As I’ve mentioned many times on this blog, every author, regardless of experience or genre, needs an editor. There are no exceptions. However, finding the right editor for your book may be daunting. This is especially true if you’re a new author working on your first book.
The best way I know to find an editor is to ask for referrals through writers groups, forums and associations. Then, once you have a few names, the next step is to reach out to them and see if they would be a good fit for you.
Your editor is your writing partner, so chances are you’ll be working closely together. He or she will also be working for you. So, as with any job, you’ll need to conduct a job interview. The following questions are a guide to help you determine if your prospective editor would be the best fit for you.
Do you edit books in my genre?
Do you charge be the hour, or by the word count?
How much will you charge?
Do you offer manuscript evaluations?
How long is your turnaround time?
Would you have any issues if my manuscript should contain graphic violence, sexual content, or harsh language?
I found Cynthia, my current editor, at a writer’s association meeting. We were both surprised to see one another there as both of us were, at the time, also performers in Tombstone, Arizona. Because we already knew one another we knew we would be a great fit as we shared other interests besides writing. We also have the same twisted sense of humor. Never underestimate the importance of having a good sense of humor. In fact, I learned the hard way to never drink coffee while I’m reviewing her edits. A few years ago there was an unfortunate incident when I was reading one of her snarky comments in the margin while swallowing my coffee. I of course started laughing, and the coffee nearly went out my nose.
I can’t think of a better example of having a good relationship with your editor. The editing process can sometimes be intense, so being able to crack a joke can relieve the tension. Remember, your editor is there to help you. He or she reviews your manuscript with a fresh pair of eyes to catch the mistakes you may have missed, and, when necessary, make revisions or suggest rewrites. Their goal is to create a positive experience for your readers. And the better the reading experience, the more likely your readers will recommend your book to others.
Many newbie authors don’t understand how basic retailing works. I sometimes see posts on author’s forums from people who are most upset because Amazon is selling their books below THEIR price.
Let’s Take a Short Course in Business 101
You write a book. You then want to sell your book. (And who doesn’t?) There are different way to accomplish this, depending on the book format. These days most authors sell an ebook and a print edition. I’m now going to explain the differences in how they are distributed.
For ebook editions distribution is pretty simple. You upload your file to Amazon or Smashwords. You determine your retail price. Amazon asks you what percentage of that price do you want them to pay you as a royalty. You make you selection, submit your file, and viola! You ebook is now available for purchase, at your price.
So, how are you able to do this? Well, simply put, ebooks are intangible. They’re an electronic file. Amazon didn’t purchase tangible, printed copies of your book for resale.
Print editions are different. They are a tangible product. It costs money to have them printed and distributed to booksellers. So, how does this work?
Most small press and independent authors will usually use Print on Demand. POD for short. Here’s how POD works. Once your book is typeset and your cover is designed, you upload the file to the distributor, which, oftentimes, is Ingram. You include your retail price, along with a discount, typically 55%. That discounted price is your wholesale price. Your retail price is, essentially, the Manufacturer’s Suggested Retail Price, or the MSRP.
So what’s a wholesale price?
Your wholesale price is what resellers, or retailers, you know, book stores, pay for your book. They then stock your books in their store.
So why aren’t they selling your book for your price?
The retail price is what the consumer, in this case, the person who wants to read your book, pays to purchase it from the bookseller.
The bookseller has overhead expenses, such as rent, the electric bill, and so forth. Therefore, he or she has to factor in their overhead and sell the book at a price so that they can make a profit. That price may be the same as your MSRP, or it may be less. If they can sell it for less, the consumer is more likely to buy. If they are having a sale, they may drop the price even lower. Either way, the final retail price is determined by the bookseller, not the author. The author’s price, which is printed on the book cover, is the suggested price only. There is no written agreement between the author and the bookseller.
Your other option–print and distribute it yourself
If you’re not happy with the way books are printed and distributed you can print and distribute your book yourself. Some authors choose to do this, and there is certainly nothing wrong with it. However, there are some disadvantages. First, you’ll have to find a book printer and pay for a print run, which is typically 500 or 1000 books. That’s a lot of books, so you’ll need a place to store them.
Once you have your print books in hand, you can sell them directly from your own website at your MSRP. Again, some authors do this, quite successfully, but it’s also a lot of work. Once a book is sold you’re responsible for the shipping, so plan on spending time waiting in line at the Post Office. You can also sell the book yourself on Amazon as a third party seller. However, you’re still responsible for fulfilling the order, which means you’re still the one who has to go to the Post Office.
So there you have it. If you want total control of the MSRP, and you don’t want anyone selling your book for anything less, then you’ll have assume responsibility for the printing and distribution, and well as fulfilling the orders. Again, some authors do this successfully, while others do not.
“I have this really great idea for a book that I think you should write.”
This has to be the most infuriating thing anyone could ever say to an author. While the person saying it may have thought they meant well, they’ve just told you how to do your job. Then there’s the other implication. Somehow you’re not capable of coming up with your own ideas for your books. Good grief! I never thought that I would actually hear this, but sure enough, someone said this to me. It was a real jaw dropping moment.
My response was firm, but polite. I told him I write contemporary romance novels, and that I ONLY write contemporary romance novels. Period. In other words, I set my boundaries before the conversation went any further. Had he said, “Yes, I know. I just wanted to tell you about my crazy ex girlfriend,” I would have listened. When he finished his story, I would have thanked him for his time time. I would have also let him know that I couldn’t guarantee I would ever use his story for a future book.
There is absolutely nothing wrong with people sharing their stories. Other people’s stories can be great inspiration for a novel, and oftentimes they are. However, adding the words, “I really think you should write this,” changes the dynamics of the conversation rather quickly, and not in a good way. I don’t need you to tell me how to do my job. Any decision to use anyone’s story, whether it’s yours or someone else’s, is mine and mine alone, and it’s subject to my own interpretation.
Once I firmly set my boundaries the gentleman didn’t elaborate any further. I had a funny feeling that romance novels weren’t his thing. He never got around to telling me what his great idea was, and I didn’t ask.
If there’s one thing I’ve learned as a writer working from home, it’s having to set my boundaries.
Working at home is certainly convenient. The commute time is less than a minute. You don’t have to worry about who used the restroom before you. You can work in your sweats, assuming you don’t have a Zoom meeting. If you do, then wear a nice top with your slippers and sweatpants. Going to lunch is easy too. It’s only a short walk to the kitchen.
Convenience, however, has it’s drawbacks. You miss out on watercooler conversations. There’s no coworker saying it’s five o’clock so let’s go grab a beer. It gets lonely at times, and you can easily put in sixty or eighty hours a week. Sometimes it’s necessary. Especially when you have a deadline. However, if you’re not careful, you could easily burn out. And for creative people, burnout can be a career killer.
If took me a while to figure it out, but I eventually came to realize that I had to set boundaries for myself.
Learn to Set Boundaries
Family time, and time for yourself, is as important as the time you put into your work. Perhaps even more so. Kids grow up fast. You don’t want to miss school plays or soccer games or other family time because you were too busy working. You also need to give your creative mind time to recharge itself.
I set my first boundary when I decided to get my nails done every week. A little pampering does wonders for your self-esteem, and a manicure isn’t that expensive. Now every Wednesday afternoon is my time for me, and in spite of it all, I still get things done.
Another boundary is ending my workday at five o’clock. I define a workday as doing paying gigs and activities related marketing and promoting my creative work. However, writing contemporary romance novels is one of my greatest joys in life. I live for my creative writing time, so I don’t set time limits on that.
Weekends are another boundary. I don’t open my business email account on weekends or holidays. If brick and mortar offices are closed on weekends and holidays, then my home office can be closed on weekends and holidays too.
How and when to set your boundaries is entirely up to you. What’s matters is keeping things in balance, and making the time to do the things you enjoy doing.
There is nothing quite like the thrill of finishing your very first manuscript. If you’re like most new authors, you probably can’t wait to see your book in print. However, there are a number of steps you need to take before you’re ready to publish. The following checklist will help you determine if you are indeed ready.
Is there is a viable market for your book?
The old adage about there being an audience for every book is generally true, but some genres are more popular than others. That said, some niche authors do very well. I know a gay man who writes romance novels for gay readers, and he built a following rather quickly
Have you completed your research and listed all your sources in a bibliography?
This mostly applies to nonfiction works, although I included bibliographies in my Luke and Jenny series of historical novels for young readers. The series was written to teach actual historic events in an interesting and entertaining way, and the books were geared toward educators.
Have you gotten two to four manuscript reviews to use for your back cover blurbs?
It’s an important step which many new authors miss. Having a back cover blurb gives you more credibility. I’ll ask other authors for reviews and let them know there’s some free publicity for them, as their name and book title appears on my cover. Authors associations and online forums are a great way to connect with other authors.
Have you obtained written permission for all the visual references you’re including, such as photographs or charts?
This is a biggie, and never assume it’s public domain because it’s a historic image or it’s royalty free. Copyright laws changed dramatically in the 1970s, and some museums own the rights to images in their collections. Also royalty free doesn’t mean copyright free, so read the terms and conditions carefully when purchasing stock images. When in doubt, ask. Better yet, create it yourself if you can.
Have you used your spellchecker?
Seriously. Even the best of us make silly mistakes, and double checking your spelling will make your editor’s job a little easier.
Have you decided how to publish your book?
Gone are the days when big publishing houses dominated the market. Today’s authors have many options. Please refer to my post, The Three Options for Book Publishing, for more specific information.
Are you prepared to deal with the possibility of rejection letters or receiving bad reviews?
Not everyone is going to like your book, and those who choose to find an agent or go the traditional publishing route will have to deal with rejection letters. However, you needn’t fear an occasional bad review. It means you are real, because not everyone will like your book.
Are you willing to accept editorial changes?
This is another biggie. Your editor is a fresh pair of eyes who goes over your manuscript to give it the polish it needs to help it become successful. They can and will make changes. Therefore, it’s important that you find someone you feel comfortable working with. Once again, author’s associations and online forums are good places to ask for referrals.
Have you planned a budget to cover expenses such as software, editors, and other out-of-pocket costs?
Whether you write fiction or nonfiction, writing a book is a business venture, and you will have some out-of-pocket expenses. Even traditionally published authors have overhead expenses, such as computers and software. Grants, endowments or crowd funding may be available for those authors in need of financial assistance.
Do you have a plan for marketing and promoting your book?
Marketing the book is the author’s responsibility, even if you are traditionally published. Thankfully, there are many how-to books out there to help you with your marketing plan.
If you answered no any of these questions then you’re not ready to be published. However, this checklist may be a handy guide for doing what you need to be ready.
Remember, book publishing is a team effort. So for best results, you must be willing to work with others and be willing to consider whatever suggestions or advice they may offer you.
Every once in awhile I’ll come across someone who thinks intellectual property should never be copyrighted. Or they believe that everything on the Internet is public domain. Most of them understand copyright law. They just think they’re entitled. According to them, the movie studios, record companies and book publishers have plenty of money. Therefore, they shouldn’t have to pay for the music or book, and they see nothing wrong with pirating an artist’s work.
No matter how many times you try to explain to these people that pirating an artist’s work is actually stealing from the artist, they don’t care. Their argument is that books, music, and other creative works are merely ideas and nothing more. To them, it’s simply wrong to put a copyright on an idea. Creative works, however, are more than just an idea. They are the result of someone’s unique interpretation of an idea, and a lot of blood, sweat and tears goes into creating it. This is why creative works are considered intellectual property.
I’m not an attorney, nor am I giving legal advice. However, it’s common knowledge that a creative work belongs to the person, or persons, who created it. I’m also going to explain, in layman’s terms, what pirating, and plagiarism actually are.
Pirating means you are obtaining a copy of someone else’s creative work in such a way as to circumvent having to pay for it. A perfect example would be borrowing a friend’s CD and copying the music onto your computer. And yes, pirating is also illegal. Making copies of someone else’s creative work without their permission is illegal too. This is why, for example, a church cannot photocopy songs from a single songbook so that each choir member has a copy. If they were to get caught they could end up with a hefty fine. They would, instead, have to provide a songbook to each choir member.
Regardless of how the work is pirated, the end result is the artist who created the work it isn’t paid by the person using it. Pirating is stealing. Period.
Plagiarism is another way of stealing. It’s taking someone else’s work, putting your name on it, and then claiming the work as your own. This is why scholarly works include footnotes and bibliographies. It’s also why our teachers and professors would gave us failing grades on term papers if we didn’t properly credit our sources. There have also been cases of plagiarism in music when a riff used in one song may have sounded too much like a riff used in another published song.
For more specific information on copyrights, fair use, and other intellectual property law, or if someone has used your work without your authorization, please consult a copyright attorney.
One of the perks of being a novel writer is learning new skills, and one of the new skills I learned was video production. Book videos are a must-have tool for building your brand and marketing your book(s). They’re like a TV commercial or a movie trailer and they’re used on websites, blogs, and social media. There are several different ways to go about producing a book video. The most common are slideshows, author readings, and book trailers
Back in the mid 2000s, when I wrote my Luke and Jenny series of historical novels for young readers, Internet videos were a new technology. Video editing software was expensive and difficult to use. So, back then, many authors produced video slideshows, which were easy to create in Powerpoint. My first two book videos were simple PowerPoint presentations that I produced myself for very little money.
Even today, you can still create a nice video slideshow without having to spend a lot of money. Powerpoint has come a long way, and nowadays you can animate slides, record voice overs, and add music tracks to your presentation. Or you can take it to the next level and produce your slideshow in iMovie or one of its Windows counterparts. Whatever approach you take is entirely up to you.
Thanks for smartphones, we all have a camcorder in our pocket. Those authors who wish to make a more personal connection with their readers may opt to read a portion of their book to their readers. Such videos are inexpensive and easy to produce. All you need is a smartphone, a tripod, and some basic video editing software, such as iMovie.
Lighting, however, may be a challenge, so you should definitely take some test shots of your set before you begin shooting. If you have the means, consider hiring someone to shoot the video for you. A professional will know how to light the scene and can determine which camera angles are the most flattering. Either way, be sure to read a sample that’s interesting and action packed, but don’t give too much of your story away.
Book trailers are like movie trailers. You shoot a few scenes from your book, but like the author reading, you don’t want to give too much of your story away. The idea is to entice a potential reader.
Unlike slideshows and author readings, book trailers are more expensive to create, and in most cases you’ll need to hire a professional to produce the video for you. Be sure to read their contract carefully before you sign. You may also need to hire actors. If so, they will need to sign a release form, granting you their permission to use their image. There are many release form templates available for download on the Internet, and oftentimes they are free.
Whether you are creating your video yourself or hiring a pro, there are a few things you need to be aware of when it comes to producing a video.
Royalty Free Doesn’t Mean Copyright Free
Some people think royalty free means copyright free. However, this isn’t the case at all. Royalty free is a term for a particular type of licensing agreement. Simply put, it means you don’t have to pay the right holder each time their image or music is used. You still have to pay a one time licensing fee up front to use the footage or music. There may also be limits on how the footage or music can be used. For example, it may be limited to editorial or non-commercial use only, so be sure to read the fine print carefully.
Pond5 is my go-to company for video production. You name it, they probably have it. Stock footage, music, photos, and whatever else you may need. Shutterstock and Can Stock Photo are also good sources. All of these companies will charge a fee, so you may want to shop around. Be sure to read the licensing agreement before you buy, and be wary of any website giving you “free” stuff. The quality may not be that great, and you may be buying pirated materials.
Whether you’re doing a simple slideshow video, or hiring a professional and doing a full board production, it’s important to remember that content is king. You want viewers to take an interest in your books, but you don’t want to give them too much information either.
I’ve posted one of my book trailers below. It’s for my Marina Martindale contemporary romance novel, The Deception. I’ve come a long way since I created my first book video. Instead of a simple Powerpoint slideshow, I’m now producing book trailers.
Filmmakers have certain advantages over novel writers. They get to use musical scores to help build the tension. We’ve seen it dozens of times. The unsuspecting protagonist goes into the seemingly deserted mansion, unaware the villain is lurking inside. As he or she gets closer, the music builds to a crescendo. “Dum dum-ta-dum–BOOM.” The bad guy leaps out of nowhere, confronting the protagonist, who either has to fight or run for dear life.
Unfortunately, novel writers don’t have the luxury of having background music. We have to come up with alternative ways to build the tension. This may create the temptation to use exclamation points. After all, putting a plain old period after, he leaped out of the closet at Joe, looks kind of boring on the printed page. Therefore, he leaped out of the closet at Joe!!, would look a whole lot better. Right?
Well, not necessarily.
What an exclamation point actually means
An exclamation point in the narrative means you’re shouting at your readers, which they may find annoying. A better way to build the tension would be to use more effective verbs and modifiers.
For example, instead of saying, he heard the footsteps and waited until the time was right. Then he leaped out of the closet at of Joe, try using, He heard Joe’s footsteps coming closer and held his breath, not wanting to give himself away. The footsteps grew louder. He could make out the dark shadow of a human form as it entered the room but he was unable to move. The footsteps thumped louder as they came closer. Beads of sweat popped out across his forehead. It was time. He leaped out of the closet at Joe.
By using effective verbs and modifiers in your narrative to build the tension exclamation points becomes unnecessary. Bottom line. Never use exclamation points in the narrative.
But what about the dialog?
An exclamation point in the dialog indicates someone shouting. People shout when they are excited, unexpectedly surprised, under stress, or angry. Therefore, exclamation points should be rarely used in dialog, and only when absolutely necessary.
For example, someone might shout, “Look out!” if they see someone else about to step into the street, unaware that a bus is barreling toward them. This sets the stage for a number of outcomes. The first character pulls the second character back onto the sidewalk in the nick of time. The person stepping into the street sees the bus coming and takes evasive action. The second character looks back and replies, “What?” Or the second character ignores the warning and ends up being hit by the bus. Whatever option you take, no further exclamation points are necessary. The crisis has passed. Any further exclamation points would be redundant
I think of exclamation points as hot chili peppers. A little bit goes a long way.
According to an old political slogan from the 1990s, it takes a village to raise a child. Here’s a version for authors. It takes a team to write a book. So who’s on the team?
The author is the team captain. He or she is the star of the show. For some, the word, author, may bring an image to mind of someone in an isolated house by the seashore, working away at their typewriter, pounding out perfect prose with the very first draft. If only it were so. Most of us are working on laptops in our dens or bedrooms, when we have the time. For many of us, our jobs, families and social obligations take priority. However, those of us who are serious about our writing will make the time.
The beta reader. The first person on the team is the beta reader. He or she should be an avid reader, but not necessarily a writer. If willing, your spouse, your mom, or your best friend can be your beta reader. The beta reader goes over the early drafts to let the writer know if their story makes sense or if they’re communicating their point clearly. I’ve had friends and family members as beta readers, and they’ve all done a good job. .
Writer’s associations and critique groups. Not everyone will have someone in their circle who’s willing to give them honest feedback. If that’s the case, check with some of your local writers associations, and try to find a critique group. Critique groups typically meet once a week, either in person or online, and they’ll read, and critique, each other’s work. Like a beta reader, they can help save you the time, and the hassle, of having to do a major rewrite later on.
By the way, if you haven’t done so already, I highly recommend joining a writer’s association, especially if you are a new or first-time author. Some associations, such as Romance Authors of America, are genre specific. Others are open to the writing community at large. Typically, these associations will have monthly meetings with a guest speaker. They’re invaluable for learning your craft and networking with other authors.
The first officer
If the author is the captain, the editor would be the first officer. I’ve posted, many times, on this blog about why every author needs an editor. Simply put, your editor will go over your work and correct the gaffes, punctuation errors, inconsistencies, grammatical errors and other problems that you, the author, cannot see. It’s the editor who separates the pros from the amateurs.
Please note that unless your spouse, your mom, or your best friend has a background in journalism or teaching English, they aren’t qualified to be your editor. When it comes to editing, working with a professional is a must. I found my first editor through my first publisher, and my current editor through a writer’s association. Be sure to find someone you feel comfortable working with, and, most importantly, check your ego at the door. My editor and I have a great relationship. She fixes the problems without changing my voice. As an added bonus, she also makes snarky comments in the sidebar. Over time I’ve learned not to drink coffee while I review her changes, lest the coffee go up my nose.
The next team member is the proofreader. Proofreading is sometimes referred to as the second edit, as the proofreader goes over the final edited version of the manuscript to catch the errors that you, or your editor, may have missed. Typically, these are the tiny errors, such as a missing quotation mark. If your spouse, or you mom, or your best friend has a good eye they can probably do your proofreading. I would, however, advise against having your beta reader do your proofreading. For this job you really do need a fresh pair of eyes, and again, your publisher, or writing group, may be able to refer a proofreader.
Other team members
Depending on your genre, your team may also include photographers and illustrators. Some of you may be tempted to use your own visual art, but I would advise a word of caution. Unless you’re a professional, or have had some professional training, I would leave it to the pros. Drawing, painting and photography are disciplines which take many years of formal training and practice to master, and an amateurish photo or illustration can make you book look amateurish as well. Also be cautious with using stock images, especially for your book cover. You won’t have exclusive rights, which means another author can come along and use the same image for their cover.
The last member of your team is your publisher. You have some options here, and you may wish to read, The Three Options for Book Publishing, as it discusses those options in detail. Each has its pros and cons, and it’s up to you, the author, to determine which would be the best for you.
Some of you simply may not have the means to hire all these professionals. If that’s the case, and you can only hire one person to work with you, make it your editor. Your editor is the most important member of your team. He or she is the one person you simply cannot work without.
We’ve all experienced it. We start reading a novel that got off to a great start. Then we lost interest. My mother was one of those readers who would plow through to end, no matter what. Even if the book was genuinely awful. Me, not so much. Life is too short to waste on a poorly written story.
Keeping readers engaged can be a challenge. Even the best conceived story ideas are useless if your novel becomes slow and boring.
Pacing is an important part of good storytelling. However, excessive back stories, boring or redundant dialog, and trivial details can slow your pace to a crawl. Once the reader loses interest, you’re done. A bored reader will toss your book aside and never come back. So, how do you keep the middle of your story interesting? Here are a few suggestions.
Backstories should only be revealed on a need to know basis
I only include those backstories which are relevant and move the story forward. Then I typically reveal them through dialog. The rest of my backstory remains in my notes.
If it’s been said once it may not need to be repeated
Your character has told another character that his mother died in a car crash. He doesn’t need to repeat himself. If it comes up again, consider using it in the narrative. For example, “as she hit the accelerator, he reminded her about his mother.” Inserting redundant dialog would have ruined a fast-paced narrative. But what if he needs to tell his story to a different character? Consider adding a spin. His mother was driving drunk.
Fine details aren’t always useful information
Readers don’t care if your character is wearing a blue dress or a green dress, or if it has buttons or pockets. Detailed descriptions are only necessary when they enhance the story. For example, “Her royal blue dress with the lace trim would show off the diamond pendant perfectly. She couldn’t wait to tell her friends Jake had given it to her.” Boom. That’s all the reader needs to know. Leave the rest of the details to their imagination, and move on.
I think of each chapter as an episode to move the plot forward. It should reveal a character’s motives, or emotions, or something we didn’t know before. If a scene, or even an entire chapter, doesn’t enhance the overall story I’ll delete it. Each chapter, and scene, needs a purpose. If it doesn’t, then it’s nothing more than filler material which will bore the reader, and the last thing you want is for the reader to toss your book aside and leave a bad review.