Author Blogs

The worst part of being an indie author is that you are required to do all of your own marketing and promotion. You always wonder if you are missing something, some way of connecting to your audience. There’s lots of advice out there about having your own blog, so this week, I did some research of what other authors talk about in their blogs.

I was lucky enough to find a list of ‘well-crafted’ author blogs compiled by a well-known site for authors. So I checked out the first dozen or so.

The first thing I noticed was that all of the blogs I was connected to were over a decade old, even though these blogs got points for being ‘frequently updated’. In one or two cases, newer posts were easy to find; but in most of them, I was stuck with the post I landed on, looking for similarities, differences, anything that might tell me what made a successful author’s blog.

Two or three of them were down-right political in nature. I have my political views, of course, but I don’t like cramming my views down other people’s throats, nor do I like having other people’s views crammed down mine. I didn’t spend much time on those sites.

One blog page consisted of boxes with a headline in each box. The headlines did not make much sense to me, perhaps because I wasn’t familiar with that author’s work, and that’s what they pertained to.

One blog page was a guest blog by a friend of the author, who waxed poetic about how much better his life was, now that he had adopted just one of the attitudes suggested is the author’s non-fiction self-help book. Well, that was an interesting possibility... if I wrote non-fiction self-help books.

Several of them talked about their current Work In Progress, which was pretty much what I expected. But even now, I’m not sure how that can be done effectively, given a blog that gets a new post every week, which is the absolute minimum suggested by all the advice given to authors that I’ve seen.

Now, I don’t write 8 hours a day. I am an editor and publisher (and person) as well as an author, and so I spend 8 hours (and more) at my computer, I do not spend 8 hours a days working on my own stories. Not even 8 hours writing, re-writing and editing my own stories. But let’s look at some math:

Suppose an author writes 8,000 words a day ( that’s 1,000 words per hour, and boy, is that fast!) 5 days a week produces 40,000 words. To the best of my knowledge, a typical romance is about 80,000 words, so that’s 2 weeks of work, just for a rough draft. One romance writer complained that she had finished her rough draft, only to have her editor tell her it had problems, problems so bad that she (the author) was going to have to step back and rethink the entire story. And yet, that author still managed to include in her blog post an excerpt from that story.

I’m left wondering, does she include an excerpt with every blog post? Even if all she did was tell her audience about whatever she had written that week, she is basically telling them the story before it ever gets published.

And that’s during the rough draft stage. What does she do during the rewrites? More excerpts? Explanations of what she’s changed?

I don’t really understand, so I guess I’ll have to continue studying blogs by other authors, preferably more than one post by the same author. Do any of you know of an author whose blog you feel would be a good example for me to study?

In the meantime, I’ll return to writing about the science I’ve self-studied.

How Many Hats?

Long, long ago - they tell me - all an author needed to do was write. And maybe go on a speaking tour from time to time.

Now, an author wears many hats. How many hats can one person balance on their head before their neck snaps?

First, there's the Writing Hat. You have to get that rough draft done, or your writing career will go nowhere.

At some point, you will probably need the Research Hat, even if you write fiction. If your story involves some military, how is it organized? What ranks does it have? If it's science fiction involving humans, you might research militaries throughout history, and extrapolate from what you've learned. If you're writing a fantasy about dwarves, you might study the tales about dwarves, and try to figure out how they might organize an army. (Hint: A dwarf army is not likely to have cavalry. At least, not a cavalry on something as big as a horse.)

Next comes the Self-Critiquing Hat. You go through your rough draft and make it better by smoothing out rough spots and inconsistencies, adding description and explanation where it's needed, making sure you've said what you intended to say. Actually, you wear this hat more than you wear the Writing Hat.

Next comes the Listening Hat. You ask for feedback on what you've written, and you listen to what they say. Maybe your hero's eyes changed color mid-book, or you use the same phrase over and over, or 3 out of 4 readers didn't understand the first half of chapter eleven.

Back to the Self-Critiquing Hat as you go through your manuscript, considering the feedback, whether or not to change anything, and if so, what's the best way to do that?

Many authors are opting to self publish, these days. Once they've gotten their manuscript as good as they think they can get it, they probably hire an editor, maybe a copy editor, possibly a proofreader, and some will even hire someone to format the manuscript into e-book and print templates.

Or maybe they don't. In which case, those are all hats they should make sure fit their head; the Editor Hat, the Copy Editor Hat, the Proofreader Hat, and the Formatting Hat.

If they are making print copies, they must wear a Deciding Hat (What company will I hire to print this? Where do I get cover art, and who can do the cover layout?), the Receipts Payable Hat (How did the final printing bill get 30% higher than the quote they gave me?), and the Signing Hat (I only ordered *** copies, so why are there so many big, heavy boxes on my doorstep?).

Think they're done? Oh, no, not yet. This part is for all authors, even those with a publishing company, whatever that company's size. Very few authors don't have to wear the following hats:

The Marketing Hat (How do I let people know about my book?) often leads to The Social Media Hat (How many times can I announce something about my book on fb, twitter, linkedin, goodreads...?), the Webmaster Hat (How do I get this shopping cart to work?), the Personal Appearance Organizing Hat (Did that bookstore ever respond about the reading I wanted to do?), the Merchant Hat (Step right up! Get your brand new red hot sf book by that upcoming new author, me!), which, of course, leads to the dreaded Bookkeeper Hat (I gave away 5 books. There's no money involved, so how do I put those in the bookkeeping records?).

I will be wearing the Merchant Hat this weekend. I have rented a table in the Dealer's Room at a Dr Who convention in Wichita KS. Tomorrow, I will be madly trying to wear both the Publicity Hat and the Organizing Hat as I try to design some way to 'decorate' that table and decide how many copies of each book to take with me. A full box of John's book, because, you know, I still have 6 full boxes to sell, 15 of my first book, 12 of the anthology I'm in (plus 6 of the companion volume for that anthology), and 12 of my latest book. Wait, will all those fit in the car with John's suitcase, my suitcase, the costume suitcase and my full make-up case?

Too many hats!

The Secret

This year's World Science Fiction Convention was in Spokane, WA. The layout of the convention center made absolutely no sense. You entered on ground level, only to take an escalator to the 2nd level, where you could find registration, the dealer's room and the art show. From there, you could do one of 5 things:

·       Take an escalator down to one set of rooms,

·       go down a few steps to a down escalator to another set of rooms,

·       walk down a long corridor, turn left, follow a hallway to an (inadequate) bank of elevators to get to the hotel lobby, which you walked across to another set of rooms (I never personally made this trip, although I did try, once.),

·       don't turn left but continue down that long corridor to a down escalator to another set of rooms, or

·       walk past that set of rooms to take an elevator up a floor to yet another set of rooms.

Rumor has it that there were even rooms in another building that one had to go outside to get to.

Even with a map in the pocket program book, convention center staff were stationed at corners so people could ask, "How do I get to X?" We got our exercise!

There were wild fires in Washington, one of them north of Spokane. The city wasn't threatened, but on Friday, the smoke was as thick as heavy fog. Even inside, you could smell it. Played heck with people's sinuses.

But the thing I will probably remember most was The Secret. I heard it in a panel given by authors, and one of them quite nonchalantly stated, "I hate to give away secrets, but we authors don't come to conventions to see our fans; we come to network with other authors and people in the business."

I was shocked!

Now that I have thought about it, I wonder, Then why do they attend the smaller conventions? I mean the smaller, regional conventions where they may be the only 'known' author attending. No editors, no agents, only small press publishers. What would local authors and small press people offer?

I suppose networking is networking, and you never know, the person who is completely unknown this year could the Big Item next year. But still, the fan is in that mix somewhere, right?

How can you sell books if nobody wants to read it? If fans aren't important, why are newbie and wanna-be authors advised to produce the most excellent work they can, because "Your first book is what sells (or doesn't sell) your next book."

Okay, maybe this 'Secret' doesn't say it all. Maybe it was just my personal wake-up to use conventions, not just to have fun, but to network with like-minded people. That's not an easy thing for me to do. But I can talk to people, one or two at a time. Time to give it a try.

Strangers vs Relatives

I do free-lance editing, and there are differences between editing the work of a stranger and editing the work of a relative, like a spouse.

Some things stay the same; I am always careful not to make changes just to suit my style. I haven’t written this manuscript; it belongs to somebody else. But I don’t have problems taking out unnecessary commas, or putting one in where it is needed; of keeping verb tense consistent; of changing ‘shuttered’ to ‘shuddered’ when a character is cold - of making sure they really are saying what they intended to say.

When I edit, I try to give some guidelines to help them improve as a writer, so I won’t have to work so hard with their next manuscript. If I want them to change a sentence, paragraph, or scene, I explain why, and give at least one example of how (I think) it could be improved.

Strangers, so far, have been pretty easy to convince. Relatives... not so much.

There have been other challenges when editing for a relative that - so far - have not happened with a stranger. Like the time I was editing a 400+ page manuscript, and asked my relative to clarify/change a paragraph on page 151. He had already changed that paragraph and had apparently given me the wrong version of his manuscript. I had to start over.

Another time, I explained to a relative that when a planet’s moon is in the ‘new’ phase, it is (relatively) between the sun and planet, and so would not be in the sky at 1 AM, the middle of the night. I don’t think he believed me.

The difference might be a matter of perception. To the author who doesn’t know me, I am an editor, one who respects him/her as an author, and they listen and return that respect, especially if they are fairly new. To the relative, I am a sister, cousin, parent, daughter, or even a spouse. Yes, I’m intelligent, but they are, too, and while they love me, they don’t necessarily view me as knowing what I’m talking about.

Despite the challenges of editing the work of either a stranger or a relative, I would rather do that than edit my own work! Because in that case, I turn into an idiotic despot... on both sides.

Help Wanted

Oh, the hassles of being a writer in this day and age! A couple years ago, I faced my growing frustration with submitting my work, only to get a “No, thank you” response. Everybody tells writers not to take it personally, but after a few years, you start wondering what is wrong with your writing. And the truth is, there might not be anything wrong with it, it’s possible you just aren’t hitting that market with that story at the right time.

A lot of authors - even established authors - were going into self-publishing, so... why not? Could it be any worse? A friend said she would help.

But then the novel we were going to start with (Cali) was accepted by a different small press. Great news! But it left us looking for a different novel to publish. I had a couple in the clean-up stage, but most were in the rough draft or 2nd draft stage. So we took on my husband’s sf novel (The Stone Builders) as our first publication. [Side note; since he agreed to this several months ago, he has finished a 2nd novel and started a 3rd. Apparently, he just needed some encouragement.]

I am no longer ‘just’ an author and free-lance editor, I am a publisher. I learned how to prepare manuscripts and format them, and I knew artists to hire for book covers. Editing can be time-consuming, but I was prepared for that. The big problem is the marketing involved!

We were trying to learn marketing even before we made this decision, because most marketing is left to the author anyway. But to be effective, we need to post on Facebook, Twitter, Goodreads, Pinterest, and any other appropriate social media outlets. Unfortunately, trying to do all of this has left me with no time to write, and my friend is more technology-challenged than I am. Plus, it’s driving us crazy, trying to come up things to say and learn how post in various websites. Therefore,

Help Wanted: Social media handler. Someone to help decide what to post, when and where to post it, and do the posting. Knowledge and/or willingness to learn is more important than experience.

Help Wanted: Freelance Editor/proofreader. Knowledge of American English grammar, spelling, vocabulary and punctuation a necessity. I do not want to be the final editor of my own work.

The pay for either position is crummy, since we are just getting started. Both positions are ‘as needed’. If interested in either, contact Tommee@MoonPhazePublishing.com

I think we’ve tapped the talents of family members as far as we can. If you (or someone you know) wants to break into one of these fields, this just might be the opportunity!

What Takes so Long?

What takes so long from an editor accepting a manuscript for publication and the book appearing in book stores? The process can take months or even years with a ‘Big Boy’ publisher.

Yet, there are exceptions: Books about some political scandal can appear days after the scandal comes to light; Biographies of a celebrity can be bought within a week of their death. So it can be done faster. Why isn’t it?

Small press and self-publishing don’t take that much time. How do they do it?

Editing. Every manuscript needs an editor. It may be the rare exception that only needs one comma added and one numeral (like 9) spelled out (into nine), but no publisher knows that until an edit is done. With the Big Boys, sometimes the editor who decides which manuscript to purchase is also expected to edit those manuscripts. Obviously, an established author’s manuscript will be edited before those by new authors. Small presses don’t publish as many books, and often use free lance editors, who fit their assignment into their schedule in order to meet their deadline. In my case, I ask for a month (and occasionally wish I had two).

Cover Art. This is, apparently, the next step for the Big Boys, because nothing else can happen without the pretty picture for the front. Of course this takes time, from concept through several renditions until it is ‘just right’. And then, it’s sent to somebody else to put the type (title, author, etc.) on it, and that may take several attempts before it is deemed ‘acceptable’. Remember, the Big Boys have many of these being done at the same time. Small presses, again, may work with free lance artists, who may even put the type on. Or they might use a stock photo, which takes even less time.

Reviews. I never paid attention to these myself, so I was surprised at how much emphasis is placed on getting them. In the past, reviewers expected to receive a printed book, complete with cover art, that they could read. This would be months before the book was officially published. Some still want it done this way, but others accept e-files of the book. Some small presses don’t get reviews early enough to quote them on the back of the book, so that cuts some time off the process.

Sales Materials. This seems to be a long, drawn-out ordeal for the Big Boys. Each book must get added to their catalog, the sales teams must be trained in how to best pitch it to the book stores... Many small presses don’t pitch to book stores, because the book stores won’t carry them. Therefore, their efforts for one book are simply added to the marketing of all the others they have available. Add it to their catalog and website, mention it in the newsletter and their social media comments. They might create fliers to send to gatherings of likely readers.

A typical Big Boy book stays on the shelf about 6 weeks. A small press may never ‘discontinue’ a book.

Is being published by a Big Boy worth wasting all that time? What do you think?

The Mechanics of Writing

I have the honor of being trusted enough to edit other people's manuscripts from time to time. Occasionally, I find myself giving mini-lessons in the mechanics of writing as I do so. Here are some examples:

In fiction, dialogue does not go on a separate line just because it's dialogue.

When one character is speaking for several paragraphs, do not put end quotes at the end of each paragraph, save them for the very end of that person's dialogue. Do, however, start each paragraph with opening quotes. This is a subtle indication to the reader that the same character is speaking these paragraphs.

Generally, past tense verbs are preferred over present tense verbs. Whichever tense you choose to write in, stick with that tense. Don't flip between present and past tenses.

If you are writing from Character A's point of view, he cannot tell the reader things he does not know. If B & C secretly meet to discuss something, A must overhear them - or be told about the meeting - in order to tell the reader about it.

'I' is for the subject. 'Me' is for the object of the verb. If you lump yourself with another person, and can't decide if you've chosen the correct pronoun for yourself, try reading the sentence without that other person. 'Mother and me went to the park.' = 'Me went to the park.' I don't know about you, but that grates on my brain. It should be 'I went to the park,' therefore, 'Mother and I went to the park.'

The best source I have found for learning some of these mechanics is the book, Elements of Style by Strunk & White. It is a whopping 85 pages long. It is clear and concise, without a lot of fluff to clutter it up. I try to read it every couple of years, just to remind myself of things.

This book, however, is not written with fiction in mind, so sometimes, a punctuation question comes up that is not addressed in its pages. This past month, I have discovered a blog by 'Grammar Gal', which has answered a couple punctuation questions I had. She seems to know her stuff, and explains it clearly. She has joined my 'resource' list as well.

My dad used to say, "If something is worth doing, it's worth doing right." I have to agree. So if you want to write, brush up on your grammar rules. It makes it much easier on the editor, who can then concentrate on finding any plot holes you might have missed.

Even if you aren't writing books, just emails to friends and family, being aware of the grammar rules will make those emails easier for them to read.

An Author's Mistakes

Authors are people. (All of them I know are, anyway.) People who spend a deal of their time in some world other than 'reality'. So you shouldn't be surprised if they are sometimes confused when trying to deal with the real world. They are bound to make a mistake here or there. Following are some of the more humorous mistakes I have made.

A few years ago, I sent a short story to a magazine for consideration. It was rejected. At that time, I was trying to follow the adage, "When a story is rejected, shove it in a new envelope and send it to the next market." So I shoved it in a new envelope... and sent it right back to THAT magazine. I was so embarrassed a couple days later when I realized what I'd done and had to draft an apology letter to that editor for wasting his time. Oh! Color me blushing! (You know, I'm not sure I've ever sent another story to that magazine for consideration. Maybe I should. You don't think they have my name on some 'Never accept a story by this person' list, do you?)

Later, I saw a call for submissions and thought I had a story that would fit what they wanted, so I went online and got all ready to submit it. But I had to open the file, because I didn't remember how many words it was, and when I opened it, it was all set up for a rewrite! (Draft F, orange 16-pt Franklin Gothic font.) Did it really need a rewrite? I read through it, and only found one word I deleted, so no, probably not. So I changed it into proper manuscript form and sent it off. Can you imagine how embarrassed I'd be if I'd sent it off in a big orange strange font?

And then there was the time my dog ate-- No, wait. That wasn't me. Was it?

I get so confused out here in the big real world!

Excuse me. I'm going back inside one of my universes. If I get confused there, the characters always set me straight.

Intensity

This past week, I learned something about writing I hadn't known before: How intense it can be.

I've been writing a short story to submit for an anthology for the last several weeks. I thought the deadline for submissions was January 15, and I started the story around December 15, so... not a lot of time. But I already had the story and characters in my head, so how hard could it be? I'd just whip that baby out and get it sent.

Have I ever told you I tend to run off at the keyboard? Words can just roll out of my head, down my fingers and onto the screen. And they do like crowds. For instance, this anthology wanted a maximum of 6,000 words. My rough draft was just shy of 15,000 words.

But I wasn't worried, even though I was already into January. I couldn't send it off without at least one re-write, and I always find 'unnecessaries' during re-writes; unnecessary words, phrases, paragraphs, heck, even unnecessary scenes! So, even though I needed to eliminate 3 out of every 5 words, I didn't let myself worry.

During that first re-write, I eliminated 6,000 words, leaving me with just under 3,000 words that still had to come out before I got that story small enough. At this point, a piece of me began to fret. Where could I possibly find that many words to remove and still have a story?

Now that I'm done, I have a theory: Once you eliminate the first layer of 'unnecessaries' (or layer of dirt in your house), your eyes can then see any remaining 'unnecessaries' (or clutter, trash, dirt) that you missed during the first run-through. If you've followed me on facebook these last 2-3 weeks, you'll know that I did get that story trimmed down to just under 6,000 words, and got it submitted on January 15th. (In the meantime, the deadline was pushed to February 15, but that's another story.)

Where does the intensity come in? Actually, it made itself known on the 16th. I got up, had breakfast and went to my computer as usual. As I was considering what chores and projects to tackle, a piece of my brain said, "Pull up that story, I bet we can pull a word or three from-" and I responded with, "No, we're done with that story. It's time to move on." It turned into quite an argument inside my head. I didn't get any work done that day. When I mentioned this internal argument to a friend, she said, "That shows how intense you became with your work on that story.

Intense? Me? Not an adjective I usually apply to myself. Then again, I don't usually have projects with such a tight deadline, either.

It's nice to know that, yes, I've got it in me.

2013 Wrap-Up

2013 is not over yet, but this seems a good time to look back at what I have or have not accomplished, before I start making wild plans for next year. Of course, looking back might not keep me from making wild plans...

In 2013, I gave readings at Conquest and OSFest. This was kind of 'dipping my toe in' to see how the water was, and it was this kind of activity that prompted me to join Toastmasters for a couple years, to learn not to freeze up when 'in the spotlight'. Okay, I got some practice at readings.

At Conquest, I also participated in panels. They weren't on my best topics, and I struggled to participate fully. I am not great at 'thinking on my feet' when the thinking involves talking. Now I know to prepare better for panels and work harder to get my 2₵ into the conversation.

OSFest had author tables, and I took a couple stints sitting there. I was not mobbed by fans, but I did have pleasant face-to-face networking time with other authors in those time slots. I learned quite a lot.

In October, we went on a Dr Who cruise, and participated in a writer's workshop. There were 6 people in our group, and we were to write a scene for 2 characters who had never met on screen in Dr Who. Of course, every member of the group had their own idea how the scene should go. Unfortunately, the guidelines kept changing; first we were supposed to do it as a screenplay, up to 5 pages. This was confusing, as the actors were only going to do a reading; no movements, no foley personnel. Then it became prose, no more than 3 pages, which made more sense, but we needed to cut. On top of that, every day that we had to work on this project, there were shore excursions to enjoy! I learned that I don't like writing by committee, and other than this frustration, the cruise was enjoyable.

I accepted the position of editor/copy editor for Class Act Books. I have since edited 1 book for them, copy edited another. I don't mind editing and polishing my own work, but I've discovered it's even easier/more fun to edit somebody else's work ... as long as the material is enjoyable.

Tommee and I, as MoonPhaze Publishing, put out our first western e-story ("Wrangler Required for the Deadfall Saloon", by Michael McGlade, https://www.smashwords.com/books/view/343185, 99₵).

I took a non-credit class from the local community college on how to market your book. It was a 3-hour class, and I felt it needed 3 sessions, not just one. Lots of information, but I'm not sure I caught it all.

As for my own stuff...

Alban Lake is considering my first fantasy novel, which is set in my Atlan universe. At least, I haven't heard that they don't want it, so I'm still hopeful.

I submitted a short for a vampire anthology edited by Carol Hightshoe. She has informed me that she is hanging onto it for further consideration. (Happy Dance!) I've heard that she was holding on to about 53 of the stories that came in as soon as the anthology was announced, and the call for submissions doesn't close until March 2014. Her editor has approved her making it a 2-volumn anthology. So... let's all cross our fingers, okay?

Practice What You Preach

I read a lot of e-newsletters. Some give me tips on how to write better, some give me clues about markets I might submit to, and some try to tell me how to market my work, once it gets published. Most of them I can read fairly quickly. But one of them I read this week... !

I don't remember which newsletter I was reading, possibly one on marketing, because the article seemed to be on what type of website to make announcements, timing and the type of announcement. After almost every website type/announcement type that it listed, the author expanded by saying you should edit, edit, edit everything before you sent it off into the world. The reasoning was that if you make an impression on potential readers with poor grammar, spelling and punctuation, they aren't likely to look up your book and buy a copy.

I have to agree with that sentiment.

A lot of people never learned these things in school well enough to know how to follow the rules, and therefore, they don't think it's really important. Texting, when it required hitting the same button a number of times to get one letter, further eroded people's ability to spell, it seems. But as long as the idea gets across, anything goes these days, right?

No, I can't agree with that sentiment.

I have re-worked and proofread and edited enough to be pretty familiar with most of the rules of the English language. It doesn't bother me to get a text on my phone with 'u' for 'you' and 'ur' for 'your'. I consider that a kind of slang.

But when I'm reading something that purports to be informative and professional, I expect it to be well edited. This particular article in this newsletter was NOT. Here it was, expounding on the idea that everything you put out there should be edited, and the author did not appear to know the difference between [its] and [it's], or where commas belong, or how to spell.

Now I'm left in a dilemma. Do I believe this author was knowledgeable in the field and take the advice offered? Or write the article off as a waste of time because the author couldn't be bothered to take his/her own advice?

Working a World Con

This year, my husband and I were in charge of Opening Ceremonies at Lone Star Con 3, the World Con held in San Antonio. Last year, we were in charge of both Opening and Closing Ceremonies at Chicon 7, the World Con held in Chicago. We have attended many World Cons over the years, but these were our first efforts at being staff members of a World Con.

I don't know if these experiences will help me in my efforts to establish myself as a writer, but they might. Instead of going to publisher parties and winding up being a wallflower, I showed myself to be an active participant, a capable and flexible planner, and a person who was easy to work with.

But wait, I was a behind-the-scenes type of staff person, so who would have seen all those good things about me? Good question, one I've been thinking about the last few days.

We were late getting access to the stage, so any convention attendees who arrived at the ceremony location early in search of a good seat, saw me moving set furniture and props, consulting with sound techs and the convention Toastmaster. When others could not decide on a good location for a late-arriving set decoration, I made the decision. If any of these good people noticed me in particular and caught my name, ... well, I only know of one person who attended this convention who does not do a lot of reading.

We met and interacted with other staff members. We received compliments from some of them for being cool, collected and flexible, but maintaining control. Some had expected us to have a melt down over the loss of our major piece of set decoration, a set of cardboard swinging doors. Happily, it was found and brought to us an hour before we were to begin, and 3 people immediately set to work putting it together for us. It would have been a shame if that item had never showed up, but we figured the attendees were coming to see the guests, not our choice of decorations.

Finally, we had some interaction with the guests, as we introduced them to the Toastmaster, explained what we expected from them, and alerted them that they would be next on the stage. Despite our efforts ahead of time to work with the Toastmaster on the list of guests, last minute details meant our list of people for him to introduce almost doubled in the last half hour before the ceremony started. He was a trooper, speaking briefly with all of them and taking notes. We were hard pressed to keep track of where he was putting them on the list, but we must have done something right, because we never had the wrong person waiting in the wings. These guests included (but were not limited to) famous authors and a well-known editor. Hopefully, they noticed our efforts in a favorable light.

In any case, we took our enjoyment of world cons and paid it back/paid it forward by being staff members.

World Con

What better subject for me to blog about while I'm at this year's SF Worldcon than the convention itself?

The World SF Convention has existed for nearly 75 years. It's a traveling convention, meaning it is held in a different city every year. For instance, last year's was in Chicago, this year's is in San Antonio TX, and next year's will be in London England.

This year's attendees have the opportunity to vote on the site for 2 years from now, 2015. We had 3 choices; Orlando FL, Spokane WA and Helsinki. Well, technically, we also had the choices of 'No preference' and 'None of the Above'. These locations already have some people who have scoped out the best place in town to hold the convention, have presented an acceptable plan to the Worldcon parent organization, and have been trying to impress people with what their location has to offer.

This year, the attendees also have the opportunity to vote on next year's North American SF Convention. When the World Convention is in another part of the world, like next year's convention in London, a great number of North Americans can't afford to travel that far, so a similar convention is held within North America.

If you have never attended any science fiction convention, I don't really suggest you start with a worldcon. Try a couple conventions in your area of the country first, so you have a better idea what to expect. (Google 'sf convention' + 'your state' to find some within easy reach.) If you've been to one of those huge comic cons, you might not be quite so lost, but I find the worldcon has more things to do.

With an attendance of 6,000 or more, a worldcon has the usual dealer's room, panels, art show, panels, con suite, panels, autograph sessions and panels. Did I mention there's panels? Looking through the pocket program (a booklet of 260 pages), there are easily 2 dozen Things To Do in any given hour of the day, slowing to 1 dozen in the evening.

Worldcons differ from local sf conventions in another way. Local sf conventions are usually 3 days long, from Friday through Sunday. A worldcon starts on Thursday and goes through Monday. So a smart attendee tries to pace themself. Or else, trains for the marathon ahead of time.

Even with thousands of attendees, by the time you've come to 2 or 3 worldcons, you'll start recognizing some faces, and others will start to recognize you, too. There really are groups of friends who do not see each other except at conventions. Thank goodness for internet for sharing thoughts at other times!

Woops, there's a panel coming up I want to be at. See ya next week!

Science Fiction Conventions

Science fiction conventions are frequently attended by authors of books in many different genres; sf, fantasy, horror, paranormal, even mystery, romance and erotica. Some of these genres used to be sub-genres of science fiction, others have been blended with science fiction. No attendee of these conventions is surprised to learn that these authors write in more than one field.

But why do authors pay for their own travel, lodging and a ticket to the convention in the first place? Wouldn't they be better off staying home and writing?

A lot of them would probably rather be at home, writing. But these days, most authors also have to devote time to marketing their work to the public. So they choose which conventions they will attend, they contact those conventions and volunteer to participate on panels. They give readings. They have autograph sessions.

In fact, there are several ways an author may 'profit' by attending an sf convention:

·       They meet with fans and potential fans of their work.

·       They sell a few copies of their books.

·       They network with other authors, giving them a chance to compare notes.

·       (At some conventions) They might network with editors, agents and publishers.

·       For a weekend, they step away from their work schedule, which could give their imagination a chance to 'recharge'.

There may be other things I haven't thought about. And other than all that, authors might attend a convention for the same reason non-writers attend them - they're a lot of fun!

What do you think? What's your favorite convention?

Practice What You Preach

I read several newsletters and blogs to learn how to write better; how to open a novel and grab the reader, how to involve all the senses, ... that sort of thing. One of the first things I was taught was that your first draft is not your last draft. (Took me a lo-o-ong time to learn that lesson.)

Your first draft is where you get the basic ideas out of your head and onto paper - or computer file, or whatever. Then you spend time going through that project a few times to add descriptions, select a more precise verb, make sure the reader understands what you intended to say.

And then, you polish it.

Remember back in school, when you learned about subjects, verbs, direct objects, punctuation, and all of that? That's the stuff a writer worries about in the final polish. Because as a writer, you want others to see your work in its best condition. If your work is full of misspelled words, incorrect choice of pronouns, and 'sentences' that don't make sense because you forgot your punctuation, the readers won't be able to understand what your are trying to say.

I understand that bloggers and newsletter editors have a limited amount of time, but this is a very important part of writing. Unfortunately, not every writer remembers that before they post their blog or article. And I have found some that I am thinking of not following anymore because I have to work so hard to figure out what they are trying to say. Repeated words. Extra pronouns from when they rewrote the sentence, but didn't get it completely cleaned up. Missing commas that - if they were there - would tell the reader 'I've finished that thought, now I'm moving on.'

It's sad when a group of people manage to forget the lingual necessities that they continually remind each other are so important. I hope I never get that sloppy with my blogs. If you catch me at it, feel free to call me out about it.

To Format or Not?

There are basic formatting ‘rules’ for manuscripts that please almost all editors and publishers. When I first started writing, in the fourth grade, I paid no attention to them. I was a kid, writing for my own enjoyment.

Through the decades, as I thought about sending my work out, I learned those formatting rules. They’re not difficult to employ; 1 inch margins, double-spaced, 12-pt Times New Roman, with contact information in the top left corner of page 1.

I don’t start a project with those parameters. Rough draft requires imagination, which doesn’t like to be tethered. So my initial drafts have tiny margins, 20 pt font (whichever one I feel like using) in a different pale color for each day’s work, single spaced. To me, that lets the rough draft appear ethereal, not quite set firmly and easily changed.

As I go through 3 rewrites and a polish, the margins get wider, the font gets smaller, a different type & color. When I’ve got most of the knots out of the story, my contact information is put in place, and by the end of the polish, the project is in ‘standard manuscript format’. I can send the project out to find a new home knowing that it will be judged on its merits, not on my inability to follow these standard rules.

Over the years, I’ve wondered why so many market guidelines insist so vehemently that these rules be followed, to the point of spelling them out in their guidelines, possibly several times. Now that Tommee and I have opened our slush pile, I begin to understand.

Our guidelines are minimal; all we list is ‘standard manuscript format’ sent in a .doc or .rtf file. Although we want to find new authors, we thought they would know what we meant, if they had any real interest in becoming published authors. Perhaps we were giving them more credit than they deserved. Some of them, anyway.

The 3^rd or 4^th submission came as a docx file, which meant we had to dig out the laptop to open it. (We normally only use the laptop when we are traveling, because we don’t like the keyboard.) We let that slide, and gave the submission due consideration.

Since then, we’ve had submissions that don’t have any contact information in the file, that are only partially double-spaced, the paragraphs are not consistently indented…. But we want to encourage new authors, so we considered them and included the comments ‘Not in standard format’ and ‘Please include contact information within manuscript file, in case your email gets lost.’ We hope they will learn, otherwise, we are wasting our time making comments.

But some of them are not interested in learning. One responded to our comments, breaking another guideline for new writers; “Do not respond to rejections to argue they made a mistake.” S/he did state that s/he didn’t care a fig about formatting, the fact we responded showed that her/his submitting email had not gotten lost, and that so-and-so liked her/his work.

We are not so-and-so. But we may need to follow the example of so many other publishers and summarily dismiss any submissions that cannot follow our guidelines. We are pondering that idea now.

The Many Hats of a Writer

I’ve been writing stories since the fourth grade, maybe even before that. I read a bunch even as a kid, so I knew that spelling and punctuation were important. It did take me a few years to figure out that rewriting what I first put on the paper was a good idea. All in all, it was fairly easy for me to include the ideas of editor, copy editor and proofreader under the hat of writer.

Then I started trying to get my stuff published, and that brought new hats. I had to research agents and markets. Research and submitting wasn’t a difficult job – portions were similar to my day job – but it did take time away from actually writing, and I had to periodically squash the resentment that cropped up. Still, it needed to be done, so I did it.

Then MoonPhaze started publishing my stories, and I suddenly needed to add a new hat to my wardrobe – marketer.

They tell me there was a time when writers didn’t need to market their own stuff. It’s just another hat for authors to wear these days, and I think a new writer’s success depends a great deal on how good a marketer they are, not how good a writer they are.

I have no background in marketing. I don’t have any idea how to get started in this field. I have read books and blogs by other authors, watched youtube videos on marketing. The youtube videos I’ve watched so far all seem to be ads for companies who want to sell you their services. The books seem to be out of date. The blogs seem to be internet-centric, and want me to spend all my time doing internet things; tweaking my blog site, my website, my pinterest boards, doing the social network thing, tweeting … a whole long list.

Be on my social networks several times a day? I’m not great at small talk, so what do you suggest I say? Especially since this is supposed to be part of my marketing plan. I can’t go on Facebook 3 times a day and just say, “Have you read my latest story yet?” People would quickly unfriend me, and I wouldn’t blame them.

Also, the more time I spend trying to get my name in front of potential readers by tweaking my presence on the internet, the less time I have to write. It seems a vicious circle; if I don’t write, I have nothing to market. If I follow this advice on marketing, I have no time to write, and soon would have nothing to market.

Marketing may be just one more hat for authors to wear these days, but it’s not a hat I care for. Maybe I’ll get used to it, in time.

A Fistful of Ideas

I had many reasons to start going to science fiction conventions. They had interesting and informative panels. It was a way to meet authors whose work I had read (and agents and editors, I later learned). The dealer’s room had stuff to buy that I’d probably never glimpse in my mundane life. The art show had fantastic art that I could appreciate and drool over. The costumes (cosplay) filled me with awe and desire. When I wrote as a ‘hobby’, I frequently came home from an sf convention with lots of ideas for stories.

These days, sf conventions can offer even more to the fledgling author. Necronomicon (Tampa area) was just full of ideas. I did not see any representatives of big publishers or magazines at that con, but there were plenty of small publishers and self publishers. They were eager to share what they had learned without the help of ‘the big boys’.

At one panel, a small press handed out copies of a boiler-plate contract that an author might be asked to sign. Then they spent 2 hours going through that contract, pointing out the ‘not good’ sections, what made them troublesome and what to ask for instead. We could take notes on our copies and take them with us. Contract Negotiation 001 at a convention!

A self-published author gave a panel on how to do a successful kickstarter project. This was something that I’d been trying to find the courage to try, so I bought her book on the subject, inhaled it in a couple hours, and found a couple aspects of a kickstarter project that I had not considered before. I am planning to start my kickstarter project early in 2013. That will give me time to be sure I’ve ironed all the wrinkles out my plan.

Another author encouraged us to incorporate. According to her, it can be done for $0, if you slog through the forms yourself, instead of hiring someone to do it for you. Perhaps that’s true in Florida, but in Nebraska, you must pay filing fees. Still, the cost is less than I expected, and raising that money will be the MoonPhaze’s first gofundme project.

An independent film-maker got his start on utube, using screenplays written by his wife.

One author puts ‘episodes’ of a book on her website every week. These were sections of about 1000 words. A new one went up on a particular day, and she had several readers. If those readers wanted to read more before the scheduled posting of the next section, they could send in money for the next section. She posts an extra section for each $15 she receives in a week, and the readers discuss who could pay how much, so that they can pool their money. Some weeks, she is paid to post 2 or even 3 extra sections.

A whole fistful of ideas, obtained from one sf convention. Yeah, well worth the few dollars of membership.

Over and Over and Over Again

Every time I go to a science fiction convention, I try to attend some panels on writing. It might concern a new idea on how to write a rough draft, or tips on writing a query letter … There are lots of subjects dealing with writing that can be explored.

I have noticed, over the years, that some things get repeated and repeated, like submission guidelines. The speaker(s) start with the basics; the manuscript should be on normal white paper, double-spaced, normal paragraph indentations, the font should be 12 point, probably in a serif-type font like Times New Roman, and your manuscript should be absolutely error-free. Well, as close to error-free as you can possibly get it.

That was pretty much the gist of it 40 years ago, when I first started looking at the possibility of submitting something. Things were done on typewriters back then, so an occasional typo neatly corrected by pen was acceptable.

These days, the editors assume you are working on a computer, and they expect that between your rewrites, spell-checker and self-editing, there won’t be any typos. Many editors also expect you will send your manuscript via email.

For that reason, today’s speakers on how to make submissions go on to say that you should always consult that market’s submissions guidelines, and look for their particular desires in a submission’s formatting. Maybe this editor prefers Helvatica rather than Times New Roman, or wants the entire manuscript submitted in the body of your email, rather than as an attachment.

For many years, I wondered why they kept repeating the same stuff all the time. I had heard it all before, I followed their suggestions, and I always followed the instructions of the market’s guidelines. Why were they pounding on me like this?

Now that I’ve been helping Tommee work through her slush pile, I understand that those speakers were not necessarily speaking to me. The MoonPhaze Publishing submission guidelines (www.MoonPhazePub.wix.com/MoonPhaze) state that manuscripts should be sent as a .doc file (NOT .docx) attached to their email. One day, she got 2 submissions, and neither one was sent as a .doc file! One came as a pdf, the other as a .docx. So much for following the guidelines!

I’ve seen one ‘submission’ that didn’t even follow the basic guidelines for formatting. Instead, it was sent as if it were already a book; single-spaced lines, no contact info, title page and dedication.

So, I’ll still go to these ‘basic submission’ panels, in case changes are introduced. But I will no longer feel they are nagging at me. They harp on these things for the benefit of newer writers, or those writers who think they don’t need to follow a few simple guidelines.

Up, Down and Moving On

The last couple weeks have been like a roller coaster.

First, Tor asked for the full manuscript of my first fantasy novel. Wow, happy dance on the rooftop! /\

Second, a spot check revealed that sections of that manuscript had some weird formatting. Bummer. So I spent a couple days correcting it and wondering what had made portions to go all wonky. It wouldn’t have happened if I’d used a typewriter! Of course, a typewriter wouldn’t have spell-check or text wrap…. I suppose the occasional wonkiness that’s fairly easy to fix is better than all the draw-backs of a typewriter. Sent the manuscript off. -~_~

Third, we received word that my mother-in-law was in the hospital. Always a downer. \/

Fourth – or somewhere in there – the cover for my next e-story was finished and delivered! /\ Thank you, Mason!

Fifth, Tor decided my novel wasn’t quite right for them. \/ (Sniff.) But they did have nice things to say about my writing. ~

Sixth, MoonPhaze Publishing informed me they had uploaded my next e-story, The Cave, to smashwords.com. Hot Diggity! /\

Of course, this leaves me with plenty of ‘stuff to do’. Marketing, marketing, marketing leads the list, but I still have to deal with #5. Where do I submit this fantasy now? For the record, that makes Baen, Daw, and Tor who have passed on it, and I don’t know of any other ‘big’ publishers who still have an open slush pile. Before that, I spent 3-4 years looking for an agent, but nobody I was interested in working with fell in love with my concept. Do I go back to looking for an agent? No, probably not, because now I’ve made their job harder by submitting it myself.

Do I ask MoonPhaze Publishing to take it on? I could, and if they had more experience, I would definitely consider it. But they aren’t quite ready for a novel, and I’d like to work with a larger press. If not one of the big guys, then a company somewhat smaller. Anybody got any suggestions? In case you’re wondering, my fantasy novel is set on the Atlan world, the same world I’ve used for the stories that MoonPhaze Publishing has put out, but it doesn’t have the same characters.

Oh, yes. Seventh, I have been scheduled for a reading at 4 PM on Saturday, April 14, at Constellation in Lincoln NE. /\ Woohoo! Come and hear about the Atlans!