Category Archives: Guest Posts

When we started discussing the idea of a publishing themed month, we talked about the different types of publishing. I’m fortunate enough to be part of a wonderful E-Publisher, Musa Publishing. Celina Summers, the chief editor and founder of Musa, often talks about how she was frustrated that people equated E-Publishing with Self-Publishing. As a result, Celina was a natural choice to be our first guest poster this month. Writers have more options than ever to get to the reader. For a general overview of those options, read on and see what Celina said.

So take it away, Celina.

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It’s a great thing to be able to tell your family and friends that you’re published. After all, you’ve achieved a lifetime goal. Millions of people have written stories or novels without any of them seeing the light of day. But in the last couple of decades, the publishing industry has changed significantly. With the onset of digital publishing, self-publishing-once an outlet only the financially well-endowed could consider-took off. According to The Bookseller (http://www.thebookseller.com/news/publishing-proliferates-thanks-pod-and-digital.html) :

Nielsen 2010 book output figures show that 151,969 new titles were published in 2010, a leap of 14% on the output number given this time last year. The figure is derived from the number of ISBNs Nielsen issues over the year. However, the 2009 figure, of 133,000, has since been increased to 157,039 because of the late addition of digital titles in that year, a factor that may also further increase the 2010 figure. It means that year-on-year book production fell 3.2%, though the trend shows that output has soared: since 2008 it is up 13%, and since 2001, the market has risen by close to 40%.

Once upon a time, there was one way to get published. You wrote your novel, typed it up, sent it to an agent, the agent loved it and submitted it to a traditional print publisher, who bought it and then published it. But now, things are a lot more complicated. E-publishing has taken off, with thousands of young publishing houses releasing digital-only content. At the same time, self-publishing has exploded, with authors publishing their own books directly to the reader. And of course, lurking around the sewers of the industry, vanity presses are always eager to prey upon the uninformed author.

But these four terms are not synonymous. There’s a lot of difference between traditional publishing, electronic publishing, and self-publishing. (And vanity publishing is, at its heart, a scam) Where this becomes a problem is when the writer announces “I’m published!” but doesn’t distinguish between the different types of publishing. Because unless your self-published book sells millions of copies, chances are that an agent or book industry exec isn’t going to be interested in that publishing credit-or a bookstore. Regardless of what folks might think, there is a big difference between landing a multiple book deal with Random House and self-publishing a book through Lulu. So in order to avoid trouble down the line, it’s important for an author to self-represent correctly-and, more importantly, to use the different avenues in publishing wisely, to build a foundation for a writing career.

So, let’s take a look at each term separately.

Traditional publishing-Print. To most writers, this means New York. These are books that are represented by agents (most likely) and subsequently published by a major house-known as the Big Six-and any of their imprints. These books are released in paperback. Some come out in hardback. These books (usually) are where the legitimate bestseller lists originate. The author receives an advance for her book(s), and her titles are found in brick and mortar bookstores. In the past couple of years, the Big Six have jumped on board and begun to digitally publish their titles-at much higher prices and a much smaller royalty rate.

Let me interject that there are hundreds of legitimate, reputable, outstanding small presses out there-independent publishers that have nothing to do with New York or the Big Six. Indie presses are a fantastic place for a young writer to start out, especially genre writers. I’m going to put indie publishers under the traditional publisher title because they, too, publish primarily in print.

E-publishing-These publishing houses are digital first. They publish e-books primarily, although some are moving into POD(print on demand) availability for their books. An e-publisher is a genuine small house, following the same submissions, acquisitions, and editing processes as traditional publishing. Five years ago, e-publishing wasn’t considered a legitimate publishing credit by agents and New York publishers. That mindset is changing as the popularity of digital books increases.

Self-publishing-This is when a writer circumvents the publishing industry and releases his work himself. That also means the writer is completely responsible for making sure the book goes through all the proper processes-editing, typesetting, cover art, formatting, uploading, publicity and marketing. Unfortunately many self-published authors don’t do this. They release the book and then wait for the millions of dollars to roll in, which, unfortunately, rarely happens. For every self-published author like Amanda Hocking, there are tens of thousands of authors who never sell more than ten copies of their book.

Vanity publishing-Where an author pays to be published. Any time a publisher (or agent) asks for money up front, run away. Run fast. Yog’s law: money flows TO the author.

In the past six months, I can’t tell you how many people have told me their book was e-published, attempting to hoodwink me into thinking that another publisher had signed their book, put it through the processes, and released the book-only to find out later that in fact, the writer had self-published. (And no, making up a publishing company that only publishes one author’s work really doesn’t fool a publisher. If you’re self-published, just admit it.) Some come to me only when their book didn’t make money and they want to try again. Usually, those writers don’t know why. I do know why.

You see-there’s a reason for the ‘gatekeepers’ in publishing. The agents, the slushpile readers, the acquisitions assistants all have the same goal in mind: they are looking for publishable books. Books that are strong technically, that are engaging and entertaining. In other words, books that people want to read. When I am reading through submissions, I might ask to see one manuscript out of fifty. That’s not because the stories are bad, but because the story is not publishable in its current condition. Occasionally, however, I will be tempted to put more work into a manuscript because of the writer’s publishing history-her resume. And this is where the correct publishing types really makes a difference.

In publishing, as in any profession, people need to be accurate and honest about how they present themselves to others. If a writer’s book was self-published, it does no good for that writer to claim they were e-published. Sure, the author electronically published his book, but the book never went through any kind of evaluation, most probably wasn’t edited (because many self-published authors wish to retain all creative control over their book) and more than likely didn’t sell more than a hundred copies. If that book was e-published, to me that means that the author is familiar with the publication process-namely editing. And that right there predisposes me to look upon that submission more favorably, because I know that I won’t be having to drag an unwilling writer through the process that will make that particular book better.

And of course, once you start talking traditional publishing, unless your books have sold hundreds of thousands of copies, it doesn’t matter very much if you’re e-published or self-published or published-by-your-Uncle-Vinnie-in-Des Moines published. To a traditional publisher, it might as well be your first book. However, among the gatekeepers to traditional publishing, e-publishing is no longer considered the red-headed stepchild of publishing. I asked an agents’ panel three years ago if they considered e-publishing a legitimate publishing credit. About 70% said yes.

Since we opened Musa Publishing, agents are now submitting to us.

It makes sense, after all. With e-publishing’s higher royalties, lower overhead and international availability thanks to e-tailers like Amazon, authors and agents are intrigued by the possible financial rewards of a popular e-published success. Publishers like Musa Publishing are able to create a high quality product that readers enjoy, at a price readers appreciate. A lot of writers are making the same decision I made too-to begin my writing career in e-publishing. I could make better, immediate money while learning my craft and improving my work.

And the readers are reaping the benefits, as anyone with a fully stocked Nook or Kindle will tell you.

So there are sizable differences in the different types of publishing currently available, and it behooves the author to self-identify correctly. As a writer, it’s important to understand the differences-and to use those differences wisely as you plot out your career.

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Thanks for that great insight. Celina. For my short story collection, Paths Less Traveled, my collection releasing today, Shots at Redemption, or a host of other amazing stories in just about every genre, please check out Musa Publishing.

Marsheila Rockwell: Tie-in Fiction

May 21, 2012

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Colette Black Craft & Skills Guest Posts Publishing Submissions 3 Comments

A Guest Interview with Marsheila Rockwell

Marsheila (Marcy) Rockwell joins us today to talk about writing tie-in fiction. She is the author of three novels for Wizards of the Coast, all of which tie into the Eberron D&D Campaign Setting and/or the popular MMORPG, Dungeons & Dragons Online. They are: Legacy of Wolves (2007, rereleased as an ebook on 5/15), The Shard Axe (2011), and Skein of Shadows (releases 7/3).

Colette: What, exactly, is tie-in fiction?

Marcy: In technical terms, it’s fiction that “ties in” to some other media property, like a television show, movie, video game, or role-playing game. It’s also known as “work-for-hire,” because you can’t just decide to write a novel that ties into one of these properties on your own (unless you want to get sued) – you have to be hired by the property owner to do so.

Colette: How did you decide you wanted to write tie-in fiction?

Marcy: I started reading fantasy when I was three, began playing Dungeons & Dragons (D&D) in the third grade, and penned my first fantasy story at the age of twelve. When TSR (later acquired by Wizards of the Coast, aka WotC) started publishing novels set in the various D&D campaign worlds, I knew that’s what I wanted to write. Of course wanting to do it and getting hired to do it are two very different things.

Colette: So how did you get hired by WotC?

Marcy: Back in 2003, WotC put out an open call for one of the books in the Forgotten Realms “Priests” series, called Maiden of Pain. While I didn’t win that open call, my writing did bring me to the attention of the WotC editors, and I continued to submit to them over the next several years until one of my Eberron proposals caught their eye (the book that later became Legacy of Wolves), and they offered me a contract. So, basically, they let me write a book just so I’d stop bugging them. And I just finished up my third book for them, so I guess it worked out pretty well for both of us. 😉

Colette: What has writing tie-in fiction taught you that has helped your overall writing career?

Marcy: The first and most important thing tie-in work has taught me is how to write to a deadline. When you are doing creator-owned fiction, you write your story, sometimes taking years to complete a book. Then you submit it, and maybe you get lucky and sell it right away. Then, all of the sudden, your new publisher wants another book in 9 months. And then you panic, because you’re used to writing whenever the inspiration strikes, and with a deadline looming, it’s nowhere to be found.

There’s a reason a lot of authors’ sophomore efforts don’t live up to their debut novels, and it’s largely because they’ve never had to write on deadline before. I’ve written 30,000 words in one week to meet a deadline (because of the tight schedules associated with virtually all tie-in writing), so I’ve learned that inspiration comes when butt is applied to seat, and there’s no such thing as writer’s block when the mortgage is due.

Colette: Would you suggest writing tie-in fiction to other authors, or only those that have a passion for a particular property?

Marcy: Writing tie-in fiction isn’t for people who think writing is an art, it’s for the folks who know it’s a business. You have to be able to work under pressure, absorb a lot of information quickly, change gears on a dime, and abide by strict rules, like non-disclosure agreements (NDAs). If that doesn’t sound like fun to you, chances are good that writing tie-in fiction would just leave you frustrated and with only half a head of hair. If, on the other hand, it does sound like fun, I’d suggest a visit to your doctor – they have medication for that now, heh.

Seriously, though – it can be very satisfying to contribute to a property you love, but, generally speaking, it’s a lot of work and it’s not for the faint of heart. If it still sounds interesting to you, you also need to know that it’s largely an invitation-only business. Watch for open calls (Warhammer has one every year), and get some publishing credits out there, in the same genre as the tie-in work you want to do. Go to conventions where tie-in properties are featured, listen to what the editors are saying, and do what they tell you to do. And, if you get the chance to submit something, get it in early. Editors love good writers, but being good isn’t enough. They hire – and keep hiring – the ones who consistently meet their deadlines.

And actually, that advice is sound regardless of whether you’re doing tie-in work or writing creator-owned fiction. Be focused, be flexible, be professional, and never, ever miss a deadline if it’s within your power to meet it. Good luck!

BIO:

Marsheila (Marcy) Rockwell is an author, poet, editor, engineer, Navy wife and cancer mom. In addition to her tie-in work, she has a new (creator-owned) series of Arabian-flavored, female-centric sword & sorcery stories coming out from Musa Publishing, Tales of Sand and Sorcery. The latest installment, “Both,” released on 5/18. She’s also penned dozens of short stories and poems, and several articles on writing tie-in fiction. You can find out more here:http://www.marsheilarockwell.com/.

Dean Wesley Smith: Stop Being In A Hurry

May 7, 2012

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Guest Posts Publishing Rewriting Submissions 21 Comments

A guest post by Dean Wesley Smith

I’ve talked about this on my blog a few times in different ways, but I noticed a few of you have mentioned this “got to hurry” problem, so I figured it was time again.

And no doubt, as I did last week on my first visit to the Superstars Writing Seminar, I may ruffle a few feathers.

What do I mean by being in a hurry?

For some reason, almost all new professional writers have no sense of time in publishing. And no sense of the amount of time it takes to learn the craft and the business. I hear over and over again how fresh writers need to find a way to cut through the “noise” out there, how they need to “promote” their first or second novel, and how they don’t understand why they don’t sell more.

And I hear all the time how writers like me or Kris or Kevin Anderson or Dave Farland or Eric Flint have this huge advantage over beginning writers. But don’t think our advantage is because our names are known. Nope. In fact, often being known hurts us more than it helps. My bestselling novels are not under “Dean Wesley Smith” because of all the media work I did under that name. My bestselling novels are hidden pen names in both the thriller and mystery genres. Names that started fresh. Names that nobody knew.

But we do have an advantage over beginning writers.

Yes, I said it. We experienced old-timers have a huge advantage. We have taken the years and decades to learn how to write better stories and we are all still working to learn. (Do you think the only reason we teach is to help young writers? That’s a big part, sure, but mostly it’s so we can keep learning as well.)

That’s right. Shocking as it may seem, writing better novels and stories–stories that fans want to read–makes us better known. It is not promotion or some silly trick. We sell more because we write better stories.

It really is that simple.

Learning the craft of fiction writing comes from listening to others talk about their ways of doing things, or reading how-to-write books, or studying what other writers do, then putting that information out of your front brain.

In other words, learn it and then forget it. Just go back to writing, and trust that the knowledge will come out of your fingers when you need it.

Sometimes it doesn’t happen for a novel or two. And then suddenly your writing is better and you don’t even know why–but your readers will see it.

Sounds kind of silly, huh? But it’s the way it works. And that method of writing and learning how to write better stories TAKES TIME.

My first published novel was my third written novel, and by the time I had written it, I had already sold over fifty professional-level short stories. Now understand, I sold my first short story in 1975 and didn’t sell my first novel until 1987. A long twelve years, and a thousand-plus rejections.

But with indie publishing, writers today think they can put up their debut novel and sell thousands of copies in the first month. And when they don’t, they either stop writing, or get upset, or blame it on the fact that they have no name recognition. Many new writers never blame poor sales on the fact that maybe they just don’t know how to tell a good story yet.

These same new writers don’t realize that it takes years to learn how to tell a good story, a story that thousands of fans want to read.

Focus on learning how to tell a better story while at the same time learning the business. If you keep writing and learning, eventually you will be a big name writer with a lot of books out and will have to give this same advice to the next generation of writers.So my suggestion is to stop whining about how big names have all the advantages, and start focusing on learning how to write better stories. Stop spending time on promotion and spend the time on the next short story or the next novel. Your best promotion is always your next book.

Remember, every time you say to a professional writer, “The only reason you can do that is because you are . . .” then you have insulted them and all the years and years of typing and work it took them to get to where they are.

We are only better known than you because we spent years learning how to tell a better story. Nothing more. And certainly nothing less.

Focus on learning how to tell a better story. Make each story the best one you can do. Practice something new in every story. Get it on the market, then move to the next story.

And keep having fun.

Kevin J. Anderson: Outside, In the Office

April 9, 2012

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Guest Posts The Writing Life Writing Tools 3 Comments

A guest post by Kevin J. Anderson

Everybody knows the best way to get writing done: put your butt in the chair, fingers on the keyboard, eyeballs on the screen…and type.

Unfortunately, with distractions everywhere (kids or pets demanding attention, phone ringing, email popping up, toilets that need cleaning…), the butt/chair/keyboard/monitor setup isn’t always the best way to be productive.

Maybe you need to think outside the keyboard.

I regularly write, and publish, an average of 300,000-500,000 words each year. To me the word “office” is only a loose term for the place where I get my writing done. I can sit in a bustling coffee shop with headphones on, and disappear into my story. I can take notes on the paper tablecloth in an Italian restaurant. I can write anywhere.

Most importantly, I have trained myself to write using a hand-held recorder while walking along beautiful trails, sinking into my imaginary worlds and characters. Yes, I talk to myself. It’s like telling stories around a campfire, engrossed in the plot, speaking aloud, letting the sentences roll off my tongue as my hiking boots roll off the miles. That way I can accomplish my exercise and sightseeing while being productive at the same time. A day in the mountains, forest, or desert is a day at work.

Sometimes other hikers I meet on the trail aren’t quite so accepting of my work methods. More than once I’ve been the recipient of angry glares. While climbing around the Flatirons near Boulder, a man snapped at me, “You shouldn’t be working out here. Just enjoy nature!”

(As if the two are mutually exclusive?)

At a campsite on the Grand Mesa, I was surrounded by tall trees whispering in the wind, near a rushing creek. I had my laptop out on the picnic table, reveling in the glorious surroundings as I edited chapters. Another camper felt compelled to march over to me. “Turn that thing off! You’re on vacation.”

Personally, I thought he should mind his own business, but more important he was making a completely unfounded assumption. The fact is, I wasn’t on vacation. That was my work day. While other people are doomed to go to the daily grind in a “dilbertville” office complex with fabric-walled cubicles, ringing phones, office gossip, and endless meetings, I get to do my work out in the Colorado mountains and canyons. There, I am inspired rather than distracted, all my senses filled with input (some of which is even relevant to the story I’m writing).

I have written a STAR WARS novel with Han Solo and Princess Leia at the polar cap of an ice planet while snowshoeing up Quandary Peak, a 14,265-ft mountain in central Colorado. I’ve written DUNE novels with Brian Herbert — all of them set on an arid desert planet — while trudging through the Great Sand Dunes National Park. I’ve written about ancient ruined alien cliff cities for my “Saga of Seven Suns” while exploring Anasazi ruins in Mesa Verde.

It’s the next best thing to being in the exotic locales of my imagination.

So don’t be fooled by the stereotypical picture of writer slaving over a computer at a desk. If you feel too self-conscious to talk to yourself and dictate finished prose, then just mull over ideas, characters, history and take notes. Or if that doesn’t work, just try a different place-take your laptop (or even a pen and paper notepad…they still function) and go to a coffeeshop where people don’t know you, or hide in a library carrel. My wife even sits in a car in a parking lot and dictates into her recorder when she really needs to get something done. Think about going into the “writer protection program” and disappear for a while.

For me, the way to do it is to get miles away from anybody looking for me.

So if you see me on the trail talking to myself, intent on something inside my head, remember — I’m not on vacation, I’m working. And I’d rather be working here outside on the trail than in any other office in the world.

Guest Writer Bio: Kevin J. Anderson is the author of more than one hundred novels, 47 of which have appeared on national or international bestseller lists. He has over 20 million books in print in thirty languages. He has won or been nominated for numerous prestigious awards, including the Nebula Award, Bram Stoker Award, the SFX Reader’s Choice Award, the American Physics Society’s Forum Award, and New York Times Notable Book. By any measure, he is one of the most popular writers currently working in the science fiction genre. Find out more about Kevin at Wordfire.com.