Nancy's Notes From Florida

Teamwork for Cross-Promotion
March 27, 2014

Teaming up for Cross Promotion with Nancy J. Cohen, Libby Fischer Hellmann, Erin Mitchell and moderated by Maggie Toussaint

This is my last recap of panels from SleuthFest 2104. These are my interpretations and notes, and any misstatement is my error. Photos are viewable from my Facebook Page. Like my page, then click on Photos, Albums, and SleuthFest 2014.

Cross Promotion

Erin says cross-promotion works best when there’s something in it for everyone. When you have an audience, you have something to bring to the table. Readers are a good resource. Ask them questions and engage them directly. Know where you can find them. The purpose is to build your brand. Write some valued content and distribute it into various venues.

I discussed my lifeboat team, Booklover’s Bench. We’re a team of seven multi-published authors who have a website together where we offer monthly contests, behind-the-scenes glimpses of our working life, excerpts, profiles, and more. We cross-promote by offering prizes for each other’s contests in some cases as well. Measurable results include increased numbers of names for our mailing lists, added Likes to our Facebook author pages, more followers on Twitter, additional Likes on our Amazon author pages, and having our books placed on Goodreads TBR lists.

I’m also a regular blogger on The Kill Zone, a blogging site with 11 mystery/thriller authors where we offer writing instruction, publishing advice, and marketing tips along with our musings on The Writing Life.

Libby cautions that you should be careful and must really like the work of people in your group. Some may be more invested than others. Personalities are important. She belongs to a group of suspense writers, both hybrid and traditionally published authors who’ve moved on to self-publishing. They have done a round robin story together, two anthologies, and a how-to write crime fiction work. They’ve tweeted and shared posts on FB for each other. One advantage of a sizable group is that they can negotiate terms with online book retailers.

Her group invested money to hire a website designer who also maintains their site. They also paid for a cover designer on the anthologies. Their income helps counter expenses. They have rules for dissolution in their LLC’s operating agreement or for dissolving the LLC in the future. This helps members take their commitment seriously.

Libby recommends the following blogs:

The Passive Voice

Digital Book World

Joe Konrath

Kris Writes

The Dames of Dialogue

Indie Chicks

Nancy J. Cohen and Maggie Toussaint

Maggie and Nancy from Booklover’s Bench.

This concludes my SleuthFest report. I hope you have enjoyed these summaries and will consider attending in person next year! Keep watch for details at http://mwaflorida.org/

 


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Laura Lippman
March 26, 2014

Lunch with Laura Lippman at SleuthFest

We continue with my recap of panels and workshops at SleuthFest. These are my interpretations and notes, and any misstatement is my error. Photos are viewable from my Facebook Page. Like my page, then click on Photos, Albums, and SleuthFest 2014.

Laura Lippman

Bestselling Author Laura Lippman discussed what it means to be a professional writer. Publishing has changed in terms of e-books, self-published writers and hybrid authors. “The conversation has become so charged and so vitriolic. I’ve yet to see any reliable numbers on either side.” The argument for traditional publishing is couched in money and control.

No one argues that self-publishing will lead to better books. This avenue can produce as good a book as traditional publishing. But where is the true masterpiece in self-publishing? “Show me a masterpiece that could only have come” from a self-published work.

Find someone you can trust to tell your dreams about publishing. What are you prepared to do to get there? Professionalism is taking your work seriously, and being respectful of other people’s time and expertise.

Laura calls indie publishing “a less precise euphemism” for self-publishing. The key is in doing the work and reaching a reasoned decision to self-publish but not for instant gratification. Is the work ready? Be a ruthless critic of your own work. The goal has to be to write the best book you can. Your words are your legacy. Make them precise. Make them good.

 


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ACX and Kobo
March 24, 2014

Audio Books on ACX with Terry Odell and Neil Plakcy and moderated by Julie Compton

ACX Panel with Terry Odell and Neil Plackcy

We continue with my recap of panels and workshops at SleuthFest. These are my interpretations and notes, and any misstatement is my error. Photos are viewable from my Facebook Page. Like my page, then click on Photos, Albums, and SleuthFest 2014.

Note: Terry has many of the steps for creating an audiobook on her blog at Terry’s Place

Nowhere to Hide, an audiobook romantic suspense by Terry Odell

Why Audio?

Sales of audio books are growing in double digits. There’s extra money involved. You can reach another audience. And it’s not hard to do.

Why ACX?

ACX stands for the Audiobook Creation Exchange. It’s owned by Amazon, and it connects narrators, producers, authors, and the marketplace. It’s not hard to learn and has good customer service. They have a lot of narrators, and you don’t need a cash outlay. http://www.acx.com/

Getting Started

Enter your book in the blank box to find it on Amazon, who will fill in the description. Categorize your book. You’ll be presented with three choices. You have an audio book and you want to sell it. You wish to narrate your own story. Or you want to hire a narrator. For a producer, keep in mind the quality of equipment and if they fix glitches.

How do you pick a narrator?

Gender: Male, female, or either
Age: Child, Tween, Teen, YA, Adult, Middle Aged, or Elderly
Language: English, French, German, Spanish
Accents: Choose from a list
Narrative styles: Upbeat, sexy, frightened, etc. This should reflect the tone of the book.

Pitch your book

Market to the producer by mentioning your mailing list numbers, awards, reviews, and other accolades.

Let the narrator know what type of book it is (i.e. humorous mystery) and what types of characters are involved including special accents (i.e. Yiddish words or Spanish phrases).

The sample script is 5000 characters limit, but it does not have to be consecutive text.

Ask the narrator what kind of promotion they’ll do for your book.

Can you tell the difference with this narrator between the character speaking and thinking?

How about dialogue with “he said” and “she said?” If there are two female characters, can you tell which one is speaking? Are puns pronounced correctly?

Royalties

You can pay the narrator up front and keep all the royalties, or do a 40% split. If you do the split royalties, the audiobook will be sold on Audible, Amazon, and iTunes only. But there’s no cash outlay and the narrator is more likely to help in the marketing. That is, if you can find a narrator willing to invest their time in your project. Paying up front is more expensive, but you can sell your audio elsewhere and you have control over it.

Stipends

ACX may pay narrators a stipend to do your narration. This attracts more narrators, but you have to sell yourself when applying for this option. So consider the application form a “pitch” session and mention your readership and marketing basis.

Covers

These must be 2400 x 2400 square. You cannot resize your ebook, so ask your cover designer to provide a cover in this size.

What's in a Name by Terry Odell

Full Narration

Don’t have the narrator read your front or back material. They’ll upload the first 15 minutes to your dashboard for you to check the pacing, accuracy, etc. Have them upload chapters as they go so you can listen to the file. You may want to tell them to drop the “he said” or “she said” if they feel it isn’t necessary.

If you want a copy on CD, consider that the book takes about 10 hours or so to narrate, and so you’ll need a number of CDs for one work.

The file comes as a download. People listen to it on their mobile devices or on their cell phone.

Reviews

Reviews will show up on the audiobook’s Amazon page.

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Kobo Writing Life with Christine Munroe and moderated by Christine Kling

Kobo SleuthFest

Kobo has a blog, podcast, and social media sites. Check out Kobo Writing Life . They have a bestseller list on the blog with 30 titles. Kobo also has author collectives like the “Jewel” historical romances. They have a daily deal on the main page which may include boxed sets. Kobo Next is indie picks for new releases. You can also ask to be included in the First Free in Series.

If a book is to $2.99 here, then it’s $2.88 in Canada/Europe. Books priced at $1.99 are doing poorly. Customers like $.99 or $2.99. You can raise the price for full-length books up to $8.99.

You should link to Kobo on your website and other places online. Marketing opportunities include Book Bub, Story Finds, and Indie Bound.

For metadata, you’ll want to add the imprint or publisher name and the series title.

Indie bookstores earn a percentage of sales selling Kobo e-book readers and titles.

 


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Editors Roundtable at SleuthFest
March 21, 2014

We continue with my recap of panels and workshops at SleuthFest. These are my interpretations and notes, and any misstatement is my error. Photos are viewable from my Facebook Page. Like my page, then click on Photos, Albums, and SleuthFest 2014.

Editors Roundtable with Neil S. Nyren, Shannon Jamieson Vazquez, Deni Dietz, Matt Martz and moderated by P.J. Parrish

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How have the changes in publishing affected you?

Matt said social media tools can take up a lot of time and become distracting. However, electronic submissions are great. “Queries written like tweets don’t fly.” Be professional in your queries.

Shannon mentioned that e-mail has revolutionized multiple submissions like the Xerox machine did earlier. E-books are growing.

Neil said e-books are a big change in our business. If you plan to save self-publish, please make sure the book is ready. Respect the reader. Hire a professional copy editor to edit your work and a professional artist to design your jackets.

Kristy (aka P.J. Parrish) warned listeners to be careful of typos especially if you get your backlist scanned.

Is the editing process gone, or how has it changed?

Matt said, if an editor has to dig in deep to line edit, then he probably shouldn’t be working with you. An editor works on tone, pacing, developmental issues, and broader strokes.

Shannon said there’s no one way to do it. “I red-line the hell out of a manuscript. We’re working to make the book the best it can be.” She’ll spend at least two weeks on a manuscript. Altogether, a book might take her five to six months for the different stages.

Neil gives the manuscript a complete first read and then sends the author notes on what works and what doesn’t.

Deni said historical mysteries take longer to work on due to the research involved. She works with three associate editors. She advises writers to learn your toolbar and track changes. The days of sticky notes on manuscripts are over. Formatting is very important.

Also, there is a misperception that if it’s wrong, an editor will fix it. That is untrue. Deni will do brief edits as she reads through the work and then sends it back to the writer for corrections. She believes that if someone doesn’t show you what’s wrong, how are you going to learn?

If the writing is dazzling, but the story is not compelling, Neil said that’s called an “MFA” [Master of Fine Arts] manuscript.

Where do most books fall apart?

Shannon says this happens for her between pages 1 and 150. The book gets off to a good start but gets tangled in subplots, or else the story peters out. Or the solution isn’t what she’d expected.

Deni said sometimes this happens in the middle or at the end because the writer is anxious to finish. Or else there’s a Too Stupid To Live moment. But that’s fixable, so don’t despair.

Neil looks to see if the author has control of the book from the very beginning. He says a good agent should know an editor’s particular taste.

You will learn more by writing a book, putting it in a drawer, and starting a new one than by working on that same manuscript for years.

How often do books come out?

Shannon said romances are at the forefront of three month back-to-back book releases but not mysteries. Deni said her house puts out one book a year due to reviewers’ lead time.

Short stories and novellas are making a comeback with e-books, according to Shannon. Nobody is buying short story collections, but they can be used as teasers for book-length novels. Neil pointed out pricing on a short story could be $.99 or free, while a novella can be sold for $2.99.

What about print-only deals?

Matt said it’s not much of a partnership if the author retains e-book rights.

Neil adds, “We’re giving up the potential, so for most people print-only deals won’t be a possibility.”

Deni said Five Star will not take a self-published book.

Shannon said they would consider buying e-book rights from self-published authors, but you would have to take your book down at the online sites where you have it on sale.

Coming Next: Kobo and ACX


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Cracking Discoverability
March 19, 2014

Contest
Enter to win 1 of 4 signed ARCs of Hanging By A Hair in my Goodreads Giveaway: https://www.goodreads.com/giveaway/show/81598-hanging-by-a-hair

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We continue with my recap of panels and workshops at SleuthFest. These are my interpretations and notes, and any misstatement is my error. Photos are viewable from my Facebook Page. Like my page, then click on Photos, Albums, and SleuthFest 2014.

“Cracking Discoverability” with Terry Odell, Neil Plakcy, Eileen Robertson, Peggy Hanson, and Sandra Balzo as moderator.

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Find your public and reach out to them. Look for mystery listserves like Dorothy L and 4 Mystery Addicts, and join their discussions to establish a presence. Check out groups on Goodreads and LinkedIn for mystery readers. Look for book blogs. Check out Novel Spot for readers.

Terry said, “The key to social networks is being social.” Don’t push your book. You want people to like your post and then they will look up your books.

Peggy gets a lot of hits posting about her cats so she agrees with Terry. “PR stuff is very hard, but if you present yourself as a person, people may become interested in you as a writer.”

Eileen belongs to a group of women mystery writers, and they tour together for events. “The reader is far more important than the writer.” And even if they get your book at the library, then they’ll want to read the rest of your works.

According to Terry, “The best thing you can do on Facebook is to share.” She mentions Rafflecopter for contests and then discussed how to get your Facebook friends to migrate to your Facebook page. Ask them periodically to Like your page.

Neil discussed what makes a good newsletter. You can pepper in short chunks of research, fun and interesting facts, sneak peeks at your next work, giveaways, contests with prizes including other authors’ books. Get readers onto your blog with recipes, pets, or other interesting tidbits.

Friday Lunch Keynote Speaker Ace Atkins

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Ace discussed his road to publication and how he kept persisting. You get knocked down, you get back up and listen how to improve your work. Get out to meet people, real people related to your work. If you’re not passionate about the material and love it, think about why you’re in this business. Leave out the stuff people skip over and get to the story. Listen to people talk to learn to write dialogue. Don’t watch television to learn.

Examine who you’re targeting when you submit to an editor. What are their tastes and interests?

Don’t ever stop writing. If it’s not working, start something else. Keep going. If an agent or editor aren’t working out, move on. Always keep the book going. You’ll only get better.

Coming Next: Editors Roundtable

 

 

 


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