Rogue Digital Conference in DC

This has been posted on several blogs~grabbed it from Angela James’ blog. (post is sticky-see below for newer posts)

 

Story-building

Lynn Viehl is having her annual ‘left behind and loving’ party this week.  She’s doing some online workshops for writers.

Yesterday she blogged about writing, but she came at from an architectural standpoint-’building’ a story.  Had some pretty good info.

If you want to take a look, go here.

 

Live in DC?

The Smart Bitches are going to be together, doing a bootlet booksigning on Thursday, 7.16.  Proceeds to benefit FIRST BOOK, a charity that provides books to disadvantaged kids.

Info here.

 

A letter to Ms. Corrigan, book critic

Ms. Corrigan

Caught a link on twitter about the review you wrote for Ms. Roberts’ latest book.  Obviously you didn’t enjoy.  That’s fine.  I don’t always like every book I read, although I do tend to enjoy NR’s stuff.

But to each their own.  You didn’t like it.  That’s cool.

Here is what isn’t cool.

Your comment:

So here I am, caught between a rock and a hard place. Roberts’s feisty heroines are often stuck in this kind of fix at the climax of her tales just before a deus ex machina in the form of Mother Nature or a hunky guy drops in to rescue them. That’s why women read Nora Roberts: to live out vicariously the fantasies that real life doesn’t provide.

Okay, I must say… NOT COOL. Guess what? I’ve got a life. I’ve got a family. I’ve got a career. I’ve got friends. I don’t need to live vicariously thru the pages of a book. Assuming that one reads only because they fantasize about what lies within the pages of a book is pure crap.

One could assume, by your reasoning, that anybody who reads detective fiction is either fantasizing about being a cop, or even a psycho killer.

Here’s my theory…one reads detective fiction because they enjoy it.

I read romance, because I enjoy it. That doesn’t mean I want to get stuck in the middle of one of the books I read.

Enjoyment doesn’t have to equal vicarious living.  But here’s a question for you… if somebody does read a book for the vicarious thrills…so what?  It’s their time, their life, so why the need to mock them?

Perhaps that is why you get angry emails when you give a negative review.  If you frequently feel the need to make assumptions on why people read whatever they choose to read, and you frequently dole out snotty, better-than-thou commentary, it’s no wonder you get angry emails.

It’s a book.  If you hate it…fine.  Tell us why.  If you love it…fine.  Tell us why.  But don’t assume you know why we choose to read romance.  Because obviously, you don’t.

 

Epubs… wondering where to start?

Left Behind and Loving It-Lynn Viehl

Had an open door post the other day and Edie asked what authors should know about epubs.  I can’t answer for authors in general, however, I can tell you what info I’d look for, and what would stand out as a red flag to me.  Since it’s time for PBW’s annual Left Behind and Loving It, I figured I’d use this as a mini-workshop.  Or rather… MY version of a mini-workshop.

Please note-I am out of town~in Washington DC for Nationals.  Internet access may be sporadic, but if you have questions, ask away…I’ll answer when I’m back home.  Just might take a few days.

Now I’m not looking for any new epubs, I’ve got my hands overly full already, however if I was looking, one thing I first look at is their website.

Website

• Is it professional?  Or does it look like a freebie site somebody slapped together?
• The covers.  Are they the kind of covers that made me cringe and cover my eyes?
• Is there contact info?  Is there submission info?  Is there a customer service contact?

If a site doesn’t look professional, I’m not interested.

If the covers are crappy, it’s going to give me pause about whether or not I’d want to submit.  Now sometimes, you just get a lousy cover.  But if all of them look…well…. shudder…. then I’m not going to be as inclined to submit.

There needs to certain info posted-if the site isn’t live, the customer service contact isn’t AS important for me at this point, but after a site goes live, there had better be some contact info for customer issues.  If there isn’t a general contact page, then it’s going to make me wonder.  If there isn’t a decent amount of submission info posted, I’m not going to bother asking.

The books

• Are they publishing the sort of stuff you want to read?  IE:  You can’t submit a sweet insprirational to Ellora’s Cave.  So make sure you understand what kind of books they put out.
• Do you like their books?  Not all, of course, but have you read some that appeal to you?  A publisher can call itself an erotic romance publisher all it wants, but if I read a number  excerpt or books (although me buying the book is not likely-if the blurb and the excerpt don’t hook me, I’m not buying)  that reads more like a porn scene script, then I’m not giving them my work.
• What’s their publishing schedule?  Do they stick to it?  If they claim they’ll have books released on this day and this day every week, a book a day, ten titles a week, three titles a week, whatever, and then they frequently DON’T have the books out when they claimed, that’s going to have me questioning their business model, and I’ll probably pass.

Business plans

Okay, for me, this isn’t as crucial if a publisher has been in business for several years and showing signs of growth-that tells me they have a biz plan that works.  But I’ll still want to know if they actively pursue new avenues-working to get their titles more widely available, if they have print program, etc, etc.

But for a new epub?  Before I’d even consider submitting, I’d want some idea of their business plan.

• Do they have a realistic release schedule? And are they consistent?
• Do they have a focus?  If they say they publish only erotic romance, but some of their titles read more like erotica, or just spicy romance, etc, etc, etc, I’m going to question their focus.
• Do they have a set business plan for the next two years, five years, ten years?  I don’t really understand business plans, per se, but publishers need to.  If they don’t have a formal business plan, not happening, not for me.

Lets say I was looking and found a new publisher I want to try out.  I submit, then get a letter offering a contract.  There are a few details I’ll look at, questions I’ll ask.

• Can they give me an idea when my title will be available for purchase?
• How often can I expect to have a new title released with them?
• Do I get to offer input on the cover?  (for epubs, this is a big one with me)
• Do they have any plan to offer their ebook titles in print format?
• What is the editing process?  If I’m pretty much flying solo, then I’m gone.  I want and need an editor.
• Do they have distribution outside their website?  Books available at Amazon, or the Sony store, or Fictionwise, ARe?

Contracts

• length of contract-some places do ask for length of copyright-the author has to decide if they want to do that.
• are the contracts negotiable?  If the answer is no, then I’m looking elsewhere.
• Royalty rate.  Anything under 35% for direct website sales, I’m not reading any more of the contract and I’ll look elsewhere

General stuff

• I’m impatient. The submission process is time-consuming.  But after that, I’m not as likely to wait.  If an epub has my title and I ask questions and go weeks without answers, I’m probably not resubmitting.
• I’m lousy at self-editing.  I do have readers that go thru my titles, but I also want reliable editors.  If I read titles at publisher XYZ and they are riddled with errors and typos, I’m not submitting.  It makes me think their editing process is somewhat lacking.
• Publisher’s presence.  If those speaking for their publisher can’t do it without being professional, I’m not interested.
• Do they understand the genre they claim to publish?  As I mentioned, a publisher can call themselves an erotic romance publisher all they want, but if their idea of erotic romance doesn’t jive with what many people view as erotic romance, then I think they don’t understand the genre, and if they don’t get it, they can’t represent my work very well.
• Is there a lot of smoke?  Every publisher is going to have authors that are less than happy.  There’s no way around that.  A big publisher is likely to have more of those than a small publisher.  But if it seems a publisher has more UNHAPPY authors than happy ones, I’m going to have concerns.  Although I will admit, the only concerns I pay attention to are those that are voiced with some semblance of professionalism.  Example-a publisher has twenty unhappy authors.  The twenty voice their concerns in a calm, rational manner, explaining why they aren’t happy.  I’m going to give their opinions some serious thought and do some thinking of my own about whether or not I’d submit.  If a publisher has twenty unhappy authors who feel the best way to address their concerns are by ranting and railing and weeping….well, I’m not going to give their issues-legit or not-much attention.  I’d either look for the calmer authors or just start asking around on my own.  Actually, I’ll probably ask around on my own anyway.
• Do they use that ‘family’ line?  I have a family-thanks.    I don’t need my publisher to be a family.  I need them to be my publisher, and I want them to act in a professional manner.  Many of the places that claim to be a ‘a big family’ don’t give off the professional vibes I’d look for in a publisher.

There are all sorts of things I’d look for, but I guess the key points are:

• Does the publisher put out books you like?
• Do you feel your book will fit in with their other books?  (genre-wise)
• Are the contracts negotiable?
• Are you comfortable with the contract terms?

Red flags

• Non-negotiable contracts.  Most pubs have a ‘boilerplate’ contract-it’s their basic contract but they’ll negotiate with the author to some extent.  Contract non-negotiable? Red flag.
• Inconsistent releases.  Release dates frequently missed?  Red flag.
• Lousy website?  Red flag.
• Every single cover is utterly hideous?  (This is personal for me, but it’s a red flag)
• Apparent lack of understanding of the genre it claims to publish.  HUGE red flag.
• Royalties less than 35%.  HUGE, HUGE red flag.

 

Literacy Signing in Washington DC

It’s time for RWA Nationals-Romance Writers of America.  The organization has a yearly signing to help benefit literacy programs.

I’ll in Washington DC for the signing-with a slew of other writers.

7/15/09

5:30-7:30

Marriott Wardman Park Hotel, Exhibit Hall

2660 Woodley Road NW

Washington, DC

As always, if you live in or around the area, I’d love to see you.  This booksigning IS open to the public, however, they do ask that you purchase books at the event rather than bring ones you already own, since this signing is aimed at helping literacy programs.

More details and authors are at RWA’s site .

 

YA author…on his debut title

From The Class of 2k9’s blog.

~*~

A few months ago we issued the following press release to get the word out about Albert Borris, the stroke he suffered, and his fabulous novel Crash Into Me:

PRESS RELEASE – ALBERT BORRIS, CRASH INTO ME

Debut YA novelist Albert Borris has a way with words.

Or rather, had a way with words.

This past December, just months before the release of CRASH INTO ME (Simon Pulse), Albert suffered a stroke so powerful, his doctors told him he was lucky to be alive.

And alive he is, having made a full physical recovery, enough to roughhouse with his two young sons and work out at the gym. However, Albert is still working on recovering something else: his words.

To be sure, they are all up there in his brilliant mind. He just can’t get them out – verbally or on paper – in the correct order, yet. But he’s working on it.

Prior to his stroke, Albert was a full time teen counselor, husband and father. He also served as Co-President of The Class of 2k9, a group of 22 debut middle grade and young adult novelists banding together to promote their books. Words were his thing. Communicating with others, in person and on the page, was his specialty.

As his friends and fellow debut novelists, we, the Class of 2k9, are making it our business to get the word out about Albert and his novel, CRASH INTO ME. Here’s a bit about it:

When Owen, Frank, Audrey, and Jin-Ae meet online after each attempts suicide and fails, the four teens mak e a deadly pact: they will escape together on a summer road trip to visit the sites of celebrity suicides…and at their final destination, they will all end their lives. As they drive cross-country, bonding over their dark impulses, sharing their deepest secrets and desires, living it up, hooking up, and becoming true friends, each must decide whether life is worth living–or if there’s no turning back.

Won’t you join us in spreading the word?

Pass this on to every librarian, teacher, and teen reader you know.

Send him an encouraging note on our website.

Blog about Albert.

Pre order his book.

Anything you can think of to show your support would be deeply appreciated.

Thank you.

The Class of 2k9

 

Keeping the balance

Okay, saved the hardest question for last…A few days ago, I had an open door-people can ask whatever, and I try to answer.

Mary G asked:

One thing I admire about authors – the balance between keeping the style that people love & still surprising them each time (as you do for me). How difficult is that or is just like breathing for you?

I’m thinking that… beats the hell out of me…isn’t going to be the best answer, huh?  Okay.

Well, it’s not natural as breathing, that’s for sure.  I think it’s probably very easy to fall into a rut-I’ve dropped series from authors that I’ve enjoyed because it seemed the hero was almost a carbon-copy of previous heroes in the series, and the same for the heroine.   I’ve dropped authors entirely because the characters just seem like more carbon copies.

Keeping stories fresh, whether they are from a series or not, is crucial.

I don’t know if I do it all that well, although I do try.  The stories, in my head, do stand out from each other, and hopefully that comes through as I write it down.

One thing that may play into it is variety.  I tend to write all over the map as far as romance goes.  Most of my stuff is the hotter stuff, going from steamy to erotic.  But I don’t just stick to one subgenre.  I go from paranormal to contemporary to romantic suspense to fantasy to paranormal to suspense…etc, etc, etc.

The reasoning for that is simple:  1) I’ve got a lot of different stories in my head, and I’m kind of wanting to tel them all.  2)  I get bored easy-so changing it up helps.

If I’m working on two books at once (or more) and I usually do have at least two projects going, then I tend to have two different sub-genres, like a romantic suspense and a paranormal.

As far as series stuff goes, I also don’t usually write two books in the same series in a row.  The away-time helps my brain charge.  It does mean there’s a longer wait between series books, but I’d rather take that break because I think it’s helps me write better.

So I guess the way I manage it is in part by mixing things up.

 

Writing/Crit groups

Another good question with my recent open door was from Anna.  She asked:

Are you in a reading/critiquing group with other writers and readers? I’ve read that many authors are, and find that helpful. just curious, thanks

I’m not in actual crit groups, per se.  I’ve tried doing a crit partner once, and while it worked okay, it just wasn’t something for me.  *G*  I’m very often one of those people who ‘don’t play well with others’.  A lot of that is just because I’m very independent, probably to the point of stubborness.  But I just like doing things my way.  I probably wouldn’t make the best crit partner for another because while I love to write, I’m not always as focused on the mechanics-I can tell when something works for me, but not always why.  And vice versa-I can tell when something doesn’t work, but not always why.  Plus, I don’t always have the time that I’d need to give to a group to actual be part of the group.  If I can’t actively participate, I’m not going to be overly inclined to try.

However, I’m reaching the point to where I’m trying to get my stories more involved, more intense and I do often like getting feedback.  When I was working on Through the Veil, I had several different people read it-a few were close friends and I was looking for a reader’s viewpoint.  One was an author who does a lot of SF-type of stuff and she’s a phenomenal world builder, so I asked for her input on Veil for that aspect.

So critique-sort of reads are helpful to me, but actual groups, not so much.  I do know a lot of writers swear by them.  But then again, there’s a lot of us that don’t tend to use them.  It’s just going to boil down to which sort you are.

 

Writing and Family

Yesterday’s Open Door had some good questions-which is cool on several levels.  One… *G*  it means people are reading the blog.  Two…*GG* it means I have instant blog topics.

Kim asked:

How do manage to write and still find time for family. I know it was hard for me in grad school just to sit down and write papers without taking up to much family time, or general interruptions. It was either that or write in the wee hours of the morning. Do you write when an idea comes to you? Or, do you have a specific time that you just sit and write and everyone generally understands not to bother you?

No, yes…yes…yes…no…and I wish… *G*

In all seriousness, I have one crucial requirement that saves my sanity.  *G*  I have a sitter.

Writing is a full time job.

Being a mom is a full time job.

I’m not patient enough to try do the first one while the kids are home.  I love them dearly, but there is no way I can focus long enough to get serious work done on current projects.  I can answer email, update websites, deal with promo and all that when they are home-and often do.  But actual writing?

Unless the story is really pushing me, I tend to save my actual writing time for the days they go to the sitter.  Those are my ‘work’ hours.  Back when I was still working full time outside the house, I usually did my writing on lunch hour and late at night.  Of course, now I wonder how I managed, because I swear, I’m ten times busier now than I was then.  I made it work, somehow.

I have recently set up a ‘rule’-the youngest doesn’t quite get the rule, but toddlers are more interested in creating their own rules, so that’s a work in progress.  My office is set off by itself in a room, however, two of the walls are open.  So no doors.  My kids kept traipsing in and out, constantly interrupting me when I was dealing with email, so I finally told them, “If you want to come in here when I’m working-you knock.  On the wall.  You wait until I answer, THEN you can come in.”  It’s helping…some.  Makes them remember I’m not just playing (or at least not all the time) and they do need to let their mama work.

I guess the thing with writing while your kids are at home is all about setting boundaries.  It’s not as easy when they are young, which is my issue.  But hopefully as they get older, if you stay consistent, they’ll get into the habit of letting mom having her work time.