Tag: tips

Write Tip: Be Professional

Published on by Bryan4 Comments

One of the highest compliments anyone has paid me is to tell me “You’re a professional.” I’ve actually heard this several times the past few months. My first reaction is: “I wish I was. I don’t make any money.” But what they really mean is that I act like a professional in my timeliness and practices toward others. I am guilty of professionalism. When I say I’ll do it, I do it and I meet the deadline. If I have a contractual obligation, I try and meet it. The exception has been when I edited Space Battles and I pushed back the deadline due to lack of submissions, but I checked with the publisher first and he was fine. I also did that editing job for a profit share, not pay, which makes a difference. Even for SFFWRTCHT, I handle things like a professional–from my preparations, reading time for each book to how I deal with publicists and authors and how I moderate the hour show.

Why?

Because if you want to be a professional, you have to act like one. Period. If you don’t act like one, you won’t get treated like one. It doesn’t matter that unprofessional people will still be around acting unprofessionally toward you. Your professionalism has nothing to do with them. It’s on you. You want to be considered a professional? BE ONE.

Why does it matter?

For me, it’s about self-respect and the understanding that when you show professionalism, people who are professionals will respect you and want to work with you. If you like to be seen as serious and someone who’s worthy of people’s time, you must be someone they trust, admire and respect. And since I like to work with people who are reliable, trustworthy and admirable, I will show them I am  myself.

What does the dictionary say it means to be professional? “to show  respect, professionalism, adherence to policies and prompt payments.”

Who likes to be paid late? Who likes to be disrespected? Who likes people who refuse to play by the same rules as everyone else?

NO ONE.

Yeah, I get it. Some people hate rules. They hate to follow orders. That’s why they’re not in the military. I’m not in the military myself, I get that. But we’re not referring to a set of laws or strict regulations as much as “rules of the game,” i.e. expected behaviors of professionals. If you hire someone, pay them promptly and on time (by contract date or before); if you sign a contract for a novel/story, deliver it on time, in the format requested, polished and professionally ready for publication; if an editor requests rewrites, ask your questions respectfully, then decide if the changes make sense, make them, and turn it back in on time, etc. These are just the thing it takes to get paid for your writing. (No, it doesn’t matter that even publishers are bad about paying on time, etc. Again, their unprofessionalism has nothing to do with yours.) Be reliable. Do what you say you will, when you say you will, with respect for others and a good attitude. That’s what it means to be professional.

Some of the most successful authors I know are very professional: Kevin J. Anderson, Mike Resnick, Mary Robinette Kowal. Kevin keeps good lists and fills his orders promptly and well, with quick thank you notes hand written and includes some swag to remind you to visit again. I’ve seen Mike do a similar thing. Having dealt with all three of these fine people for SFFWRTCHT, they handled prep and questions professionally. They showed up when they said they would (except a brief car trouble for Resnick who stayed longer when required to finish the job right.) Editing Space Battles, which Resnick headlines, his story came in polished, with the right word count, right on time. All three are impeccably polite and kind. Anderson even has hecklers who are anything but kind and polite. I’m sure he gets frustrated. But I’ve never heard him say an unkind word or be nasty back. He’s a professional. Why do these people sell so many stories? They’re a pleasure to work with.

It doesn’t matter that our politics don’t agree or our religions. (Honestly, I’m not sure as they keep that to themselves mostly.) It doesn’t matter that I’m a newbie who hardly anyone had heard of three years ago and hardly anyone has heard of today. They treated me like they would any other fellow professional. And when I asked for edits, Mike Resnick sent them back without complaint. (It was intimidating to edit Mike Resnick. But man, he made it easy and I appreciate it. I don’t ask for story changes lightly and I didn’t ask for much.)

I’ve learned so much just by watching them. If you still don’t believe professionalism matters, I asked SFWA writer friends on my Facebook if they’d rather work with professionals and why, and here’s what Barb Galler-Smith, Fiction Editor for Canada’s On Spec magazine said:

“Working with people who don’t act professionally is easy. I can ignore everything they say and do with impunity and never have to deal with them again. I am grateful that of all the people I have met in the writing biz over the years, only one acted childishly, and that was a source of great amusement behind closed doors. No matter what your endeavour, behaving professionally is essential. It’s about respect for the art, craft, job, message, person, and yourself.”

So be professional. Even if you’re still broke and struggling to make it. Act professional even when you think the rejections will never end. Act professional even when you don’t feel like it. People will remember you as a professional and, take a chance on you one day, perhaps. They’ll forgive you when life happens and you do miss deadlines. They’ll want to work with you. And maybe then you’ll live that dream of making a living as a full time writing professional.

For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

19 5-star & 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

The Returning: How I Dealt With Middle Book Syndrome

Published on by Bryan6 Comments

Well, we’re four chapters from finalizing the editing of my novel, The Returning, sequel to my debut The Worker Prince. ARCS will go out next week, and then copyediting. As I look at this book, a book which I’m amazed even got written–written in the midst of my life completely falling apart (unemployment, mental health issues and hospitalization for the wife, then divorce and a cross country relocation), I also marvel at how well this second book actually works. I know, I know: “We’ll be the judge of that” you’re thinking. And yes, you will. But from beta readers to editors, responses have been encouraging. They comment that it starts out fast like a Bourne movie and never lets up. They talk of the stakes being upped on every level from character development to complexity of plot to emotional arcs and actual events of the story. The stakes were higher in every way. And although that was deliberate in part, I find myself pondering how important second books are for us as authors and in trilogies generally. And how hard they can be to write.

When I started The Returning, I had no idea what the book would be. I knew where the story would have to go for the ending in book 3. But unlike Book 1, which employed the biblical story of Moses as a framework, and book 3, which will also employ more elements of that, book 2 had to fill in gaps and required me to create more of my own storyline and structure with these characters. I knew there were mistakes I’d made in The Worker Prince which I didn’t want to repeat. I also knew there were things I wanted to do with the characters. But I wrote in total chaos. Outlining a chapter at a time is usual for me, so that’s not what I mean. What I mean is that my life was so chaotic in the background of writing that I often went a month or weeks between chapters or even scenes. Coming back to it, I found concentration hard, so I couldn’t review what I’d written as fully. And often I didn’t want to reread the previous six chapters just to write. Unlike The Worker Prince, this book took 9 months to write. And it went out a chapter at a time to three beta readers as I went. They urged me for more quite often. Their patience was greatly appreciated. I didn’t look at their feedback until after I’d finished.

I was amazed.

First of all, as I hinted at above, I’m a pantser. I let the story go where it takes me. I always have some key plot points in mind. And I always have a rough idea of the base storylines (plots and subplots). But in this case, I had no idea how I would end it until I was well over 2/3rds through. It’s a middle book. There was no real ending. Many events in this book carry over into Book 3. But at some point, I realized I could still create a satisfying denouement, even if it was a cliffhanger ending. And the book most certainly has that. At the same time, the events push toward the point where a chapter feels closed in spite of that.

Early on I realized Book 2 needed a sense of everything being turned upside down. The Worker Prince was a happy story overall. It almost feels like a standalone. Despite the survival of the antagonists and potential for more stories, everything gets wrapped up in a pretty happy ending. But for the characters to progress and the story with them, I needed to tear all the stability and happiness apart again. Their lives, relationships and future all needed to be in jeopardy, and readers needed to be surprised. So, as I wrote, I set that goal. In addition, I wanted a fast pace, action packed novel, both emotionally and physically. It required a more complicated plot. And wound up with seventeen point of view characters, a hell of a cast to manage. (Some only have a scene or two from their POV. There are major POV characters who have scenes throughout as well.)

As I reached each plot point I’d planned, I examined my options and looked for the unusual choice, the surprise twist. What could happen here that would make readers say: “Whoa! I cannot believe that just happened!” Where can I take things that makes it more complicated and pushes them further from their goals and happiness again? At every chance, I made such choices. Unlike The Worker Prince, I knew that meant important characters would have to die. In the end, four do.

It’s hard to kill characters. You spend so much time with them that you begin to feel a bit like they’re family. So killing them, unless you’re psychopathic I suppose, feels wrong and mean. Who wants to be mean? But in order for the heights of the emotional arcs and plots to be reached, the stakes had to get higher and higher in The Returning, and I found no way to do that without endangering characters. In choosing the characters to subject to this “cruelty,” I also tried to make surprising choices. I chose characters I liked but characters who, ultimately, have less interesting arcs left to them than the ones who remained. My readers may disagree, but I hope not. Because the deaths of these characters actually redefine and energize the arcs for other characters in Book 3. They serve to drive the rest of the story.

I also did more exploration of my solar system, using more alien species and worlds, and exploring more of how the Boralian Alliance got to be in control and treated the natives they encountered. This will be a big part of Book 3 as well, and I think it made for some very interesting worldbuilding along with some nice plot twists and turns.

Obviously, I can’t say too much. The book doesn’t release until June. But in any case, by the time I concluded writing The Returning, I knew I had the makings of a very satisfying chapter in my saga. In fact, editors and my beta readers all agreed it’s a better book on every level than The Worker Prince. [That’s a compliment writers. We need to grow with each book. So I took it that way. It was also my goal as mentioned above.]

And so now I can’t wait to share it with you. It goes out to reviewers and other authors for blurbs next week. I have some pretty cool people lined up, including a couple of Star Wars authors. I can’t wait to hear what they think. I hope you’ll take the time to read The Worker Prince and The Returning and love them as much as I loved the experience of bringing them to life for you.

For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

19 5-star & 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

Write Tip: How Not To Use The 9 Free Ways To Market Your Book

Published on by Bryan5 Comments

Our recent Write Tip on 9 Free Ways To Market Your Book has been popular but people have asked me how NOT to use those techniques, so I thought it appropriate to do a follow up post. First, here’s a refresher on the 9 Free Ways which are:

1 ) Author Site/Blogs 
2 ) Author Profiles/Blog Interviews 
3 ) Goodreads/Library Thing 
4 ) Press Releases
5 ) PSAs 
6 ) Signings 
7 ) Appearances 
8 ) Book Clubs 
9 ) Reading Group Guides 

The previous post goes over how to use those, so I won’t cover that here. Here’s how not to use them:

1 ) Author Site/Blogs — The goal is to create a relationship with readers and other interested parties, but primarily readers. Don’t use your blog and author site to self-aggrandize and totally for sales. Use it instead to reveal yourself. You don’t have to just lay it all out there transparently. In fact, that, in and of itself, may be a big mistake. You have a right and need for privacy. Determine up front where the lines must be drawn and stick to them. A couple areas you might avoid are religion and politics. I rarely blog on these. They only lead people to be offended and possibly lose interest who might otherwise enjoy your books. Unless your books promote your political and religious views, you don’t really need to go there and you’re better off if you don’t. You also don’t want to lambast people. Flame wars may draw traffic but they don’t do it because you’re winning fans. People stare at car wrecks not because they envy those involved but because it’s just hard not to stare. The same is true of flame wars. Don’t get in nasty arguments and back and forth with people. Avoiding controversial topics can help avoid drawing those kinds of comments in the first place.

2 ) Author Profiles/Blog Interviews–Don’t reveal spoilers in your interviews or profiles, unless the book has been out a very long time and you are discussing aspects of craft where it’s relevant. And try and stick to authors and topics where an audience who’d be interested in your book and its genre/topic might find you. It’s okay to reach out to new readers but, seriously, you shouldn’t be on a Christian romance authors blog promoting your paranormal erotic romance, okay? It’s just a waste of time. And don’t lie either. Be honest. At the same time, try and hold back some in interviews. Don’t tell everything to everyone. And find a new way to answer the same old questions. Keep it fresh if you can. You’ll be answering a lot of the same questions again and again at various places. It’s boring for you but it’s all the more so for fans, so try and find new ways to say the same thing and reveal new tidbits with each interview if you can. It’s hard, so hold some things back and give a little each time.

3 ) Goodreads/Library Thing–Great for giveaways and networking with book lovers and fellow authors but these communities tend to give back what you put into them, much like Twitter. They are the most successful giveaway sites, in my experience, for spreading interest and generating reviews. Not so successful, in my experience, for their ads or for generating huge sales numbers. They are a tool to be used with lots of others for spreading the word. It’s important to remember they are about “community.” Door to door salesman are as welcome on Goodreads and Library Thing as anywhere else. Goodreads has the easier interface but both are popular. Approach them as opportunities to share yourself, your love of books, and review and discuss books, genres, trends. Author interviews so far don’t generate a lot of interest in my experience. It’s more about communicating through observing what people do and their observing what you do and say about what you read. Approach them accordingly in both time dedicated to them and how you use them.

4 ) Press Releases–Don’t just copy someone else’s and don’t write blind. There’s an art to this and the goal is give them a ready to print article about you, your book, etc. You want to minimize the work for them so they’ll jump on the opportunity for an easy to prep story. And that takes practice and careful thought and editing. If you can afford it, write the first few drafts, then pay a publicist to fine tune it. There are plenty of independent publicists, like Matt Staggs or Adonna Pruette, who would be happy to assist and charge reasonable fees.  Once you’ve done several and get the format and style down, you may be able to work on your own but I know from experience, your first several press releases will not get the results you need without a professional touch. The difference is startling.

5 ) PSAs–Public Service Announcements are a funny thing. They aren’t as common as they once were but they are indeed true to their name: Public Service. It’s not about sales. It’s about making the public aware of an event which might be of interest/benefit.  Stations can be very selective about the kinds of events which qualify. They make income from selling ads, after all. Library and school events, for example, are far more likely than bookstore events to be accepted. After all, both imply educational content. And both libraries and schools are publicly funded to serve the public. Still, it’s worth checking these out but you will have to write and time the text yourself and be very careful with wording. Again, don’t self-aggrandize and don’t sell. Just inform. If the radio or tv station does you a favor, you need to make it easy and worth their time. If you make them mad or offend, you’ll alienate them from not only PSAs but also other potential opportunities for you.

6 ) Signings–Don’t expect to sell hundreds of books. The average signing is 4-6 from everyone I talk to, unless you’re a bestseller with multiple books. Signings are as much about letting people know you exist and cultivating valuable relationships with bookstores as they are about actually signing and selling books. I’m sure it varies from author to author but especially new and unknown authors need to approach Signings as opportunities to put their best foot forward and network more than selling books. The signings I have done so far have all sold at least 4 books. The most I sold was 11. All of them brought stores who carry and promote my book for me. And all of them brought publicity opportunities in the community I wouldn’t have gotten otherwise. I also sell other people’s books. My goal at signings is for people to buy something from that store and to make customers feel welcome. Hopefully they buy my book or at least talk to me. But if not, at least I helped the store and the store will want to help me in return.

7 ) Appearances–Appearances are hand-in-hand with signings as networking opportunities. Especially when you get the chance to read or be on a panel, you get the opportunity for people who didn’t know your name or the titles of your book to remember you and learn of your expertise (or at least ability to b.s. really well in public).  The goal is to make a good impression on as many people as you can. You don’t do that by aggressively selling. You do it by being personable, knowledgeable and respectful. You do it by smiling a lot and being warm and friendly. If you can do that while waving a copy of your book subtly in front of yourself, all the better. But high pressure pushy tactics will not bode well for you.

8 ) Book Clubs–These are groups of book lovers who offer two advantages: 1. They go through a lot of books. 2. If they love it, they’ll buy more, recommend it to people and otherwise spread the word. The disadvantage is that some are quite picky and blunt in their response. Do offer to visit or otherwise interact with the group. Do offer group discounts if you can. Free books to group leaders are a good idea if you can afford it, but these are book buyers, so free books aren’t essential to win both interest and loyalty. The most important thing here is to write a good book. If they enjoy it, they’ll take it from there with very little effort on your part. Again, selling is less important than personal connection. Cultivate this as networking for word of mouth, more than an opportunity to sell multiple copies. If it works out, you’ll get both.

9 ) Reading Group Guides–Do not SPOIL. Do not SPOIL. Repeat after me. Reading Group Guides are for Book Clubs and others to stimulate thought and conversation, PERIOD. You do not repeat your story in intimate detail. Do not preach on your themes or message. Your goal is to get them to read thoughtfully and interact on what they’ve read. Help them enjoy the reading experience in a way which will likely result in their wanting to read more and spreading the word.

Well, those are some tips on how NOT to use the 9 Free Ways To Market Your Book, I’d love to hear your thoughts on other cautions, etc. as well as your successes. For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

19 5-star & 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

Write Tip: The Necessity Of Discipline

Published on by Bryan5 Comments

Okay, it’s an old topic, I know, but discipline is so vital to your writing success. And if I’ve learned anything about discipline over the years, it’s that to be disciplined in any area of life, you need good discipline in all areas of life.

There’s nothing that bleeds from one area of life into others faster than lack of discipline. If you want to succeed at your work as a writer, you have to dedicate time to it regularly. Whether it’s an hour a day, fifteen minutes a day or five hours a day, you have to set aside time and do the writing. If you miss a day, it’s easier to miss another day and so on. If you’re only going to write five days a week, okay, fine, if that works for you. But don’t take off an extra day. It’ll be that much harder to get back to your regular schedule after.

When you diet, you can’t have a cheat day. One cheat can blow the whole week’s diet. When I lost 66 pounds in ten months on Weight Watchers in 2003, I didn’t have cheat days. I couldn’t. I counted calories every day and if I wanted a special treat, I just had to compensate with low calorie foods for the other meals that day or the next two days, period. Cheat days just made it harder to get back into the discipline, and, early on, I discovered without that discipline, my diet wouldn’t succeed.

For me, this is true in other areas of life.

The times I’ve been successful with exercise have been times when I’ve made it routine. Four to five days a week, forty-five minutes to an hour every day, period. No excuses. Once I start skipping days, pretty soon I just stop exercising. It’s happened time and time again. I find a similar thing with writing. One reason blogging helps me so much is that I am forcing myself to make content daily. I am doing my warm ups for other writing, in essence. I blog twice a week at least for my blog, but then I do guest posts for other sites on other days. Sometimes I blog in advance and save them up (Saturday I wrote my Valentines Day post), but by blogging almost every day (I skipped Friday for example), I get my writing chops working automatically and it’s easier to do other writing I need to do for the day. Similar perhaps to warming up before a jog or a game.

I do the same thing with my reading time for SFFWRTCHT, dividing a book into daily goals by page count to make sure I get the books read. Sometimes I fail because I often have more than one book to read at a time. And some books are longer than others. But I still push myself to meet the goal, and most weeks I succeed. It’s why I’ve read so many books in the past year, per my 2011 reading post.

When it comes to writing, I have to set clear goals. Without goals my discipline waivers. For me it’s a word count of 1200-3000 words a day, when I’m working on other jobs and 3-5000 words a day when I’m not. I also set goals to do a certain number of scenes or a chapter each day. Sticking to it, the work gets done. Not sticking to it, and pretty soon I’ve gone weeks with no output.

It’s ironic that the fun part of writing isn’t the task of putting words to paper. Editing and polishing is a lot more fun for me, but the really joyful part is the daydreaming when I think up ideas. I could sit and do that all day, couldn’t you? But making those daydreams work on the page is tough sometimes. Yet in 2008 I decided to write a novel and by the end of 2009 I’d written two. By the end of 2011, I had my first published novel and I already know that by the end of 2012 I’ll have two more published. Imagine what will come in 2013 if I keep working?

Right now I have two half manuscripts to complete and one that is ready for second draft. If I get all of those done this year, and that’s a goal, I will have three more books to sell for 2013 but in addition, I need to write the finale to my Davi Rhii saga which is due to be published in 2013. So I could end up with as many as four books coming out in 2013. That would be doubling my publication output every year. Pretty cool, huh? Even if it doesn’t happen, what a worthy goal, right?

In 2012 I have Davi Rhii book 2, The Returning, coming out, along with 102 More Dinosaur Jokes For Kids, the anthology Space Battles: Full Throttle Space Tales 6, which I edited for Flying Pen Press, and the episodic novel based on a flash fiction series The North Star. I have stories coming out in Tales Of The Talisman and the anthologies Space Battles and Wandering Weeds: Tales Of Rabid Vegetation.

None of this would be possible without the discipline of regularly sitting down to write.

Am I rich yet? No. But in 2010 and 2011 I spent more on writing than I made. In 2012, I have already made 50% of what I spent on writing last year and I still have a bunch of stuff to come out and advances, etc. to receive with only a month gone in the year. That’s what I call progress, the good kind. It can only get better.

This year I am disciplining myself to eat better regularly and exercise at least four days a week. I am getting a used elliptical machine to make sure I have no excuse to not do it. It’ll be staring me in the face and with my e-reader, I can read while I do it. I am reorganizing my grocery shopping to plan healthier meals. Cutting out some of my unhealthy snacking and replacing it with healthier choices. All of this discipline will help me keep discipline high in my writing and other areas of my life. I’m sure my reading goals will be easier met, too. And I’ll bet I can meet that 2013 goal.

So when you think about your writing, ask yourself about your discipline. How does your discipline or lack of it contribute to your writing success? In what ways can you do better? In what ways are you already doing well? Where have you made progress? Where does progress need to occur? Adjust your goals and discipline accordingly. Don’t forget to look at other areas of your life.

I wouldn’t be where I am if I hadn’t started disciplining myself, but I know I can do better. What about you? How’s your discipline? For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

4 5-star & 13 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

Write Tip: The Importance Of Distance

Published on by Bryan3 Comments

I know it’s not obvious but I’m not a patient person. I hate waiting. I hate lines. The only form of delay I enjoy is procrastination. I’m awesome with that one. But because of this problems have developed from time to time. I always heard people talk about how important it was to get distance from your work before doing second drafts, etc. I always struggled. So excited about it, caught up. It was hell to put it aside for two or three days, let alone a month or two. And I think some of the criticisms I got in reviews for The Worker Prince reflects that struggle. I see little things I could done better. I know, authors always do that. But I see a few bigger things, too. (Oh, you say, that never happens to me.) Okay. I’m not perfect. Is that what you needed to hear? Feeling good about yourself?

In early November though, I turned in The Returning, my sequel to The Worker Prince, and my publisher was busy with another novel release and I launched immediately into a sword & sorcery book I was chomping at the bit to write. And somehow, I didn’t look at The Returning again until early January, when we started editing it. My beta reader’s feedback had already been incorporated before the publisher got it. So I was feeling pretty confident it was a better book than The Worker Prince. (My goal in life is to improve, just saying). But nonetheless, before I cracked the pages, I compiled a chart of all the negatives from the good reviews The Worker Prince has received and decided to make sure none of them repeated in the sequel.

As I began to go back through, it was fun to rediscover my book. It had been written over nine hellish months during which my now ex was hospitalized five times for mental illness, I lost my part time job, went through divorce, came close to bankruptcy, etc. In other words, a period where I had weeks, even a whole month, of no writing. So I wrote in total chaos. To make matters worse, the plot was complicated and I had fifteen Point of View characters. By the time I was done, I was totally struggling to remember what I’d done earlier. I was sure the book was a complete mess. My beta readers, however, raved and, upon reading The Worker Prince (which I refused to let them do until they were well into The Returning), assurred me this book was better. I didn’t really find it that easy to believe. Until I started back through.

Not saying it’s genius. Not saying it’s Twain. But I did find the book a lot better than I remembered. I also found a lot of conflicting plot holes and repetition and other items needing fixing. Things I didn’t catch on my second pass with beta reader’s notes. Things they didn’t catch. I’m pretty confident I wouldn’t have caught them without that distance. So, yeah, I’m starting to believe even more than I did before that good distance is vital to better writing.

For example, descriptions are a weakness for me. I come from a screenwriting and journalism background so having to wax poetic about setting and emotions is hard for me. I didn’t practice it much until I started with fiction. Much of my rewrites involve looking for opportunities to do this. In fact, I found that I had not even described the various vehicles in my story. Everybody knows what they are from book 1, right? Ha! Never assume. I’ve striven very hard to make book 2 a standalone entry for the series, not requiring people to go back to the first book unless they want to. (I hope they will, I need the sales and it has its own charms, I swear). That was why I wanted betas who hadn’t read the first book. So here I was leaving out vital description. How embarrassing would it have been to leave that out?

Other examples, I found repeated scenes where I did the same thing twice in separate settings. I found extraneous dialogue to cut. I found repetitive word choices. All things it’s so much easier to see with fresh eyes. Fresh eyes also helps me see character arcs and themes better. I find motifs and other elements I can repeat or use to add depth to the story and characters as well.

So, yes, I do believe distancing yourself from your work is vital to good fiction writing. And I think we do ourselves a favor when we force patience and take time away. After all, it writing is an art (and I do strive for it to be), part of the artistic process is seeking excellence. Anything one can do to get better perspective and improve is worth doing. Don’t you think?

What are your experiences with taking time away? Do you have a set period? Do you ignore the advice? Has it helped you? Hindered you? Frustrated you? I’d love to discuss it more in comments. I’m sure there’s a lot more to say but those are my thoughts for now. For what it’s worth…

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

4 5-star & 12 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

Write Tip: 9 Free Ways To Market Your Book

Published on by Bryan12 Comments

By now most writers are realizing that in the face of the changes in the publishing business, marketing is an area which falls more and more on their shoulders. For newer writers with untested track records, this is especially true. I’ve had writers tell me they don’t believe in self-promotion. Not only is this foolish (sorry but it is denial of reality) but it’s often based on being overwhelmed and not knowing where to begin or how to promote one’s self without being obnoxious or coming off arrogant. I could speak volumes on those topics and probably will sometime but first, let me demonstrate some easy ways to promote which don’t cost anything and are abundant. All you have to do is pay attention to what other writers are doing and do a few simple web searches to find them. Then just follow simple instructions, send a few emails, and you’re good to go.

1 ) Author Site/Blogs — I’ve already blogged about how important these are in previous Write Tips, but for the modern author your website is your number one most important marketing tool. No one can keep readers up to date like you can and readers want to connect and get to know the author behind the books. Blogs are often free on sites like Blogger and WordPress. Websites may cost more, although mine is set up using WordPress with the help of a friend. I pay for hosting and domain names, something I also suggest in my prior post, but if you can’t afford that just yet, you can probably do it simple on your own. Check my article for the essentials but the most important is to offer insight into yourself, your books and regular updates. Even if it’s once a month, giving them something new to keep them coming back is so important.

2 ) Author Profiles/Blog Interviews — There are tons of bloggers looking for authors to profile and interview. Some are authors themselves, some are not. Some interview specific genres and some cover anyone and everyone of interest. To find them, see where authors you admire are being interviewed. Look at what authors you know from Twitter and Facebook post. Do web searches on terms like “author profiles, author interviews, blog profiles, writing blogs, etc.” You’ll find more than you know what to do with. Many/most have guidelines posted. Read them. Follow the instructions. They’re usually fairly simple. Most provide a list of questions to answer in advance and an email to send them to. Fill them out, keep a list and do them one by one until you’re done. Then make a new list. Don’t get overwhelmed by doing them all at once. Try and change the wording in your answers a bit. Don’t just cut and paste. It makes each interview feel unique and keeps the bloggers feeling like they got an exclusive. I just answer them from scratch each time. I may say the same things but it always comes out differently.

3 ) Goodreads/Library Thing — There are other sites but these are arguably the biggies. Joining is free, so it becoming an author and building your profile. You can enter your own books and list them. Then you can join book clubs, interest groups, vote in polls, etc. You can review books you’ve read or are reading and you can interact with tons of readers and authors who love writing and books as much as you do. This is a no brainer and can take as little or much time as you’re willing to put into it. You can do giveaways, interviews, connect your blog, do Q&As, etc. The audience is already focused. It’s truly a nobrainer.

4 ) Press Releases — There may be an art to writing them but there are plenty of examples online and frankly, plenty of newspapers, magazines and sites which allow you to upload them for free. My latest is posted on the Kansas City Star, the biggest newspaper in my local region, and all I had to do was upload it on their webform. Within 48 hours, it was searchable for all to see. You used to have to work a lot harder and pay a lot more money for publicity like that. Asking around or simple web searches can find not only tons of examples but tons of outlets for them. Don’t miss this opportunity to let people know what you’re doing and when: every book release, every award, every signing or appearance, every new contract–put out a release and let people know. It builds your reputation, name recognition and audience. It might even get you interviews in newspapers on Tv, radio or blogs.

5 ) PSAs — Public Service Announcements are offered free by radio and TV stations to organizations and individuals and businesses announcing events of benefit to the community. Writers talking about writing should qualify, even if you’re paid. As long as you can convince them you’re running an event with public benefit and which doesn’t charge for tickets, PSAs should be available. You have to write them up yourself, per the station’s standards, and submit according to their deadlines. But they will announce several times on the air and get your event a lot more notice. Free advertising is priceless.

6 ) Signings — The average number of books sold at signings: four to seven for non-celebrities, according to a recent survey. The average number of books sold after signings? Immensely more due to word of mouth from bookstore employees and customers who attended the signing. In fact, the friendlier and more supportive of staff you are, the more you pay attention to other people, i.e. the more fun you are to have around, the more successful you’ll be, and they’ll invite you back again and again. The more signings before the same crowd means what? Increased sales and recognition. Recognition always builds word of mouth. See what I’m going for? They may sometimes seem a lot of effort for little return, but I think signings are very important. Anywhere and anytime you can appear in public is.

7 ) Appearances — So appearances: readings, book clubs, libraries, literary festivals, conventions, schools, you name it, are key to your success and marketing. If people like you, if you seem knowledgeable and like a friend they’d enjoy spending time with, they’ll want to read your book. They’ll want to know you better through your words. You can’t do enough appearances and most will not cost as much money as a con or fesitval. Most will be free. Be creative in coming up with ideas. Work with local nonprofits, schools, etc. There’s automatic prestige wo writing a book. Often you won’t have to work hard to convince people to invite you…as long as you’re not a jerk.

8 ) Book Clubs — Book Clubs, online and off, are a great resource. Offer them a discount for quantity, send them your sell sheets, send them arcs, send them press releases. Smooze them like old friends. You get in with them, you have a ready made word of mouth machine to sell a lot more books because Book Club people are book people and book people know other book people. And what do book people talk about with each other? Books. Books they like. And if they’ve met the author, all the cooler. Not everyone gets to do that. Built in free word of mouth sales.

9 ) Reading Group Guides — Yes, you can get a lot of sales and word of mouth by networking with Book Clubs and other Reading Groups. Not only can you use your Book Sell Sheet to get them interested but you can make reading guides to offer free as well all by yourself. Penguin Group has examples on their website here: http://booksellers.penguin.com/static/html/pop.html The basic idea is to assemble questions and examine themes which prompt discussion about your book, its characters, meaning, etc. Fairly simple to put together for most authors. After all, who knows your book better than you?

Well, there’s 9 free ways to get started with marketing your books. I’m sure there are more. Which can you suggest? Please add them in the comments so we all can learn from each other.

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

4 5-star & 12 4-star reviews THE WORKER PRINCE $4.99 Kindle http://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

 

Write Tip: How To Get The Most Out Of Your Book Sell Sheets

Published on by Bryan

In our previous Write Tips post, we talked about Why Your Book Needs A Sell Sheet How To Make One. This time, let’s focus on how to use the Sell Sheets once you have one.

Right off the bat, here are some ways you can put Sell Sheets to work:

1) Market To Bookstores — When given to bookstores and libraries, Sell Sheets help get your books on their shelves. That’s their purpose. And by creating one for each book and describing the book in context of your qualifications and publishing experience, you are selling yourself along with your book. It’s about credibility. And professional marketing materials add a lot to credibility. Every bookstore that I approached with Sell Sheet in hand was willing to discuss ordering my books and doing signings. I have yet to encounter one who didn’t take me seriously after seeing my Sell Sheet for The Worker Prince. They knew I was professional and taking it seriously and those are the kind of authors they want to do business with.

Adonna spoke with a bookstore manager to get an opinion from the other side of the counter for us. “According to a large independent bookstore manager that I interviewed for this post, he felt that the sell sheet gave him something in hand to refer to later when he had the time to consider whether or not to carry the book. Remember, the employees can be busy doing any number of things when you walk in and may not have half an hour to discuss your title with you. *You*, however, came prepared because you have in hand the very thing they will need later when making their purchase decisions – all of the information about your title on a neat and handy little paper. The manager stated that the first two things he looks for are the book’s cover (attractive? appealing? sellable?) and if the book would be available through his current book distributors (Ingram, etc.). Overall, he felt that unknown books that had a sell sheet with all of the pertinent information on it received more consideration than ones that did not.”

2) Market To Libraries — As mentioned by Librarian John Klima in our write tip on How To Get Your Book Noticed By Librarians Or Not, getting a library to buy your books is tough. Sell Sheets are a great tool to make them aware of your books value for them and their community. They’re something you can give to them as you stop by to introduce yourself and offer to do events if they ever need local authors. And something you can leave behind to remind them when they’re thinking about making the next book order. Remember, don’t hand them the book itself. Don’t ask them to evaluate it on the spot. As John told us, if you make them aware of the reviews and other information in a non-pressure way, it’s much more effective. Your word isn’t enough. Your being nice isn’t either. And it’s even better if you can do it at a ALA meeting or outside the library. Because they get way too many authors walking in trying to get libraries to stock their books already and most of them are crap. Don’t throw on the sales pitch either. Talk to them like a person. Relate to them. Share their love of books. Find out what they like in books. Find out what they like in having authors visit the library. But be subtle. Not pushy.

3) Increase Author Appearances — You can use Sell Sheets to get more opportunities for readings, book signings, lectures and other author appearances. Sell Sheets can showcase your qualifications and experiences to conference planners, event organizers, stores and media and that gets you noticed when those people are looking for speakers and presenters. Make sure that if you are available for those that you explicitly say so on the sheet and remember to put your direct contact info.

According to Adonna, “Go ahead and ask the bookstore manager when you talk with them about your book (with sell sheets and a copy of the book in hand of course) if they currently allow book signings in their store. Find out what requirements they have for those and how far out they are booked up. If they do let you have a signing, expect to help promote it in within your community and on local event calendars and such. In any case, make sure that you leave a copy of your sell sheet behind with the employee that you spoke with.”

4) Sell More Books To Readers – Many authors attend fan cons, book conventions and author events every year but what do you do when the people that are passing by your table aren’t ready (for whatever reason) to buy your book at that time? Adonna suggests: “Hand them your sell sheet while you tell them about it. Flip it over and write something on it that relates to what they have discussed with you (perhaps another book or con that you’ve recommended, the name of a section on your website they may be interested in, etc..) People have a tendency to hang on to things that have human (that’s you) writing on them. See there? Your autograph is good for something important already!”

Note: Take the time to reformat your sell sheet beforehand to remove book distributors, etc. as this wouldn’t apply to marketing directly to readers.

5) Sell Products and Services — If you’re not just an author but an editor or teacher, etc., Sell Sheets are quite cost effective ways to get the word out. You can print them as you need them, customize them for specific markets/audiences, and you can distribute them across a broad base by carrying them with you wherever you go.

6) To Inform The Media — Adonna had some advice for us here. “If you do approach the media regarding your title, a copy of your sell sheet is a great thing to send to them along with a handwritten thank you note for taking the time to speak with you. It will help them to remember your title and more importantly – YOU – for the next time that you are in touch with them. Never underestimate the power of reaching out the old fashioned way, especially in the digital age.”

Additional Tips:

** Book Sell Sheets are best delivered by hand. YOU are part of what helps to sell a buyer on an unknown book: your very own sales force and book cheerleader.

** Try posting them on bulletin boards on college campuses. College students read a lot and if the book looks appealing, they might just pick one up, especially if you modify your Sell Sheet to let them know where to find it.

So get those Book Sell Sheets together and let people know about them. Good luck! We hope these tips were helpful. Big thanks to Adonna Pruette for her help and advice and be sure and remember to check out her special offer below.  And please post links to your finished Sell Sheets in the comments so we can all learn from you and see how you did, ok? For what it’s worth…

Exclusive Offer:

Adonna has agreed to a special offer exclusively for the visitors here.
PR Quick Check $35 – Adonna will check your current sell sheet offering general guidelines as well as give you tips for how to revise and improve it yourself to increase it’s marketing value for bookstores.
PR Sell Sheet Review – If your sheet needs more than just a few tips, she can fix it up for you for a range from $50 – $150 depending on how much work is needed. You will be given a quote before any work is completed.
Custom Book Sell Sheet – Created for your book from scratch for $200 (which is $100 off of the normal fee for this type of detailed service). Contact her at [email protected] to get started. From DIY help to full service PR, there’s something for everyone in there. You must mention this site in your email to her to get these discounts! Enjoy!

Bio:

Adonna Pruette is a freelance professional publicist that works with fiction authors and publishers to create digital PR as well as traditional media outreach. Her clients range from well known writers like urban fantasy author Faith Hunter (www.faithhunter.net) to debut authors such as Lillian Archer (Twitter: @LilliansBooks). Her online home at TheAuthorPro.com (http://www.TheAuthorPro.com) is her current WIP. You can contact her at adonna AT theauthorpro.com or connect with her on Twitter @PassionMuse.

Contact details:

Website:  http://www.theauthorpro.com

Facebook: http://www.facebook.com/authorpro

Twitter: @PassionMuse https://twitter.com/#!/passionmuse

Google +: http://bit.ly/Ar7hzi

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

4 5-star & 11 4-star reviews THE WORKER PRINCE $3.99 Kindlehttp://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

 

Write Tip: Why Your Book Needs A Sell Sheet & How To Make One

Published on by Bryan5 Comments

Book sell sheets are a key component of publicity for books in traditional publishing. Having a professional sell sheet can help distinguish your book from thousands of others and really help it get noticed. It’s important that it stand out from the crowd, because a mid-size bookstore can receive a hundred or more sell sheets a year. For your book to get noticed, you need to distinguish yourself and your book from the crowd. A professional presentation, careful selection of items to include, and proper placement of wording can make all the difference in the hands of the bookstore’s buyer on the other end.

Although you can do one book sell sheet for whole series, typically a sell sheet exists for each book you release.

Professional book publicist Adonna Pruette explains: “When you are making efforts to promote your new novel, you want to walk into the bookstore with at least two things in hand – your books (buy some to take with you!) and your sell sheet. You want to be able to hand the manager, owner, or book buyer an attractive sheet that will act as an actual sales piece after you leave. It’s wise to spend some time reading up on the basic rules of effective sales copy to make sure that your sell sheet makes the grade. You want to present your book (and yourself) well on paper so that your book can get it’s foot in the door at that bookstore.

“Please remember while you are designing your sell sheet to try and make it as quickly scannable as possible. You aren’t trying to bog them down with a full page of paragraphs. Use color, lists, and boxes where possible and effective to make it a quick read with all of the info that the store needs. The person that you hand this sheet too will read it just as you would – they are going to quickly scan it from top to bottom with their eye stopping briefly on focal points on the way down.”

Let’s cover the basic information suggested or expected, look at some examples, and then talk about how to make your own, okay?

This is the sell sheet for my novel The Worker Prince.  It’s probably easier to just click on it and open a separate screen so you can view it as I go through the elements. I have marked them on the sheet for visual reference. But here’s a breakdown:

Book Sell Sheet Examples1. Book title. Make it big, use the font from the cover and put it at the top. The title of your book is the most important thing on the page. Try the squint test. Look at your sell sheet and squint. Can you see the title really well? Make sure the font is very readable. If not, try adding spacing between the letters o u t just a bit. If that still doesn’t help, then change the font to something similar but more readable than what is on the cover of your book.

2. Sub-title (if you have one). Not as large as the title though.

3. Next, a brief book teaser description. Two paragraphs max. Don’t tell the whole story.  Keep it open ended so they want to find out what happens. Leave them with questions they just have to get answered! Get a friend or fiction loving neighbor to read over your description and see if they want to know more about your book after reading it. Do they start to ask you questions about it? That’s a good tip off for you that it is “just right”.

4. Basic data: book categories, include the number of pages, ISBN (this is super important), all formats available, pricing per format, and publication info. (Stores will use this to look it up right away.)

5. Special honors, especially national ones come next, followed by blurbs or excerpts from reviews which demonstrate your book’s quality or appeal. Use the more well known reviewers or larger book blog review snippets toward the top of your reviews section. You will bold the reviewer’s name or site name to make it stand out more than the review itself usually. This practice will make your sell sheet a much more scannable read.

6. Which book distributors can your book be ordered from, if any? Two of the largest are Ingram Book Company (http://www.ingrambook.com ) and Baker & Taylor ( http://www.btol.com  ). Adonna says that the store will want to know if your book can be ordered along with the normal book order that they place to their suppliers. If not, make sure that complete ordering info is on your sell sheet: Publisher’s name, web address, phone number, and email.

In cases of nonfiction, you may wish to bullet point your platform and what you offer as a speaker and expert here. Why should you be chosen? What do you offer which no one else can? What distinguishes you?

7. CALL THEM TO ACTION: Ask them to order copies and give them the info to do it NOW!

8. Sell yourself, not just the book, with a brief bio and contact info, including 1 or 2 (max) social media accounts.  Make it easy to go directly to you. You’re the one with whom they want a personal relationship. Not just an order desk.

9. If you can’t give them an ARC (they cost money, of course), then tell them how to get a peek inside right now. Tell them where they can read an excerpt in big, bold, colored letters that say FREE.  This also gives them a good reason to hold on to the sell sheet. If they’re intrigued by all of the rest, they’ll look into it.

10. Always include the publisher’s logo, if you have one, and the book cover shot and your photo. Be professional. If your book is traditionally published, even by a small press, this helps it to stand out as gatekeepers have approved it.

Here are links to sample sell sheets. One covers a series, the others individual books.

http://www.iuniverse.com/uploadedFiles/iUniverse/Expert_Advice/Selling_Your_Book/Make_a_Sell_Sheet/iU_LoveWhatYouDo_Sell%20Sheet%208%2028%202009.pdf — Here’s one for a Nonfiction book from iUniverse.

http://www.captainwrite.com/SalesSheet.pdf — This series one was created by my friend, graphic designer Jeana Clark (@jeana_with_a_j on Twitter.)

http://www.beaverspondpress.com/assets/files/Johnson_Sellsheet.pdf — another nonfiction example

http://www.beaverspondpress.com/assets/files/sickbug_sellsheet.pdf — this is fiction

You can create these Sell Sheets in Microsoft Word or Microsoft Publisher fairly easily. Having a publicist create your sell sheet isn’t a necessity but it can be helpful if you still feel lost or unsure about your sell sheet. In my case, publicist Adonna Pruette looked mine over for tweaks after the fact. She also suggested this alternate layout as yet another option:

Book Sell Sheet ExamplesMy version was created using Publisher and Adonna’s using Word. Either way, text and photo boxes and other tools, it’s fairly easy to create one.

Adonna has some final thoughts:

“Your sell sheet is an actual marketing piece. It’s not just a piece of paper that you should throw together haphazardly. After you’re gone, a store employee may see it on the counter three hours later, check out your book info, read it, and then ask the manager to order in a few. This is marketing material will be used over and over again to sell your book to the book buyers. Take your time pulling your sheet together. Make sure it looks really nice. No typos! Color printed (if color adds to your layout). Attention to detail matters here and it just may sell you quite a few books.”

Ok, once you have a Sell Sheet, what do you do with it? Well, that’s what we’ll talk about Monday in Part 2: How To Get The Most Out Of Your Book Sell Sheets. So meantime, get to work on those Sell Sheets. OMG Blogging guy just gave me homework! Why yes, yes, I did.

For what it’s worth…

Additional Resources:

Here’s what Absolute Write says about Sell Sheets: http://absolutewrite.com/novels/sell_sheets.htm.  Independent Book Publisher’s Association offers another resource: http://www.ibpa-online.org/publishers/flyer.aspx. Check http://www.fedex.com/us/office/templates/sellsheets.html for templates.

Exclusive Offer:

Adonna has agreed to a special offer exclusively for the visitors here.
PR Quick Check $35 – Adonna will check your current sell sheet offering general guidelines as well as give you tips for how to revise and improve it yourself to increase it’s marketing value for bookstores.
PR Sell Sheet Review – If your sheet needs more than just a few tips, she can fix it up for you for a range from $50 – $150 depending on how much work is needed. You will be given a quote before any work is completed.
Custom Book Sell Sheet – Created for your book from scratch for $200 (which is $100 off of the normal fee for this type of detailed service). Contact her at [email protected] to get started. From DIY help to full service PR, there’s something for everyone in there. You must mention this site in your email to her to get these discounts! Enjoy!

Raygun-Chronicles-Make-This-Happen-Banner
My latest project:

Bio:

Adonna Pruette is a freelance professional publicist that works with fiction authors and publishers to create digital PR as well as traditional media outreach. Her clients range from well known writers like urban fantasy author Faith Hunter (www.faithhunter.net) to debut authors such as Lillian Archer (Twitter: @LilliansBooks). Her online home at TheAuthorPro.com (http://www.TheAuthorPro.com) is her current WIP. You can contact her at adonna AT theauthorpro.com or connect with her on Twitter @PassionMuse.

Contact details:

Website:  http://www.theauthorpro.com

Facebook: http://www.facebook.com/authorpro

Twitter: @PassionMuse https://twitter.com/#!/passionmuse

Google +: http://bit.ly/Ar7hzi

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. A frequent contributor to Adventures In SF Publishing, Grasping For The Wind and SF Signal, he can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

4 5-star & 11 4-star reviews THE WORKER PRINCE $3.99 Kindlehttp://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

For further help, please see https://bryanthomasschmidt.net/write-tip-how-to-get-the-most-out-of-your-book-sell-sheets/How To Get The Most Out of Your Sell Sheets.

Write Tip: Thoughts On Choosing Point Of View

Published on by Bryan1 Comment

There are many decisions one makes when writing fiction. One of the most important is the choice of POV character and whether it’s first person or third. Often, when dealing with multiple POV characters, the choice is based on who has the most to lose or gain in a particular scene. But sometimes other factors can be useful.  

In The Returning, my forthcoming sequel to The Worker Prince, I found it advantageous to tell a scene from the POV of an antagonist despite the fact the focus of the scene was a subplot of the romance between the protagonist and another character. In doing so, I was able to up the tension beyond the drama of the moment. While Davi and Tela are having a fight and their relationship is jeopardized, the scene becomes more powerful because Davi’s rival, bent on killing him in revenge for past slights, is stalking them during the scene. Thus, not only is their relationship in danger, but their very lives. It wound up becoming one of my favorite scenes because of that.

A further advantage was that several subplots are advanced in the process–the Davi-Tela love story, the Bordox revenge plot, and the main story about attacks on Davi’s Vertullian people are all advanced in this scene. Having Davi’s rival, whose hatred for Davi seethes throughout the book, see Davi in a humiliating fight with his girlfriend also serves to make Davi’s situation more sympathetic. It’s bad enough he’s messing up his relationship, it’s bad enough some of that conflict is based on misunderstanding each other, but now his life’s in danger and he’s been humiliated in front of Bordox. It just adds layers of dynamics to the scene which up the pace, the tension, and the stakes all at the same time. When you add to that the fact that this encounter was coincidence–Bordox was there for other reasons and just stumbles upon them–it’s all the more dramatic.

Below is the scene from my third draft so you can see how it plays out. Remember: Bordox is working for a group trying to unseat the government and reenslave the Vertullians, ancient enemies. He’s Davi’s Academy rival and his family are the rivals of Davi’s for the leadership of the Borali Alliance. Tela is Davi’s former trainee, fiancee and a fellow Vertullian pilot. The romance that started in The Worker Prince is facing new pressures and their relationship is strained because of it. 

As you read, consider the POV choice. How does it work for you? Would you have chosen differently? What are the questions you ask when deciding which POV to use in scenes? Feel free to discuss it in the comments. I’d love to hear your thoughts on choosing POV.

***

Bordox fought his every instinct as he stepped off the shuttle into the starport landing bay on Legon. His mission required stealth yet he stiffened at having to sneak around a place he’d once walked freely—admired and respected. Here he was, less than a year later, hiding in shadows like a wanted man. And there was only one person to blame: Davi Rhii!

He made his way through the pedestrian corridors and deliberately avoided areas frequented by pilots and maintenance crews with the hopes he’d be less likely to be recognized. The datacard in his pocket pressed against his leg with every step. He just needed to get to the flight data booths and insert it. The program it contained would do the rest, drawing out the desired intel from the systems, and he’d be on his way again.

“What’s keeping you so quiet?”

He knew that voice, stopping to listen as it came from around the corner ahead of him.

“Nothing. I’m fine.” A woman’s voice answered. One he didn’t recognize. He heard footsteps approaching and shrunk back into a shadowed doorway. “Just let me check the shuttle maintenance records for Aron and we’ll be on our way.”

“I know you, Tela. Something’s upsetting you.”

Rhii! Bordox gritted his teeth. His old enemy, the idiot who’d ruined his life, was coming toward him. What was he doing here this time of night? Last he’d heard Davi was a squadron commander. Military pilots didn’t casually walk around this side of the starport.

Davi and the woman appeared around the corner and stopped as Davi jumped into her path so they were face to face. The woman was medium height, shorter than Davi, with long brown hair and sparkling blue eyes. Her pleasing curves stiffened in anger as Davi blocked her way. Both wore Borali Alliance flight uniforms with rank insignia on their shoulders and blasters holstered at their sides. Seeing Davi in uniform just launched him into a rage. Rhii had the career Bordox deserved.

“I know you, Tela,” Davi said. “Why won’t you talk to me about it?”

“Because it won’t make any difference. We’ve tried before.”

She stepped around him and continued down the corridor as he hurried after her.

“So it’s about me then? What did I do?”

The woman, Tela, sighed. “I am not some delicate damsel in distress, Davi Rhii. I’m a fully qualified Borali officer, just like you.”

Davi looked confused. “Of course you are. What are you talking about?”

She stopped and whirled to face him, arms on her hips. Her eyes narrowed with annoyance. “You had me taken out of your squadron rotation. You got me in a lighter flight duty assignment. I keep finding myself not chosen for any risky missions—”

“There haven’t exactly been a lot of risky missions lately, and your reassignment was required by military rules. Couples can’t fly together.”

Tela growled. “A convenient excuse.”

“It’s true. I can show you the memo the commander sent asking me to sign the transfer paperwork.”

“You don’t get it! I am not going to be the girl who sits at home and pines after you. I want to do my duty like anyone else. I don’t want to be protected.”

“I’m not protecting you.”

“Yes you are!”

She whirled and started up the corridor toward Bordox again. He slipped further back into the shadows, sliding his hood up over his head as he enjoyed the show. They were so distracted with each other he doubted they’d even notice him. Bordox began to relax from his rage a bit as he watched Davi Rhii get put in his place by a woman. The only thing better would be the day he did it himself. Like instinct, his hand felt for the blaster at his hip, closing around the handle, he squeezed it. All he had to do was draw and shoot and Rhii would be dead. They would never see it coming, totally taken by surprise. His fist clenched and unclenched around the handle as he fought the urge. He’d blow his mission. But he might never get a chance like this. The feel of the cold steel of the blaster against his palm got his adrenaline pumping.

“Okay, maybe I didn’t argue.” Davi smiled as if that alone would charm her. Bordox wanted to step out and wipe that smarmy grin off his face with a fist but he swallowed, silent and hard, and stayed frozen in place. Or maybe I should blast it off. “Look, I love you, okay? Guilty! It’s my instinct to want to protect you.”

“We fought side by side in the Resistance. Why can’t we do that now?”

“Well, there’s not really any enemies at the moment for one. And we were just getting into things then. Now we’re together.”

“So I’m supposed to sit at home and worry about you while you get to relax and know I’m safe? That’s fair.”

Davi grinned and shrugged. “I’d feel good about it.”

Tela groaned and punched him hard in the arm. “Well, I don’t.” She turned and marched on down and through the door into the landing bay as Davi raced to catch her.

Bordox paused a moment, tempted to follow, but shook it off, remembering his mission and slid on down the corridor the way they’d come. There was more at stake. He had to remember that. Rhii’s day would come. Just not today. In less than two minutes, he’d stepped into the data center and selected a private booth. He slipped the datacard from his pocket and inserted it into the terminal then watched as the screen exploded in thousands of numbers moving and changing at a pace so fast his eyes could barely recognize them. After another minute, the terminal beeped and the datacard ejected. He returned it to his pocket then slipped out and headed back the way he’d come.

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. He can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎ Bryan is an affiliate member of the SFWA.

4 5-star & 11 4-star reviews THE WORKER PRINCE $3.99 Kindlehttp://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.

Write Tip: 15 Top New Year’s Reads For Writers

Published on by Bryan1 Comment

As my Holiday gift to fellow writers, who have been so supportive of the tips offered on this blog, I’ve compiled a list and brief descriptions of 15 really top writing resources to help you move forward in your growth as a writer. Links to either Amazon or Barnes & Noble are included for those who want to purchase the books or just read reviews. With the exception of one series, they’re individual books, organized by category. All on my shelf and well worth your time and money. Thanks again for the support you’ve shown me and this blog in 2011!

Standards:

On Writing by Stephen King — a go to book by a master storyteller. Part autobiography, part examination of craft and writing process. Widely recommended for all writers with good reason.

On Writing Well by William Zinsser — Yes, I know, the subtitle is about writing nonfiction. Don’t let that put you off. An amazing classic on how to write well which every writer of all genres and stripes should have on his or her shelf. Period.

Imaginative Writing: The Elements Of Craft by Janet Burroway — a standard textbook for MFA programs, very useful for any fiction writer. Really in depth examination of the elements of craft with exercises, tips and more.

 

Marketing:

Guerilla Marketing For Writers by Jay Conrad Levinson, Rick Frishman, Michael Larsen and David L. Hancock — Great tool to learn marketing on a budget. Walks you through all kinds of promotional resources you didn’t even know you had as well as breaking down the ones the pros use and how to plan your PR campaign like a pro. Very useful tool with great resources in the appendices as well.

Crossing The Chasm by Geoffrey A. Moore — great marketing book on the psychology of successful marketing and pushing through to the next level. A standard in marketing.

Getting Known Before The Book Deal by Christina Katz — A new standard for how to build your platform and audience well before your book’s release. A must read for writers of all levels.

 

Craft:

Screenplay by Syd Field — One of the all time most important books on story structure, often used at film schools, of great use to novelists as well. Learn how to follow the three act structure and develop your plot in a solid, powerful way.

Writing The Breakout Novel by Donald Maass — written by a leading literary agent with years’ experience selling books and writing them. Agent to many big name authors. A really powerful book for any author on how to make your novel top notch.

Revising Fiction by David Madden — a great book full of tips on how to revise your novel to the minutest detail. Covers anything and everything with good organizational suggests for how to approach it and think through later drafts. Out of print but well worth tracking down used and easy to find.

Writer’s Digest Elements Of Fiction Writing series — a series of books by successful authors like Orson Scott Card, Monica Wood, Nancy Kress and more covering specific elements in each book: Plot, Description, Setting, etc. Very useful tools. Like a classroom in your bookcase.

The 10% Solution: Self-Editing For The Modern Writer by Ken Rand — life changing, hands down. A great, short, concise editing methodology which will improve your writing over night. A must have for writers. The one writing resources I seared in my brain and use daily.

 

Resources:

The Writer’s Guide To Creating A Science Fiction Universe by George Ochoa and Jeffrey Osier — useful for any writer needing to learn worldbuilding. Although it’s specific to science fiction, the reasoning and tools apply to any genre. Very useful. Also out of print but easy to find used online.

Negotiating a Book Contract: A Guide For Authors, Agents and Lawyers by Mark L. Levine — Step by step guide to book contracts covers standard clauses, negotiation, and how to identify what you want and get it. A must read for anyone involved with book contracts by an author who also happens to be an attorney.

English Through The Ages by William Brohaugh — Another out of print gem which covers the origination of English words through history. Helps authenticate your language usage in writing novels set in particular periods, especially historical or fantasy ones. Easy to find used.

I Have This Nifty Idea…Now What Do I Do With It? by Mike Resnick — A collection of book proposals for best selling novels compiled and edited with commentary by Mike Resnick. If you hate writing outlines, proposals, synopses, etc., this is the book for you. How the pros did it. You can emulate it. Can be hard to find. Small press. But well worth the hunt.

Bryan Thomas Schmidt is the author of the space opera novel The Worker Prince, a Barnes & Noble Best SF Releases of 2011 Honorable Mention, the collection The North Star Serial, Part 1, and has several short stories forthcoming in anthologies and magazines. His second novel, The Returning, is forthcoming from Diminished Media Group in 2012. He’s also the host of Science Fiction and Fantasy Writer’s Chatevery Wednesday at 9 pm EST on Twitter, where he interviews people like Mike Resnick, AC Crispin, Kevin J. Anderson and Kristine Kathryn Rusch. He can be found online as @BryanThomasS on Twitter or via his website. Excerpts from The Worker Prince can be found on his blog.‎

4 5-star & 9 4-star reviews THE WORKER PRINCE $3.99 Kindlehttp://amzn.to/pnxaNm or Nook http://bit.ly/ni9OFh $14.99 tpb http://bit.ly/qIJCkS.