Showing posts with label Guest post. Show all posts
Showing posts with label Guest post. Show all posts

5 Tips to Help You Win a Writing Contest

 

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Photo credit: jake-ingle-w_78KOJiih4-unsplash

A big welcome to Desiree Villena for this amazing guest post!


5 Tips to Help You Win a Writing Contest

For the past year, I’ve had the pleasure of judging a weekly writing contest. This involves reading dozens of short stories all written to themed prompts, culling the good from the bad, and agonizing over which of my favorites is truly the best.

Some days I’m overwhelmed with quality submissions — which is honestly the best kind of torture. I could easily see a number of our participants going on to publish their own books. But while we’re blessed to get so many amazing stories every week, I’ve also seen plenty that is, well… less than stellar.

Today, I’m going to take you behind the curtain and show the kinds of things I watch for while judging. To be sure, while there’s no “one weird trick” to guarantee you’ve penned a winning story in either my contest or any other. However, these tips will at least make your story a much more solid and compelling entry — no matter where you’re submitting.

Tip #1: Keep your copy clean

Nothing will drag me out of a story faster than dumb mistakes.

By this, I don’t mean you’re not allowed a single typo — though you should be sure to edit your story as best as you can before submitting. But when I open a story and immediately see a wall of text with no paragraph breaks, misplaced quotation marks, and half the sentences beginning with lowercase letters, I know I’m not dealing with a professional writer.

Tip #2: Punch up your dialogue

I judge short fiction, so every sentence has to count. This goes double for dialogue. There’s not much time for me to get to know a character, and the worst sin you can commit is writing conversations just to fill space.

It’s true that real people rarely talk in deeply revealing, meaningful exchanges or pithy quips that tell the reader everything about the speaker. If we’re honest, we often don’t speak in complete sentences, at least not around the people to whom we’re close. But, fair or not, characters get held to a higher standard — each line they speak should not only carry the story forward, but also provide insight into who they are.

Tip #3: Understand your form

This may seem self-evident, but if you’re submitting to a short story contest, be sure that you’ve written a short story — not the opening chapter of a novel, and not a summary of a larger work!

Different formats can be tricky to understand, especially if you’re not used to writing in them. But it’s important to wrap your head around the fact that a short story is fundamentally different from a novel: not just in pacing, but in structure, tone, and where the crux of the story lies.

Similarly, poems, flash fiction, and novellas all have their own rules. Be conscious of what you’re writing — and what you’re not writing — when you submit to a contest.

Tip #4: Know the rules

Much like writing clean copy, this is another “quality signal” that judges watch for, whether they realize it or not.

I don’t mean to say there’s no room for creativity — quite the contrary, as we’ll get to in my next tip! But there’s a difference between purposefully breaking convention for artistic reasons and just… not understanding the basic rules of storytelling and grammar.

Before you submit to a contest, make sure your story follows these basics: use strong verbs, show don’t tell, and avoid “purple prose,” among others. Not sure if your work is up to snuff? Before you submit, you could always run it by a professional editor.

Tip #5: But don’t be afraid to experiment!

The best short stories I’ve read in our contest — the stories I still think about months later — are the ones that surprise me. Whether that’s a perfectly spun second-person narrative about the fear women face when confronted by strange men, or a love story about a pill bug, I love to read something I’ve never seen before.

Taking this approach does run the risk that your experimental prose will rub people the wrong way. Still, I don’t think I’ve ever voted for a winner who played it safe. So long as you know what you’re doing, feel free to let your imagination run wild and your prose spool out in thrilling new directions.

So go ahead — take that big swing. And good luck!

 

Desiree Villena is a writer with Reedsy, a marketplace that connects self-publishing authors with the world's best editors, designers, and marketers. In her spare time, Desiree enjoys reading fiction, writing short stories, and giving (mostly) solicited advice to her fellow writers.

The Road to Publication: Backroads vs. Superhighway

Hi there! Summertime has invaded life, and kept me busy (plus a new job). But today I'm blogging over at Writing from the Peak. We're talking about whether it's a good thing to enjoy a rapid path to publication, or if there's some benefit to the process being dragged out (many times far longer than we'd like!). Stop by and say hi.

Guest Post: Journaling Your Business, by Randy Ingermanson

 Gearing up for NaNoWriMo, this article seemed perfect for helping me get more serious. If you're not signed up for Randy's newsletter, it's free, and it's fantastic. The link is at the bottom.

Photo courtesy of Stock.xchng
Journaling Your Business, by Randy Ingermanson

If you're writing fiction and you intend to ever make money at it, then you're in the writing business. It makes sense to behave like you mean business from the get-go. Part of being in business is to set goals and then achieve them. In my experience, one of the best ways to do that is to keep a business journal.

This doesn't have to be complicated. Here's what I do, and it's been working well for me: At the beginning of this year, I created a document in my word processor called "Business Journal 2012."

Every day that I'm working, the first thing I do is to open the document and scroll down to the end. I type in the date and the day of the week in bold print. Then I spend a couple of minutes freewriting about the things cluttering my brain that I want to get down on paper somewhere. Often these are things I'm worried about or dreams I have for the future. Once they're on paper, my brain can let go of them and focus on the task at hand. I normally freewrite for one or two paragraphs.

If it's the first day of the week, I then make a list of bullet points for each major task I want to get done during the week.

Every day of the week I make a list of bullet points for the tasks I want to get done that day. These are
usually baby steps along the way to getting the major tasks for the week done.

I define what success is for the day by adding a note at the bottom that says something like this: "If I get at least five of these done today, then it's a good day."

Then I just start working. When I finish a task, I append the word "Done" after the bullet point for that task and I highlight it in red. The growing set of red "Dones" gives me a psychological boost as I work. The tasks that aren't done at the end of the day will be easy to copy and paste into tomorrow's list.

At the end of the working day, I type in a few notes about what went well and what went wrong. I might also do another minute or so of freewriting on anything that's cluttered my brain while working.

The entire process normally takes about five minutes, and it keeps my day ordered.

It also gives me a very complete record of what I've been working on all year. If I need to know what I was doing in March, it's easy to scroll to March and read a daily account.

Being productive is partly a matter of keeping focused. And you can't focus if your mind is churning with worries, hopes, fears, dreams. Get those on paper and off your mind. Then focus on the task at hand.

If you're going to keep a daily journal, you need to learn how to specify achievable tasks. An achievable task is one you can plausibly get done in the time you have available today.

"Work on my novel" is pretty vague, so it's hard to know at the end of the day whether you deserve to write "Done" after it.

"Spend 3 hours working on my novel" is a lot clearer. Either you worked on the novel for 3 hours or you didn't. If you didn't, you can't write "Done" in red, but you can make a notation that you worked for 2.5 hours and got interrupted by a phone call from Aunt Sally who's hitchhicking across Siberia and needs money. Again. It's not as good as a "Done" but it's partial credit.

"Maintain industry relationships" is a completely useless task for your list because you'll never know
when you're done. "Call my agent and discuss my questions on the Random House contract" has a clear endpoint. At the end of the day, you either did it or you didn't. When you're in the business of writing, you need to constantly be settting goals and achieving them.

If keeping a business journal sounds like something that will help you do that, then give it a try.

If it doesn't, then don't.


This article is reprinted by permission of the author.

Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the free monthly Advanced Fiction Writing E-zine, with more than 32,000 readers. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit
http://www.AdvancedFictionWriting.com.

Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

Do you keep track of your writing activities? If so, I'd love to know what works for you.

Guest Post: 3 Ways to Support Your Fiction Habit While Working Towards That Big Contract

By Gina Conroy

Many of us are committed fiction writers, yet haven’t been paid for our efforts in years. Sometimes it’s hard to convince family and friends and we’re working when we don’t bring home a paycheck. Sometimes it’s even hard to convince ourselves.

So what’s a devoted novelist to do while waiting to land a big contract?

Freelance Before the fiction bug bit, I freelanced for several local magazines. But when raising kids, writing fiction, and freelancing became too much to juggle, I hug up my press hat. Unfortunately, I forfeited the little money I was making that “made” me as a real writer. Now almost ten years later and one book contract advance spent, I need to make money while I wait to land a bigger contract. Since getting a J.O.B is not an option for me at this point, I’ve decided to go back to my freelancing roots.

At a recent writers conference, Chuck Sambucino offered great insight on freelancing. In class I realized I had years worth of blog content that I could repurpose for different periodicals, and was inspired to send out queries. My first query to the local paper didn’t get a response, but I got a “yes” twenty minutes after I emailed a query to a magazine I used to write for. There might even be an option for writing a column when there’s an opening. Now it’s official, I’m a working freelancer again and all because I decided to send out a query!

Teach Last summer I taught story telling/plotting to a group of preteens and had a great time teaching what I love, and I got paid for it! This year I’ve added new classes to creative writing camps and hope to hold one or two this summer. The biggest obstacle is finding students, but I’m doing everything I can to make it happen. I won’t get rich doing this, but it will help fund one writer’s conference this year. And it will add to my speaking resume!!

Ebooks This fall I’ll publish my first ebook starting with the writeing course I created for teens. I also plan on taking my blog content, organizing posts into themes, and publishing them as ebooks. With seven years of blogging, I think I can come up with a couple of ebooks that people will want to read.

What about you? What have you already written that you can turn into an ebook, freelance article, or class you can teach? You might not get rich, but you might just earn a little money while you wait for that next big fiction contract, and prove to the naysayers that you are a legitimate writer.
Unfortunately, the downside to trying to support your fiction habit is that it gives you less time to actually write. But that’s another subject for another day. Til then… keep writing, one word, one project at a time!

Gina Conroy used to think she knew where her life was headed, now she's leaning on the Lord to show her the way. She is the founder of Writer...Interrupted, and tries to keep things in perspective, knowing God's timing is perfect, even if she doesn't agree with it! ;) Her first book Cherry Blossom Capers released from Barbour Publishing in January 2012 and her first full length novel, Digging Up Death should be out by early next year. On her blog and twitter @Gina Conroy she chronicles her triumphs and trials as she pursues her dreams while taking care of family.

How do you earn money while you're working on your manuscript? I do freelance editing for Elance, which brings in in a few paychecks and hones my skills at the same time. What about you?

Guest Post: Marketing: Beginning With The End in Mind, by Randy Ingermanson


Today's guest post details the journey to publication from the end to the beginning. Randy Ingermanson has a way of explaining things so they stick with you. If you haven't signed up for his free monthly newsletter, click the link at the bottom of the post. It's worth your time.

Marketing: Beginning With The End in Mind, by Randy Ingermanson

In Stephen Covey's classic book, THE 7 HABITS OF HIGHLY EFFECTIVE PEOPLE, he recommends that you "begin with the end in mind."

He's talking about living your life in a way that you'll be proud of it when you die. The "end" he has in mind here is death.

But beginning with the end in mind makes sense, no matter what path you're taking, and the path we writers care about is the road to publication.

The "end" of that path is the happy day when an editor calls you to say, "We voted today and we've decided to offer you a contract on your book."

That's a good end to a long, long path. Getting published by a traditional, royalty-paying publisher is validation for your work. (You may also consider it validation for you, but it's really just validation for the novel you wrote.)

It's important to know the "end" you're trying to reach, because then it's not hard to work backward from that "end."

Let's do that now. Let's work backward several steps.

What comes before you get the contract?

That's easy. The last thing that happens before your editor calls to offer you a contract is that the publishing committee meets and your editor pitches your book to them and they vote on it.

What happens before the committee meets?

That's also easy. The editor reads your manuscript (and probably also your proposal) and decides that this is a manuscript she wants to champion.

What happens before your editor reads your manuscript and proposal?

There are two normal ways to get a manuscript in front of an editor. Either you or your agent sends the editor the manuscript. It doesn't matter who sends the manuscript. The only thing that matters is that the editor recognizes the name of the sender.

If your agent sends the manuscript, the editor accepts it because she knows your agent. If you send the manuscript, the editor accepts it because she knows you.

If the editor doesn't know either of you, then she doesn't even look at your manuscript. She's too busy dealing with professionals to be bothered with amateurs.

And how in the world would the editor know you? What has to happen in order for the editor to know you?

That's extremely simple. The editor will only know you if you have met her. The usual way that happens is that you meet her at a writing conference and pitch her your story and she says, "Wow! Sounds interesting. Send me your manuscript and/or your proposal."

If meeting an editor at a writing conference sounds scary, you might think that it's better to just get an agent and let him do it. OK, fine. Let's say your agent sends the editor the manuscript.

What happens before the agent sends the editor your manuscript?

Again, very easy. Your agent first has to offer to represent you and you have to accept that offer of representation.

Why does an agent offer to represent you? What has to happen first?

That's also easy. You send that agent a copy of your manuscript and/or proposal, and he recognizes your name on the cover, reads it, and decides that you are a
talent worth spending time on.

Uh-oh. How would the agent recognize your name?

The agent will only recognize your name if he's met you. The usual way that happens is at a writing conference. You make an appointment and pitch your
story to the agent, and he says, "Wow! Sounds interesting. Send me your manuscript and/or your proposal."

You may be wondering why you have to meet people in person. Can't you just mail in your manuscript? Or e-mail it? Are agents and editors too snooty to read their mail or their e-mail?

No, they're not snooty. They're busy. They're overwhelmed with the zillions of other writers sending in stuff by mail and e-mail. Your mail or e-mail is lost in the flood. Unless they know you.

A writing conference is your best chance to capture the undivided attention of an editor or agent – for fifteen minutes. You make an appointment. You've got a
quarter of an hour to show what you've got. No interruptions. Nobody else.

Sure that's scary. Sure that's hard. So was getting your driver's license. So was getting your first kiss.

Lots of things are scary and hard, and you do them because the rewards are worth the risk. Life is about doing the scary and hard things you need to do to get what you want.

If you want to meet an editor or agent and have a more-than-fair shot at making an impression, then a writing conference is an excellent place to do it. In my 20+ years as a writer, I haven't seen a better way to make that connection.

About once a year, I write a column in this e-zine about the enormous benefits of going to writing conferences. I believe in conferences.

I sold my first book (and my second, and my third) on my own, without an agent, as a direct result of the contacts I made at writing conferences. I met my first agent (and my second and my third) at conferences. Most of my published novelist friends did the same.

No need to belabor this point. Either you're ready to go to a conference and make some connections, or you aren't. If you are, then what are you waiting for? The year is early. Make it happen.

If you aren't, then now might be a good time for me to mention that writing conferences are a great way to learn more about the craft of writing fiction.

I joined my first critique group as a result of going to my first conference. I met my first writing buddy at another conference. I first heard the phrase "you're going to get published soon" from a novelist at a conference.

I don't usually make a sales pitch for my products in this column, but I will now, because it would be wrong not to mention it.

I've got an e-book available, the WRITER'S CONFERENCE SURVIVAL GUIDE, that tells you all about how to pick the right conference for you and how to get the most out of it.

You can find out all about the WRITER'S CONFERENCE SURVIVAL GUIDE here:
http://www.AdvancedFictionWriting.com/links/wcsg.php

If the "end" you have in mind is to get published with a traditional, royalty-paying publisher, then a writing conference is very likely to be one of the last steps you take before you reach that "end."

Nothing happens unless you take action. Go to it.

This article is reprinted by permission of the author.

Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the free monthly Advanced Fiction Writing E-zine, with more than 30,000 readers. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit
http://www.AdvancedFictionWriting.com.

Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

Where are you on Ingermanson's list? 

Guest Post: Tactics of the Winning Novelist, by Randy Ingermanson


Once a month or so, I share a post from author and writing teacher Randy Ingermanson. This article is one of three excellent ones in his current newsletter. If you're interested in writing, you really need this free subscription. Check the link at the bottom of the post.

Tactics of the Winning Novelist, by Randy Ingermanson

Tactics are the little things, the specific actions you take to build your skills as a novelist and then to write your novel.

Let's be clear that those are separate tasks: building your skills and writing a novel. An analogy might help:

Being a novelist is a lot like being a marathon runner. Before you can actually RUN a marathon, you need to first TRAIN for it. Typically, that takes a long time -- months of training to build the fitness and endurance to run an entire marathon.

But once you've reached that level, you can run more marathons with ease.

Of course, you'll continue to train between races, but now your training will be aimed at helping you run BETTER, rather than merely helping you FINISH.

In the same way, before you can write a novel, you need to develop your skills as a fiction writer.

But once you've got the skills to write one novel, you can write as many as you want with ease.

You'll always be improving your skills, but after you've written your first novel, you'll be working to write BETTER, not merely to FINISH.

I've identified five tactics you can use to build your skills as a novelist to the point where you're ready to write your first one.

These tactics are simple. In fact, they're "obvious." Success in life can be as simple as doing the obvious. You'd be amazed how many writers ignore all these tactics. You'd be amazed how fast you improve, once you start doing all five.

Here they are:

Tactic #1: Write on a consistent schedule.

Writing a novel is a marathon. A sprint here and a dash there won't get you to the finish line. Writing consistently for weeks and months WILL get you there.

Decide how many hours per week you can dedicate to writing. If you're a beginner, this might be only one or two. I recommend that beginners make it a goal to get up to five hours per week by the end of the first year of writing.

Your writing schedule is for WRITING. Not for research of your story world. Not for studying how to write. Not for reading magazines about writing. Not for reading blogs or hanging out on e-mail loops for writers. Not for going to writing conferences.

All of those are fine things, but they aren't WRITING.

You get better at running by running. You get better at writing by writing.

Tactic #2: Keep a log of your writing time and word count.

This sounds too simple (or possibly too anal) for words. It isn't.

Writing fiction is a JOB, at least for professional novelists. Someday, you'll be working with a publisher who has a publication schedule mapped out for two years in advance. You'll sign a contract with that publisher to deliver X amount of words on a particular date.

That date is not a fantasy. That date is reality. If you miss that date, it costs your publisher money. Yes, they build in some slack in the schedule. No, you don't ever want to use any of it. Not one minute. Your publishers will love you if they know they can trust you to meet your deadlines.

But you can't sign a contract to deliver X words on a particular date unless you know how fast you can write. You need to know how many words of output you can create in each hour of working time.

Good runners know what pace they can run each mile.

Professional writers know what pace they can write.

If you want to be a professional writer someday, then start acting like one today.

Tactic #3: Give yourself a weekly quota.

You can't do this until you've done #1 and #2 above. In order to create a meaningful quota, you have to know how many hours you can write each week, and you have to know how many words you can produce each hour. (They don't have to be GOOD words. Goodness comes later.)

Virtually all the successful writers I know assign themselves a quota of some sort for creating their first draft. While some writers use a daily quota and some use a monthly quota, most of them seem to set a weekly word count. I recommend weekly.

Your quota will be useless unless you actually meet it. Assign yourself a penalty for failing to reach your quota. Find an accountability partner who can check that you hit your quota and can make you pay the penalty if you fail.

Important: Make your quota possible. Never miss it.

Tactic #4: Find a critique group or critique buddy.

Most writers believe their work is either unutterably brilliant or wretchedly awful.

Generally, they're wrong on both counts. All writers are delusional. That's part of the job description.

There is only one way to know whether your work is any good or not.

You need somebody else to read your work and tell you.

You need a critique of your work regularly. I recommend that you get a critique monthly. Find one or more people with all of these qualities:
* They understand fiction
* They will be honest
* They will be kind

If your critiquers lack any of these, then drop them like a burning porcupine because they're useless to you.

Tactic #5: Constantly study the craft of fiction.


It is not your critiquers' problem to tell you HOW to write better. Their job is to point out what you're doing well and what you're doing poorly.

Your job is to find ways to improve your strong points so they're world-class (your strong points will make editors say yes someday).

Your job is also to find ways to improve your weak points so they're at least adequate (your weak points will make editors say no right now).

Generally, critiquers don't actually know how to teach you how to improve your craft. They may think they do, but they usually don't. Skill in critiquing is not the same as skill in teaching.

You have plenty of sources for teaching you the craft:
* Books
* Magazines and e-zines
* Classes
* Conferences
* Recorded lectures
* Mentors

When you know specifically what you want to improve, find some source of teaching on that exact topic and study it. Then apply what you learned to your writing and get critiqued again to see if you got it. Don't quit studying until you get it.

That's it. Five tactics that will turn a talented beginner into a professional writer, if you do them consistently for the rest of your life.

To summarize, "Write, write, write! Get critiqued. Study. Repeat forever."

Simple? Yes.

Easy? No.

That's why there are many more talented beginners than professional writers.

This article is reprinted by permission of the author.

Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the Advanced Fiction Writing E-zine, with more than 29,000 readers, every month. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit
http://www.AdvancedFictionWriting.com.

Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

Which tactics are part of your life now, and which ones do you need to add to your writing routine? 

Guest Post: Marketing--How to Hang on to True Fans by Randy Ingermanson


Once a month I post an article from Randy Ingermanson's amazing newsletter. He writes three articles for each issue, and they're all really helpful. To subscribe, scroll to the bottom. This month's post is really thought-provoking for pre-published writers.
Marketing: 1000 True Fans, by Randy Ingermanson

A couple of years ago, WIRED Magazine co-founder Kevin Kelly suggested the outrageous-sounding idea that an artist can make a decent living if he or she has a mere 1000 "true fans."

By "artist," Kelly meant anyone trying to make a living in one of the arts, whether fine arts, music, writing, or whatever. What's a "true fan?" Kelly defined it as someone who likes your work so much that they're willing to spend $100 per year on you. The calculation is simple. If 1000 people are each willing to spend $100 on you, then you can earn $100,000 from them. Most of us would consider that a decent living. You can read Kelly's original article here.

It's an interesting idea and I think it has merit. I won't repeat Kelly's article here. Instead, I'll expand on his idea. I have three main points to make.

My first point is that there are different levels of fans, from rabidly loyal fans who would give you their left kidney, all the way down to very modestly loyal fans who would be happy to read your next book if they could get it for a dollar.

You tend to have many more modestly loyal fans than rabidly loyal ones.

Mathematicians learned long ago that this common sense idea can be reduced nicely to numbers using a "Pareto distribution". (Google it if you're a geek and want to know how it works.)

Here are some example numbers to show roughly how it plays out in practice.

If you have 200 true fans willing to spend at least $100 per year on you, then you probably have another 200 fairly true fans willing to spend at least $50 on you. And you probably have another 400 modestly true fans willing to spend at least $25 per year. And maybe another 1000 slightly true fans who would spend $10 a year. If you've got all those, then you would likely have close to 20,000 very tepid fans willing to spend a mere $1 per year on you.

Add up those various levels of fans, and you've got a potential $70,000 per year, which isn't bad.

What this means is that you can get by on fewer true fans than you might have imagined. In principle.

My second point is that a lot of authors focus most of their efforts on building their number of Facebook friends (or fans) or on building their Twitter followers.

There's nothing wrong with that, but there's a very low entry level to becoming a Facebook friend/fan or a Twitter follower. Anyone can do it in a few seconds. Low investment, low commitment.

These kind of fans are nice to have, but bear in mind that they are mostly the $1 per year crowd. If they hardly know you, then they hardly spend money on you. These are what we might call microfans.

Fans who follow your blog or subscribe to your e-mail newsletter will be fewer in number, but they'll also be far more likely to be in the $10 per year group.

You don't have to find your superfans. They'll find you and tell you how much they love you. You can't sanely keep in touch with very many superfans, but that's okay because you probably don't have many anyway unless you're a superstar. Bear in mind that your superfans are the $100 per year people. These are the ones who'll drive 200 miles through a rainstorm to come to your booksigning. And buy a case of books for their friends.

The important thing to remember is that you probably need different tools for keeping in touch with your microfans, your regular fans, and your superfans. Don't treat them all the same, because they're not.

My third point is that you won't earn $100 per year from your superfans unless you have more products available than just books. To earn $100, you need to actually have $100 worth of products available.

It's fairly rare for authors to have that much product available for sale. Generally, the only products authors display on their sites are their own books, and their publishers get most of the revenue from those.

But there's no reason for you to earn money only from your books. As an author, your main job is to be an entertainer. Any way you can entertain people is a possible way to earn money.

As one example, if you're an entertaining speaker (many authors are), you might pick up some extra cash by speaking. Your publisher will love you, because good speakers can move a lot of copies.

A friend of mine, Robin Gunn, has a store that sells all sorts of goodies related to her books. She's got a large fan base, and naturally some of those fans are eager to spend money in her store.

Scott Adams, creator of the massively popular Dilbert comic strip, has a terrific web site with an online store containing cool stuff that any Dilbert fan would love.

Of course the great majority of Scott's fans spend hardly anything on his site. The point is that those few who WANT to spend a lot on Dilbert goodies CAN spend a lot -- because Scott provides a ton of them.

If you're not published yet, you may think that none of this applies to you. Maybe it doesn't apply now, but it might apply extremely well someday. Whether you get published one year from now, or five, or ten, you'll want to earn enough money to keep writing.

Now is as good a time as any to start thinking about how you'll want to keep track of ALL your fans – the tepid ones, the moderate ones, and the rabid ones. What could you do for each of these classes of fans that would make them happy -- and earn you enough money to do what you love doing?

You don't have to answer that question now. But think about it.

The future keeps coming at us faster and faster. When it gets here, you want to be ready for it.

Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the Advanced Fiction Writing E-zine, with more than 29,000 readers, every month. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit http://www.AdvancedFictionWriting.com.

Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

What do you think about Randy's advice on reaching your different kinds of fans? Do you think you'd consider selling merchandise like Gunn or Adams?

Guest Post: The Future of Publishing Revisited

Once a month I publish an article from Randy Ingermanson's worthwhile free newsletter. He has some fascinating comments on the future of publishing. Whether you're angling for traditional or self-publishing, or (like me) still trying to decide, you need to read this column.

The Future of Publishing Revisited, by Randy Ingermanson

In July of 2010, I made a set of nine predictions in this e-zine about the future of publishing in light of the current e-book revolution. If you want to go back and read that issue, you can. All issues of this e-zine are archived on my web site here.

Today, I want to update that set of predictions in light of what I've learned since then. Let's look at them in turn and see how clairvoyant (or obtuse) I was:
Prediction #1: Sales of e-books will surpass sales of paper books within five years.

When I made this prediction, it seemed aggressive. However, I now think it'll happen quicker than that.
The most recent estimates I've heard are that e-books are currently about 20% of the total book market (up from about 4% a couple of years ago).

I'm going to guess that e-books will hit a 50% market share within the next two years.

Prediction #2: E-books will become the "minor leagues".

I think this is already happening. The numbers I'm hearing are that about a million e-books are being
published each year in the US. That compares to a couple of hundred thousand paper books.

In March, Amanda Hocking signed a deal with St. Martin's Press. Hocking made her name late last year with her self-published paranormal YA e-books.

In August, John Locke signed a distribution deal with Simon & Schuster to handle sales of the paper editions of his massively popular self-published e-books.

Expect to see more of this in the next couple of years. Five years from now, I expect this will be commonplace.

Prediction #3: Beginning authors will e-publish first.

This is already happening quite a lot, and I expect it to become the norm within a few years. One of the
writers in my local critique group, Traci Hilton, has done extremely well with her e-book series of
mysteries.

What has surprised me is that some traditional publishers are now offering first-time authors e-book-only contracts for their first book. This past July, one of my former mentees, Mike Berrier, published his first novel, CASH BURN, in an e-only edition with Tyndale House, a mid-sized traditional publisher that has been very successful in paper for many years.

Prediction #4: Midlist authors will do better.

This is hard to measure because numbers are very difficult to get. Most authors don't even get their
sales numbers from their publishers until months later, and they rarely share those numbers, even with their closest friends. So it's hard to know for sure what the status quo is.

However, I do know for sure that most of my midlist author friends have been hard at work in the past year putting their backlist novels into print as e-books. And they're much more able and willing to tell their numbers for those.

The numbers I hear from them vary, but it's fair to say that a midlist author can reasonably expect to earn anywhere from a few tens of dollars per month up to more than a thousand dollars per month on each backlist book they put into print as an e-book. This is free money.

It's unclear to me how things will shake out long-term, but I think this prediction is still a good one.

Prediction #5: Bestselling authors will profit most.

The clearest test of this will come when superstar J.K. Rowling gets her new "Pottermore" site rolling. It's currently still in beta testing.

I would not be surprised to see Rowling make this a massive success.

It's an open question whether other A-list authors are going to follow suit with their own e-book initiatives, but my hunch is that they will. A-listers tend to be smart business people and they go with the money.

Prediction #6: Publishers will no longer accept returns.

I've seen no evidence that this prediction is coming true. The reason is clear to me -- the major bookstore chains have been even more financially stressed than the major publishers. Borders, after a long fight, lost its battle with bankruptcy in July.

Returns are a major cost for publishers of paper books. (Not so for e-books, since there is nothing for a
bookstore to return if an e-book doesn't sell.)

If the publishing world were logical, returns would not exist. But they do, and it's possible that this
prediction will turn out to be simply wrong. We'll see.

Prediction #7: Agents will stop reading slush.

Again, I see no evidence that this is happening. Yet. Most of my agent friends still get enormous amounts of slush. They still read some of it and scan a lot of it, but I suspect it's the worst part of their jobs.

Give this prediction time. When self-published e-books becomes the normal way for budding authors to break into the business, agents will quit reading slush and turn to the e-book best-seller lists for their new clients.

Prediction #8: Publishers will become more profitable.

Yes, they will. Because they'll be publishing more winners. Because they'll be choosing which books to publish from the e-book best-seller lists. Because authors will be e-publishing first, before they go to
paper.

Note that this means that publishers will be publishing fewer books. But the ones they publish will do better.

Again, give this prediction time. This won't happen until it becomes the norm for authors to e-publish
first and establish the saleability of their books in the Darwinian market.

Prediction #9: Some will do better; some will do worse.

This is a no-brainer. Whenever you have massive change, some will do better and some will do worse.

The ones who do better will be those with an entrepreneurial bent. The ones who do worse will be the
other kind.

The above is my original set of predictions from July, 2010. Now I have two more to add here:

Prediction #10: The race to the bottom will end.

This is not really a prediction. It's an observation of what I already see beginning to happen and which I expect will continue.

A year or two ago, the greatest fear I heard from authors was, "They're going to devalue our work by
pricing it too low. We'll all starve to death."

Authors were shocked when they heard of heretics selling their e-books for $2.99. They were mortified at the success of authors like John Locke, who sold over a million copies at a $.99 price point. And they were absolutely terrified when they learned that some wicked writers were pricing their e-books at $0.00.

What if all e-books became free? Then how would authors earn a living?

That was the fear I heard voiced over and over.

What I have seen happening in the last month or two is a price bounce. Authors have learned that you can move a lot of copies at $.99, but when you do that, you're lumped in with the shlock and you don't earn much.

The trend I'm seeing (and this is very recent) is for the quality authors to price their books higher. I
believe that very soon $2.99 is no longer going to be considered the optimal price for a self-published
e-book by an established author.

I believe that good authors will actually sell MORE copies at a price point above $2.99 because readers have begun to realize that you get what you pay for.

Prediction #11: Prices of e-books will correspond roughly to quality.

We'll always see free e-books. But more and more, a price of $0.00 will be seen as a sign of low quality. The same will be true of the $.99 e-books.

Authors will price their books at a level to maximize their total revenue. (They should do this. It's the
only rational way to price an electronic product.)

This means that the best books will cost more and the worst books will cost less. The market is smart and will swiftly sort things out. If the online retailers provide e-publishers tools to dynamically set prices, this will happen automatically.

If this happens, the worst books will have the lowest prices and the best books will have the highest prices.

This is great news for authors. We need not fear that we'll work like dogs and earn peanuts for our efforts. If this prediction comes true, for the first time in history, authors will earn exactly what they're worth. No more, no less.

Won't that be spectacular if it comes true?

An open question: What about piracy? Will it kill publishing?

I don't know, but I doubt it. I tend to agree with those authors who believe that "piracy is not the
enemy, obscurity is the enemy."

Right now, I think the empirical data is too thin to know for sure, so I'm going to withhold making a
prediction just yet.

Another open question: Will the wheels fall off of traditional publishers?

Again, I don't know. This could happen. It's a very real possibility. Here's why:

Most traditional publishers pay their authors only 25% royalties on the net sales of e-books. (A few pay even less.) Virtually all authors and agents consider this royalty rate to be massively unfair.

A small number of authors have abandoned traditional publishers because they believe they can do better by self-publishing electronically.

The hazard for traditional publishers is that their A-list authors will leave in droves. A-list authors are
the ones who write the books that earn the publishers most of their money. If they all left their publishers at once, then the wheels really would fall off. Rapidly.

That is a horrible, train-wreck scenario. Could it REALLY happen?

No, it can't happen all at once, because most A-list authors are somewhere in the middle of long-term contracts that may take years to work through. So don't expect any sudden disasters.

But yes, it could happen over time, like a long series of dominos falling in sequence.

Will it happen?

Maybe. I consider this the biggest question in publishing at the moment. A lot depends on how much
publishers are willing to bend on the royalty-rate issue.

My own best hunch is that A-list authors will eventually leave their publishers if they can't get a
royalty rate on e-books above 40%. (The authors I've talked to think that a truly fair rate would be at
least 50%, but I suspect they'd settle for 40%.)

Will the traditional publishers ever raise their royalty rates? I'm guessing they will, but they'll need
to do so before their A-listers leave. And they'll need to raise the rates high enough to make their authors happy.

Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the Advanced Fiction Writing E-zine, with more than 28,000 readers, every month. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit http://www.AdvancedFictionWriting.com.


Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

What do you think of Ingermanson's predictions? Is he on the right track, or way off base?

Guest Post~Character Names: Have You Heard This One? by Kenda Turner

Today we have a fantastic guest post from Kenda Turner. If you haven't visited her blog, Words and Such, don't wait. This article will come in handy if you're in the middle of naming your NaNoWriMo characters. Kenda includes lots of resources at the end!
Character Names: Have You Heard This One? by Kenda Turner 
 
"Always end the name of your child with a vowel, so that when you yell the name will carry."
                                                                                                                                 --Bill Cosby


I recently came across the following statement in a book on novel writing. I'd never heard this "rule" before. Have you? 

"Choose names with long vowel sounds for principal characters, shorter for lesser."

No discussion of why followed. And since I'd never heard this before (and with apologies to the author for not accepting the idea at face value), I decided to put the theory to the test by conducting an informal poll on main character names. I took the names from books I have on my shelf, particularly classics and Newbery award winning authors since they've stood the test of time. Here's my list:

                         Long                                                                            Short
Jo, Little Women (Louisa May Alcott)                                             Scarlett, Gone With the Wind (Margaret Mitchell)
Mary, The Secret Garden (Frances H. Burnett)                    Meg, A Wrinkle in Time (Madeleine L'Engle)
Andi, Revolution (Jennifer Donelly)                                           Anne, Anne of Green Gables (Luci Maud Montgomery)   
Tilly, The River Between Us (Richard Peck)                        Miranda, When You Reach Me (Rebecca Stead)
Zola, The Unfinished Angel (Sharon Creech)                       Jess, Bridge to Terabithia (Katherine Paterson)
Abilene, Moon Over Manifest (Clare Vanderpool)             Mibs, Savvy (Ingrid Law)
Jethro, Across Five Aprils (Irene Hunt)                                    Kit, The Witch of Blackbird Pond (Elizabeth George Spears)


As you can see, the results ended in a tie.

After this, I went back and checked the last names on the short-vowel list, and found that four of  the seven carried long-vowel sounds, three short. Not quite a tie there, but close.

So I asked myself, do vowel sounds carry that much weight? Or are there other considerations for choosing character names?

Actually there are. One of the best ways is get to know the characters--their personalities, quirks, and backgrounds. This way, the "ear" will be more open to the name that fits. Not only that, but names should be chosen with an ear to historical and cultural accuracy. Also, ideas for names can come from a variety of sources, like baby name books, lists of names popular to an era, movie and tv credits, business directories, old yearbooks, phone books--sometimes even cemeteries. For some writers, the name's meaning is important, for others it is simply a matter of what "feels" right. Yes, it boils down to how a name sounds, but not only because of long or short vowels.

And, unlike Bill Cosby's reason for choosing a child's name ending in a vowel, if we utilize other resources, we'll have no reason to yell. The name will carry itself.

At least that's what I think. What do you think?

p.s. for some good guidelines (not rules!) to aid in choosing character names, you might want to check out these sources:
How To Give Your Character the Perfect Name, Writer's Digest
Name That Character, Top Ten Tips, The Script Lab
Tips for Writers on Naming Fictional Characters, Baby Names
Eight Things to Keep in Mind When Naming Characters, Jody Hedlund
Name That Character, Writing World

*photo courtesy of www.sxc.hu
is a writer, wife, mother, and grandmother for whom the writing bug took hold early on and won't shake loose. She likes books (of course), walks in all seasons, photography, local history. She would like to see her children's books published. She'd also like to learn Spanish and Portuguese since her grandkids are being raised in bilingual homes--but that might be a greater challenge than getting published.

How do you come up with character names? Any more resources we should know about?

Making Your Reader Love Backstory, Part 4

  Part 4 of four posts on backstory by the amazing Randy Ingermanson. Find out how to get his free newsletter full of great information like this at the bottom of the post.

 Making Your Reader Love Backstory, Part 4, by Randy Ingermanson
You have at least six good ways to give your reader backstory, when the time is ripe. Here they are:
* Interior monologue
* Dialogue
* Narrative summary
* Flashback
* A nonlinear timeline
* Research


A Nonlinear Timeline
Sometimes you simply tell the story out of order. This is different than a flashback, which always has an entry point and an exit point.

When you use a nonlinear timeline, you can insert a time-stamp to indicate the date. Audrey Niffenegger uses a nice twist on this technique in THE TIME TRAVELER'S WIFE, where the dates aren't that important, but the characters' ages are.

You can also use a header that says something like, "Six weeks earlier." John Locke uses this technique in his novel SAVING RACHEL, at the point where he switches protagonists.

The first two-thirds of Locke's book features Sam Case, who is having a very bizarre day -- he's forced to choose whether his wife or his new mistress is going to die.

The final third of the book features a different protagonist, and begins with the words, "Two days earlier, 9:30 am..."

The book then replays things and fills in some essential backstory that Sam Case doesn't know.

In some cases, you can simply jump back a number of years without any warning at all. Mario Puzo does this in Part 3 of THE GODFATHER, which takes Don Corleone
back to the age of 12 and replays in fast-forward his life for several decades to show how he became the Godfather.

Modern readers are smart and don't mind this kind of leaping around through time, as long as they care about the story, and as long as they know where they are on the time-line.


Research
In some stories, the plot revolves around figuring out what happened in the past. This is obviously true for mysteries, where the detective is looking for clues.

It's also true in some kinds of thrillers. An example is THE DAVINCI CODE, where the protagonist must learn the secrets of the holy grail in order to stay alive.

The key thing is to make the research essential to the frontstory. Then success means learning the backstory.


So what do you do if your story has too much backstory up front?

That's not so hard. Follow these steps:

* Make a fresh working copy of your manuscript (so you don't lose what you've got right now).

* Read through your manuscript and mark every piece of backstory. You can do this easily in Word by highlighting it and then inserting a comment that says, "Backstory."

* Now go through your story and interrogate every single piece of backstory to figure out if it's both necessary and minimal. If it isn't, snip it out and save it to a different file -- a "backstory file."

* Read through your story one more time looking for places that are confusing because of missing backstory. Clear up the confusion by inserting the minimal necessary backstory. You can either write it fresh or copy in a piece from your backstory file. You can use
any of the six techniques we discussed above. Choose the one that meets your strategic goals for the story best.

When you finish, you'll have a leaner, more robust story in which every single piece of backstory is just what your reader needs in order to enjoy the frontstory.

Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the Advanced FictionWriting E-zine, with more than 26,000 readers, every month. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit
http://www.AdvancedFictionWriting.com.

Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

Check out the other posts in the series here:
Part 1| Part 2| Part 3
 

Making Your Reader Love Backstory, Part 3

Part 3 of four posts on backstory by the amazing Randy Ingermanson. Find out how to get his free newsletter full of great information like this at the bottom of the post.

Making Your Reader Love Backstory, Part 3, by Randy Ingermanson
You have at least six good ways to give your reader backstory, when the time is ripe. Here they are:
* Interior monologue
* Dialogue
* Narrative summary
* Flashback
* A nonlinear timeline
* Research
 


Narrative summary
Sometimes the most efficient way to give the reader some backstory is just to tell her. Narrative summary is efficient.

It's also boring. If you're going to tell the backstory this way, keep it as short as possible and put some effort into making it as interesting as possible, because this is where you're most likely to lose your reader.

Tom Clancy is famous for giving the reader large doses of backstory early in his books. His novel THE HUNT FOR RED OCTOBER has 12 pages of solid backstory in narrative summary, beginning on page 30.

Did Tom make a mistake? His millions of fans will tell you he got it right. The backstory begins after a very strong start, in which a Soviet submarine commander kills his own political officer at the beginning of a cruise, and then announces a bold and daring mission to his crew. The commander is committing treason, and the reader needs a spectacularly good reason why. The backstory provides that reason. Now the reader is on
the commander's side.

If you're going to use narrative summary, do it after a strong action scene, when the reader needs a bit of a break anyway. Use it to explain some of the questions the reader might have.


Flashback
Flashbacks are often vilified by writing teachers. I don't see any good reason to avoid flashbacks, so long as the reader feels the need for some backstory.

A flashback is, in fact, a great way to show the reader some backstory using all the techniques of frontstory.

My favorite example of flashback is the series of memories that Professor Snape gives Harry Potter in the 7th and final book of the Harry Potter series. Here at last, after thousands of pages, we learn the real secrets of Snape's past, why he hates Harry, and . . .
why he loves him.

A flashback has an entry point (where the viewpoint character flashes back to the past) and an exit point (where the character returns to the present).

Generally, these are tied together by some object that somehow triggers the memory of the past. In the case of the Potter flashbacks, the triggering object is the "Pensieve" which acts as a portal into other people's memories.


Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the AdvancedFictionWriting E-zine, with more than 26,000 readers, every month. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit
http://www.AdvancedFictionWriting.com.

Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

  Check out the other posts in this series here:
Part 1| Part 2| Part 4  

Making Your Reader Love Backstory, Part 2

Part 2 of four posts on backstory by the amazing Randy Ingermanson. Find out how to get his free newsletter full of great information like this at the bottom of the post.

Making Your Reader Love Backstory, Part 2, by Randy Ingermanson
You have at least six good ways to give your reader backstory, when the time is ripe. Here they are:

* Interior monologue
* Dialogue
* Narrative summary
* Flashback
* A nonlinear timeline
* Research
 

Interior Monologue
Interior monologue is the sequence of thoughts that pass through a viewpoint character's mind. The reader can hear these, either as word-for-word thoughts or else as the gist of what the character is thinking.

Either way, this is a fine way to give your reader little snippets about your character's backstory.

The key thing here is to treat interior monologue backstory like salt. A little is good -- it makes you thirsty. A lot makes you gag.

If you're going to use interior monologue this way, make the backstory references necessary to the character's line of thinking, and keep them short.

Dialogue
Inexperienced writers often launch a long stretch of backstory in dialogue by having one character begin, "As you know..."

The problem is that nobody in real life ever tells somebody else what they both know. This kind of backstory stops your story cold. The reason is that there's no conflict. They both already know everything.

If you want to tell some of your backstory using dialogue, drive it with conflict. Maybe one of the characters knows and doesn't want to tell, whereas the other character doesn't know and desperately needs to. Or maybe one character is about to do something stupid,
and the other one can only prevent it by giving up some backstory.

There are plenty of ways to play out some backstory through dialogue so that you maintain a high level of conflict.

Remember: no conflict, no story. So your dialogue must have conflict. If you keep the conflict high, you can give your reader unlimited amounts of backstory in dialogue.

A cross-examination of a witness in a courtroom is a classic powerful way to use dialogue to reveal backstory. The dialogue itself is frontstory. The information revealed in the dialogue is mostly backstory. But naturally, it has a huge impact on the frontstory.


Award-winning novelist Randy Ingermanson, "the Snowflake Guy," publishes the Advanced FictionWriting E-zine, with more than 26,000 readers, every month. If you want to learn the craft and marketing of fiction, AND make your writing more valuable to editors, AND have FUN doing it, visit
http://www.
AdvancedFictionWriting.com.

Download your free Special Report on Tiger Marketing and get a free 5-Day Course in How To Publish a Novel.

Check out the other posts in this series here: Part 1| Part 3| Part 4  

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