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Pricing your work


I have been listening to a lot of podcasts about the detriment of pricing your books too low. While that makes a huge amount of sense, and I can’t argue with any of it, in fact I agree with all the reasons they give, I have one that trumps it. At least it does for me. The reason is, I grew up poor, with a ravenous appetite for books. So basically I starved my mind. In fact, I got so used to starving it, when I grew up and made plenty of money, I still didn’t buy books because I had already trained myself to not want them. When you want to read as badly as I did, yet can’t, it creates a “keep away from me” attitude. Much like I have now for cigarettes. That’s right, I felt the same way for books as a child as I do for cigarettes now. Doesn’t that sound right to anyone? If it does…you have issues.

Now, the way I feel about books is a mixture of joy and resentment. I will find a great book, and realize the rest of the series is $9.99 per book. Or I will read a great story and realize the rest of the series is $5.99 for the entire series. Writers can now make a good living off of cheaper priced books. I for one will never price my books $9.99 for an e-book. I want the cash strapped people to be able to enjoy my work too. But most importantly, I want young readers to be able to read as much as they want, to not be limited to a book every birthday or christmas.

The E-book market is a change, something that will uproot the known practices and alter the thought processes of consumers. But that will never happen if prices stay the same. E-books are a wonderful new tool, why not use it? Instead what I’m seeing quite often is the publishers from before e-books are trying to maintain the status quo. They are trying to price the e-books the same as the print books even though an e-book is much much cheaper.

I have seen Baen books putting up free e-books from some of their high selling authors, so they are learning and good for them. But the subsequent books are still the same as the print books. Many self publishers have free sales, or even perma-free books to get people reading their stuff. It’s called a funnel.

So for all you new authors out there, let’s change something for the better. Take a lesson from those high selling self publishers and price your books between the status quo and cheap. Remember those what-if kids out there who want nothing more than to get lost in your stories.

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Prologues & Epilogues


So, what people normally do with prologues and epilogues is add depth to a story that just doesn’t seem to fit in the main story. It could be a brief excerpt of thousands of years of history to explain why things are the way they are. It could be a “they lived happily ever after” like they did in the harry potter movies. Recently I was listening to a podcast where an author was talking about putting chapter excerpts from the next book at the end of his books. That got my mind to thinking, what if.

What if, instead of sprinkling explanations throughout a new book of things that happened in a previous book or books, you just had excerpts as a prologue? What if, instead of a cliff hanger (which I hate, usually) you make the reader want more by giving them a taste of what’s to come?

So basically, the prologue catches the reader up. This can be good for new readers who are just coming into the universe, or for loyal readers who might have had to wait a long time for a sequel, and instead of needed to read the previous book all over again, they can just read the prologue and all the memories of the previous book(s) come flooding back, along with the drive to learn “what happens next!” which is built in momentum ready to go.

Sometimes I really enjoy reading the previous books in a series, like Ender’s Game. Then again, after about 7 books, you start to just read the new book and struggle to recall everything relevant. That’s why I can see the reasons for shout-outs sprinkled throughout the new books in a series, even though they bug me. A second benefit that just occurred to me is that a reader might not know about a certain book that leads up to the one they are reading. A good for instance is the books in the Liaden Universe. Often times there are short stories, or whole other series that tie in and a new reader will not know what order to read them in. As a matter of fact, the writers have made a Correct Reading Order list just so readers know to go find these other books before they dive into a series that will leave them confused in a few spots.

Now Sharon Lee and Steve Miller don’t do the shout-outs, or if they do they are so clever or talented that I haven’t noticed them. In fact reading their books has made me think about my own universe and how I can remedy issues in my own universe that  I come across as a reader of theirs. I also hope I can make stories half as interesting as theirs are.

What if, I made these book ends not only explanatory and enticing, but hyperlinked? In the prologue, you’d have “Excerpts from ____” with the name of the book hyperlinked to a buy page. That way a new reader could stop there and go pick up the previous book if they wanted, or read the excerpt and hope it explained enough, and read on. The epilogue being a chapter excerpt also having a hyperlink would allow the reader to go then and get the new book, if they were so inclined, or a link to my web site (when I get one) so they can watch for a release date.

I’m really excited about this idea, and think it could solve many issues I have come across while reading series or universes. What are your thoughts?

 

 

 

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The sequel shout-out


Over the years I’ve read quite a few sequels. Mostly in series but sometimes just in the same “universe”. One thing that bugs be and has gotten bad enough that I had to put the book aside and take a break so I wouldn’t tear it in half, is the “shout-out” to events that happened in a previous book. 99% of the time I have seen this done, is the “explaining to a third-party” type. Everyone has done this, you will be telling someone a story and realize that they weren’t privy to certain information that may make what you are saying cogent. So you stop your description or story, and back fill. When should this be done and when shouldn’t it?

I’ve talked with many people about this and most don’t have the problem I have, but then they weren’t closet writers either 😉 The ones it did bother, basically considered it “the way it is” like the sun being the center of the system, and let it go. I can’t do that. Something being “the way it is, and wrong, I try to find a way to change it. Now my major issue in advocating change in this case, is many people don’t have a problem with it, they never noticed it until I said something. Some people will later call me everything but human for pointing it out cause now it annoys them too. Another convert MWAhahahaha!

Anyhoo. My idea, and feel free to use this, is to use prologues and epilogues as a catch-up and sneak peek. Basically, I want the books I will be writing in my “Mongers Universe” to be semi stand-alones. There will be character arcs over multiple books, main character back stories, side stories that eventually tie into the main thread. Secondary characters that will have spinoffs, and that’s just the ideas I have now. No telling what else I’ll get when I write all those stories, or what stories others will want to write in the universe.

I’ll let your brain stew on that for a bit. Look for the sequel to this post titled, “Prologues & Epilogues”, see what I did there?

 

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Just do it!


Getting the hang of writing is a process. You basically have to teach yourself to sideline mistakes, and trust yourself to catch them later. This has been an extremely difficult thing to teach myself. I am finally getting the hang of it though, the training wheels at least.

A couple of good saying for writers of any stage, but especially new writers are, “Give yourself permission to fail”, and “Perfect is the enemy of done”. This post is talking about those two things in particular. Do you want to write a bad and/or incomplete book? Neither do I, nor does any writer worth their fingers. But part of learning to become a writer is tempering your work ethic in specific ways so that you can actually get the work done instead of hamstringing yourself with continual revision.

My current exercise is “Make a note, move on, keep going”. Here’s what happens. I sit down to write, start building the scene in my head, and words start flowing. As I write these scenes down, the story starts to flow. From time to time, the flow gets caught by a huge boulder of confusion. This boulder can be any number of things, a name I haven’t thought of, a side character or main character that I hadn’t considered needed to know a certain thing, an environment that wasn’t built as detailed as I need, a character decided to take a turn down an alley, corridor, etc. that I had not expected, a new character is suddenly needed and I never developed them.

When I first began writing, I would sit and think and brain storm on the spot, until I had figured out what I needed at that particular spot I got stuck at, often times ending up mentally writing the book and going off into tangents which weren’t needed. But what I soon realized was, I was trying to move the boulder out of the river, instead of following the current around it. Anyone who’s ever been canoeing or white water rafting knows what a fool hardy venture fighting the current can become.

This current exercise of making a note and moving on, is the equivalent of dodging a rock, submerged tree, heavy rapid, etc. It’s an obstacle which hampers the flow of the writing. When that flow is broken, the reader’s flow is also broken. But more importantly, it can stop the momentum you’ve built up. That momentum can be essential to finishing what you started. So to keep that story pouring out, recognize, and dodge those obstacles that come your way.

 

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breaking promises and keeping them


Sometimes a promise shouldn’t be kept, and sometimes it must be kept. The same is true when making promises in your writing to your readers. An example from my work which spawned this lesson is what I will be using this time. I had written in the beginning of a story a suspenseful situation which I abandoned by chapter 2. I did this on purpose, the original situation was intended to set the scene which the entire series would flesh out.

The problem came when my beta reader took a gander. She was so upset that I didn’t finish telling the story, that I realized I had failed not only in my transition, which she also didn’t grasp, but also in a promise I unknowingly made to my future readers. Sometimes a promise knowingly made to be broken works well as a sudden plot twist. But there is also the trap to watch for, of making a promise and then forgetting about it.

What I mean with a promise can be many things. A mystery writer has the inherent promise that the bad guy will eventually get caught. The romance author has the inherent promise that the two lovers will find each other and be happy. A science fiction writer has the inherent promise to have science. There are many promises which I will not get into, but which a writer needs to understand when they write for a particular genre especially, but also for their individual story. In my particular case, I discovered a great addition for my future stories in that particular series and learned a valuable lesson.

In closing, be sure that beta readers you use include those who regularly read the genre you are writing in, and make sure the promises you make are kept or broken appropriately.

 

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Letting a rough draft “age”


OK, so you’ve finished your rough draft… now what? Send it to the editor, beta readers, alpha readers? How about leave it alone? I figured this out accidentally by being a bit ADD and jumping around from one story to the next. I’ve blogged about that before, and I’ll blog about it again soon as I’ve learned more, but for now I’m going to talk about forgetting about a story.

When I am in the midst of writing, I’m seeing multiple angles of a story at the same time. This is important for creating, but it can also be a bad thing. It’s one of the main reasons for beta readers and editors. No writer can see all the mistakes they made, no matter how vigilant they are. Part of the reason for this is the writer sees more of the story than what they write. something can seem fully explained when it isn’t at all. The more someone writes the less they do this, but it still happens.

When you let your story rest, and subsequently forget about it, when you go back to it, it’s like you are reading it for the first time. At least at first. When I did this some stories I was surprised at how good they were, as I thought they weren’t that great. Others I thought were good enough, weren’t at all. One story I was confused at, and having written it, with the full idea in my mind, that was unacceptable.

Another I thought explained itself well enough, but when a beta reader went over it, it greatly confused them. There was also a “promise” I had made in the beginning of the story that I intended to leave unfulfilled, but doing so would have upset my readers as the promise wasn’t one that was acceptable to leave hanging. That’s another blog in itself which I will post later.

So in closing, give the editor and beta readers a break, and let your rough draft rest before you send it off. Also, consider this… if an editor charges per hour (which isn’t a normal rate, but I’ve seen it) then having so many corrections which could have been caught by yourself will jack up the cost the editor will charge. Consider again, if the editor charges by the word count, having so many corrections can increase the time they will take, and might even cause your manuscript to be rejected because too many corrections were needed.

 

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Separating dialog with narration


I understand the need to set a scene and describe actions well enough for the dialog written to have the proper context. What I do not understand, or agree with, is separating a sentence with narration. Let me give you an example. “I do not think,” He began considering the proper weight he wanted his words to have. “that would be a good idea.”

These separations throw speed bumps into the flow of the words. Not only that, if you throw a long narration in between a sentence, then the end of the sentence can not make sense at all, resulting in the reader going back to the beginning of the paragraph in order to get caught up, then needing to find their place again in order to continue reading.

This narration can be added before or after the dialog, or in between topics in a larger conversation. If a writer is trying to “catch up” their reader, then they have made a mistake previously in their story. If you are writing and suddenly your story goes in a place you hadn’t intended, but is perfect for the story itself, and that creates a vacuum where you need to catch your readers up, go back and add something into what you have already written that will keep the flow of your story steady and well paced. If you can’t add this new bit in, or it’s too long, write a short story and send it out to your mailing list as free bonus content, or publish it on its own.

A writer often times wants to draw their reader into the head space of a character, for good or ill. They want to make sure the reader knows what’s going on in the characters mind as the dialog unfolds. This can be superfluous or essential to a story. A writer might not know which until the editing happens as they’d re in their “creative mind” while writing and will just throw words on the page to get them out of their heads.

This is also why I “let it age”, in regards to my story, before I edit it. This allows my mind to forget about that story and get distracted by another. I’ll blog about that later.

In closing, always think about flow when you are editing. If needs be, read aloud to the extent that you are attempting an audiobook. Does your speech catch? Then so does the readers mind. The smoother flowing a story is the easier a reader slips into the world and the stronger it grips it’s readers. It can be the difference between a “That was a good book” and “Where’s the next book?!”.

 

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