Source: http://blog.marketingtipsforauthors.com/2011/07/when-authors-get-too-busy-to-write.html

funny thing happened to me on the way to becoming an author… I got so busy writing about “writing” that I didn’t have time to write. One of my passions is this blog. It gives me an outlet to connect with writers and other experts that is valuable and fulfilling beyond description. No doubt, this will be a part of my daily life for the foreseeable future.

But where my real passion lies is in writing. Writing fiction. Recently, I committed to complete the sequel to The Samson Effect by late summer/early fall. My writing schedule has picked up like never before. I’ve experienced those flashes of inspiration that I’ve not seen in years.

I have a couple of writing spots that I go to where I can be free of distractions. Every now and then, I call my wife to share a “brilliant” plot twist that I’ve created. She patiently listens and utters her support, not because the story is so amazingly interesting to her, but because she loves me. I then go back to my coffee and my writing.

It’s funny, there are certain things I need to have before I can sit down and write effectively:

* Blank Typing Paper
* Black Ball Point Ink Pens (Not Blue)
* Black Coffee Within Arms Reach
* Back Ground Noise (Conversations In A Coffee Shop Is Perfect)

But the biggest thing that I need is the one thing I had been holding back… Time.

I’ve found time for people to watch my 5 year old twin boys so Daddy could sit down to write. I’ve rearranged my schedule to make sure I’m not so busy that writing is always the thing I sacrifice for everything else. When I have a block of time that I can devote for writing, I turn off my computer, kiss my wife and my kids bye, and walk out the door with my pen and paper in hand.

The first time I didn’t have my computer was excruciating. But I quickly learned that, for me, being totally untethered from the real world allowed my creativity to flow.

So, to all the authors out there, here’s my advice. Make sure when you get busy doing all the things you need to to to market your book, you don’t forget to make time for your true passion… writing. Remember, you market to support your book, you don’t write to support your marketing activities.

We’re all going to have to make sacrifices when we choose what activities to give time to; writing will never complain if we sacrifice it. But as authors, we will only be completely fulfilled if we write. Whether it’s fiction or nonfiction, it’s part of who we are.

Tony Eldridge is the author of The Samson Effect, an action/adventure novel that Clive Cussler calls a “first rate thriller brimming with intrigue and adventure.” He is also the author of the Twitter marketing book, Conducting Effective Twitter Contests. His new novel, The Lottery Ticket, was just recently released on Kindle.

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Source: http://www.writersdigest.com/writing-articles/by-writing-goal/complete-first-draft/3-ways-to-know-when-to-end-your-chapters

Written by: Aaron Elkins

At some point in writing your novel, you have to start thinking about “chaptering,” the process of deciding exactly when and where your chapter breaks will go.

This is one issue for which you should not turn to the classics for help. In the days of Dickens and Tolstoy, the first few pages of each chapter served to get the reader ready for the events to come. Have you ever been to an elaborate theatrical production during which the curtain remains up through intermissions so you can see the workers shifting and turning the huge sets on their groaning sleds and rollers? That’s what I’m reminded of when I start a chapter by Melville or Hugo. Nowadays readers have less patience, and the novelistic curtain stays down during intermission as the reader leaps from chapter to chapter without being aware of all the whirring gears and pulleys we have so adroitly hidden from view. Or so we hope.

Thoughtful chaptering is more important than ever. By starting and ending in the right places, your chapter breaks alone can serve the powerful function of building suspense and keeping your readers reading. Unlike sentences or paragraphs, which have rules, chapters are artistic decisions; there are no rules. Here are three simple, essential techniques that can help you make effective chapter pauses.

1. FOCUS ON THE WRITING FIRST.
In deciding where to insert their breaks, some writers make chaptering part of their initial outline, but I find this method constrictive. In my experience, the most effective chapter breaks are born by writing first, and evaluating the structure second.

Try this: When you begin working on your book, structure your outline by episodes and events, not chapters. Only as you begin actually writing the novel should you give any thought to the chapter structure. When you come to a point that jumps out at you as a possible good place for a break, put in a “#” as a spacer and move along. When the draft is done, use your word processor’s Find function to go through them all, deciding which ones (usually 20 or 25) make the best chapter breaks. Most of the rest can remain as scene breaks, or be replaced with a transitional paragraph or two. This technique has worked for me going on 30 years.

Of course, there are two more specific areas in the writing process that make chapter breaks both obvious and organic …

2. BREAK CHAPTERS WHEN YOUR STORY REQUIRES A SHIFT.
Changes of place, changes of time and changes of point of view are all excellent places for chapter breaks. Sometimes, our stories necessitate them. For example:

A chapter break like this underscores the fact that there’s been a significant change of some kind—of place, of perspective, of point of view, of plot direction. It jogs your reader’s mind, telling him that it’s time for a reorientation, a retaking of his bearings. It can also refresh your reader’s eye after a long interval in one setting or situation. These chapter breaks lend continuity and pacing—both of which are essential for balancing suspense—to your story. And if you want even more suspense …

3. BREAK CHAPTERS IN THE HEART OF THE ACTION.
A good rule of thumb: Ask yourself, How can I end this part so that the sleepy reader is compelled to keep the light on, if only to see how some crisis turns out or how some crucial question is answered?

When shooting for this can’t-put-the-book-down effect, there’s one principle that’s as close to a surefire technique as can be: the good old cliffhanger, a term that dates back to the 1930s and ’40s, when Saturday movie matinees always included a serial—as a matter of fact, as kids we called them “chapters”—in which Tarzan, or Buck Rogers, or the Green Hornet would be left literally hanging by his fingernails from the crumbling edge of a cliff. The idea, naturally, was to make sure we were back in the theater the following week, and that’s the way it works for novels, too.

Effective as it is, there are a couple of caveats: First, you don’t want to end every chapter this way, or even most of them. It becomes predictable, which is something you don’t ever want anybody to say about your novel. After a while, this tactic loses its punch. Suspension of disbelief can go just so far. Second, for the technique to be most effective, it needs to be an integral part of the overall story, not a gratuitous invention inserted just for effect.

Also, note that a cliffhanger ending to a chapter doesn’t have to be an action scene. As long as it leaves the reader “hanging,” you’re in business. For example:

Use techniques like these to keep that novel curtain drawn tight during intermission, and you can rest assured your sleepy reader will be fighting to keep his eyes open all night, page by page, chapter by chapter, book by book.

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source: http://www.letinfohelp.com/article/creative-writing/a-guide-to-creative-writing-that-sells.html

Written by: Caterina Christakos

It’s unbelievable that with all the creative writing courses out there, that no one teaches the necessity of researching your market before you set pen to paper.

Yes, we all want to be creative and let our imagination go. At the same time, wouldn’t it be great to have some of your work published? Even better wouldn’t it be awesome to know that you have upped your chances of getting published by around 80% by simply doing a tiny bit of browsing in a library or bookstore?

Here is a way to make sure that there is an interest in your type of story before you pick up a pen or pull out your laptop:

1) Go to the local bookstore and read the writing magazines. Editors actually tell these magazines what they are interested in, in a fairly timely manner. Most of the guess work is taken out for you. You know which editors are looking for what type of stories.

2) Look at the current Writer’s Guide. It is filled with editors and publishers looking for fresh material. And guess what? They also tell you what each editor wants and what they are sick to death of.

3) Check out the bookshelves to see which children’s books are featured. Is there a trend or pattern? For example the last few years Harry Potter, Artemis Fowl and Charlie Bone have all been hot. It doesn’t take a brain surgeon to figure out that magical characters have taken kids and editors by storm.

4) Ask kids what their favorite books are. Ask them why they like one over the other. Ask if their friends are into the same books. Model these themes.

There is no need to make over the wheel or hire a psychic to figure out what publishers, editors and your audience – kids, are looking for. Gather this information and apply it to your writing.

Watch the number of your submissions rise, while your rejection letters become few and far between.

About The Author

Caterina Christakos is the author of How to Write a Children’s Book in 30 Days or Less and countless articles both on and off the net. For easy tips on how to write a children’s book go to: http://www.howtowriteachildrensbook.com.

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source: http://www.writersdigest.com/whats-new/how-to-reboot-your-writing-routine

Written by: Brian A. Klems

Trash the brownies. Nix the wine. Cut the Coolatas. Dang. Is it that time of year again? Soon enough, everyone will be turning to those grim New Year’s resolutions.

That roll call of self-deprivation has never been productive. I prefer to look on the bright side.

This year, I plan to live and write large. If I’m making any new year writing plans, it’s to write bolder and happier. This year, I’m going to be the bon vivant of the writing world.

What about you? Was 2011 the year of great and generous writing? Or was your work already trudging toward the winter blahs? Has this been the year when your day job and your family and your pets and the neighbors have demanded too much of your time and sidetracked you from your creative dreams? Or have you been faithfully putting in the time but … well … writing has become just another daily chore? Have you lost your passion?

It’s time to ring out the old writing year and plan for how to build on the past year’s success. And to do that, you may find that you need to refresh your writing routine.

So get happy. Get writing. Here are six questions to ask yourself so you can finish the year right.

1. Your New Year artist statement: You do have one, don’t you?
From those first drafts to that Pulitzer Prize party, I believe that your writing should be inspired by something much deeper than getting rich or getting famous or getting even with your ex. It should cohere with your own personal vision or belief system.

This is a good time to look within yourself and ask some tough questions about what you write—and why. How much does creative writing actually matter to you? Why do you even bother? Your honest and highly personalized answers will help you write a brief artist’s statement. I’m not talking anything Hallmark or biblical here. I’m talking about a simple, heartfelt statement that will sustain you over the next year. It will help you to balance your writing with working and parenting and commuting. It will serve as your daily reminder, your check-in with your creative self.

Already have an artist’s statement from last year? Dust it off and ask yourself if it still applies. A lot can happen in a year. These life changes can shift your worldview and your inner sensibilities. So take these early days of the new year to ensure that your artist’s statement still fits.

2. Your current regimen: Still working?
I put the finishing touches on this article in the beauty salon. It was a Wednesday evening after work. I was sitting in the stylist’s chair, editing and tweaking while she put the finishing touches on my new hair coif. A long time ago, my stylist stopped offering me those glossy magazines. She simply applies my chemicals and says,

“I’ll let you do your usual homework.”

As a busy day-job writer, you need to be ready to mix it up, to write on the go, to always have a draft or a research article or a final edit in your briefcase or under the seat of the car.

Take an honest look at how well your current regimen is really working. If necessary, be willing to experiment or make a change.

Ask yourself: Does last year’s writing schedule still work with your life? If you’ve been promoted or downsized, if your kids have graduated or started school, it may be time to tweak or adjust. Just like in real life, when you get lost in your writing routine, the easiest thing to do is to retrace your steps until you discover the juncture where things went wrong. If you’ve just had a year in which you often got sidetracked, take a diagnostician’s look at the where, the how and the who. Make a list.

In the new year, how can you change or avoid these? Often, this is a simple fix. For example, if you habitually get caught up in the TV morning news or the daily chores the second you go downstairs every morning, then … don’t go downstairs. Keep your laptop or your notebook upstairs, and get in some writing before the day actually begins.

Would mornings work better than evenings for chipping away at that ms? Are there incidental spots (lunch hour, waiting for your kids to get out of sports practice, a half-hour between school drop-off and your morning commute) when, given the right setup and equipment, you could easily fit in a solid spate of writing or editing?

3. Your hardware, software: Time for an upgrade?
Machines will not make you into a better writer. Commitment, passion and self-belief will. If, however, you’ve spent part or most of the past year unjamming your printer or cursing at your computer, then this is the time to upgrade your technology. Or, if you’ve found some incidental times and places in which you can fit in some writing, now is the time to splurge on a portable device that will help you use those times efficiently.

If you’re due for a tech upgrade, do it—it may be tax deductible. Many freelance writers work from a home office, which is tax deductible—including all the equipment that helps you do your job. (The same applies if your creative writing has reached professional status—even if it’s not your full-time gig. Check with your tax accountant about what is required to deem yourself a pro, or do some online research.)

4. Writing extracurriculars: Are you missing out?
Being a professional writer goes way beyond the U.S. Tax Code—but nobody will treat you like a professional unless you treat yourself like one. It’s important to give your writing equal or greater status to the other facets of your life—including your paid day job. And it’s important to utilize professional development opportunities. Workshops, writing conferences, webinars and classes are all excellent venues where you can keep up with developments in the field and network with your fellow writers.

So as you plan the next annual chapter of your writing life, investigate what opportunities are available, and what will work for your budget. Writing conferences fill up quickly. Continuing education classes are enrolling now for the spring semester. Don’t get shut out of those webinars.

Professional education and training—and your mileage—are also tax deductible for professional writers.

5. Your support network: Is it in place?
Nobody really writes alone, without the support of a partner, friend, babysitter, neighbor, cat, agent, local indie bookstore. As you draft your plan for a grand and happy writing year, list the people who can help you make it happen. If you’re a parent, can you and your partner agree to one kid-free night each? Can you trade or pay for babysitting services in your neighborhood? Would joining a local writing group give you the support, friendship and deadlines needed to get your work out of the attic and into the world?

As well as recruiting your cheerleaders, this may be the time to look at the people who have distracted or discouraged you from your writing dreams or plans. Is there a family member who never takes your work seriously? Is there a writing buddy who spends more time moaning about the publishing industry than actually writing or providing mutual support? Trust me, there’s a reason why people discourage you from your creative dreams. And the reason is them, not you. So make a New Year’s resolution to beef up your support systems, and either reduce your time with the naysayers, or at least change your reactions to them.

6. Day planners and deadlines: Have you mapped out a path to success?
I had a college professor who used to tell us evening graduate students, “A good paper is a done paper.” I’ve always remembered her advice. Whatever mood you’re in, there’s nothing as motivating as a fixed date with an editor who wants your work.

But how to find those editors and those calls for submissions? Take the time to research the writing and funding opportunities for the new year.

Many magazines, literary journals and fellowships have long lead times. Study the Standout Markets column in this magazine, and check out books like Writer’s Market to choose the opportunities that either apply
or appeal to you.

Be realistic here. Given your daily schedule, what can you reasonably achieve? Equally, it’s important to aim for some projects that will stretch you as a writer. Once you make your 2012 list, note the submission dates in your electronic or paper day planner. Done? Not yet: Inset those pre-submission dates to make a little project plan for yourself, including the sub-dates by which you need to complete your first draft, get it to your writing group for review or, if you use a copy editor, get it to him for that final pre-submission review and rewrite.

As writers, we often get so caught up in our work that it’s hard to take time to examine how we can make things better and plan ahead. But you use this kind of goal setting and long-range project management at work and at home. Why not finish the year right by setting yourself up for success in the new year with resolutions to approach your craft smarter and happier?

Your writing will thank you.

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Written by: Mary Anne Hahn

To say that I read a lot is perhaps one of the greatest understatements of all time. I read chronically, obsessively. Articles, books, magazines, newspapers, newsletters–you name it. Whenever I am alone, if I’m not actually writing something, I make certain I have something to read with me. I carry a large purse precisely for this purpose; my partner, John, calls the one I hoist on my shoulder these days “carryon luggage,” which should give you some idea of its size .

Although I have a great love for novels, most of my recent reading involves topics that inform and/or inspire. Of special interest to me is anything that can show me new ways (or new slants on old ways) for writers to make a comfortable living using their skills, things that I can share with the readers of my ezine, WriteSuccess.

One area that continues to look especially promising and profitable for writers is ebook writing and publishing.

For readers, the convenience of ebooks can’t be beat; you can purchase your book and be reading it moments later without getting up from your PC or Mac.

For writers, benefits abound. Ebooks are relatively inexpensive and easy to publish. You don’t need to shop around for an agent. There’s no yearlong wait between having your manuscript accepted and seeing it in print. And you can do some neat things with ebooks that you can’t with the traditional print variety–include your own clip art and graphics, add hypertext links right in the pages of your book that take you readers to related Web sites, and other fun online stuff.

You can’t just slap an ebook together and expect to find an instant road to riches, however. Finding and developing a book on a topic that people care about, and will pay for, is key. You will also need to decide whether to self-publish, or go through an ebook publisher. And the success of your ebook lies in how willingly, and how well, you market it.

Probably the most sought-after type of ebooks, and hence the most profitable avenue you can pursue, are the ones that contain information. These run the gamut as far as content, from how to develop a gorgeous perennial garden to how to balance one’s work and family life. If peopleare passionate about the topic, and feel it will enhance their lives, they will buy a book about it.

You say that this information is already readily available for free? You’re right, much of it is. But if you write engagingly and well, and if you can save people hours of searching and sifting through useless information inorder to find what will help them, then you can sell your ebook. Do the research for them, include the best links in your ebook, and you have something of great value to offer.

Let’s take a look at a real life example: Matthew Lesko. For those who haven’t heard of him, he has put together over 70 books on how individuals and businesses can find free US government money, grants and cash loans to finance nearly any venture you can imagine. His books sell like hotcakes, and I daresay he lives comfortably because of that.

Could people have found this information on their own? Absolutely. But are they willing to buy Mr. Lesko’s books if it will save them hours and hours of trial and error research? You bet they will.

If the idea of writing ebooks for fun and profit appeals to you, the absolute best guide on the Web for how to create, publish and sell your own ebook is “Make Your Knowledge Sell!” This ebook is so packed with information; you’ll be biting at the bit to start writing before you’re even a quarter of the way through it. Even visiting the product’s Web site alone will provide you with ideas. You can check out “MYKS!” here: http://myks.sitesell.com/writeangles.html

Another *excellent* resource on this topic is Neil Shearing’s “Internet Success Blueprint.” Written for Internet marketers, it is a superb step-by-step guide to developing and writing ebooks that we non-marketing type writers could definitely learn from. From selecting topics to choosing an electronic publishing format for your books–plus guiding you through the ebook marketing process–this one’s about as complete as you’ll find online. Plus, it’s a fun read. Read more about Neil’s book here: http://scamfreezone.com .cgi/176198

If you love to write and want to make your living from it, I strongly believe that ebooks are a fantastic way to go.

Here’s to your writing success!

————————-

ABOUT THE AUTHOR
Mary Anne Hahn is editor and publisher of WriteSuccess, the free biweekly ezine of ideas, information and inspiration for people who want to pursue SUCCESSFUL full-time writing careers.To subscribe, mailto:writesuccess-subscribe@yahoogroups.com .

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Source: http://www.writersdigest.com/writing-articles/by-writing-goal/get-published-sell-my-work/10-reasons-the-freelance-life-is-a-good-life

No writer likes a blank screen.

I am sitting here with one—but comfortably, thanks to La Colombe, a coffeehouse where I often write, conveniently located just 3,700 miles west of Paris. While it pours here in Philadelphia, and the working class rushes by in a profusion of umbrellas, I wait for inspiration.

I have always believed that almost any activity is better than inactivity, so I’m having a latte. At times like this, when the words are slow in coming, I remember why writing is often called a lonely, isolating business. But such descriptions are less about the writing than about the writer.

It’s easy to forget that there are big advantages to the independent writing life, no matter how bad times may be. There are many truly great reasons for being a freelancer, regardless of what you write—marketing copy, magazine pieces or even books on contract.

When it’s tough to stay at the keyboard, take a moment away from the rain to savor 10 of the best.

1. LOW STARTUP COSTS.
Most of what you need is already in your head: a reasonable command of the language, a knack for stringing words together, a love for sharing what you know and a curiosity about what you don’t. Few actual materials are required: a computer, camera and phone, all of which you probably have, plus a few incidentals that are available for less than the cost of dinner at a mediocre restaurant. Your writing business is one of the least expensive companies you can own—no warehouse, no sales office and, most important, no bureaucrats (unless you happen to be one).

2. MINIMAL DISCRIMINATION.
When someone doesn’t want to hire you, it’s like someone not wanting to marry you: Any reason is good enough. But most editors don’t need to see you in person, so you won’t lose the assignment because you’re too old or too fat. By way of full disclosure, nobody currently working at WD has met me; my persona is less Brad Pitt and more Wizard of Oz, the unseen guy behind the curtain, though my getting-assignments ploy avoids terms such as unemployed or between jobs or trying to re-enter the work force now that the kids are gone (I never seek sympathy with a hard-luck story). And while I have too much respect for language to use euphemisms—e.g., my dog Sugar was euthanized, not put to sleep—I don’t mind calling myself an editorial consultant, author, world traveler, jogger or anything else that contains a hint of reality. Nor should you.

3. NO DRESS CODE.
Outside of one or two formal occasions, I haven’t worn a tie in more than 30 years. And I remember a cartoon that showed a sign hanging above the door of a publishing company: “Through this portal pass the worst-dressed people in the world.” So as not to spoil your own standing, you might invest in some nice T-shirts and jeans (a hole in the knee will add credibility) for those rare occasions when an editor will want to take a chance on reducing property values by inviting you over. Don’t forget to wear your best running shoes.

4. YOU MAKE YOUR OWN HOURS.
Or you don’t. A blessing, but also a curse, since you may be inclined to squander your time. It’s easy to justify a walk in the park—there might be a story there. If there isn’t, that’s a story, too. It’s all in the packaging (remember the small-town paper’s headline “Mayor Dies,” which sold a lot of copies; the next day, when things were slower, the headline read “Mayor Dead for Second Day”).

If you’re going to freelance, what you need more than anything is discipline, because if you waste your time, there’s nobody else to blame. I worked on a novel from 6–8 a.m. every morning for a year while holding down a full-time job. I slept less, but I survived. And I sold it.

5. NO EMPLOYEES.
Many employers know there’s almost nothing worse than employees (seriously), and as a freelancer—you don’t need any! I had employees once, and I found myself performing daily functions as psychiatrist, clergyman, narc, lawyer and marriage counselor. Whereas you—you are in the enviable position of being the CEO of a small business. No meetings, no mission statements, no people failing to show up because of a few flurries of snow, no unions, no hiring, no firing. And you can work naked without asking some middle manager for permission.

6. IT’S YOUR OWN BUSINESS.
When I got my first job (a clerk/typist), my boss was into psychoanalysis; if I was late to work because of a flat tire, he’d say I’d subconsciously wanted it to happen. If I called the stuff on my desk “stuff,” he’d say I had no respect for its importance. That’s when I began lusting for a business of my own. It took several years for me to get it, but after that boss, I had a good run of employers who let me grow and move on and up. Having a job, in fact, is an excellent base from which to initiate your entrepreneurship; it’s easier to build a base of clients while you’ve got a steady paycheck you can rely on until you get off the ground.

Remember, though, that self-employment also has its drawbacks: You may think you’re working alone in your study, but you do still have bosses—the markets that buy your work. It will be your work, though, and your business and your accounts receivable. Which brings us to the fact that you have …

7. A CHOICE OF CLIENTS.
Freelance writers select their own employers. They query the outlets for which they want to write. (More often than not, all you’re looking for is a home for something you already have.) Ad copywriters are an exception—they have to suffer the indignity of pleasing the agency’s clients, but that’s why they probably make more money than you. The other side of that is that you, the independent writer, have the greater opportunity to strike it rich—a screenplay, a bestseller. Don’t be intimidated by the fame of others; they were all anonymous once and soon enough will be so again. And don’t think of it as climbing the ladder of success—it takes too long. You’re a writer, and writers can advance in quantum leaps, any of which can change a life. When a door opens, take the elevator.

8. NO OFFICE RENTAL.
Today, a great piece of writing can be executed in a closet, on a park bench or riding the subway. You can write about malpractice from your gurney in the intensive care unit. Words can fit anywhere that will accommodate a laptop. I have an office, but I work best where I feel more connected—so here I am in a noisy, chaotic coffee-
house. If you feel that writing is isolating, work on your blockbuster in a nice little place like this one, with its tax-deductible lattes and biscotti. Which brings me to …

9. WRITE-OFFS.
You can deduct subscriptions, dining expenses, office items, an iPhone, cars, insurance, research trips and plenty more, depending on what you write and how much you earn. Naturally, there are catches—for instance, you’ll have to be able to prove your deductions are business expenses rather than personal ones. And if it’s business, the IRS will expect you to make a profit. But if and when you do, the write-offs make it all worth it.

10. YOU CAN BE AN INSTANT EXPERT.
In most fields, it takes time to become an expert. But publish an article on a specific subject, and readers will assume that you really know something.

I was once asked to do a magazine piece about Keogh retirement plans. I had absolutely no interest in the subject. After the story was published, many readers thought I was an expert on the plans simply because I knew how to interview financial consultants. I could’ve spent my life speaking to men’s clubs. A close call.

If you should ever be unfortunate enough to get a full-time job, try to console yourself with the salary, vacation and benefits—just don’t forget that when it comes to your writing, you’re still the boss. It’s a wonderful life, freelancing, whether it’s your only job, or one you do on the side. And the good and bad news is, it’s up to you to protect it.

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source: http://www.writersdigest.com/writing-articles/by-writing-goal/get-published-sell-my-work/10-book-blub-basics

by: Jenna Glatzer

When you apply for a job, employers want to see your references to ensure that someone will vouch for you as a worker. Book endorsements work the same way: They assure readers that someone is vouching for the quality of the book, even if only in the form of a snappy one-liner on its cover.

Considering there’s no rulebook to follow, writers are often confused about how to request and obtain blurbs. Fear not, gentle scribe, for I’ve been down this road before with many of my books, and I’m here to be your personal endorsement etiquette coach.

1. Don’t expect someone to write a blurb about an unsold or unfinished manuscript unless he knows your prior work well. You’re asking your target to invest time into reading and commenting on your manuscript; it’s unlikely for him to want to do this without knowing that the book is actually going to be published.

2. If you’re self-publishing, say so up front and include a sentence or two about how you plan to market and distribute the book. This will reassure the potential endorser that he’s not wasting his time reviewing a book that will never be read.

3. If you’re publishing traditionally, know that sometimes your publisher will help you get blurbs, but often, it won’t. Even if your publisher has bestselling authors in your genre in its stable, don’t assume your editor or publicist will have no problem getting blurbs from those authors—this is typically not the case. Bestselling authors are inundated with blurb requests and have little to gain from doing them. If you have a special request you think your publisher might be able to help with, go ahead and ask—but be prepared to do most of the blurb hunting on your own.

4. When identifying potential sources to blurb your book, choose people who will matter to your audience. By all means, go after celebrities and leaders, but only when they have some personal interest in your subject. And don’t rely on the “big names” to come through. Make sure you’re also approaching people who are more attainable but still relevant: authors of related books or college professors, for example.

5. Don’t wait for your editor to tell you it’s time to get blurbs—ask for a deadline. When you’re close to finishing your manuscript, write or call your targets and give a short summary of who you are, what your book is about and who’s publishing it. Then say something along the lines of, “I’m hoping you will consider reading my book and providing a short comment about it if you like it. It would mean a great deal to me to have your endorsement on the book’s cover or front pages. May I send it to you?”

6. Don’t forget to explain why you think your target might be personally interested in the book. Blurbs are self-serving things. You’re asking for an endorsement because you think that person’s opinion will help you sell more books—but why will this book interest her? Be as personal and specific as possible, such as, “I attended a lecture where you advised people to pay more attention to food labels. I thought of that lecture as I wrote Chapter 4, and I hope you’ll like it.”

7. Be prepared to send a hard copy of your manuscript; not everyone wants to read entire books in e-mail attachments. Your publisher might assist in producing bound galleys that you can use for this purpose.

8. Never pay for a blurb. There are a few services online that charge for blurbs and reviews. Ignore them heartily. Their words are useless—no one cares that a person from “Bob’s Review Service” said your book was a timeless classic, and if readers discover that your endorsements were bought, you could be in for a big embarrassment. That said, it’s reasonable for you (or your publisher) to pay an author to write a foreword, if your book warrants one.

9. Set a reasonable deadline and follow up with your potential blurb sources, but don’t be a pest. Whenever someone agrees to consider blurbing your book, give a polite deadline (“If you enjoy the book, I’d appreciate your comments by Oct. 12”). Make sure this deadline is a week or more before you actually need the copy. A few days before your set deadline, follow up with a reminder.

10. In some cases, it’s OK to offer to write the blurb yourself. This is tricky in terms of appropriateness, and it helps to have good     “people-reading” skills. Don’t do this with a published author, who would likely be offended. However, busy professionals in other fields are often glad to sign off on whatever you write. If you’re near the deadline and the person still hasn’t commented, you might ask, “Do you want me to suggest some phrasing you could use? I’m hoping for something like this …” and offer two or three “sample” blurbs that the person can tweak. If you do this, go easy on the fawning praise and instead highlight special content in your book.

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Source: http://www.writersdigest.com/writing-articles/by-writing-goal/get-published-sell-my-work/elements-of-a-successful-fiction-platform

For most fiction writers, the true definition of that buzzword “platform” has always seemed a bit fuzzy. While writers of nonfiction can draw upon their subject matter in seeking opportunities for their work, theories on how aspiring novelists should promote themselves abound. Many fiction writers have a vague understanding of the need to network online, but are unsure of the specific and tangible benefits of doing so. Can time invested in platform development up front really help sell more novels later? Does offering craft tips or glimpses of your personal life succeed in leading people to your fiction?

Without having a clear idea of which methods of promoting yourself and your work are really worth the investment of time and money, you might be tempted to avoid the subject entirely. After all, you’ve got a novel to write! But in today’s publishing world, neglecting your platform—even before you have a book deal—can be a big mistake. Simply put, writers need readers. It’s an undisputable fact that many of today’s most successful fiction writers are those who’ve developed ways of creating lasting fans—and of reaching out to new ones every day. And aspiring writers who’ve developed budding fan bases have an advantage when it comes time to appeal to publishers and agents.

So as much as you might want to, you can’t afford to wait to create an online identity. The kinds of connections that translate into devoted readers of your work take time to build. “First and foremost, I try to remember the brand is me, not my latest book,” romance novelist Gwyn Cready says. “My efforts go into building a connection between the reader and Gwyn Cready, the writer.”

The key is to get your name known early on and then work at continually increasing your visibility as your career progresses. But knowing you need a platform and knowing the best way to go about building one are two entirely different matters. The good news is that when developing a strategy for beginning—or strengthening—your own presence and outreach, you don’t have to spend valuable hours starting from scratch with your own trial and error. Many notable novelists have succeeded in building large networks of fans over time—and are willing to share what they’ve learned along the way.

What does a successful platform really look like for a fiction writer? Read on to find out.

Your Website & Blog
Creating a website is a given—but making sure it remains content-rich, fun, reader-friendly and up to date requires a lasting commitment. Meg Cabot, who has written more than 50 titles for teens and adults, started her website back in 1998 to let readers know a bit more about herself and her books. Over time, the site has grown and evolved to include a blog she updates a few times a week; a message board for readers to discuss her books, other people’s books and even their own works-in-progress; a tour schedule; a list of upcoming releases; links to where her books can be purchased; a page where a monthly book contest is held; links to Twitter and Facebook pages for Cabot, her books and even some of her characters; excerpts from her work; links to her Café Press shop; a place for readers to sign up to receive e-mail newsletters; and a contact page.

“Having a website that is static seems to disappoint readers who want to see what their favorite writer is up to,” Cabot says. “At the same time, posting too much about craft or how many foreign sales you made last week can be a bit boring if that’s all you post.” Consider your fans’ point of view, and then aim to provide as much of what interests them as possible.

An integral part of most websites, of course, is a blog, and for good reason. Whether you blog alone or with a team of other writers who share your passion or niche, it’s a time-tested way to build a fan base. Author Allison Winn Scotch launched her blog, Ask Allison, almost a full year before her debut novel, The Department of Lost & Found, came out in 2007. “The first step I took was to establish a blog that would build some kind of brand loyalty,” she says. “I created Ask Allison, which gives advice to aspiring writers. I can’t impart how helpful this has been.”

Mystery novelist J.A. Konrath agrees, and has the statistics to prove that blogging can be a powerful part of a fiction writer’s platform. “My blog, A Newbie’s Guide to Publishing, lists everything I know about the writing biz, and gets about 5,000 hits per day,” he says.

But your blog doesn’t have to focus on writing, publishing or a topic related to your fiction. It can also start with your work itself (though there’s much debate in the fiction community about how wise it is to publicly post your writing), and then grow from there. This has worked for thriller writer Scott Sigler, who offers free podcasts of his novels. “Without a doubt, keeping fresh content in the feed every week is the biggest factor [to my blog’s success],” Sigler says. “If I’m cranking out stories that the fans want to hear, they are also willing to hear my other messages: what to buy when, how they can help, when I’m on tour, etc.”

Before you jump into blogging, consider how to best position yourself for future success. Every blog needs to strike its own note and sound it consistently to attract readers, and to keep their attention over time. At the end of the day, your brand and your blog are “about” what you write best.

If you’re too overwhelmed with the prospect of maintaining your own blog, consider teaming up with like-minded writers for a joint venture. Suspense author James Scott Bell focuses his online writing on contributing to a group blog called Kill Zone. “A solo blog is very draining if it is to be done well and draw enough people to justify the time,” he says. “I found it took too much away from the most important thing: my actual writing.” Besides, from the reader’s perspective, the only thing better than a blog by one bestselling writer is a blog by nine of “today’s hottest thriller and mystery writers,” where readers who are fans of one of the authors’ books might find they like the others’, too.

If you can’t decide whether to blog solo or in collaboration, perhaps, like Winn Scotch, who blogs at both Ask Allison and Writer Unboxed, you should try both and then track your “return on investment,” something Bell suggests every author should keep in mind.

E-mail Lists & Newsletters
Build an e-mail list, and give readers every opportunity to join it. “I bring a guestbook to every appearance and ask if people would like to be on my e-mailing list,” children’s book author and illustrator Katie Davis says. “Same goes for anyone who gives me a business card. Then at pub time, I am prepared to announce the book to people who have requested info.”

Even if you don’t have any publications to announce yet, start collecting contacts early in your networking process (on your website or blog, and however else you can), so you’ll have them ready when big news rolls around. Be sure to acquire appropriate permission. “About once every three months, I take all the personal notes and contacts and send them a personal invitation to join the newsletter list with an opt-in link,” romance author Susan May Warren says. “I also offer them a free, short read for joining, something that gives them a taste of what they get in the newsletter.”

Davis says that crucial step of asking permission is not only common courtesy, but it builds a better list. “The worst possible thing is to add people to your mailing list without asking them first. A list of 1,000 strangers is not as strong as a list of 100 dedicated followers,” she says. “It will make people angry if you send them promotional materials they haven’t asked for.”

So what do you do with the list once you have it? Mystery author Dana Stabenow successfully uses an e-newsletter to stay connected to, and inspire, her readers. At its launch she ran a contest for fans she was already in touch with to name it. They selected “The Roadhouse Report,” named for a bar in her Kate Shugak series. Stabenow sends out a newsletter each month for the four months prior to a new book’s publication, and then a newsletter on the day of the release. Each bulletin lists upcoming signings (complete with links to buy the books at those venues), announces the winners of advance reader copy giveaways, and includes a link to the book’s page on Amazon.com.

Chances are good that if you’ve reached out and been generous with your time in the past, fans won’t mind a slight uptick in communications come publication time.

Multimedia
Don’t just make audio or video so you can say you have them. Create infectious, informative or funny tracks that will be likely to get passed along or recommended. “Making a book trailer for the sake of having a book trailer is a waste of time, unless you think it’s fun to make book trailers,” children’s novelist and poet Laurel Snyder says. “If it isn’t funny or beautiful or thought-provoking, it will only be watched by your mother. People forget that these things need to be content.” When you come across an audio or video promo that stands out, bookmark the link for future reference, when you might be tempted to produce something less than remarkable.

Sigler takes a more direct multimedia approach by podcasting his fiction in unabridged, serialized weekly installments—a strategy he feels is key to inviting new fans into his fold and reaching out beyond his existing audience. He makes his podcasts free and available widely on iTunes, the Zune store and all over the Web, hoping that listeners will become book buyers. Likewise, readers who discover his work in bookstores are pointed to his online efforts: Sigler’s contact information and social media profiles are listed in all of his books.

Traditional PR Channels
The doom of the mainstream media has long been rumored. But make no mistake, media attention can not only bring your name and work to potential new fans, it can grant you increased authority and trust in an increasingly noisy marketplace. After appearing as a guest on the regional TV show Good Morning Connecticut, Davis offered to recommend great books for kids, and now appears monthly on the program. Suspense novelist and nonfiction author Hallie Ephron says reviewing crime books for her monthly On Crime column in The Boston Globe has been an effective strategy for increasing respect for her own fiction. And when Cready’s time-travel romance Flirting With Forever came out, she successfully pitched a related idea to USA Today. As a result, her article “10 Great Places to Defy Time and Space” coincided with the release.

Bottom line: Don’t overlook traditional media outlets to expand your reach and up your credibility. Any time you spy opportunities to get your name in the public eye, even if you have yet to pitch your novel, go for it.

Social Media & Reader Outreach
Down the road, as an established author, you will reach out to fans via social networks, so a smart strategy in the meantime is to offer support to the authors in your genre whom you already admire. Begin by using social media to build yourself into a strong network of like-minded writers, both published and unpublished. Don’t stalk them, but reach out and keep in touch. When the day comes that you need a favor, they’ll be more likely to oblige if they’re already familiar with you and your online efforts.

The authors most successfully using Facebook and Twitter work to expand their reach “over the long haul,” in the words of YA novelist Lisa McMann. “I spend time online every day,” she says. “Three years ago MySpace was the place to be. Now it’s Facebook and Twitter. You have to be flexible and willing to change when social media changes if you want to stay current [especially] with the teen audience.”

Sigler also tries to be as responsive as possible on every social media channel. “Every new friend on Facebook or Twitter gets a personal, hand-typed-by-me reply,” he says.

It’s worth noting that of the 13 novelists interviewed for this piece, no two had the exact same approach—so it’s up to you to figure out which kinds of social media work best for you and your work.

Although several authors felt that Twitter was the least intuitive of all the online networks, Snyder says it can be great for meeting new people. “One of the best ways to pick up followers is through a tweet chat, like #kidlitchat or #ScribeChat,” she explains. “These events can be dizzying, but you’ll get introduced to a huge number of new people all at once.” Snyder also says publishing your writing in an online magazine is a good strategy because it can then be linked to your social media profiles. So if you write something people like, they can follow you back to Facebook, Twitter and the like.

Old-fashioned face-to-face time with fans is also crucial when it comes to reader outreach. “I spend a lot of time with my fans as a way of continuing to build my platform, but that’s not the only reason why I do it,” McMann says. “I like spending time with my readers in order to stay in touch with their vibe, and to be a more authentic writer for teens.” When you aim to connect in person, stick to events where new-to-you folks are most likely to show up.

For a different kind of face time, Skype conferencing can be an easy way to traverse the country without leaving your home office. Young adult author Heather Vogel Frederick says chatting with mother-daughter book clubs both live and via Skype has been the single most successful strategy at this point in her career. She says, “I have numerous clubs now that have invited me back two and three times, as each of my new novels is released. A time commitment is involved, but frankly, why would I deny myself the pleasure of interacting with enthusiastic readers who have already read the book and are eager to ask questions about it? It’s something I thoroughly enjoy, and find invigorating and inspiring.”

Strategic Giveaways
For the best return on your investment, consider targeting book giveaways first and foremost to potential reviewers in your network. “I make lists of my online community members who review books, or own bookstores, or work for magazines or libraries, and I try to reach out to them (one-on-one, not in a blast) to ask if they’d like review copies,” Snyder says.

McMann favors a different approach: She says rather than giving books to booksellers, whose nightstands are already towering with “must-reads,” she looks for potential fans. “I’ve developed quite a large local following by handing out free signed copies of Wake to actors at the local youth theater where I volunteer. This theater group is made up of teens from several area high schools, and the actors change each season. Teen actors tend to be readers, and they also tend to be fairly outgoing and vocal about what they like—at least my local group is. So they have spread the word about my books to their classmates all around the Phoenix metro area.”

When it comes to sponsoring your own giveaways, a smart way to become familiar with the best strategies is simply to participate in a few similar contests by authors you admire. Paying attention to what feels good for you as a fan is a helpful way to train yourself to take good care of your own future devotees.

Balance
A solid fiction platform combines all of the above with one key ingredient you can’t do without: good writing. “The writing comes first,” Konrath says. “It has to. The true secret to success is repeat business. Getting someone to try you is hard, but if they try you and never buy another book, your efforts were wasted.”

Bell echoes this sentiment. “You can market your way to an introduction, but if the reader doesn’t like the book, nothing of lasting value is gained.”

So be careful not to let an overemphasis on self-promotion hurt your writing—because writing well is still the most important job for any novelist. Then, explore all the ways you can keep those readers coming back for more.

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Source: http://www.go-publish-yourself.com/archive/articles/book-marketing/pypersj2.php

Written by: Joni Pypers

You want to write a book – a very exciting and challenging undertaking. Good for you. You have a great book idea – an idea that you believe needs to be in print. You believe that other people have an interest in what you have to say. You believe that many people will buy your book, and if you do the job of writing correctly, many people WILL buy your book.

It is your dream to have your book in every bookstore in the country, perhaps even in several countries. But wait, have you planned beyond bookstore sales? Many authors are unaware that there are many markets for books beyond the bookstores. The bookstores may be your first market, but there are many other “hidden” markets, and here are some key book marketing tips to help you tap into those markets.

Let’s begin with the job of writing the book. When you put “pen to paper”, it is important that you focus on one audience but write for many markets. Let’s begin by identifying why you are writing a book. Some people merely want to be a published author, giving them claim to a copyright and their name on a book. That is satisfaction enough. They don’t care about the financial return or the development of writing or publishing as a career. Other people just want to write a family history and sell it to their extended family. Some people are interested only in selling to the attendees of their seminars. Many others, however, want to sell thousands of books in as many markets as possible. Decide at the beginning of the writing process why you are writing so that you can determine whether or not you are creating a business venture.

Once you have established your reason for writing, move on to what you are writing about. Don’t try to be all things to all people or the encyclopedic source of all information on a subject. Choose an area of a subject with which you are very familiar and develop your topic well so that you don’t overwhelm or bore your readers. For instance, if you are writing a cookbook, don’t try to be The Joy of Cooking – that’s already been done. Instead, write about a category of recipes, such as heritage recipes, or recipes of a region or culture, or recipes from famous restaurants, etc.  Your goal is to make your book different, and better, than other cookbooks.

Having now decided on the why and the what, focus on the who, meaning who will buy your book. You believe that many people will be interested in your book, but let’s define “many”. Do you mean all of the people in your interest group, your church or your workplace, or do you mean everyone? A word of caution, though -   there is NO book that is for everyone. Sure, everyone may need your book but not everyone will want it. If your book is a healthy lifestyle cookbook, everyone might need it, but only people who actually want to be healthy will buy it. Do some research on who those people are and where they are likely to actually buy your book. Understand their demographics: age group, income level, shopping habits, activities, etc. Now write for them. What information are your target readers looking for? Is their a gap in the information about a subject that is very familiar to you or in which you have the credentials to fill the gap? Make sure that your book solves a problem or problems for the reader, or make sure that your book will increase the well being of the reader. Avoid falling into the trap of writing to make yourself feel better – you are not the one who will buy your book. Or if you are, you are the only buyer that you will have!

The why, what and who now being defined, you can turn your attention to the where you can sell your book. Because there are many markets for books, decide early in the writing process just what those markets are and write to sell your book in those markets.

It is likely that the first market that will come to mind is traditional book stores, and of course they can be a vital part of your sales. Do your research in getting to know your competition on the book store shelves, i.e., look at the other books that have been written in your genre. What writing style is most appealing to a wide audience? Is there a gap in the information provided in the other books? Are there problems that have not been addressed? Find the needs and fill them. When you are satisfied with the information that you are providing, think about what will attract the book store buyers. They will want to know about your planned publicity campaign. If you want people to buy your book in book stores, you are responsible for letting people know that your book is available, thereby driving buyers to the stores.

Besides book stores, books are purchased in the nontraditional book market by display retailers, book clubs, catalogs, gift retailers, volume buyers (think Costco and Price Club), corporations, foundations and foreign markets. These markets are considered “hidden” because they exist outside the usual bookstore market, yet they account for many millions of dollars each year in book sales. In fact, we sell thousands of books to buyers like these every year (for more about our Book Marketing tips and secrets click here: Book Marketing Tips). These markets, however, do not buy any and every book. They are looking for books that appeal to their customers.

For instance, if you are writing a book about spiritual experiences, think about which of those markets will likely buy your book.  Will you approach book clubs? If yes, which book clubs – those that specialize in spiritual books only, or those that market to the general public? Will you approach the gift market or catalogs? Each market evaluates its purchases for its own clientele. Book clubs that target the religious book reader have a greater interest in spiritual books than do general interest book clubs. Volume buyers, catalogs and gift buyers (unless they target a religious market), display retailers and corporations will very seldom buy a spiritual book. Foreign markets, however, are often very interested.

Even if your book is written for the general book trade, you can still think of corporations that might be able to use your book as a promotional item. Make a list of corporations that could be interested in your book and make sure that your writing supports their products or philosophy, and that what you are writing about will solve some problems for the corporate clients. For instance, one cookbook was targeted at busy people who want to follow a healthy lifestyle. It became a bestseller very quickly in the traditional book trade, but sales exploded when it was sold to pharmaceutical companies who used the book as support information for clients who needed to achieve a healthy weight. The book also sold successfully in foreign markets, to catalogs, as fund raisers and to shopping malls as a customer reward.
The point is: you need to know how to slant your writing for your markets. You can sometimes get around the road blocks by giving your book the look and feel of a gift book rather than one that is a “serious read”. Don’t give your book the look and feel of a thesis. Many volume buyers are looking for broad interest books that people buy on impulse as gifts. This approach to writing increases your market tremendously, so if you want to appeal to a very large audience, approach your subject from a much “lighter” angle.

However, if you are a professional speaker who knows that you have a very good chance of selling your book to your seminar attendees, and perhaps to the corporations who hire you, writing for a very broad market is not necessary. You are not even trying to sell to the impulse buyer. Your buyer is already looking for a source of expertise such as yours.
If you are planning to sell your book primarily from a website to a specific type of buyer, someone who is searching the internet for answers to a concern or problem, you can be as specific as you like. The general public, again in this instance, is not your market – you already have enough buyers to make you very successful.

So, before you begin the writing process, make an outline of your book. Then, look at your list of potential buyers. Have you filled their needs? If not, can you add information or chapters to your book that will increase the likelihood of sales to those buyers? If you want to sell thousands of books, think about the end user of your book and write for them, not for yourself. That is the ultimate book marketing tip. See you on the bestseller list!

© Copyright 2004 Ink Tree Ltd.

Ink Tree Ltd. helps authors publish, market and sell books. We have all the tools you need to succeed in book publishing. Let us help you make your book a success. http://www.inktreemarketing.com

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