offering a prize to anyone who sends me a solution to the story on page 17, “Cold Case.” To qualify for a prize, your solution must be at least 100 words and you must reside in the USA. At some point, I will announce a deadline for entries, depending on number of entries received.
So get your pens ready, create a solution for “Cold Case” and send it to me at jpharkin@aol.com, subject line: Cold Case solution. If you don’t have a copy of my book you may purchase one at Harbor Books and Gifts in Aberdeen, Washington, or online at Amazon or Barnes & Noble. An e-book edition is also available.
With the first publishing anniversary of “Night in Alcatraz” I am offering a prize to anyone who sends me a solution to the story on page 17, “Cold Case.” To qualify for a prize, your solution must be at least 100 words and you must reside in the USA. At some point, I will announce a deadline for entries, depending on number of entries received.
So get your pens ready, create a solution for “Cold Case” and send it to me at jpharkin@aol.com, subject line: Cold Case solution. If you don’t have a copy of my book you may purchase one at Harbor Books and Gifts in Aberdeen, Washington, or online at Amazon or Barnes & Noble. An e-book edition is also available.
August 3, 2017
Brainspeak: Chatting with Ourselves
Scientists are now studying the verbal communication we use with ourselves when thinking. According to Charles Fernyhough, a professor of psychology at Durham University in England, writing in the August 2017 “Scientific American,” researchers have divided this self-speak into two types: private speech, when what we say to ourselves is audible; and inner speech, for silent thought processes.* Both can be monologs or dialogs resembling conversations between opposing points of view. Sometimes private speech and inner speech are condensed—like verbal shorthand.
Do we always think in words? Do we observe non-verbally or think in actions? Temple Grandin, professor of animal science at Colorado State University and consultant to the livestock industry on animal psychology and humane practices, wrote of her thought processes in her book: “Thinking in Pictures: Other Reports from My Life with Autism.” She struggled with communication and overcame mental challenges in translating her picture-thinking into words. Perhaps Dr. Grandin is on one extreme end of the spectrum of how humans think.
After reading Dr. Fernyhough’s article, I became more mindful of how I think. In pictures? In words? Both or neither? While picking blueberries, a seemingly mindless task, I caught myself counting—up to about 26, then beginning again. A theory is that this type of organized thinking goes back to childhood when we learned speech from others and used dialog with ourselves in order to arrange our own actions. This idea was advanced in the 1930s by Russian psychologist, Lev Semyonovich Vygotsky.*
Occasionally my inner speech spills over into private (aloud) speech when I’m alarmed or taken by surprise and when I feel strong opinions about the televised daily news. I have noticed myself saying something like “beautiful” out loud when I see a gorgeous rose in bloom or a stunning skyscape.
I do not believe I think in words when receiving verbal instructions, for instance, during yoga class. Why repeat the instructor’s words to myself? I “just do it.” When following written directions, such as a recipe, do I repeat these words to myself? Probably, as that is how I read.
An outgrowth of Vygotsky’s theory contends that thinking is a mental dialog in which we internalize styles of conversations we have with others. Apparently, Plato believed this before Vygotsky.* I haven’t yet discovered whether my inner speech is a dialog or whether it’s just a series of comments or instructions to myself. Perhaps in decision-making, where pros and cons come into play, my thinking takes the shape of a dialog. I will study this further.
In his article, Fernyhough allows that thinking styles may be adapted to different functions which “quite possibly have different neural underpinnings.”*
How does thinking in words/dialog affect creativity? Reading and writing? Fernyhough says, “The moment you open a book, your inner speech is hijacked in all kinds of interesting ways.”* Do you hear different voices in your head when you read the dialog of fictional characters? Or an authoritative voice, maybe a humorous one, in a book of nonfiction? Do you ever find you are thinking and reacting, even speaking, as a strong fictional character after you laid the book aside? As an adolescent, I would float out of a movie theater, feeling like one of the characters I’d admired on the screen. The persona must have got into my head! There is a name for this: “experiential crossing,” as defined by Marco Bernini of Durham University.*
And what about writing? Is the voice you write in the same one you think or speak in? When creating fictional characters, how does a writer differentiate each voice so as to not be a carbon copy of the way the writer speaks and thinks? I’m sure effective writers have favorite methods that work. One possibility is to listen carefully to others’ speech patterns, terms habitually used, and body language as they speak. A friend who writes memoirs for people tapes their replies to a questionnaire and uses their words verbatim in the memoirs. Transcribing the speech of others could be a way to incorporate new voices in writing.
Thinking, speaking, reading, writing—it’s what we do! But you might find it interesting to observe your own inner “chats.” As Fernyhough says, “the voices of inner speech have much to tell us.”*
* All references to Charles Fernyhough, “Talking to Ourselves,” “Scientific American” magazine, pages 76-79, August 2017.
Do we always think in words? Do we observe non-verbally or think in actions? Temple Grandin, professor of animal science at Colorado State University and consultant to the livestock industry on animal psychology and humane practices, wrote of her thought processes in her book: “Thinking in Pictures: Other Reports from My Life with Autism.” She struggled with communication and overcame mental challenges in translating her picture-thinking into words. Perhaps Dr. Grandin is on one extreme end of the spectrum of how humans think.
After reading Dr. Fernyhough’s article, I became more mindful of how I think. In pictures? In words? Both or neither? While picking blueberries, a seemingly mindless task, I caught myself counting—up to about 26, then beginning again. A theory is that this type of organized thinking goes back to childhood when we learned speech from others and used dialog with ourselves in order to arrange our own actions. This idea was advanced in the 1930s by Russian psychologist, Lev Semyonovich Vygotsky.*
Occasionally my inner speech spills over into private (aloud) speech when I’m alarmed or taken by surprise and when I feel strong opinions about the televised daily news. I have noticed myself saying something like “beautiful” out loud when I see a gorgeous rose in bloom or a stunning skyscape.
I do not believe I think in words when receiving verbal instructions, for instance, during yoga class. Why repeat the instructor’s words to myself? I “just do it.” When following written directions, such as a recipe, do I repeat these words to myself? Probably, as that is how I read.
An outgrowth of Vygotsky’s theory contends that thinking is a mental dialog in which we internalize styles of conversations we have with others. Apparently, Plato believed this before Vygotsky.* I haven’t yet discovered whether my inner speech is a dialog or whether it’s just a series of comments or instructions to myself. Perhaps in decision-making, where pros and cons come into play, my thinking takes the shape of a dialog. I will study this further.
In his article, Fernyhough allows that thinking styles may be adapted to different functions which “quite possibly have different neural underpinnings.”*
How does thinking in words/dialog affect creativity? Reading and writing? Fernyhough says, “The moment you open a book, your inner speech is hijacked in all kinds of interesting ways.”* Do you hear different voices in your head when you read the dialog of fictional characters? Or an authoritative voice, maybe a humorous one, in a book of nonfiction? Do you ever find you are thinking and reacting, even speaking, as a strong fictional character after you laid the book aside? As an adolescent, I would float out of a movie theater, feeling like one of the characters I’d admired on the screen. The persona must have got into my head! There is a name for this: “experiential crossing,” as defined by Marco Bernini of Durham University.*
And what about writing? Is the voice you write in the same one you think or speak in? When creating fictional characters, how does a writer differentiate each voice so as to not be a carbon copy of the way the writer speaks and thinks? I’m sure effective writers have favorite methods that work. One possibility is to listen carefully to others’ speech patterns, terms habitually used, and body language as they speak. A friend who writes memoirs for people tapes their replies to a questionnaire and uses their words verbatim in the memoirs. Transcribing the speech of others could be a way to incorporate new voices in writing.
Thinking, speaking, reading, writing—it’s what we do! But you might find it interesting to observe your own inner “chats.” As Fernyhough says, “the voices of inner speech have much to tell us.”*
* All references to Charles Fernyhough, “Talking to Ourselves,” “Scientific American” magazine, pages 76-79, August 2017.
June 22, 2017
Self-published Novel Wins Oregon Book Award
(Part 3 of self-publishing series: Find parts 1 and 2 by scrolling to blog, clicking on View All Posts.)
Joyce Cherry Cresswell’s novel, "A Great Length of Time," is the first self-published book to win an Oregon Book Award, according to awards organizer Literary Arts, of Portland. In writing and publishing her book, Joyce did everything right. Let’s look at how she jumped over the self-publishing hurdles and follow her on the track to book selling.
After thoroughly researching Civil War medical history and writing her story about a Union Army nurse, Joyce needed an editor (as all writers do.) She paid for a developmental/story editing service, then followed up by hiring Indigo Editing for line and proof editing, as well as help with cover and book design, and contracts. “I couldn’t have done it without them,” said Joyce. And she was smart not to try!
She chose Ingram Spark for printing her book. http://www.ingramspark.com. The most recent printing of the book now features a cover medallion announcing its Oregon Book Award. The choice of printer Ingram Spark was wise, as some book sellers will not handle books printed by Createspace or any affiliate of Amazon.
Joyce’s publisher is Mountain View Press. That’s Joyce! She followed advice, saying, “I set it up as a small business just so I could avoid the self-publishing stigma.” Another step in the right direction for Joyce’s novel!
An additional smart idea was to ask a respected Portland author for a book cover blurb. Molly Gloss’s praise on the cover of "A Great Length of Time" was like an exclamation point grabbing the attention of The Oregonian book reviewer Amy Wang. Self-published books are not priorities for reviews at the newspaper, but Ms. Wang chose to review Joyce’s novel and recommend it among 18 “Summer Books” for several reasons:
1) A local author, 2) a popular genre—historical fiction, 3) well written (and edited.) “Given all those factors, I would have still considered it for coverage. But the Oregon Book Award certainly boosted it,” said Ms. Wang. The reviewer said her “filters” also include the publication date. She prefers to cover new releases published within the previous month.
Ms. Wang said that many self-published books she receives at The Oregonian are too “niche” for a general newspaper audience. Many self-published books she sees “could use more rigorous editing,” adding that many non-self-published books could also use another edit.
The next hurdle: Joyce’s well written, edited, and reviewed book needs to find an audience and buyers. So far, "A Great Length of Time" is available at Powell’s City of Books in Portland, touted as “the world’s largest independent bookstore,” and at another indie bookstore, Broadway Books. The book is in stock at Barnes & Noble’s Bridgeport Village location. And it can be ordered online from various sources (also as an e-book.) Another indie bookstore, Jan’s Paperbacks in Aloha will order the book on request, but will only stock it on consignment, as is typical of some other independent bookstores in the area. Powell's, however, does not sell books on consignment.
Additional Information for Self-published Writers in Portland area:
Reviews: For a book review in The Oregonian, see Amy Wang’s comments above. If you think your book can pass through her filters, send her a copy.
Community newspapers, such as The Beaverton Resource Guide and Cedar Mill News will print announcements of new book releases by local authors.
Portland Book Review will review self-published books with purchase of their Sponsored Review package, beginning at $100 for books, $90 for e-books. The fee doesn’t guarantee a favorable review, but the author may approve or reject the review for publication.
A similar opportunity for reviews to reach large metropolitan-area audiences is City Book Review, which manages several review brands in Seattle, Manhattan, San Francisco, Tulsa, and Kids’ BookBuzz. They also license to Portland Book Review and San Diego Book Review. City Review accepts books for free review within 90 days of release. But with the volume of submissions received, the chances of a book being reviewed may be less than 33%. If a book’s release is older than 90 days, or if an author wishes a guaranteed review, City Review offers a Sponsored Review starting at @ $200. City Review also offers other services to authors. https://citybookreview.com.
Booksellers: Independent bookstores, such as Broadway Books, Annie Bloom’s Books, and Jan’s Paperbacks sell local authors’ books on consignment. But Broadway, Annie Bloom’s, and possibly other indie bookstores will not stock or promote books published by Createspace or any other Amazon affiliate program. Each store has its own requirements.
Barnes & Noble offers further information for authors: https://www.barnesandnoble.com/blog/c...) and http://www.barnesandnobleinc.com/publ....
Powell's offers further information for selling books at http://www.powells.com/info/publisher...
If your book is accepted at a local bookstore, they will likely offer to host a book signing for you, and will also expect you to actively promote your book.
Joyce Cherry Cresswell’s novel, "A Great Length of Time," is the first self-published book to win an Oregon Book Award, according to awards organizer Literary Arts, of Portland. In writing and publishing her book, Joyce did everything right. Let’s look at how she jumped over the self-publishing hurdles and follow her on the track to book selling.
After thoroughly researching Civil War medical history and writing her story about a Union Army nurse, Joyce needed an editor (as all writers do.) She paid for a developmental/story editing service, then followed up by hiring Indigo Editing for line and proof editing, as well as help with cover and book design, and contracts. “I couldn’t have done it without them,” said Joyce. And she was smart not to try!
She chose Ingram Spark for printing her book. http://www.ingramspark.com. The most recent printing of the book now features a cover medallion announcing its Oregon Book Award. The choice of printer Ingram Spark was wise, as some book sellers will not handle books printed by Createspace or any affiliate of Amazon.
Joyce’s publisher is Mountain View Press. That’s Joyce! She followed advice, saying, “I set it up as a small business just so I could avoid the self-publishing stigma.” Another step in the right direction for Joyce’s novel!
An additional smart idea was to ask a respected Portland author for a book cover blurb. Molly Gloss’s praise on the cover of "A Great Length of Time" was like an exclamation point grabbing the attention of The Oregonian book reviewer Amy Wang. Self-published books are not priorities for reviews at the newspaper, but Ms. Wang chose to review Joyce’s novel and recommend it among 18 “Summer Books” for several reasons:
1) A local author, 2) a popular genre—historical fiction, 3) well written (and edited.) “Given all those factors, I would have still considered it for coverage. But the Oregon Book Award certainly boosted it,” said Ms. Wang. The reviewer said her “filters” also include the publication date. She prefers to cover new releases published within the previous month.
Ms. Wang said that many self-published books she receives at The Oregonian are too “niche” for a general newspaper audience. Many self-published books she sees “could use more rigorous editing,” adding that many non-self-published books could also use another edit.
The next hurdle: Joyce’s well written, edited, and reviewed book needs to find an audience and buyers. So far, "A Great Length of Time" is available at Powell’s City of Books in Portland, touted as “the world’s largest independent bookstore,” and at another indie bookstore, Broadway Books. The book is in stock at Barnes & Noble’s Bridgeport Village location. And it can be ordered online from various sources (also as an e-book.) Another indie bookstore, Jan’s Paperbacks in Aloha will order the book on request, but will only stock it on consignment, as is typical of some other independent bookstores in the area. Powell's, however, does not sell books on consignment.
Additional Information for Self-published Writers in Portland area:
Reviews: For a book review in The Oregonian, see Amy Wang’s comments above. If you think your book can pass through her filters, send her a copy.
Community newspapers, such as The Beaverton Resource Guide and Cedar Mill News will print announcements of new book releases by local authors.
Portland Book Review will review self-published books with purchase of their Sponsored Review package, beginning at $100 for books, $90 for e-books. The fee doesn’t guarantee a favorable review, but the author may approve or reject the review for publication.
A similar opportunity for reviews to reach large metropolitan-area audiences is City Book Review, which manages several review brands in Seattle, Manhattan, San Francisco, Tulsa, and Kids’ BookBuzz. They also license to Portland Book Review and San Diego Book Review. City Review accepts books for free review within 90 days of release. But with the volume of submissions received, the chances of a book being reviewed may be less than 33%. If a book’s release is older than 90 days, or if an author wishes a guaranteed review, City Review offers a Sponsored Review starting at @ $200. City Review also offers other services to authors. https://citybookreview.com.
Booksellers: Independent bookstores, such as Broadway Books, Annie Bloom’s Books, and Jan’s Paperbacks sell local authors’ books on consignment. But Broadway, Annie Bloom’s, and possibly other indie bookstores will not stock or promote books published by Createspace or any other Amazon affiliate program. Each store has its own requirements.
Barnes & Noble offers further information for authors: https://www.barnesandnoble.com/blog/c...) and http://www.barnesandnobleinc.com/publ....
Powell's offers further information for selling books at http://www.powells.com/info/publisher...
If your book is accepted at a local bookstore, they will likely offer to host a book signing for you, and will also expect you to actively promote your book.
May 13, 2017
Home-grown e-books, mulching and harvesting
(Part 2 of self-publishing series: Find part 1 by scrolling to blog, clicking on View All Posts )
The price is right for self-published e-books. They may also be easier for authors to sell than print copies of the same books. There are several reasons why readers seem less “picky” about buying electronic virtual books over actual books: (Of course, it’s a given that the book cover is appealing, title intriguing, and blurbs promising an interesting read.)
1) “If I’m being introduced to an author for the first time I’ll get one for my Kindle. Sites like BookBub offer e-books at a great discount,” says one reader/writer. At cheaper prices, readers are more likely to “take a chance” on an e-book by an unfamiliar writer. Taking a chance means they might not vet an e-book as closely as they would a print one.
2) It seems to be mainly a matter of pricing that keeps self-published e-books on a par with traditionally published ones. One writer said, “Not sure most people can tell (at first glance) if an e-book is independent or traditional.” Indeed, when buying a Kindle book, “Amazon Digital” is not a dead giveaway for “self-published.”
3) “Book buying is subject to trends,” says one author, noting that some readers “live much of their lives online.” Some readers prefer to buy only e-books. That surely cuts down on the need for bookshelf space!
4) Traditionally published e-books range in price from @ $3.99 to $15. Self-published e-books range from Free to @ $5.50. One reader said she “buys” the Free ones often “on the off chance I’ll get around to reading them!”
The possibility of selling e-books at lower prices might entice an author to switch from traditional to self-publishing, especially if the author focuses on creating e-books only.
Marketing and promoting enter the equation for selling (and buying) both e-books and print books. The key to success is getting a title noticed by the reading public. “Word of mouth is the ultimate marketing campaign,” says one author. But that requires lots of lip service, talking, and pitching (in person at book fairs, conferences, book clubs, and writing groups, as well as online with an author website or social networking blog.) Self-published authors do not have the wide range of promotional opportunities traditional publishers offer their authors (although most of those writers also need to self-promote to generate sales.) In today’s morass of online networks that inform and advertise, it is a challenge to attract attention.
Self-published authors need to plan their strategies, and I’ve seen several smart, clever, and practical methods:
1) James Elstad, who writes action-adventures about the Civil War has carefully targeted his audience at military bases and Civil War re-enactments. He notes, “If a self-published book doesn’t fit the theme of a fair or interest of an organization, it won’t sell.” He has traveled to almost 50 events in 13 states and sold almost 3,000 books in five years. “None were sold in a brick and mortar store.” Not every book, especially fiction, can find such a target audience, but it’s a factor worth considering.
2) Author Walt Socha offers his most recent e-book Free on Amazon, Kobo, and Nook. A previous time he introduced his e-book “Eclectic Shorts” online for 99 cents. As an incentive he passed around dollar bills to members of his writing group and asked for the penny in change, urging them to buy his e-book. Some did!
3) Some authors have partnered with a group or association to promote their book. Libby Zangle, who self-published “Rabid,” donates 20% of her e-book proceeds to the Pacific Coast Trail Association. Beckie Elgin, author of “Journey,” a true story about a wild Oregon wolf, donates a portion of her print book sales to Oregon Wild for their efforts to protect wolves.
4) In order to banish the bugaboo of suspicion that a book is “unedited claptrap,” at least one self-published author has listed the names of editors on the introductory page with copyright and publishing information.
5) Reader J.A. Murphy suggests that “self-publishers need a sort of lobbying group. . .to garner a reputation for honest assessment of the quality of books members write, and be very vocal and visual” in pitching and promoting books, perhaps gaining attention in national reviews.
A Pacific Northwest writers’ association tried that very approach, offering its Seal of Quality to members’ books that were judged promotion-worthy. Apparently, the panel of reviewers were too honest or too rigid and “left members feeling crushed and ready to give up writing,” according to the group’s president. Membership in the organization dropped. The Seal of Quality is suspended until the association can revive the Seal with a focus on balancing readership interest with quality of writing, while encouraging writers.
I send a big thank you to my reader-responders: Colleen Hamilton, Charlie Luckett, James M. McCracken, J.A. Murphy, Jaye Stefani, and Mary Ann Zechmann.
I am grateful also to the authors who responded (and I provide their most recent book titles)—now you’ve heard of them:
Sheila Deeth, “Infinite Sum”; James Elstad, “Comes the Southern Revolution”; Sarah Hall (aka Sarah Hawthorne), “Enforcer’s Price” (e-book only); Carolyn Martin, “The Way A Woman Knows”; Walt Socha, “Conflict” (e-book only); Jim Stewart, “Ochoco Reach”; Steve Theme, “Asphalt Asylum, The Dark Roads to Light”; and Louise Young, “Seducing the Spirits.”
The price is right for self-published e-books. They may also be easier for authors to sell than print copies of the same books. There are several reasons why readers seem less “picky” about buying electronic virtual books over actual books: (Of course, it’s a given that the book cover is appealing, title intriguing, and blurbs promising an interesting read.)
1) “If I’m being introduced to an author for the first time I’ll get one for my Kindle. Sites like BookBub offer e-books at a great discount,” says one reader/writer. At cheaper prices, readers are more likely to “take a chance” on an e-book by an unfamiliar writer. Taking a chance means they might not vet an e-book as closely as they would a print one.
2) It seems to be mainly a matter of pricing that keeps self-published e-books on a par with traditionally published ones. One writer said, “Not sure most people can tell (at first glance) if an e-book is independent or traditional.” Indeed, when buying a Kindle book, “Amazon Digital” is not a dead giveaway for “self-published.”
3) “Book buying is subject to trends,” says one author, noting that some readers “live much of their lives online.” Some readers prefer to buy only e-books. That surely cuts down on the need for bookshelf space!
4) Traditionally published e-books range in price from @ $3.99 to $15. Self-published e-books range from Free to @ $5.50. One reader said she “buys” the Free ones often “on the off chance I’ll get around to reading them!”
The possibility of selling e-books at lower prices might entice an author to switch from traditional to self-publishing, especially if the author focuses on creating e-books only.
Marketing and promoting enter the equation for selling (and buying) both e-books and print books. The key to success is getting a title noticed by the reading public. “Word of mouth is the ultimate marketing campaign,” says one author. But that requires lots of lip service, talking, and pitching (in person at book fairs, conferences, book clubs, and writing groups, as well as online with an author website or social networking blog.) Self-published authors do not have the wide range of promotional opportunities traditional publishers offer their authors (although most of those writers also need to self-promote to generate sales.) In today’s morass of online networks that inform and advertise, it is a challenge to attract attention.
Self-published authors need to plan their strategies, and I’ve seen several smart, clever, and practical methods:
1) James Elstad, who writes action-adventures about the Civil War has carefully targeted his audience at military bases and Civil War re-enactments. He notes, “If a self-published book doesn’t fit the theme of a fair or interest of an organization, it won’t sell.” He has traveled to almost 50 events in 13 states and sold almost 3,000 books in five years. “None were sold in a brick and mortar store.” Not every book, especially fiction, can find such a target audience, but it’s a factor worth considering.
2) Author Walt Socha offers his most recent e-book Free on Amazon, Kobo, and Nook. A previous time he introduced his e-book “Eclectic Shorts” online for 99 cents. As an incentive he passed around dollar bills to members of his writing group and asked for the penny in change, urging them to buy his e-book. Some did!
3) Some authors have partnered with a group or association to promote their book. Libby Zangle, who self-published “Rabid,” donates 20% of her e-book proceeds to the Pacific Coast Trail Association. Beckie Elgin, author of “Journey,” a true story about a wild Oregon wolf, donates a portion of her print book sales to Oregon Wild for their efforts to protect wolves.
4) In order to banish the bugaboo of suspicion that a book is “unedited claptrap,” at least one self-published author has listed the names of editors on the introductory page with copyright and publishing information.
5) Reader J.A. Murphy suggests that “self-publishers need a sort of lobbying group. . .to garner a reputation for honest assessment of the quality of books members write, and be very vocal and visual” in pitching and promoting books, perhaps gaining attention in national reviews.
A Pacific Northwest writers’ association tried that very approach, offering its Seal of Quality to members’ books that were judged promotion-worthy. Apparently, the panel of reviewers were too honest or too rigid and “left members feeling crushed and ready to give up writing,” according to the group’s president. Membership in the organization dropped. The Seal of Quality is suspended until the association can revive the Seal with a focus on balancing readership interest with quality of writing, while encouraging writers.
I send a big thank you to my reader-responders: Colleen Hamilton, Charlie Luckett, James M. McCracken, J.A. Murphy, Jaye Stefani, and Mary Ann Zechmann.
I am grateful also to the authors who responded (and I provide their most recent book titles)—now you’ve heard of them:
Sheila Deeth, “Infinite Sum”; James Elstad, “Comes the Southern Revolution”; Sarah Hall (aka Sarah Hawthorne), “Enforcer’s Price” (e-book only); Carolyn Martin, “The Way A Woman Knows”; Walt Socha, “Conflict” (e-book only); Jim Stewart, “Ochoco Reach”; Steve Theme, “Asphalt Asylum, The Dark Roads to Light”; and Louise Young, “Seducing the Spirits.”
April 19, 2017
What About Home-grown Books?
A writer friend raised the issue that people go to crafts shows and buy homemade jewelry, hand-knitted sweaters, original paintings, believing them to be real treasures-- one of a kind. So why are people suspicious of self-published books and refuse to buy them if "home grown" is better? Is it true that there is a bias against self-published books and e-books?
For this blog I am looking into the matter regarding self-published print books and will cover e-books in my next blog post. I have queried 5 readers and 8 writers (who are also readers). Here is the consensus, with a few variations:
It is not so much that readers ignore self-published works per se, as publisher credentials are not always clear, nor do readers check those first. There are traditional publishers we’ve heard of, branches of these publishers that sometimes specialize in genres, small independent presses, self-publishing companies, imprints created by authors looking to avoid the “stigma” of self-publishing, and obvious author-published titles. Readers have various reasons to shy away from self-published (or any) books regardless of publisher:
“Have I heard of you?” a shopper might ask an author seated with her books at a holiday fair. If the author is selling travel, history, cookbooks, or other non-fiction, the shopper might quickly assess the interest level or quality of the book. However, a book of fiction or a memoir is not easily appraised without reading. If the book at hand is part of a series, such as “Chicken Soup,” it has a familiar ring and can be more quickly judged. One reader, though, said meeting the author and having a signed book might attract him.
Choosing to buy a book is not a decision that can be made as instantly as selecting an item such as a piece of jewelry or a sweater. Buying a book takes more time and a future commitment—to read it! Reviews inside the book, blurbs on the back cover or book jacket can persuade the reader to buy a book. Traditional publishers do a better job on these aspects by obtaining quotes from writers in the same genre, whose works might be familiar. An enticing cover and well-designed book with easy-to-read fonts and nice paper reveal high quality and persuade readers.
“Word of mouth is the ultimate marketing campaign,” says one author. Readers seem to agree that they would buy a self-published book written by a friend or one recommended by friends, librarians, or trusted readers. Book buying is also subject to trends, such as the vampire novel phenomenon a few years ago.
Readers say they might be wary of a self-published book, assuming the writer would have tried to publish in the traditional way in order to reach a larger audience and make more money. Therefore the reader might judge that the book wasn’t “good enough” to be published and that it had not been professionally approved, edited, or “vetted” before going to press. A reader has no way to know whether a self-published book has been well edited or is a just a “vanity” piece.
A reader pointed out that “there are some self-published books that are excellent and. . . some from well-known authors that aren’t good at all—their names are just being used to sell copies.” One of the authors who responded to my query publishes e-books through a traditional publisher, but said she is considering self-publishing in the future. (Why? See my next blog post in a couple weeks.)
The majority of self-published authors I questioned say they have low to moderate sales. This fact is not necessarily discouraging because they are satisfied to have reached some readers, and they love to write. Others say that sales are “never satisfactory” and are looking for ways to increase their sales. On the other hand, one author has sold almost 3,000 books in about 5 years!
Marketing and book promotion certainly factor into the selling of self-published books, which I will cover in a future blog post. Reviewers and bookstores generally avoid self-published books, possibly on the belief that the works are likely not professionally approved and edited. I wonder if bookstore rules and reviewer guidelines are so strict as to never take a chance on self-published works. In future research I will attempt to query reviewers and bookstore buyers on this topic. (Meanwhile, Amazon and other booksellers with online presence sell self-published books and e-books that have ISBN numbers.)
I send a big thank you to my reader-responders: Colleen Hamilton, Charlie Luckett, J.A. Murphy, Jaye Stefani, and Mary Ann Zechmann.
I am grateful also to the authors who responded (and I provide their most recent book titles)—now you’ve heard of them:
Sheila Deeth, “Infinite Sum”; James Elstad, “Comes the Southern Revolution”; Sarah Hall (aka Sarah Hawthorne), “Enforcer’s Price” (e-book only); Carolyn Martin, “The Way A Woman Knows”; Walt Socha, “Conflict” (e-book only); Jim Stewart, “Ochoco Reach”; Steve Theme, “Asphalt Asylum, The Dark Roads to Light”; and Louise Young, “Seducing the Spirits.”
For this blog I am looking into the matter regarding self-published print books and will cover e-books in my next blog post. I have queried 5 readers and 8 writers (who are also readers). Here is the consensus, with a few variations:
It is not so much that readers ignore self-published works per se, as publisher credentials are not always clear, nor do readers check those first. There are traditional publishers we’ve heard of, branches of these publishers that sometimes specialize in genres, small independent presses, self-publishing companies, imprints created by authors looking to avoid the “stigma” of self-publishing, and obvious author-published titles. Readers have various reasons to shy away from self-published (or any) books regardless of publisher:
“Have I heard of you?” a shopper might ask an author seated with her books at a holiday fair. If the author is selling travel, history, cookbooks, or other non-fiction, the shopper might quickly assess the interest level or quality of the book. However, a book of fiction or a memoir is not easily appraised without reading. If the book at hand is part of a series, such as “Chicken Soup,” it has a familiar ring and can be more quickly judged. One reader, though, said meeting the author and having a signed book might attract him.
Choosing to buy a book is not a decision that can be made as instantly as selecting an item such as a piece of jewelry or a sweater. Buying a book takes more time and a future commitment—to read it! Reviews inside the book, blurbs on the back cover or book jacket can persuade the reader to buy a book. Traditional publishers do a better job on these aspects by obtaining quotes from writers in the same genre, whose works might be familiar. An enticing cover and well-designed book with easy-to-read fonts and nice paper reveal high quality and persuade readers.
“Word of mouth is the ultimate marketing campaign,” says one author. Readers seem to agree that they would buy a self-published book written by a friend or one recommended by friends, librarians, or trusted readers. Book buying is also subject to trends, such as the vampire novel phenomenon a few years ago.
Readers say they might be wary of a self-published book, assuming the writer would have tried to publish in the traditional way in order to reach a larger audience and make more money. Therefore the reader might judge that the book wasn’t “good enough” to be published and that it had not been professionally approved, edited, or “vetted” before going to press. A reader has no way to know whether a self-published book has been well edited or is a just a “vanity” piece.
A reader pointed out that “there are some self-published books that are excellent and. . . some from well-known authors that aren’t good at all—their names are just being used to sell copies.” One of the authors who responded to my query publishes e-books through a traditional publisher, but said she is considering self-publishing in the future. (Why? See my next blog post in a couple weeks.)
The majority of self-published authors I questioned say they have low to moderate sales. This fact is not necessarily discouraging because they are satisfied to have reached some readers, and they love to write. Others say that sales are “never satisfactory” and are looking for ways to increase their sales. On the other hand, one author has sold almost 3,000 books in about 5 years!
Marketing and book promotion certainly factor into the selling of self-published books, which I will cover in a future blog post. Reviewers and bookstores generally avoid self-published books, possibly on the belief that the works are likely not professionally approved and edited. I wonder if bookstore rules and reviewer guidelines are so strict as to never take a chance on self-published works. In future research I will attempt to query reviewers and bookstore buyers on this topic. (Meanwhile, Amazon and other booksellers with online presence sell self-published books and e-books that have ISBN numbers.)
I send a big thank you to my reader-responders: Colleen Hamilton, Charlie Luckett, J.A. Murphy, Jaye Stefani, and Mary Ann Zechmann.
I am grateful also to the authors who responded (and I provide their most recent book titles)—now you’ve heard of them:
Sheila Deeth, “Infinite Sum”; James Elstad, “Comes the Southern Revolution”; Sarah Hall (aka Sarah Hawthorne), “Enforcer’s Price” (e-book only); Carolyn Martin, “The Way A Woman Knows”; Walt Socha, “Conflict” (e-book only); Jim Stewart, “Ochoco Reach”; Steve Theme, “Asphalt Asylum, The Dark Roads to Light”; and Louise Young, “Seducing the Spirits.”
March 13, 2017
Reading Short Stories
How do you approach a book of short stories? Save it for a visit to the doctor or the long wait at the airport? Leave it handy on the bedside table? Or do you find each story so compelling you can’t stop reading, and finish the book in a day?
As an author of a collection of eclectic (and weird, some humorous) short stories, I’m fascinated by my readers’ opinions and comments. It’s fun to see which stories achieve “favorite” status, and there has been no consensus there. Some readers have replied back to me quickly, others take longer, so I know the pace of reading an anthology varies.
I found some tips on reading short stories at WritingforCollege.org from the University of Minnesota:
1) Read aloud as often recommended for poetry. Reading aloud often enables you to ‘hear’ words and phrases in a different part of the brain and may place you closer to how the author wrote the story and intends you to understand it. Images, patterns, metaphors may stand out more distinctly.
2) Speed reading. Most people, it appears, read in time with that ‘little voice in the head’, which is a throwback to when you were read to as a child. Speed reading is a strictly visual way of reading and goes much faster. Some say you get more out of a story and remember details better by reading it quickly. You may achieve a better idea of the whole by reading faster.
3) Preview. Whether speed reading or at your normal pace, it may help to preview a story by skimming and looking over the key elements of the story. This may add to your comprehension and appreciation as you dive into enjoying the narrative. But you might want to wait for the ending until you savor the whole story!
The WritingforCollege website also contains tips on previewing and skimming longer texts.
I am here recommending a few short story collections I recently enjoyed very much: “Between You and Me” by Scott Nadelson and “Something is Out There” by Richard Bausch. BTW, my short story collection, “Night in Alcatraz: and Other Uncanny Tales” is still available online.
As an author of a collection of eclectic (and weird, some humorous) short stories, I’m fascinated by my readers’ opinions and comments. It’s fun to see which stories achieve “favorite” status, and there has been no consensus there. Some readers have replied back to me quickly, others take longer, so I know the pace of reading an anthology varies.
I found some tips on reading short stories at WritingforCollege.org from the University of Minnesota:
1) Read aloud as often recommended for poetry. Reading aloud often enables you to ‘hear’ words and phrases in a different part of the brain and may place you closer to how the author wrote the story and intends you to understand it. Images, patterns, metaphors may stand out more distinctly.
2) Speed reading. Most people, it appears, read in time with that ‘little voice in the head’, which is a throwback to when you were read to as a child. Speed reading is a strictly visual way of reading and goes much faster. Some say you get more out of a story and remember details better by reading it quickly. You may achieve a better idea of the whole by reading faster.
3) Preview. Whether speed reading or at your normal pace, it may help to preview a story by skimming and looking over the key elements of the story. This may add to your comprehension and appreciation as you dive into enjoying the narrative. But you might want to wait for the ending until you savor the whole story!
The WritingforCollege website also contains tips on previewing and skimming longer texts.
I am here recommending a few short story collections I recently enjoyed very much: “Between You and Me” by Scott Nadelson and “Something is Out There” by Richard Bausch. BTW, my short story collection, “Night in Alcatraz: and Other Uncanny Tales” is still available online.
February 4, 2017
Stand and Read
In my last blog (sorry for the long absence) I pointed out the health, mental health, and social benefits of reading, especially fiction. But there was a conundrum: According to “Harvard Women’s Health Watch” sitting is harmful to health. It is ‘the new smoking.’ This month, “Harvard Women’s Health Watch” answers a reader’s question about the conflict between sitting (bad) and reading (good.)
The suggestions from the women’s health newsletter include 1) setting a timer to get up from your chair after an hour or so. Walk around, do a chore. 2) If the book is too good to lay aside, do a half hour to an hour of physical exercise some other time of the day. 3) Read audio books so that you can enjoy a story and exercise at the same time.
I have seen this done, but I do not recommend: Reading a book while walking. I even tried this once upon a time when I was a college student with lots of reading to accomplish. I found it too distracting to read and walk while keeping watch for cracks in the sidewalks, curbs, intersections, and other people, not to mention yucky stuff to step on like gum and dog droppings.
Happy and healthy reading! If you’d like some titles of ‘therapeutic reading’ recommended in my last blog, please let me know. Send a comment.
The suggestions from the women’s health newsletter include 1) setting a timer to get up from your chair after an hour or so. Walk around, do a chore. 2) If the book is too good to lay aside, do a half hour to an hour of physical exercise some other time of the day. 3) Read audio books so that you can enjoy a story and exercise at the same time.
I have seen this done, but I do not recommend: Reading a book while walking. I even tried this once upon a time when I was a college student with lots of reading to accomplish. I found it too distracting to read and walk while keeping watch for cracks in the sidewalks, curbs, intersections, and other people, not to mention yucky stuff to step on like gum and dog droppings.
Happy and healthy reading! If you’d like some titles of ‘therapeutic reading’ recommended in my last blog, please let me know. Send a comment.
November 10, 2016
Reading vs. Sitting: Your health and happiness
Two scientific studies in 2016 found that reading books not only improves IQ, but also benefits emotional health, and can add years to a person’s lifetime. In other words, reading can make you smarter, happier, and longer-lived to read more and more books!
The November 2016 issue of “Harvard Women’s Health Watch” reports on the study at Yale University School of Public Health, that found “people who read books regularly had a 20% lower risk of dying over the next 12 years compared with people who weren’t readers or who read periodicals.” The complete report of findings was published in the September 2016 issue of “Social Science and Medicine.”
A study showing that reading books promotes mental health and empathy has been ongoing at the New School for Social Research. “Time” magazine, Nov. 7, 2016, reports on the latest research. In September, researchers found a link between increased empathy in participants who had a “lifelong relationship with literature.” Although Maria Eugenia Panero of Boston College, one of the lead authors of the report, states that it is “hard to know whether literary fiction increases theory of mind (the ability to know what another person is thinking or feeling) or if people (with) higher theory of mind are just drawn to literary fiction.”
In the same “Time” article, Ella Berthoud, a bibliotherapist at the School of Life, says, “Inhabiting a novel can be transformative in a way that using a self-help book isn’t.” The article includes titles of novels recommended for “therapeutic reading.”
So, if you’re now thinking of flopping down into your easy chair to enjoy a novel and make yourself healthier and happier—wait a second! Front page headline in the previously mentioned issue of “Harvard Women’s Health Watch” warns: “Why sitting may be hazardous to your health.”
What is a dedicated reader to do?! Your comments? Suggestions?
The November 2016 issue of “Harvard Women’s Health Watch” reports on the study at Yale University School of Public Health, that found “people who read books regularly had a 20% lower risk of dying over the next 12 years compared with people who weren’t readers or who read periodicals.” The complete report of findings was published in the September 2016 issue of “Social Science and Medicine.”
A study showing that reading books promotes mental health and empathy has been ongoing at the New School for Social Research. “Time” magazine, Nov. 7, 2016, reports on the latest research. In September, researchers found a link between increased empathy in participants who had a “lifelong relationship with literature.” Although Maria Eugenia Panero of Boston College, one of the lead authors of the report, states that it is “hard to know whether literary fiction increases theory of mind (the ability to know what another person is thinking or feeling) or if people (with) higher theory of mind are just drawn to literary fiction.”
In the same “Time” article, Ella Berthoud, a bibliotherapist at the School of Life, says, “Inhabiting a novel can be transformative in a way that using a self-help book isn’t.” The article includes titles of novels recommended for “therapeutic reading.”
So, if you’re now thinking of flopping down into your easy chair to enjoy a novel and make yourself healthier and happier—wait a second! Front page headline in the previously mentioned issue of “Harvard Women’s Health Watch” warns: “Why sitting may be hazardous to your health.”
What is a dedicated reader to do?! Your comments? Suggestions?
