Break a leg!

Barbie Turns 50

Someone sent me this cartoon and I almost busted a gut. I hope I'm not breaking some copyright laws by sharing it with you.

Speaking of busting things, a lady walked up to me last week at a writer's meeting and spurted out, "You're Debora Coty.You broke my leg."

"I broke your ... um, excuse me?" I looked down and sure enough there was a walking boot at the end of a long-leg cast sticking out the bottom of her shorts. Gulp. I'd never seen her before in my life.


"Well, you didn't really break my leg, " she clarified, "but I broke my leg because of you."

Now at this point I wasn't sure if I was dealing with a stalker, a lawsuit, a nutcase, or a wacky sense of humor.

"Yep," she continued, "It was your book, actually. Someone gave me a copy of Grit for the Oyster last Tuesday night and Wednesday morning when I woke up, that was all I could think about ... getting downstairs and starting that book I'd heard so much about. So I flew down the stairs and kind of missed the last step."

Wow. Can't say I've ever been accused of bodily injury with words before.

Thankfully, she didn't hold it against me and turned out to be a kindred spirit. A delightfully wacky sense of humor, after all. After the shock wore off, I loved it.

Now when I'm getting ready to go on stage for a speaking gig and someone says, "Break a leg," I can truthfully say, "I already have." 

Story Shape-Shifting

The first pink shafts of sunrise peeked above the hazy purple-blue horizon this morning as I made my way to the beach from our Daytona timeshare.

I'd been killing time in my room reading the new issue of Writer's Digest since that ding-dang rooster crowed in my head at 5 a.m. (Guess I've read too much Stephen King but there's something creepy about cavorting about on a dark beach by yourself before dawn.)

I was drawn to the WD interview with New York Times bestselling author Kristin Hannah, in which she said this about her approach for writing fiction: "Somehow, no matter how carefully I plan, I discover that errors in conception occur. I try to write my way out of those problems, allowing the characters' evolutions to show me the truth of the story."

That thought was still percolating in the coffeepot of my brain at 6:30 when I trod across the wide expanse of white sand toward the gentle early-morning surf. An "Aha!" moment suddenly overtook me when noticed variations in the beach sand that had somehow never registered before.

When you first step off the boardwalk, you encounter what I call "S" sand (because of it's many "s" word characteristics): soft, sugary, satiny, squeaky sand that feels like silk when you run your bare toes lightly across it. You just want to roll in it like your dog and coat yourself with it like a powdered doughnut.

Next comes the clumpy sand that has felt the kiss of the incoming tide; not a deluge, just enough to slightly dampen it and make it form clots and deep imprints from your footsteps.

Then you hit the hard-packed sand that has been beaten down into a quasi-cement-like quality from the relentless surf. The surf that has now retreated with the tide, leaving a sand highway for bikes, 4-wheelers, and the occasional car to traverse without fear of getting stuck. Footprints don't register on this surface; it's too compacted. You can walk up and down this swatch of sand all day and never leave a trace that you'd been there.

At last you reach the foamy surf and dig your feet into the soft sand beneath the lapping waves. This sand is pliable and fluid, forming gullies around your heels and burying your tootsies beneath it's ever-changing, ever-adapting undulations.

So much like the writing process,  I realized. From the first delightful, satiny, soft wisps of an idea that take root and then are watered by the tide of inspiration and relentlessly worked and reworked until they feel very nearly set in cement. But then, as the story begins to take shape on paper, the nuances and fluidity of the characters' character present surprise gullies and undulations you never saw coming in your detailed plot plan.

 Like the love story in my historical novel, The Distant Shore, when my plot outline called for a love affair between Aunt Augusta and the island doctor. As I was busily writing the first draft, somewhere around chapter four, out of the clear, blue sky, I noticed Aunt Augusta making eyes across the room not with the dapper doctor, but with the burly sea captain.

"Oh. My. Gosh!," I actually exclaimed aloud. "It's not the doctor, it's the captain!" I truly never saw that coming.

I then had to go back and rework the first three chapters, writing the doctor down and the captain up.  

And the sand shifted beneath my feet. But it made for a much better story, and a deeper, richer book.

I have to agree with Ms. Hannah. As safe as it might feel trucking down the hard-packed road, feeling the security of not getting stuck if we only stick to our meticulously plotted outline, we writers need to be willing to immerse our feet in the surf and allow the tide of our characters' desires, quirks, and true personalities to shape-shift the story in the way it was meant to be.        

 

Achieving Success

In a recent blog post, literary agent Rachelle Gardner posed the intriguing question, "What's really more important to you, the money you receive for your work (writing), or the work itself?"

I don't know about you, but my first unbridled response was to throw my hands into the air and cry, "Tis but a moot point! Inspirational writers sometimes make enough money to cover ink, but not necessarily paper, too!"

But then I realized Rachelle wasn't really asking for stark realism here; she was asking about priorities.Would you rather pull in cold, hard cash, or would you settle for pauperhood if only your books and articles could be distributed to readers far and wide?

In other words, would you rather be rewarded for your writing, or would you rather people read your writing?

I suspect we'd all answer that question differently at different times in our writing journeys, but as a Christian writer - a writer who feels called to write by Papa God himself - how do we achieve success? What is the fuel in our tank? What keeps our Chevy on the road?


As I was pondering this conundrum, I came across an obscure but very enlightening Old Testament story in 2 Chronicles 25: 6-10. You really need to read the entire chapter to get the whole overview, but in a nutshell, Amaziah, King of Judah, went to a lot of trouble and expense putting together a foreign mercenary army to augment his own small army to fight his enemies. Then a prophet of God rebuked him, saying, "God is not on their side ... you go by yourself and be strong. God and God only has the power to help or hurt your cause" (verse 8, TM).

Then Amaziah, a cheapskate after my own heart, said, "But what about all this money I already paid out to hire these men?" (verse 9a, TM).

The unnamed prophet, in true wise prophetic form, shot back the zinger that zipped right into my gut like a fiery arrow: "The Lord can give you so much more than that" (verse 9b, NIV).

I can just see the prophet slowly shaking his bearded head, muttering under his breath Oh, c'mon, you dope. Don't you get it? We're talking about GOD here! And I have the distinct impression he was talking to me.


Why, of course He can give us so much more than we bargained for. And certainly more than we deserve. Somehow I'd forgotten that. The creator of the universe is not constrained by mere money. God and only God has the power to help or hurt our cause. Not brilliant marketing or New York Times bestseller lists, or how many interviews we can land on national TV.

Money may buy your new wardrobe and airline ticket for the Today show, it may enable you to hire J.K. Rowling's publicist to get your own Larry Porter novel into every child's bookbag in the free world, it may even pay for a printer that doesn't smear red ink across your book flyer.

But money has no power to make your book "succeed." No matter what you do or don't do. God and only God has that power.    

I remember a time a few years ago when royalties and advances were of utmost importance to me. I was just getting started in my writing career and truly needed capitol for day-to-day expenses, not only for practical items like postage to mail manuscripts (it wasn't all electronic back then) but also for promotional things like bookmarks, brochures, and editors (it's important to polish up that manuscript before submitting it and letting the publishing house editors to have their way with it). And then I blew a wad on a publicist who I felt did a half-hearted job. It seemed like a very pricey mistake. I shed hot tears as I watched the dollar signs fly out my window.


And let's not forget the traveling expenses that go along with book promotion and speaking events. Those are very often right out of the author's pocketbook. At least until you become well enough known that groups are asking you, rather than you begging them.

So I sought after paying gigs. I needed money. I wanted money to accomplish the promo I thought I needed. More money, then more yet. It never stops. There's always something else you can do to push, push, push your book out there. Always more reviewers, always bigger venues and more people to reach. I lived with a constant burning sensation in my belly that I wasn't doing enough ... I needed to do more, be more, find more ways to catch up with the really successful authors who were a household name.

Now, a few years, a few hard knocks, and a few smarts later, I'm willing to concede that my little army is enough. It may not be impressive to the world, but even without the expensive mercenaries, it'll be quite sufficient to fight my literary battles and win victory on the specific battlegrounds the Almighty has chosen for me.

How do I know?

Because the nameless prophet was right. Success is not achieved by buying a bigger army. God has already given me more than that.

The Scoop on Queries

Merritt Island photo taken before writing The Distant Shore

I recently received questions from several aspiring writers concerning book queries so I'd like to revisit that topic.

A query is a one-page, single-spaced (normally manuscripts and corresponding letters should be double spaced, but a query is an exception) pitch letter to an editor or agent. The goal is to receive a request for more material - either a book proposal (another whole can of worms covered in a previous post), or a partial or full manuscript.

So the goal of your query is to introduce your topic, describe your book, and pique interest for more by doing it in a unique and entertaining way.

In order to achieve this goal, you must put serious thought into your query. That means time and energy. You need to include a clever pitch for your book, a brief bio, and your marketing strategy (how you intend to help sell your book). Unless your name rhymes with bowling and you write books about boy wizards, you're expected to get out there and market your book. Do you do event speaking? Do you blog? Have you a website?

Mention these if you do and make sure they're updated and ready for visitors. You can bet if the agent or editor is interested in you, they'll be visiting your website or blog.


Research by way of Writer's Market or Christian Writers' Market Guide the name of the appropriate acquisitions editor (many publishing houses have a whole host of editors; make sure you're sending your precious baby to the correct one). NEVER write to Sir or Madam or To Whom It May Concern. This may seem silly or trite to you, but it's not to them. It shows you care enough and are professional enough to do your homework.

Don't risk the slush pile over something you can control.

Be aware that not all publishers deal directly with authors; some only deal with agents.Whether they do or not will be listed in their submission guidelines. Obtain and follow the submission guidelines exactly - it's a good idea to not only obtain info from the Market Guides, but also go to the publisher's website for the guidelines posted there as well.

Make a short list of publishers or agents who look like a good match for your book - publishers and agents both have specific topics/genres they're looking for. Don't send a cat query to a dog agent.


If you're a non-fiction writer, be sure to list your platform information in your query - why you're an expert on this topic and why people will buy your book. But resist tooting your own horn too much; editors dislike (hate seems too strong here, but it's pretty close to the truth) aspiring authors to make claims like, "My book is the next Gone With the Wind." or "I'm going to make you a fortune."

Keep your word count to 100,000 words or less - very few, and I do mean VERY few first time authors will get a second glance when they pitch an epic novel. If your book is too long, consider breaking it into two books and pitch a possible series.

Never use the term, "fictional novel" - a blatant beginners mistake and you've just branded yourself an amateur. It's either fictional or a novel. The terms are redundant and you only need to use one.

Do some research on the agent or publishing house and comment on some of their previous work that you've enjoyed, or better yet, compare your work to some of their previous work. (They obviously liked that book or they wouldn't have published it!).

It's always good to have one or more self-published books under your belt before you query traditional publishers, but be aware that they don't consider you a "previously published author" if you're self-published. Simply state that you're self-published and your titles, and if it's impressive, the number of copies sold. (Self-Published books average 75 copies sold, so if you can state 2000 or more, include it.)
  
Agents are awesome (I love mine: Greg Johnson of WordServe) because they open doors you can't as an author. Unfortunately, it's not easy to get a literary agent to represent a first book, but if you've self-published or used a small press for previous books, you have a leg to stand on when querying an agent. Research and query them the very same way you would a publishing house. Standard agent commission if 15% and it's well worth it for all the work they do on your behalf. They don't get paid a penny unless they sell your book, so they're highly motivated and often full of great ideas to help you improve your manuscript. 

Look for sample queries in the two market guides listed above and plan to spend as much time perfecting your query as you would a manuscript. You only have one shot. Don't miss.

I got to move it, move it!

As the release date of my newest book, Too Blessed to Be Stressed, rapidly approaches (it's August 1 - yay!), I'm focusing on the promo engine, the roaring machine that will hopefully propel my book into the great, mysterious "out there."

I thought I'd share with you a few things writers must take into consideration when mapping out their PR campaigns.

1. You can't control who reviews your book and who passes, but do your durndest to get review copies into the hands of every possible candidate. Reviews DO matter and you want as many high profile reviewers as possible.

As a new trend (likely that of the paperless future), the publisher for Too Blessed to Be Stressed has decided to post the galley, or advanced reader copy (sometimes called ARC), on an online site called NetGalley. Previously, hard copies were sent out prior to the book's actual publication. My publicist (I've found it in my best interest to hire an outside publicity company, but many do it themselves) and the publishing house PR person, then interested parties responding to my press release to NetGalley, where they register for free membership and then have access to my yet-to-see-hard-copy book.

Lord willing and the creek don't rise, I'll have some nice reviews coming out about the same time as the book.

2. Land as many media interviews as you can ... the best way to get word out.  Radio interviews are easier to get than TV, but shoot for both. Newspapers are still alive and well and looking for interesting new local news to cover, so don't forget to query your hometown periodicals and send press releases to the appropriate editors. I once received a call 6 months after the fact from one local newspaper columnist who had kept my press release and wanted to feature my book in a full page piece on local authors. Too cool!

3. Stop by bookstores and introduce yourself to owners/managers, showing them a copy of your book and offering to sign stock. This is a clever way to sell books - people are much more likely to purchase signed author copies and get this juicy tidbit: signed books can't be returned! So the bookstore will keep those copies until they sell, rather than sending them back to the distributor to make way for newer books coming out a month or two down the road.

4. Readings and signings don't draw as many people as they once did, so come up with creative ways to spread the word of your book. I shot a dozen "2-minute Stress Busters" that we'll begin posting on YouTube in July and continue through September. Hopefully, people will like these humorous little stress-reducing tidbits from my book and tell their friends, creating a viral effect.

Okay, so what are some of your promotional ideas? I'd love to hear them.

Growing a Beanstalk (part 2)

This is the second excerpt of an interview conducted by Joanna Bloss of Shinebright Design about my marketing techniques. (Be sure to scroll down for Part 1.)

What's the best marketing decision you've made?

Overcoming my fear of all things computer and embracing the cyber future.

What's your biggest business challenge in the next 12 months?

Promoting two upcoming book releases (both by Barbour Publishing): Too Blessed to Be Stressed (August, 2011), and More Beauty, Less Beast (March, 2012).That means press releases, blog touring, book signings, media contacts, and a FaceBook Party on August 25 (a Kindle and a collection of my books will be among the prizes given away).

How do you stay motivated to grow your business?

I like to eat.

What's one more thing you wish you could do over again regarding marketing?

I wish that earlier in my career I had tune into pithy writing advice blogs like literary agent Rachelle Gardner's and had access to books like Grit for the Oyster: 250 Pearls of Wisdom for Aspiring Writers. I would have saved myself scads of capital, effort, and dead-end rabbit trails by learning from those who have been there, tried that.

Any other parting words of advice?

View rejection in your business (mine is writing) the same way jockeys see horse poo. An inevitable hazard of your trade. Just step over the piles, wipe the nasty off your boots, and move forward.  

Many thanks to Jo Bloss of Shinebright Design for reprint permission.

Growing a Beanstalk (part 1)

Okay, you've planted your bean (written your book). Now comes the watering, fertilizing and nurturing part in order to grow a healthy, sky's-the-limit beanstalk. So how do you get word out to an ever expanding audience? How do you invest in your marketing future now so that your next book will fare even better?

Read on for some tried and true ideas on expanding your online contact list.

This is the first of a series of excerpts from a recent interview conducted by Shinebright Design: www.shinebrightdesign.com. I had the honor of being one of their first clients when I started sending out e-newsletters several years ago and I was also co-author of Grit for the Oyster: 250 Pearls of Wisdom for Aspiring Writers with Shinebright's founder, Joanna Bloss.

First class work by a classy company! See for yourself - if you're not already receiving my free quarterly e-newsletter, be sure to sign up at www.DeboraCoty.com

Q: Debora, over the past five years, I've seen your e-mail list soar from a few hundred to upwards of 2,000! What's your secret for growing a great list?

A: It's really no secret, just a determination to create an online community by following a simple plan:

1. Gather email addresses at every speaking event by offering a prize to the person who can guess the closest number of chocolate kisses in a large glass jar. I don't wait for them to come to my book table to sign up (they won't) but instead come to them by passing around a clipboard while I'm speaking (subtle peer pressure).

I make it clear they're signing up for my newsletter and thank them for helping me out (nice people like to help others). I make a big deal out of playing the guessing game and give good prizes. People need to get something out of signing up for your newsletter and it's even more motivating if it's fun.

2. Network at writers conferences and book events. I transfer email addresses from the business cards I collect directly to my contact list. People are happy to receive news about the new friend they've just made and will gladly follow your progress.

3. Create an interest in my work through my books, two blogs, media interviews and articles (online and paper). I also advertise my website at every opportunity (in bios, beside my signature in all correspondence, on the back page of my books, mention it in every interview, etc.) where a sign-up box for my newsletter is highlighted on the home page.

4. Drive people to my website through contests, giveaways and word of mouth, where hopefully while they're there, they'll sign up for my newsletter. Keep info fresh on the website to draw them back; a Twitter feed on my home page has gotten excellent feedback.

5. Try to make my newsletter content interesting, fun, and appealing to my target audience (women) by including recipes, cute images and swatches of humor ... stuff women like and will tell others about.

*Stay tuned ... More ideas coming in the next post!