Writing An Awesome Blurb Or Query

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.

Libbie Hawker.


7 Questions To Ask Yourself About Publishing

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:

via Should you self-publish or traditionally publish? 7 questions to ask yourself | Nathan Bransford, Author.

1. Quit Taking Risks

Resting on your laurels. Mailing it in. Doing the same old, same old. Maybe that works for a few traditionally published and bestselling authors. But for the true writer, the one who wants to honor the craft and get better, risk taking is part of the plan. Risk in characterization and plot and style and theme. That, in turn, brings a certain excitement to the writing, and you know what? Readers can sense that you’re excited. That makes your writing more appealing.

2. Be Inflexible 

“Flexibility,” writes Keough, “is a continual, deeply thoughtful process of examining situations and when warranted, quickly adapting to changing circumstances.” These days, every writer, no matter who butters their bread (i.e., New York or Seattle) needs to be aware of process, changes in the marketplace and distribution channels, and quality improvements.

3. Isolate Yourself

Success in business means being in touch with both workers and customers. A good manager is one who walks around and knows what’s going on in the building and in the satellite offices.

Writers, who by the very nature of the work spend most of their time alone, need to know how to nurture a fan base, work social media wisely, grow an email list and, if contracted with a traditional house, schmooze a little with the increasingly nervous staff therein.

4. Assume Infallibility

You want to fail at this game? Then put a chip on your shoulder and always blame somebody else. Your critique group is a great place to start. Tell them you’ve forgotten more about writing than they’ll ever know. Reject editors’ notes. Then rail at the marketplace when your books don’t sell. Do anything but admit you have weaknesses that need to be addressed.

5. Play the Game Close to the Foul Line 

What Keough means by this is that cheating, even a little, will eventually catch up with you. In recent years we’ve seen instances of plagiarism and sock-puppetry snag writers and impact careers. Trust is built up over time but can be lost in an instant. Just ask Brian Williams.

6. Don’t Take Time to Think

The saying in business is “data drives decisions.” You have to stop doing things that don’t lead to profit and do more of the things that do. Which is why traditional publishing companies drop authors who aren’t selling enough books. If you are a midlist writer and that has happened to you, maybe it is time to think … about going indie.

For the full-time indie writer, data is available so you can see what’s selling and how certain promotional ventures pay off. You can keep on developments via many fine blogs (start with The Passive Voice, a good aggregator of publishing news).

When I was running a small business I took time each week for “thinking, planning, and studying.” I called this my “TPS time,” which must never be confused with the TPS in this clip.

7. Put All Your Faith in Experts and Outside Consultants

Writers, more than ever, need to take responsibility for their own careers, no matter what side of the walls of the Forbidden City they’re on. You cannot simply hand everything over to an agent or publisher. You have to know what questions to ask and what terms to refuse. You have to know how to limit a non-compete clause and define “out of print” in a way that is meaningful and fair.

If you self-publish, the worst thing you can do is give some outfit thousands of dollars to get your book out there, and then thousands more for them to “market” your book. You need to know how to do this yourself. You need a plan, like the one I’ve followed and put into a book, which is on special now for 99¢ (you also have to know how to spot a real bargain, and this is one of them).

8. Love Your Bureaucracy

In business, the bigger the organization the harder it is to move. Traditional publishing has been living this challenge for the past five years. Why only five? Because when digital publishing took off in 2008-09, the main reaction of the Bigs was to see it as a blip, nothing to worry about. They had their comfy bureaucracies.

Oops. Now we see all the changes that have been happening inside the Forbidden City, from the cutting of editorial staff, to tussles with Amazon, to new direct-to-consumer programs. It’s been a difficult transition period and it’s still going on.

The indie writer, on the other hand, can move quickly, but can also fall in love with systems that aren’t ultimately helpful. For example, if you’re spending 80% of your time on social media and 20% on your writing, you’re actually heading backwards.

9. Send Mixed Messages

In business they say “the main thing is to keep the main thing the main thing.” As a writer, your main thing is to tell great stories. If you also want to be a bad-boy blogger, or a mouthpiece for some political persuasion, just know that readers will have mixed reactions. If that doesn’t bother you, fine. Just be intentional about it.

I consider myself a writer first and a teacher of writing second. What I do on this blog and in social media is consistent with those two things. That doesn’t mean I won’t share the occasional opinion, or even write a book with opinions in it [drop intriguing teaser about upcoming book here]. But I keep most everything consistent with those two roles.

10. Be Afraid of the Future

Oh, this is major. For 150 years the publishing industry has operated one way. It had a settled distribution system and there were plenty of bookstores for their stock. All that has changed in a flash, leaving agents, editors and trad-based writers wondering how this is all going to shake out. To which the answer is: no one knows. It’s like what old Carson the butler says with a sigh in a recent episode of Downton Abbey: “The nature of life is not permanence, but flux.”

So the successful writer keeps writing and doesn’t let anxiety freeze up his flying fingers. Keep writing, keep trying to get better.

Keough finishes his book bonus eleventh commandment:

11. Lose Your Passion for Work, for Life

You’ve got to find ways to keep the joy in your writing life. That doesn’t mean it’ll always be unicorns and rainbows. A lot of the time it’s tar pits and tsetse flies. But an inner core of love for what you do, and hopes for what you can achieve, will keep the fire burning.

When the flame begins to dim, take a couple of days to relax, regroup, rethink. And reread. Take a few of  your favorite novels off the shelf (or off your ereader) and look at a few chapters. Get caught up again in the romance of great storytelling. Soon enough you’ll be itching to get back to the keyboard.

Read The Full Article at The Ten Commandments of Writing Failure |.

Are You A Character Someone Else’s Story?

How do you know you exist? – James Zucker – Thoughtware.TV.

A Deadline

A deadline is negative inspiration. Still, it’s better than no inspiration at all.

Rita Mae Brown

via A deadline | The Passive Voice | A Lawyer’s Thoughts on Authors, Self-Publishing and Traditional Publishing.

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.

via How to Muffle Your Muse (And Actually Sell Some Books) – Sterling & Stone.

How To Open A Book

How to open a book – Boing Boing.


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.

The Realpolitik of Book Publishing

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.

via The Realpolitik of Book Publishing.

How Long Is Too Long?

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.

via How Long Is Too Long?.