Where Normal Need Not Apply
An interesting conversation grew out of Misti Wolanski’s guest post earlier this week. She mentioned that sometimes readers enjoy finding typos. Let’s take a closer look at what that means for readers and for us as authors? Should we leave typos in our work? What say you…
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Indie publishing isn’t made up of just one decision to put us on one path. The choice to self-publish is just the first of dozens, maybe hundreds, of decisions we’re going to have to make as part of our indie career. One choice we have to face is how we want to sell our books. There’s no right or wrong answers—only what works best for us.
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Some authors are able to write coherent stories while drafting. Others put together words willy-nilly and end up with a story that doesn’t hold together. And still others plot but are just writing their chaos down in advance. For all, a strong sense of story structure would help them during planning, drafting, and/or revisions.
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My Elements of a Scene Checklist helps us identify whether a scene is truly necessary and contributing to our story by making sure it fulfills a story purpose. The same judgment criteria can apply to subplots as well. Let’s take a look at how can we make sure our tangents and subplots are adding to the story and not acting as a distraction.
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Ever heard “write the same but different”? Usually agents want something similar enough to other stories that they know they can sell the book but different enough to not feel like a retread. Whether we’re writing queries for traditional publishing or back-cover blurbs for self-publishing, if we can identify how our story is unique, we can better sell our story.
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Even though I don’t want my blog to turn into “all self-publishing tips all the time,” I also want to share my indie publishing insights and advice. My friend Janice Hardy came up with the perfect solution: joining the Indie Author Series at Fiction University, where I’m writing a series digging into some of our options for indie publishing.
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When we end up with a “dud” of bad writing from a book we’ve purchased, what should we do? Should we treat it as a learning experience or just close the book? My answer has changed over the years, so let’s take a closer look at when we might want to slog through bad writing to try to learn what not to do—and when we wouldn’t.
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Revisions are never easy. Unlike just plain edits, which might have us questioning a word, revisions might have us questioning everything. Sometimes the feedback we receive might cause us to wonder if the suggestions are a good idea for our story. How can we tell? Which battles should we pick when debating our publisher’s editor?
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Every time we start a new journey, we’re likely full of dreams based on the potential of that new phase. There’s nothing wrong with those dreams, but they are just the first step. A harsh truth is that most people won’t reach their dreams because there’s such a gap between wanting something and making it happen.
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One way slow writers can succeed is to create more income streams for each book, such as releasing an audio version. But we might not have experience with audio publishing. Luckily, today’s post is by a narrator for Amazon’s ACX service who will tell us how to get started with ACX, especially how to audition and work with a narrator.
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