Writer Celebrations

I believe people don't celebrate nearly enough. Life's too short not to cheer, leap for joy and get giddy over accomplishments, big or small.

We should get out the tiarras, bake chocolate cakes and throw confetti at every possible opportunity. After all, it's the little victories that makes life fun, right?

So in honor of yesterday's completion of my new book manuscript, More Beauty, Less Beast: Transforming your Inner Ogre, I decided to post some writer funnies that make me smile. Hope they do the same for you!

Writer: "I want to write in the worst way."
Editor: "You've managed to do just that."

I didn't become a writer for the money; I became a writer despite the money!

While watching a family of woodpeckers pounding a dead tree in our back yard one day, I commented to Spouse, "Can you imagine beating your head against the wall for a living?"

With a knowing grin, he replied, "Isn't that what writers do?"

Is Stealing Really Stealing?

In reading the recent issue of "Writer's Digest" (if you don't subscribe to a writer's trade journal, shame on you!) I came across a piece by David Corbett describing a writing exercise designed to develop "Originality."

I was fascinated by Mr. Corbett's statement, "The best advice I ever received on writing in general was Oakley Hall's two-word bomide: Steal Wisely."

This touched on a subject I'd been thinking about a lot lately.

How far is too far when "borrowing" ideas from other writers or for that matter, from you own previously published work?

It's long been a practice of writers - and encouraged at writing conferences and workshops - to glean material from the ideas of others. You should always read other authors' work in the genre in which you're writing, they say, to keep a steady flow of new ideas sparking your own creativity. Certainly don't plagerize, but take a basic concept and expound upon it using your own voice and flair. There is no copyright on ideas.

I've actually done quite a bit of this, and was delighted to run across Mr. Hall's wonderfully descriptive phrase.

Steal Wisely.

From a perspective of integrity, I don't think of this practice as stealing at all. I wouldn't do it if I did. It only makes sense to me that greater input produces greater output and heaven only knows when you're in the middle of a project, you need all the fresh input you can get.

For instance, I'm currently writing More Beauty, Less Beast, and am reading all the beauty-themed books I can get my hands on. The trick is to not lose your own voice in the voice of another author, but to extract a thought, marinate it in your own juices, and see if something worthwhile (printable) pops out of the pan.

Anyone care to share their thoughts or experience on this subject?

Don't Miss This One!

Hope you'll hop over to Suzanne Fisher's blog to catch the interview with award-winning author Debora M. Coty!

Suzanne Woods Fisher - http://suzannewoodsfisher.blogspot.com/

And have a happy and holy Christmas!

Head Hunting

So you're thinking of writing a book. You've got the storyline whirling in your head, your character profiles finished, and you're still toying with the ending. But that's okay. Many writers write organically and allow the story to bud and bloom as it grows, rather than following a strict outline.

What's your next major decision?

Simple yet oh, so important. Which voice are you going to use?

When I started my historical novel, The Distant Shore, I began writing in first person. After about six chapters, I realized it wasn't working - there were just too many details that couldn't feasibly be voiced through the eyes of my 6-year-old protagonist. A child that young wouldn't be able to perceive or compute all that I needed perceived and computed to bring the reader along on the journey.

So I did two things (at the suggestion of several editors): I went back and changed the story to third person, and I upped Emma Lee's age to nine, although the real life protagonist was indeed six when the story took place in 1904. Three years makes a world of difference in maturity level at that age, and enabled me to include deeper insights and more knowledge of how the world works for my character.

We're all pretty well acquainted with first person narrative voice. It has strong emotional connection with readers (they become the "I" in the story) and a level of intimacy not included as much in other POV's (points of view).  The format of tellling the story directly to the reader enables the writer to use quirky speech, idiosyncrasies, and share "secrets" unique to the first person voice.

On the flip side, the vocabulary is limited by the narrator's own vocabulary and life experience. In other words, a galley slave couldn't expound on the "detested inadequacies of the existing penal system," because he wouldn't normally use such words or lofty thoughts. Not could my Emma-Lee understand or describe the symptoms of familial abuse in her family as a 6-year-old.

In first person, the entire story is colored by only what is within the character's scope of knowledge and experience. Thus, the story may not be entirely objective, a quality some authors use as a literary tool to lead the reader in one direction throughout the book and then spring a surprise (objective) climax on them they didn't see coming until the protagonist's subjected bent becomes apparent at the end.

 Second person POV is rare in novels, although it's used more often in non-fiction. I frequently use second-person in my self-help books such as Mom NEEDS Chocolate and my upcoming Too Blessed to Stay Stressed. In these types of inspirational, humorous books, speaking directly to the reader lends an atmosphere of girl talk across a table while sipping mocha lattes.

Are you gettin' me, girlfriend?

Third person POV can be approached several different ways. Third person omniscient is a distant, overall perspective, as if viewing life on earth from an astronaut's viewpoint in outer space. Or God's perspective, which is, of course, all knowing, all seeing. The narrative moves freely in and out of character's minds. This POV isn't used as often as it was in, say, Dickins day, but it can work well with broad sagas of multiple characters and events.

Limited third person is a kind of compromise between first person and third person omnicient.Although the story is told about another person as in "he" or "she," the storytelling remains in the consciousness of a single character. It doesn't have to be the same character; in fact it makes for a rather boring book if the entire story is told in one POV. It makes for a more interesting plot and more thorough coverage if the POV shifts between 3-4 characters, but attention must be paid to smooth flow.

Above all, you must take care not to confuse the reader. That would create what I call an "eyeball wall" and you're in deep dung-doo if you do too much of that. They'll simply close the book and walk away.

Most creative writing programs teach that you shouldn't hop heads - shift POV from character to character - within the same scene. POV changes should occur naturally at chapter changes or with line spaces within chapters. However, I've noticed a growing trend to shift POV from paragraph to paragraph in some modern fiction, although I personally find it bamboozling at times. You begin to wonder, "Now who's thinking this?" and you have to go back and re-read to figure it out. Many editors would consider this poor craft or lazy writing.

Well, I hope this little head hunt is helpful in your publishing quest. Write on!

Creative Book Marketing 101

The following are ten highlights I gleaned at the Florida Christian Writers Conference from the Internet Publicity workshop led by Penny Sansevieri of AME Book Marketing. Be sure to check out Penny's professional services - she's got tons of great ideas!

1. 1500 books are published each day in the U.S.

2. Biggest book marketing secret: Know your audience! What does your reader need? That's what they'll happily come to your site to find. Research places you reader goes to narrow your focus and get the most bang for your marketing buck. Look at clubs, magazines, newsletters, websites, associations your readers frequent, then YOU go there too!

3. Your website is a 24/7 sales tool. Treat it that way. Make it interesting, informational (pertinent to their needs) and entertaining to your readers. Offer enough new and changing info that they'll want to come back often. (Note from Deb: I have my Twitter postings linked to my website so all I have to do it tweet a few times a day and evolving news appears on my website and my Facebook page as well - kills three birds with one stone!)

4. Keep your website home page simple and clean - about 250 words for easy navigation. Avoid music and moving parts, which can seem overwhelming.

5. Newsletter sign-up should be front and center, easy to find and workable by a click.

6. Make purchasing your books quick and easy; add Amazon links and offer PayPal or a shopping cart. Keep the choices to a minimum to avoid confusion.

7. Blogs are a good way to personalize your site and keep content fresh, but remember, take care what you write - your words are your resume!

8. Sign up for Google Alerts. (Deb's note: This is an extremely helpful tool that you should take advantage of if you don't already - I've done it for a long time now and it's priceless. Every time your name or work appears online, you'll get a notice and link so that you can monitor pubicity and share it with others.)

9. You should try to blog 1-3 times weekly, approximately 50 words each (so busy people can click over and enjoy your brief thoughts stress-free). Use pictures as much as possible for visual interest and to enhance searches.

10. Use creative blog titles (like this one - LOL!) to pique interest and use key words related to your brand that will snag searchers.

Clearing up Publishing Confusion

This is some excellent information I learned from Lynn Price of Behler Publications at the Florida Writing Conference in Orlando on 19/22/10. I've added some of my own editorial comments.

Publishing terms defined:

Digital printing: Sometimes mistaken for Print on Demand; digital printing is used by all publishers to create low print runs of less than 100 units. Even Trade publishers who use large print runs (see definition below) use digital printing for ARCS (Advanced Reader Copies) and backlist titles.

Print on Demand (POD): Books are printed only when ordered (usually low order runs) to avoid warehouses overflowing with unsold books; prices may be slightly higer than average. POD is often offered by small presses. The publisher pays up-front production fees but offers no distribution services. In other words, books are not usually on store shelves because they can't be returned and bookstores only carry copies they can return if they don't sell. Many POD presses provide assistance with editing and cover art. Most POD books are available online through Amazon or other Ingram and Baker & Taylor dealers such aas Target.com or Barnesandnoble.com.

Vanity/Subsidy: The author pays all printing costs or the fees may be subsidized by the publisher (who pays partial fees). The author has little say in production or retail price, which is usually higher than average. The publisher offers various package fees and often charges extra for editing, cover design, and a host of other things that in my humble opinion should be considered basics. BEWARE of hidden fees that can add up fast.

Trade publishing: also called independent trade or commercial publihers. These are "real" publishing companies who provide their own editors, cover designers, distribution systems to bookstores, libraries and outlets, print ARCs for reviewers, and have standard return policies. They have distribution teams and sales teams who actually get out and pitch their titles to vendors. They have a vested interest in your book because their success depends on your success.

Self-publishing: The author is the publisher and provides his own editing, marketing, distribution, design and layout. He directs and funds the entire publishing process. He is responsible for purchasing his own ISBN number and with sufficient funds, may hire professionals to pitch his book to vendors. Some highly successful authors with readerships already in place choose to self-publish so that they may be in control of every detail of the publishing process.

Is Inspirational Romance your cup of tea?

At the Florida Writers Conference I attended (and at which I led two workshops) last weekend in Orlando, I was intrigued to learn the following 10 facts about "The Rules of Romance Writing" for the inspirational market:

1. There are 147 basic romance plots; these are used by all romance authors with minor variations.

2. 53% of all U.S. paperback books are romance fiction.

3. Christian fiction generally pays twice what secular fiction pays (in terms of author advances).

4. Christian romance book deals are usually trilogies rather than stand-alone novels. The second and third books are usually based on two minor characters from the first book.

5. A definite deal-breaker in Christian romance writing is to mention denominations, cursing, or sex acts, although sexual tension is perfectly acceptable.

6. In Christian romance, either the heroine or hero isn't a Christian; the believer tries to help the searcher work through his/her faith and by the end, the unbeliever comes around to seeing the light.

7. Romances are only considered romances if they have "happily ever after" endings. (I suppose that's why Romeo and Juliet was considered a tragedy.)

8. A true romance is always written from the perspective (POV) of the heroine.

9. Per a recent survey, the reason Americans buy so many Amish books is because their lives are so hectic, they want to slow down. Even slower heart rates are reported while reading Amish novels.

10. The three current biggest selling Inspirational romance genres: Romantic suspense, Historical set in 1800 America, and Amish (even mainstream publishers are now starting Amish lines).

References for this fascinating and useful information are author Stephanie Burkhart and literary agent Mary Sue Seymour.