One of the first things on my to-do list today – well, after opening up WordPress so I could start this post – was to check my account on the Seattle Public Library website. A couple weeks ago I checked out a stack of ponderously thick books that have to do with the Cuban Missile Crisis and the Cold War.
In the Pen to Pen post, I outlined a template for my research process. Here’s the Cliff Notes version:
Step one: Locate the story on the calendar. Pick specific dates, and then study up to get a feel for what was happening at that time. The key to this is specificity. Whether your story is set in 1955 or 1455, there was more to life than the events on the page. Use what’s already there to add depth.
Step two: In broad strokes, find out what life was like during the time period. This is the bulk of the work, tbh. I look at fashion and attitudes and food and technology and population statistics and whatever I can find to ground the story in reality.
Step three: Fill in the fine details with first-person accounts. This one gets trickier, the further back in time you go, especially if you’re writing about marginalized groups – like women, or queer people, or pretty much anyone who’s not a white male. Finding first-person accounts is hard, but not impossible, and absolutely essential to bring your story to life.
Since I wrote Aqua Follies (1950s m/m rom), I’ve come across a couple more resources for first-person accounts of LGBT experience in the 20th Century. The University of Washington had a collection of oral histories, biographies and video excerpts from interviews with members of Seattle’s LGBT community – HERE – that I’m really excited to dig into.
I’ve also started reading Between the Acts: Lives of Homosexual Men 1885 – 1967. This is an important book for me, because I don’t want to sugar-coat anyone’s experience, nor do I want to overlook the ways ordinary men and women found to cope with lifestyles that fell outside the majority.
So…yeah. If you need me, I’ll be holed up somewhere with a book in my hands. I just sent L’Ami Mysterieux off to beta readers (m/m rom set in 1920 Paris) and have about a month to do research for Havana.
As many of you no doubt have observed, we writers suffer from occasional bouts of impostor syndrome and feelings of inadequacy. Some of that is our artistic souls being sensitive; some of it is demands from the industry and ourselves; and some of it is competitiveness. We don’t need help from a major industry player to feel like we aren’t doing enough.
Yet, here comes BookBub a few weeks ago with what has to be their most asinine post yet. (Which is unusual for them; I’d say 95% of their blogs are great.)
Yes, you read that right: BookBub is pushing a post that advocates for writing 12 books in six months. That’s a book every two weeks, my dears. My reaction?
HOW THE HELL CAN ANYONE BE EXPECTED TO DO THIS? And maybe more importantly, WHY?
Let me count the way that this is a bad idea:
Let’s put quality first to get it out of the way. Any book written at that speed will likely be crap. It takes even the speediest of writers several weeks to write and edit their books. THE INDIE BOOK MARKET DOES NOT NEED ANY MORE CRAP BOOKS. We have a hard enough time convincing people *cough* St. Louis County Library*cough* that our books are legitimate without people pumping out books like this.
Related to above: that schedule gives you like zero time for editing. I have to break this one down into sub-points. A) One of the keys to good editing is being able to take time (even a day or two) away from your MS so you can approach it with fresh eyes. This schedule doesn’t allow that. B) I don’t even see how her beta readers (which she claims to have) have time to read the books. I give my betas at least two weeks to read my books, but that is the sum total of her ENTIRE production time for each book. C) Most writers do at least some editing themselves before their editor sees it, but again, where is there time for that? D) The author mentions in the comments that she has an editor, but I can’t imagine the pace the editor must have to work at to keep up this schedule, especially if he/she has other clients. It doesn’t strike me as very productive for either of them.
Even my writer friends who are full-time authors think this is a ridiculous pace to set. (They told me so on FB.) So if they think this is untenable, how are people like me who have a full-time job expected to do this? Seems to me you are setting yourself up to fail.
If this is what we’re pushing indies to, we are pushing burnout, pure and simple. I’ve gotten close a few times at my own pace; I can’t imagine how quickly I would implode if I tried to make this happen. I am actually shocked that the article doesn’t have more negative comments on it asking “what the hell are you smoking and can I have some of your Limitless pills?” And I’m worried by the number of “OMG, this is so helpful” comments. These people will figure out pretty quickly that this new idol of theirs doesn’t have a sustainable or replicable model. I just hope they don’t make themselves sick or kill their confidence in the process.
I looked up the author and she has written over 70 books in multiple genres. Even Nora Roberts, with as fast as she writes, isn’t that prolific. It’s taken her 40 years to get to her 225 books. This woman, on the other hand, appears to be in her 40s. She must have been using this method for her whole career to hit a number like that. Granted, her books are about 125-250 pages long, which is probably about 50,000-70,000 words. That is on the short side – especially compared to what I write – but still respectable, especially in the romance genre.
Implications Beyond This Article I think one of the reasons this hit me so hard is because I’m always trying to find ways to do more. I’m coming at this as someone who is already burning the candle at both ends. I mistakenly thought once I got through my year of publishing four books in seven months (they were already written while I was on submission with traditional publishers, so don’t get too excited) that I’d be able to settle down to 1-2 books a year, which is all I can manage with a full-time day job.
I’ve come to find through experience that pace isn’t enough if you want to keep your sales up, which is likely how this BookBub article came to be in the first place. So even though I plan to keep self-publishing, I decided to focus on books that I think I can get traditionally published, which hopefully will help boost sales of all my books. In order to do that, I’m currently working on three books: the last one in my indie Guinevere’s Tale trilogy, a biography, and a non-fiction book on feminism. And I’m really pushing myself on the feminism book because it will tie into an upcoming event that’s likely to have LOTS of media publicity so I really want to get it done on time. I know what I have taken on and how insane it is, but I want to try it and am praying I don’t burn out before it gets done.
With all that weighing on me, this is about the last bit of advice I needed to see. It makes me feel like a failure, like I’m doing something wrong, like I’m not cut out for this author business. Luckily, I’ve been around long enough to know that isn’t true and that I should just ignore this and move on and keep doing things in the way that works for me.
But not everyone is at that point. They will see a New York Times bestselling author with a RITA award and three additional nominations under her belt and think this is the path to success. And they will try to emulate her and many will fail. Some will quit writing either because they couldn’t make this kind of method work, others because they never want to write again since they turned themselves off the whole thing by trying to do too much, too fast. And that is the last thing the writing world needs. I’m all for sharing your methods and giving advice, but within reason. And reason is the main thing lacking here.
What do you think about this method? If you think it is possible to do, please explain to me how. I genuinely want to know how to make this work. If could make it work and still produce quality books, I could rip through all 50 ideas (yep, I keep a list) I have in my head in only a few years.
If you’ve been in the publishing industry for any length of time, you’ll probably recognize the phrase critique partner. For those of you who haven’t, a critique partner (commonly abbreviate to CP) is an invaluable asset to any writer at any and every stage in their career. Usually another author or publishing professional, a CP offers up their time and expertise to critique your manuscript/story/poem/etc in exchange for your time and expertise in doing the same for them. While a CP can sometimes play the role of beta reader (an avid reader who reads your MS and tells you whether it is any good), ideally the relationship is deeper and broader.
I feel like I’m not explaining this well. Okay, how’s this? A CP is like an unholy (or maybe holy) alliance between a friend, a colleague, a work wife/husband, a therapist, a critic, and a cheerleader. Having and being a CP is messy. It’s complicated. And it is wildly, wildly important to a writer’s growth and success in this often isolating business of being an author.
This week, I experienced both ends of the CP relationship with two different CPs. First, I had the great pleasure of reading our very own Shauna’s forthcoming novel Blackbird (which will incidentally knock y’all’s socks off) and offering feedback. And second, I shared my very recently finished and terribly rough first draft of my Swan Lake retelling with a different CP. They were two very different experiences, but they both reminded me of just how important it is to not only have CPs, but to actually share work with them.
Not all CPs are created equal, but here are a few things I’d look out for when finding someone to share work with!
Someone who isn’t afraid to be honest. It’s literally right there in the name: critique partner. Not white-lie-to-guard-your-ego partner. Not even pull-their-punches partner. You know that one friend who you always take shopping because she’ll actually tell you if those pants make your butt look big? Yeah, that’s what you need from a CP. Because if they can’t be honest in their criticism, it’s not going to push you to be better, or work harder, or be honest with yourself.
One caveat: do draw the line at nasty. There’s no call to be unnecessarily harsh, that’s not useful to anyone either.
Someone who will be your cheerleader. Does this seem counter-intuitive? It’s really not. Your CPs also need to love your work kind of unconditionally, regardless off whether it’s a flaming trash pile of a first draft or a polished to near-perfect-sheen soon-to-be published work of art. The ultimate goal of a CP relationship is making each other better–if someone hates your work, what’s the point?
Someone who understands (if not shares) your genre, voice, aesthetic, etc. Similar to the above, it’s a waste of their time and yours if they don’t get what you’re trying to accomplish. Maybe you write fast-paced action thrillers and they write steamy romance. That can totally work (and might honestly give you a different perspective from a CP who writes in your genre) but if their only criticism is that there aren’t enough love scenes, you might want to reconsider.
Someone who can brainstorm with you. Now, this is a big ask, and you might not find this in every CP you build a relationship with–and that’s okay! But a great CP isn’t just an editor, or even a beta reader, although it’s certainly useful if they have a decent grasp of grammar, sentence structure, and plot. Ideally, they’re also someone who you can bounce your hair-brained ideas off of, who won’t say “but,” but maybe “ooh, and–!” Someone who spitballs scenarios about your sequel not because they feel like they know better than you but because they’re just so invested in your characters. Someone who sees through the disordered jumble of your nonsense first drafts to the story you didn’t know you were trying to tell.
Now, if you’re read to find your OTCP (One (or several!) True Critique Partner), here are a few resources to set you on your way! (If you’re really at a loss, Twitter is a great place to start, as are writer blogs and genre-specific interest groups! You can never go wrong with NaNoWriMo either!)
Being self-published that means a few different things than it does for a traditionally published writer–including being able to try out a Friday release instead of the traditional Tuesday. And, as we’re all writers here, offering insight into the whole writing process, I thought I’d share a little bit of that with you guys.
The beginning is exactly the same. We all start with a spark of inspiration, then develop that into a story, then kill ourselves over the next 4 to 156 weeks trying to write the damn thing.
Then we put the book away (or at least, we should). For me, I’ll set a book aside for between 1 to 6 weeks depending on how difficult the book was to write. Then I print it out and go over it for revisions/edits/plot holes/etc. Then I put those changes into the computer. It’s at this point I awkwardly ask betas/critique partners to read it for me.
And then you wait.
Once I get it back from them I compare notes. Then it’s revision time again.
Then, on to the editor!
Some self-published writers will try to avoid this step because it is the most expensive step, but there’s a reason for that: editing is the most important thing you can do after you’ve written the book. You need an editor to rip that thing apart and fix it. I don’t care how awesome you are. I have a New York Times best selling author I used to love, but I could tell when she finally made it to the point where she could include a no-edit clause in her contracts. I don’t read her books anymore.
At this point, when the book is with my editor, I’ll start on the cover. Now, depending on the book, either I will do it myself, or I’ll hire a digital artist. I cannot stress this enough, if you are not savvy with digital art, don’t do this yourself. I will only do simple covers. If my cover is for something more magical or detailed, I hire someone experienced. And when I do it myself, I don’t just pick a stock photo and stick my title on it in a white bar in simple font. I edit and digitally paint/alter the photo to fit the mood of the book.
I pour over my title in fonts until I find the right one–just picking out the fonts can take me a few days–even if I’m having the cover commissioned, I like to pick out the fonts unless my artist has a better one in mind, which she often does. I go through photo sites for the cover for days until I find the one(s). I spend at least a week in my art program putting the cover together, usually mocking up three to choose from before I’m sure I’ve made something that fits the book and sells it. This takes a lot of time even without all the tricks my preferred cover artist does. Your cover is important. Even if you’re not going to do hard or paperbacks, the cover is still important. When someone is scrolling through the Zon or B&N or Kobo or wherever, the cover might make them stop and look at your book.
(If you’re on a tight budget, the two things I would recommend you spend your money on are an editor and a cover artist. And if you’d like to use mine, you can find my editor here and my cover artist here.)
Usually this is when I’ll set up pre-orders. Now that all the online retailers have finally allowed Self-Pubbers to set up pre-orders, we can finally get in on that action. Once I have the cover ready, I’ll write my book blurb and set it up the pre-order pages with temporary files for the manuscript (once you have the final draft, you come back and upload the final file before the publication date).
Now, once the book is edited and the ebooks are all taken care of, I’ll start on the paperback.
No, self-published writers don’t sell nearly as many physical books as traditionally published authors do. But I like to have the option. I just do paperback, mostly because I have so many titles, setting them up with hardback would be cost prohibitive for me. With Createspace I can get my paperback onto all the online retailers including libraries and BookBub.
And they have a guided, step-by-step process to help you get your book ready for publication.
You pick your book trim size and they give you a Word template to format the interior of your book. At this point, you want to make sure your line spacing, font size, page numbers, and chapter headings look good. Don’t forget your title page, your copyright page, your table of contents, dedication if you want, all before the first chapter page.
Then, once you have that sorted, you can tell the site your dimensions (book size, paper color, page length) to get a cover template. This is the file you would send to your cover artist to ask them to expand your cover to a paperback cover. Or you use it yourself to make yours.
Then, once CS approves it (or emails you and tells you you screwed up, fix it please and you do it all over again and again until you get it right), this is what it looks like.
And you can see what the inside looks like too!
You can either approve the digital proof or, and I highlyrecommend this, you order a proof copy to be printed and mailed to you so you can see if the printing is perfect or screwed up.
But, once it’s all done, and all perfect, then you can step back and admire your beautiful books on a bookshelf.
This isn’t for the impatient. I promise you. Yes, there are people who you can pay to go through all of this for you. You tell them what you want your book to look like and they’ll do all the formatting for you and just email you the files you need to upload to CS and be done with it. And if you have the budget for it, go for it. But if you don’t, with a little patience and practice, you can do this yourself, I promise.
So my last couple of posts here have been heavy on the opinionating – here’s one and here’s the other – and while both of them were important to me, I don’t feel like I need to turn the world on its ear…today, anyway.
So if you were stopping by to catch up on the latest scandal, sorry!
It’s spring, you know? There are dogs to walk, and weeds to pull. And as always, there are WIPs to fiddle with. (WIP = work in progress.) In the interest of keeping things mellow, here’s a run-down of what I’ve got going…three things, maybe four…
Freshest in my mind is Haunts & Hoaxes 2, the second novella in an m/m romantic suspense series I’m working on with my writing partner Irene Preston. It’s a spin-off of our Hours of the Night series, but instead of vampires, this one’s more along the lines of Supernatural or maybe The X Files…but with naughty bits.
Another project is Benedictus, book 3 in the Hours of the Night series I write with Irene. This is technically our fourth book with these characters – we did a holiday novella, Bonfire, that’s #1.5 – and the plot is definitely thickening! We’re doing our best to tie up as many loose ends as we can, because we left the last book with a bit of a cliffhanger. Fun times!
If you haven’t read Vespers, book 1 in the series, and you like funny/sexy/scary stories, you can download the first few chapters HERE for FREE from Instafreebie.
A couple other things….last month I participated in Camp NaNo, a mini version of NaNoWriMo (National Novel Writing Month). I set a goal of 50 hours work and while I didn’t win, I had fun trying. I started with one project (deets in a minute) then switched midstream to the sequel to The Clockwork Monk. Monk is a steam-lite novella available from Instafreebie. If you follow the link it’ll ask you to sign up for my mailing list, and I promise not to spam you if you do sign up!! I’ve been working on the Monk sequel for a couple years now, off and on, and am cautiously optimistic I’ll have it ready for beta readers by this summer.
I didn’t meet my 50 hours goal because I got bogged down with another project. I started April with this cool idea for a story set in 1962 Cuba. Here’s the elevator pitch…
On 10/17/62, President Kennedy is shown images of Russian nuclear missiles in Cuba. On 10/18, a CIA agent is shown pictures of a rogue spy who could set off a nuclear war. The agent is sent to Havana to eliminate that threat, but the spy’s a man he fell hard for years ago.
Every time I read that pitch, it makes me smile, because I know the story can work. I just need to do ponder it some more. To that end, I downloaded a couple James Bond audio books from the library. I’m driving several hours south for a day-job-related conference tomorrow, so I’m going to multi-task. Research while driving ftw!
So that’s what’s going on with me. I hope you’re all well and working hard on whatever moves you. Take care!!
One more thing! Last week I enrolled Aqua Follies, my 1950s m/m romance, in Kindle Unlimited for the first time ever. If you KU, go HERE to grab a copy!!