If you are a self published writer, this may be the most important video you will ever watch. It is not enough to write the book, you also have to get somebody to read it.
To self-publish or traditionally publish. That is the question.
So. You have yourself a book. Should you just go ahead and self-publish and see how it does? Should you try your luck with agents and publishers? Should you try agents and publishers first and then self-publish if that doesn’t work?
Having traditionally published the Jacob Wonderbar series and self-published How to Write a Novel, I’ve seen both sides of the publishing world.
Which way should you go? Here are seven questions to ask yourself:
Read The Full Article at The Ten Commandments of Writing Failure |.
A deadline is negative inspiration. Still, it’s better than no inspiration at all.
Rita Mae Brown
Too often, conventional writing advice will suggest that writers simply follow their muse, to write from their hearts and wait for the readers to come. But most authors who have been writing for a while know the folly of blindly following that advice.
You have to write for readers first if you expect commercial success.
And yet, the opposite advice, that you should only write for the crowds and never with your passion, is potentially even worse.
Story Value: These are human experiences that can shift in quality from positive to negative or negative to positive from moment to moment. For example happy/sad, wisdom/ stupidity, love/hate, freedom/slavery, innocence/experience, etc. Every scene must turn a Story value or it is not a scene. It must start someplace (happy) and end somewhere else (sad) or there is no movement, no change and the Story stops dead in its tracks.
Polarity Shift: The polarity shift is simply shorthand for the value valence change from +/- or -/+. Remember that change can occur in a scene that moves from good to great or bad to worse too. +/++ and -/– are perfectly valid polarity shifts and are essential to building the thriller’s progressive complications. Choosing when to escalate the complications in your overall Story can make or break it from one that “works” to “doesn’t work.”
Turning Point: the precise beat when the value in the scene shifts from positive to negative or negative to positive etc. Turning points can either happen through action (a bomb blows up) or revelation. (“I’m you’re father, Luke.”)
via Tracking the Scene.
When a Story “works,” it makes you want to keep reading it or listening to it, or watching it. And what will happen next–while completely in keeping with its initial promise (a Western, a Bildungsroman, a ghost Story around a campfire, whatever)–delights over and over again. But the kicker is that the climax will be utterly refreshing. By Story’s end, the listener or reader or watcher has to be, at the very least, surprised and satisfied by the payoff of the Story’s initial promise.
I’ve enjoyed both Rothfuss and Martin’s sagas, and will probably buy their next books on their publication date. And there are some other big-ass genre novels that look interesting, like Stephenson’s Seveneves and Ken Liu’s Grace of Kings. But I often miss genre books that don’t try to impress you with their size. That’s why my favorite fantasy from the last couple of years is Saladin Ahmed’s Throne of the Crescent Moon, which clocks in at a very tidy 288 pages in hardcover. Maybe not an epic, but certainly a fun read — and one you can definitely finish before bedtime.