Covering Up!

So as the title and the picture suggests, I have received my new cover image for my upcoming novel Ballroom Riot! Isn't it pretty? Don't you just want to hold it in your hands and admire all art deco involved? 

Assuredly not... But one can dream

Don't you? DON'T YOU?!

Ahem...

Our cover designer Michelle does an amazing job in working with the authors of Books We Love Publishing to ensure our literary vision is presented with the best cover art imaginable... and believe me, we're writers! We imagine up some pretty strange stuff sometimes...

Believe me folks, get a cover designer.
Not even Stephen King could sell
a book with a cover page as terrible
as this....

  

In fact, this isn't even the first image she's done for me. She also did the design work on The Curious Case of Simon Todd, another book I wrote and published with Books We Love back in 2018.

Here's the link to it if you're interested!  

In the grand scheme of things, book covers are pretty important. We've all heard the old adage of don't judge a book by its cover, but sticks and stones break bones and names hurt too, dammit! So not every maxim is true 100% of the time. 

This is why every good book needs an amazing image to covey the general theme of the plot or main characters within. I mean, unless you're a big wig author like George R. R. Martin or Dean Koontz... then you're name's probably enough... Right?

When's Winds of Winter coming out
George? Huh?! WHEN, GEORGE!?

But assuming you aren't famous yet, and if you are, Hey! How about an endorsement? Then your name broadcasted in the middle of the page isn't likely going to cut it. Unless you're name's Isa Goodread or something. 

This means research is needed. What makes a good cover? In my humble opinion less is usually more. I tend to focus on a few key elements that encompass the story. Take Ballroom Riot for example. There is a girl, a dragon and some stylistic elements that hearkens back to... say the 1920's? 

A reader should know by a glance the general themes they will encounter in the story. If it's too busy, or there are too many images, the point can become lost. Remember, you're competing for attention out there. You don't want your amazing story overshadowed by sexy Fabio with his shirt off, do you? 

Honestly... this image is 
still too busy for my taste.

Well maybe you do, but unless you can go back in time and contract young Fabio to pose for your amazingly written romance, readers will be drawn to the main elements you authors seek to showcase. 

Give them an interesting focal point. If they are into naked men, and your story is about naked men, give them a half naked man! But don't surround him with a myriad of other stuff we don't care about! 

...or at least, don't care about as much as we care about naked men... 

Don't get me wrong. We don't want to entice the wrong audience. We don't want to mislead the reader. We want to pull them in at a glance and make them pick up the book. 

Gimme that cold, hard cash, baby!

Then they can read the blurb at the back, see if it's their cup of tea, and hand over that sweet, sweet money... 

Sure! There's a market for busy images. But unless your Waldo, or know somebody like him, I'd strongly recommend sitting down, having a think, and figuring out a few choice themes your book is about and how best to showcase them on the front cover.  

Don't forget about colors and fonts! Or your sexy little author name somewhere where we can all see it and be proud of you! Talk it over with a cover designer too. Again: having someone like Michelle is a Godsend. You definitely won't regret it.   

I'm proud of you and find your story a-peeling!

 

 

Virtual Brainstorming by Eileen O'Finlan

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Click here to visit Eileen O'Finlan's website

COVID-19 has shut down a lot of things, but our imaginations needn't be one of them. In fact, recent personal events show that they may be more active than ever.

Before this virus hit, a group of writers met at my house every Wednesday evening to work on writing projects and offer feedback. For several in the group, those Wednesday nights provided a writing lifeline. I hated having to send out the group text announcing the cancellation of our group until further notice. Even though we're not a huge group (on the rare occasion that everyone is present on the same evening, we total seven), with my 93 year old mother in the house, I couldn't take any chances.

Of course, everyone understood. Several had made the painful decision to stay away even before receiving my text. Being a resilient, resourceful, and most of all, imaginative group it took less than an hour for one member to come up with the idea of a writing round robin. One person would write one page of a story, email it to the next person who would add another page then forward it to the next and so on. After two rounds the story would be complete. It might not add up to something publishable, but it promised to be fun and keep those writing muscles toned. I had to bow out as all my writing time is, of necessity, being devoted to the completion of Erin's Children, the sequel to Kelegeen, though I do look forward to reading the finished product.

My non-involvement in the round robin did not mean complete detachment for me, however. In less than a week, I jumped onto a Zoom meeting with fellow writing group member, Jane Willan. Jane is the author of two cozy mysteries, The Shadow of Death and The Hour of Death, the first two books in her Sister Agatha and Father Selwyn Mystery Series. She's currently working on the third in the series as well as a thriller.

Jane and I are searching for both "tried and true" and "unique and new" methods of marketing our writing, so we decided to focus our Zoom session on brainstorming ideas. (For anyone unfamiliar with Zoom, it is similar to Skype). We started by naming what we're already doing: Twitter and Facebook posts, website, newsletter, blogging, in-person talks and book signings, partaking in giveaways, interviews with bloggers and local papers. Currently, I'm working with an organizer on setting up a blog tour.

Then we started thinking about what we could do that we haven't done yet. Podcasts were the first thing to come to mind. It turns out that if you google podcasts along with your genre, you'll find a plethora from which to choose. We both committed to being interviewed on podcasts.

But why stop there? Jane's husband has a vast supply of audio/visual equipment. Why not start our own podcast? Fellow BWL author, Eileen Charbonneau, and I have been discussing creating a podcast. So the three of us connected on Zoom for our first podcast planning meeting. Fortunately, through the wonders of technology it doesn't matter that Jane and I live in Massachusetts and Eileen Charbonneau lives in Vermont. We don't have to be in the same state or even in the same house to make it happen.

YouTube was another marketing option open for discussion. I have a YouTube channel, though so far I've only put up one clip of me reading an excerpt from Kelegeen. Jane and I decided we could make some more YouTube clips. They don't all have to be book excerpts. The writing life offers plenty of topics for discussion. With my sequel being set in Worcester, a video tour showing the sections of the city where much of the story takes place seems another likely possibility. Jane also has some trailers for her two mysteries. Eileen and I would like to follow her lead and make some for our book(s).

Our brainstorming session didn't end there. We talked about the 19^th century coterie of writers that formed the literati in Concord, Massachusetts – Emerson, Thoreau, Alcott, Hawthorne - to name a few. Then we widened the circle of our thoughts to include 19^th century authors throughout New England. Such an abundance! Our region still boasts literary luminaries today. Some, like Steven King, are household names.

We got to thinking about the other authors in our area that we both know personally. Published, yes. Famous, no. This led to a discussion about what it is, besides the obvious (great writing), that makes some authors successful and others whose writing may be just as good or even better, virtually unknown beyond their small circle. 

The answer – marketing! We have to do it ourselves and for most of us it is not our field of expertise. Not even close. If it was we'd be marketers, not authors. Yet in today's world we have no choice. We have to climb that steep learning curve to figure out how to let the world know we're here and we've written awesome books that deserve to be widely read.

But how? This is a question I've been struggling with since the publication of Kelegeen. I sunk a lot of money into an advertising company that has been helping me climb that learning curve for almost two years. “Learn to think like a CEO.” “You are not only an author. You are the CEO of Eileen O'Finlan.” These are mantras they've driven into my brain. They are also concepts completely alien to the way I think. A huge learning curve, indeed.

But I am not alone and that gives me great hope. Eileen Charbonneau remains an amazing mentor for me. Our joint in-person appearances may be on hold for a while, but we are excited about embarking on a new virtual adventure through podcasting. 

Jane and I have committed to working together, mastering the art of branding, learing the ins and outs of marketing, pulling each other up and over that daunting curve so that we can come out on the other side, if not as household names, at least with successful authorial careers. We fully realize it will be a marathon, not a sprint, but we are willing to give it all we've got. If it doesn't happen (but it will – think positive!) it won't be for lack of trying.

Eileen O'Finlan

Jane Willan

Eileen Charbonneau

The books I've stopped reading by Sheila Claydon

Although I love to read I'm becoming more and more picky with age. I no longer read books where too many words get in the way of the story. Ditto books where the author shares every detail of every bit of research ever done. Recently I read a book that listed all the tools a thatcher uses together with a 'how to' guide, while another one described an autopsy in such detail over several pages that it read like a medical text book. Although I'm never going to thatch a roof or become a pathologist it doesn't mean I'm not interested. What I don't want to do, however, is waste time reading pages of badly disseminated research that add nothing to the story.

I didn't need to know about shearing hooks, legatts, crooks and pins and nor did the police sergeant in the story, who was told apropos of absolutely nothing. The detail, which took up 3 pages, was not only entirely irrelevant, it came out of nowhere. At first I thought the conversation held a hidden clue  but no, the victim was shot, not sliced open with a shearing hook.

I have another bugbear. If, after a paragraph or two, I find myself editing some of the author's convoluted and wordy sentences in my head, I know the book is not for me.

Facts are fine, so is descriptive prose if it adds to the story, but I'm of the Stephen King persuasion. Write the book. Put everything in it and then take out half when you first edit it, and more again the second time around.

Then there's the plot. A good plot keeps me guessing almost to the final page while a bad plot bores me to death. This happened last week and halfway through the book I did something I've never done before, I turned to the end. It was a crime novel by a well known author who has had work translated into a very successful TV series, so my expectation was high. The only downside as far as I could see was that it comprised 650 close typed pages, a bit long for a 'Whodunnit'. Sadly the author let me down. I worked out the entire plot as well the outcomes of quite a few of the side stories within the first half dozen chapters. When I also found myself continually re-writing some of the sentences in my head I gave up, turned to the end, confirmed what I already knew, and then chose another, very much more enjoyable and well written book about the young Australian war brides who were transported to Britain at the end of WW2.

That TV series thing gets to me too. Although I've read some good ones I've also read a number of poorly written books by different authors that have been turned into very successful TV series.  Is the success of the TV version down to a very talented script writer and director or have I missed something? I'd love to know how producers choose their stories. Do they actually prefer a book they can tinker with,  look for characters who need to become more rounded, a plot that needs tightening up? I wish I knew.

My attitude is a personal one of course. Some readers enjoy lengthy prose and I have one friend who can't abide modern literature and just re-reads all the old classics. There's certainly a place for those in our literary lexicon but fashions change, and some of the old stories I once enjoyed now seem wordy and contrived, although others have stood the test of time to an admiral degree, so yes, I'm picky about the classics too.

Am I like this because I'm becoming more selective as I grow older, or is it because I'm a writer? It's probably a bit of both, but what I do know is that life is far to short to waste time reading a book I'm not enjoying. What about you?

For a great many very readable books go to http://bookswelove.net

For my own (I hope) readable books, go to amazon.com/author/sheilaclaydon or http://bookswelove.net/authors/claydon-sheila/

How does an author hook readers in today’s fickle world? by Sandy Semerad

 The great writer John Steinbeck has been quoted as saying, “If there is a magic in story writing, and I am convinced that there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader. If the writer has that urge, he may sometimes but by no means always find the way to do it.”

            Steinbeck’s eloquent quote explains why I write. I have an aching urge to communicate.

But is my aching urge a formula for success in today’s fickle world with its fierce competition?

Book marketers say no. They say there are too many books vying for attention. Authors can’t afford to wax poetic for pages and pages, painting the scene, stroke by stroke, as Steinbeck did, and expect to hold a reader’s attention.

Readers are not only fickle but impatient, they say. Today’s writer must hook the reader from the first sentence. Writing a great book, doesn’t equal a best seller anymore. 

Whenever I’m in a book store, I try to observe and learn. I want to know what makes a reader buy.

I’ve learned most consumers examine the front cover, read the blurb to see if the story sounds interesting and then turn to the first chapter to read the first sentence or two.

I’m no marketing expert, but they claim author popularity is the number one reason why a book sells. Also the first sentence must hook the reader.

So I thought it might be fun to see if you’d buy the following books after reading their first sentences.

“To the red country and part of the grey country of Oklahoma, the last rains came gently, and they did not cut the scarred earth.” (From John Steinbeck’s masterpiece, Grapes of Wrath, published in 1939).

“The Santa Anas blew in hot from the desert, shriveling the last of the spring grass into whiskers of pale straw.” (From White Oleander, by Janet Finch, published in 1999).

“On a chilly morning in February with a misty rain shuttering the windows, Devin and Rosie Cauldwell made slow, sleepy love.” (From The Search by Nora Roberts).

“Barry Fairbrother did not want to go out to dinner.” (From The Casual Vacancy by J.K. Rowling).

“The tumor in my father’s pancreas was removed last week in an operation that lasted five hours and was more difficult than his surgeons had expected.” (From Calico Joe by John Grisham).

“Deputy Keith Clayton hadn’t heard them approach, and up close, he didn’t like the looks of them any more than he had the first time he’d seen them.” (The Lucky One by Nicholas Sparks).

“Fiona Carson left her office with the perfect amount of time to get to the boardroom for an important meeting.” (Power Play by Danielle Steele).

“The first hail of bullets was fired from the house shortly after daybreak at six fifty-seven.” (Deadline by Sandra Brown).

“In those days cheap apartments were almost impossible to find in Manhattan, so I had to move to Brooklyn.” (Sophie’s Choice by William Styron.)

“There are four acknowledged ways of meeting your maker.” (Simple Genius by David Baldacci).

“When he was nearly thirteen, my bother Jem got his arm badly broken at the elbow.” (To Kill a Mockingbird by Harper Lee).

“I’ve always wondered what people felt in the final few hours of their lives.” (The Neighbor by Lisa Gardner).

To play fair, I have included the following first sentences from my books:

 “On a snowy morning in Atlanta, Carrie Sue rummaged through an old cedar chest, searching for a journal.” (A Message in the Roses).

“My heart hammered a warning when I opened the door to leave the beach house.” (Hurricane House).

“If you had seen me on that day you would have said I was a hyper child, not the mother of a teenager.” (Sex, Love & Murder, previously Mardi Gravestone).

I must confess, I don’t worry too much about perfecting a first sentence until I’ve finished the first draft. 
     Writing a story is more fun when I can write freely, get the story out, before I have to go back, edit and rewrite.

     As to hooking a magnitude of readers in today’s fickle world, that’s my dream. 
     Although I kind of like what Steinbeck advised: “Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn't exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.”

I’m trying to follow his advice.

To learn more about me and my writing, please visit my website: www.sandysemerad.com

Or my publisher’s site: http://bookswelove.net/authors/semerad-sandy/

To buy, go here: http://www.amazon.com/s/ref=nb_sb_ss_c_0_13?url=search-alias%3Dstripbooks&field-keywords=sandy+semerad&sprefix=sandy+semerad%2Caps%2C236

click here to purchase from Amazon

Diane Scott Lewis - The Tribulations of Publication in the Eighteenth Century-or "Nothing much has changed"

Firstly, the Georgian author would struggle to find a publisher. Aspiring authors sought these prestigious men—for you’d be hard-pressed to find a lowly woman with their feeble brains in this profession—at the many booksellers’ shops that huddled in the shadow of St. Paul’s Cathedral in London. They would cart their precious manuscript to the Chapter Coffee House in Paternoster Row, where several stationers, booksellers and printers conducted their business.

If you lived in the provinces, too far from London, you had to use the postal service. The author would choose a bookseller, often after local advice, whose imprint he’d seen in newspaper advertisements or on a book’s title page. 

In 1759, Laurence Sterne, an obscure cleric in York, sent his unsolicited manuscript of Tristram Shandy to Robert Dodsley on the recommendation of John Hinxman, a York bookseller.

Sterne’s accompanying letter assured the publisher that his book had both literary and commercial value. Dodsley wasn’t impressed. He refused to pay the £50 Sterne requested for the copyright. The novel was rejected by a few publishers, but eventually achieved critical acclaim.

Whether the author approached a bookseller or used the post, his reception was usually chilly.

The arrogance if the bookseller was a common grievance among novelists, as depicted in Thomas Rowlandson’s drawing of 1780-84.

Though booksellers like Edmund Curll abused their position and their writers, many in this profession were honest and prudent men. They bore the burden of publication and profit and were inundated with manuscripts, most of which had no commercial merit. The sheer volume of submissions made it hard for them to discriminate. Most stayed with established figures rather than risk their money on an unknown author.

The hapless writer often resorted to appealing to the publisher’s personal interests, such as politics, religion, children’s literature or poetry. The astute author needed to research whom he’d submit to.

From the booksellers’ perspective, the letters Robert Dodsley received over thirty years showed authors as exacting and demanding in their requests, extolling their works as the perfect creations whose publication was eagerly awaited by the entire world, and they would "allow them to pass through his firm."

Aware of the fragile ego and financial status of writers, a few booksellers formed literary circles where authors could slake their thirst with food, alcohol and conversation. Brothers Charles and Edward Dilly, who published Boswell’s Life of Johnson, were famous for their literary dinners.

When an author approached a bookseller, he could also verify the merit of his work if he found a famous author who would publicly endorse it.

Dodsley

Dodsley’s literary career was promoted by Daniel Defoe. Despite bickering and competition, brother writers stood together to brace one another up in this risky endeavor.

Literary patronage—via a rich gentleman or the Court—was another way for an author to find publication, though this was fading by this century. Still, some thought of patronage as prostitution. Poet Charles Churchill proclaimed: "Gentlemen kept a bard, just as they keep a whore."

Subscription was another way to secure publication: collect pre-payments for a book not yet published. Dr. Johnson organized many subscriptions for unknown writers that he admired. He wasn’t always successful.

Constant rejection drove several authors to self-publish their works, which mirrors the Indie authors we have today. The uncertain road to publication over two hundred years ago seems much the same as the present.

Information garnered from: The Pleasures of the Imagination, English Culture in the Eighteenth Century, by John Brewer, 1997.

To see my extensive research into the eighteenth century, read my historical adventure set in England during the French Revolution: Betrayed Countess, available from Amazon.

http://www.amazon.com/Betrayed-Countess-Historical-Romance-ebook/dp/B00AS4CET8/ref=sr_1_1?s=books&ie=UTF8&qid=1357304063&sr=1-1&keywords=diane+scott+lewis


Visit my website for more info on my historical novels.

http://www.dianescottlewis.org