Gift Certificate Giveaway Fun: Give My Character a Last Name and…

UPDATE: The contest is closed. See the winning name here.

It’s been a while since I did a giveaway, so it must be time to do something fun.

The prize?

We’ll do two $25 gift certificates. The winners can choose from Amazon, Barnes & Noble, or iTunes. (I’d add Smashwords in there, but I don’t think they have a gift certificate option?) You can also choose to forgo the $25 and receive paperbacks of Books 1 & 2 in my Emperor’s Edge series.

What do you have to do to enter? Suggest a name for a character.

I’m writing the fourth Emperor’s Edge book, and it looks like one of the core characters, Maldynado, doesn’t have a surname yet. I gave Maldynado a first and middle name (Maldynado Montichelu) in Book 1, but I’m hunting through my notes, and I don’t think I’ve given his family name yet (he was disowned and doesn’t have the right to use it). One of his brothers will appear in Book 4, so it’s time to find out what Maldynado’s last name is.

For those who haven’t read the books, the family is warrior-caste (aristocrats), and those people’s names end in -crest. (i.e. Hollowcrest, Bocrest, Starcrest)

To enter the giveaway contest, simply leave a comment below with a character name suggestion.

Whoever has the name that gets picked (I may appeal to you guys again to help choose between favorites) will win a gift certificate, and then I’ll pick a random participant for a second certificate. (As long as you leave a comment, you’ll be entered for that.)

Let’s let the contest run for a week, so until Saturday the 21st. And, yes, you can submit multiple suggestions.

Okay, have at it, all. Remember, I need a name that ends in -crest!

 

Posted in News | 118 Comments

Should Authors Add a Paypal Donation Button to Their Sites?

One of the great things about being an independent author in this day and age (the e-publishing era) is that you have a shot at making money, maybe even making a living wage, if you have enough books out and they sell moderately well. But for every author making a living there are a thousand more (at least) who can only count their earnings as hobby money. Some indie authors might never even make back their start-up costs (editing, cover art, etc.). And, lest you think the latter is a problem only for self-published authors, there are plenty of traditionally published authors who never earn out their advances and get a deal for a second book.

For those interested in a way to potentially make a few more dollars, Paypal makes it easy to add a donation button to your site. Through them you can even accept credit cards. For those who don’t love Paypal, there are also various WordPress plug-ins that allow you to take “micropayments,” in the form of donations or fees for content (i.e. you could publish a short story or extra on your site as a blog post, give away the first 20% for free and then charge 50 cents or 99 cents or some such to folks who want to read the rest).

But, you’re wondering, do these buttons work? Does anyone actually donate?

I haven’t tried it personally, so I can only share anecdotal evidence from my old job. When I worked as a news/non-fiction blogger, I made money from affiliate links and selling advertising (sort of a magazine model for a business), and I did know of people in the industry who had Paypal donation buttons on their blogs. Most said that few people donated and that their income from that source was insignificant.

But…being an author with a blog is a different scenario, especially if you write fiction instead of non-fiction. Most likely, your blog is designed to attract potential readers who will buy your books, and those books may be your only source of income. As most readers know, traditionally published authors only take home a small cut of the sales price of a book, and even indie authors, who get to keep a bigger cut, have to be selling quite well to make pay-the-mortgage type earnings.

In short, readers who enjoy your stories may be more inclined to donate than folks who simply follow a news blog. Even though you’re charging money for your novels, you may find that some of your fans value them highly and would like to see you earn more than two or three dollars per book.

Here’s one example of such a case, where I had a nice reader, KA Rowell, email me and ask if a donation button was something I’d consider as an author. She gave me permission to post her comments:

“…reason I’m writing is to suggest that you consider adding some kind of patronage button on PayPal…Personally I would have been willing to pay hardback prices for EE3–and I never pay hardback prices!–and would be happy to make up the “difference” between what I paid and what I would pay with a PayPal button. And/or if you want to vet the idea in front of your crew, this might be a nice topic for an e-publishing article. (E.g., does putting a paypal “donate” button on your website look too mercenary? Could it alienate some readers? General pros/cons? What is the likelihood of it actually creating additional revenue?”

“I also wonder about related opportunities for creative fundraising using these buttons. Over the holidays I was at a Starbucks with two tip jars, each with a sticky note attached: one read “Blue Christmas” and the other read “White Christmas.” White was “beating” blue by a handy margin–one-dollar bills were spilling from the sides. I wonder if you might use a similar (book-related) strategy, e.g. asking people to “vote” for Sespian vs. Sicarius? Or to “vote” for their favorite character? This might be a strategy for other authors too, particularly if there are (small?) factors that might go one way or another in the sequel. Maybe (?) it would have some of the charm of those old “choose your own adventure” books, and it’s an interesting opportunity for e-book authors, since the turnaround time is often so much less.”

Lots of interesting ideas mentioned there!

As for whether I’ll do this myself, probably not on my website in general. I am a little intrigued by the idea of having people “vote” for a minor story point by donating one way or another, but I think I’d only do that as a for-charity type event. Or perhaps I could make it so people who donated a certain amount (enough to cover book and shipping costs for me) would get signed paperbacks out of the deal.

Personally, I’m not that comfortable with the idea of accepting random donations (though I certainly appreciate that there are folks who’re willing to offer them because they enjoyed my stories). As with the kickstarter campaigns (where people can crowd-fund projects), I think it’s fine for others, but it’s just not for me. I’m also in a position right now where I’m selling enough books that I can cover my editing and cover art costs with money left over, so there’s less incentive to try donation systems.

That said, I’ve seen other authors do it (I’m not sure as to the degree of success), and it’s actually built into Podiobooks.com (there are donation buttons on each book page, and part of the proceeds go to the site for covering hosting costs and part go to the author).

I would be curious to know what readers think of the practice. Are donation buttons a good idea?

And authors, what do you think? Have you tried a donation button and had any luck with it?

Posted in Blogging | Tagged , , , , | 23 Comments

Cover Art for The Assassin’s Curse (a Sicarius and Amaranthe short story)

I’ve been writing and writing since the beginning of NaNoWriMo in November, and I do believe it’s time to take a break and edit something. I have the cover art back for a 12,000-word short story I wrote over Halloween, and my wonderful beta readers have sent back some notes, so I’m going to work on finishing that up this weekend. I’ll still have to send it off to an editor, but I should be able to get it out within a couple of weeks.

The Assassin’s Curse is a stand alone story that will — I hope! — tide Sicarius-and-Amaranthe fans over until Book 4 comes out (I’m still working on the first draft of EE4, but I think I’ll be able to get it out by May). For those who have been waiting patiently for the next Flash Gold story, I’ll be editing that before long too.

Here’s a sneak peek of the cover art for the short story. As I mentioned, I wrote it the week of Halloween, and it’s got that kind of theme.

 

By the way, my plan is to start out selling the short story for 99 cents so that I can recoup the costs of cover art and editing, but it’ll probably end up being a freebie eventually. If you’d like to get it for free right away, please sign up for my newsletter if you haven’t already (the sign-up form is in the menu on the right). I’ll send out a Smashwords coupon as soon as the story is up over there (you can download file formats for any e-reader at Smashwords).

Posted in Ebook News | Tagged , , , , | 27 Comments

Adventures in Business Card Creation

Even though I’ve been thinking of self-publishing as a business from the beginning (it’s hard not to when you have start-up costs such as editing and cover art design), it’s taken me an unforgivably long time to have business cards designed. As some of you know, I’ve been traveling for the last couple of months, and there have been a lot of instances where someone has asked what I do and then wanted to check out my books. Too bad I didn’t have a card to give them…

Well, that is soon to be remedied. Syd Gill, a writer and designer I met on Twitter, has hooked me up with business card designs. I ordered the first batch of 1,000 from GotPrint, and they’ll be waiting for me when I get home.

1,000 cards, you say? Whatever will an author do with that many? Well, I bet I’ll find uses for them. I can hand them out to everyone I meet out in the real world (hey, you never know when that lady with the doberman at the dog park will be a fantasy fan), give them to folks at conventions or workshops, and even drop them into the “free lunch drawing” bowls at sandwich shops.

For those who are curious, here is the design for the front and back of my cards:

Syd was also kind enough to offer some tips for those who are designing their own cards:

Business cards should make an instant statement, actually you may only have an instant to get recognized. In a pile of cards if your card stands out you’re ahead of the pack. To design your own business cards, here are a few tips to remember:

Card Stock & Shape: If you want to stand out, you want your card to stand out in a stack of cards. Rounded corners, square cards, even lip shaped cards are an option these days. If that’s not your cup of tea, choose a heavier paper weight to give you that edge. Personally, I love a heavy paper weight square card I can leave lying round, especially at restaurants — it almost looks like a coaster!

Keep It Simple Stupid: This hasn’t ever been more relevant. Do not try to “over design” your card with graphics and symbols and every wonderfully clever line you’ve ever written. The pertinent information (email/web address/etc.) plus a clever little tagline that represents your writing is about all you really need. Any other further elements you add to the cards should be added carefully and with a distinct purpose (such as cover images).

Typeface Over Graphics: A beautifully designed card will be cleverly designed with typeface as the major player. Invest some time into searching for the right typeface. Many free fonts for commercial use may be found at http://www.dafont.com/ or http://new.myfonts.com/.

QR Codes: Paper business cards are not obsolete just yet, but rolodex’s just aren’t the standard desk art they used to be. You can make an initial statement with your pretty card, but to get your information into the hands of agents/publishers/readers, you need to make it easy and…electronic. This is where QR codes come in. With the availability and affordability of smartphones, many people will have the ability to scan your QR code directly to their phone. Make sure you use a QR code generator that allows the user to download your v-card/me-card from a URL as opposed to downloading the v-card/me-card directly as the more information stored on your QR code the more intricate it has to be and therefore harder to read by lower pixel smartphones.

Happy designing, guys!

If you’re looking for a designer, Syd was a pleasure to work with and affordable to boot. Here’s the link to her site again.

For more information on what an author business card should and shouldn’t do for you, check out Robin Sullivan’s post on the subject. She runs a small press and has plenty of experience with authors and business.

Posted in Tips and Tricks | 9 Comments

Getting Your Self-Published Book into the Library, Tips from Librarian Marlene Harris

So, you want to get your self-published book and/or ebook into the library, where lots and lots of new readers can discover you. Me too! That’s why I hunted down librarian Marlene Harris for an interview. First I’ll let her introduce herself:

I am a librarian with more than 15 years experience. I’ve worked in both public and academic libraries all over the United States, from the Chicago Public Library to the University of Alaska Anchorage. I’m currently a consultant, book reviewer and blogger at Reading Reality. I speak to librarians about using the blogosphere to help with collection development, and integrating ebooks into library collections. My take on the best ebook romances for 2011 was posted at Library Journal in December. I currently publish Ebook Review Central every Monday, a service that provides links to reviews and ratings for ebook-only titles from around the blogosphere.

Welcome, Marlene!

Now for the interview…

Let’s start with the question on every self-published author’s mind: Can we donate copies of our books to local libraries and get them on the shelves? If so, what’s the process? I imagine just dumping them into the donations bin might not be a good idea.

This is a terrific question, and it’s one every library gets asked.  Sometimes after the fact. Let’s say you are talking about self-published fiction and popular-type nonfiction books, and you want to get them into your local public library. That isn’t the only case, but it’s the easiest one to describe!

Please don’t put them into the donations bin. Anything in the donations bin, (or handed across the checkout desk) will probably end up in the book sale. Not always, but this is the way to bet.

Check the library’s website, or call to find out who the person in charge of Collection Development or Acquisitions is. (If your book is a children’s book, get the name of the head of the Children’s or Youth Services Department) That’s the person you want. Call or email that person and say you want to donate a copy of your book. And a lot of libraries would prefer two copies. There is a significant labor cost to cataloging even a fiction book, and many libraries find it makes more economic sense to just start with two copies.

Most libraries have a collection development policy that gives a broad outline of what they collect, whether they buy it or have it donated. Local authors usually fall neatly into the “we’d love to get pretty much everything if we could afford it, so if it’s donated, we’ll happily take it” category. There are always exceptions.  Textbooks are the biggest known exception for a public library. Fill-in-the-blank books are the second. Spiral and/or comb bindings are probably number three on the list.

If our books do get into the library, is there a limited length of time they’ll be kept on the shelves? I’ve heard that how often a book is circulated plays into whether it’s kept.

Shelf space in a library is real estate. Some libraries have limited amounts of it. Some have a lot. If a library looks cluttered, just like your own house, it can be difficult for people to find what they are looking for. In a library’s case, they go elsewhere, and usually that elsewhere is Barnes and Noble or Amazon. Libraries want to keep their patrons using their libraries, so they keep them looking fresh.

If your book is popular non-fiction, the information may get dated. Books on “flipping” houses from before the current housing crisis are all, well, not a good idea right now. Pluto used to be a planet.

How long a book stays on the shelf depends on the library’s available space, and how well the book gets used. And also the condition of the book itself. If it looks like the book got dropped in something noxious, most libraries will throw that copy out and replace it. I once saw a library book that had been put into the library’s book drop after it had been used to stop a bullet. The bullet was still in it. It was a very thick book. The book was withdrawn.

At my last library, fiction would be weeded from branch libraries if it did not circulate after a year or 18 months, depending on the size of the branch. But things lasted at the main library a lot longer, because there was more room, and the mission of a main library is usually to have a larger collection and to be more comprehensive. Branches are smaller buildings and are supposed to be popular collections. It’s their purpose.

Is there anything authors can do to improve the chances that our books will be found and checked out more often? I imagine cover art plays a big role here.

You absolutely can judge a book by its cover. Paperbacks circulate better than hardcovers, and hardcovers with dustjackets circulate better than hardcovers without dustjackets. Good descriptions on the sides of the dustjacket, or the front and back of the paperback help a lot.

If you can get the librarians on board, they can also help you tremendously. People forget that librarians also hand-sell books, just like bookstores do. Libraries host book groups, libraries do author events. If your library has any kind of book blog or book feature on their website, they can help promote your book locally, or even just post a review. At my last place of work, one of our most popular features was the list of what the librarians were reading each month. And the books we read definitely circulated more, whether they were old books or new books or audiobooks or whatever.

I had a nice SF/F acquisitions librarian stumble across my books and say she was going to order copies for her library. Do self-published authors need to get lucky like that to see their works added to non-local libraries? Or is there something they can try if they’re hoping to get in elsewhere? I imagine it’d be cool to be able to say your books are available at the New York Public Library, for example.

Any author who wants to see which libraries have their books should check out worldcat.org. Worldcat is the public face of the librarian’s cataloging tool. It tells which libraries have which books. 105 libraries have Lauren Dane’s Heart of Darkness, and the nearest one to me (I’m in the Atlanta suburbs) appears to be in Jacksonville, FL) I think when I hit that point in my TBR list, I’ll just buy it!

The trick to getting libraries to find out about your books if you’re self-pubbed or just getting started is to get reviewed. Libraries don’t always rely on reviews (Stephen King doesn’t need good reviews!) but for a relatively unknown quantity, it’s just hard for libraries to find out an author exists. And when money is tight like it is now, if there’s a choice between a book that is reviewed and a book that is unknown and not reviewed, the choice is to go with the review.

Librarians look for reviews in a few specific places; Library Journal, Booklist, Publishers Weekly, Kirkus Reviews. Except for PW they are all library trade specific. And they all review everything from children’s material to adult. School Library Journal is an offshoot of Library Journal that reviews just children’s stuff. There are also review magazines, online plus print, that are specific to genres, like RT Book Review (romance) and Locus Magazine (science fiction and fantasy) that some libraries get.

RT Book Review has pretty broad distribution in bigger libraries and does sometimes review self-pub and indie-pub romances. Kirkus also reviews indie and self-pub books. Kirkus also has a way for self-pub authors to expedite (meaning pay) for a review. This doesn’t guarantee a good review, but it does guarantee a review. It’s not cheap, but it will get seen.

Library Journal began reviewing ebook-only romances in August 2011. They have reviewed at least a couple of self-pubbed books, regardless of whether they were available to libraries or not.

I’ve been thinking of paperbacks thus far, but a lot of self-published authors are going the ebook route these days. Are there any special rules for authors who’d like to get their ebooks into the library? Can they send gift copies to the librarian (I obviously haven’t tried this and don’t know what I’m talking about!), or… what’s the process?

It’s not so much a special route as a special name. The name is OverDrive. The only two individual libraries who have worked out a way to manage DRM and simply storing the contents of all their ebooks are the Kansas State Library and Douglas County Libraries in Colorado. Everyone else licenses their ebooks from a company called OverDrive and simply doesn’t have a way to manage ebook gifts. Because authors only want to donate a copy, not the rights for lots of copies, and libraries generally don’t have a way to handle that. OverDrive handles it for them. There are other companies now entering this same market, but this is pretty much a work in progress.

That doesn’t mean there isn’t a way for a self-pubbed author to work something out with OverDrive and then offer their books to libraries. There are a lot of “publishers” in the OverDrive catalog that publish the works of a single author only.

For romance authors in particular, finding a way to work this out might be worthwhile. Romances are the hottest circulating category of ebooks for public libraries. And this is a case where the authors do not have to be known quantities to get circulated. Every romance circulated like the proverbial hotcakes. Or hot sheets.

Ebooks in libraries are one of the biggest issues looming on the horizon. The “Big 6” publishers are seesawing about how and if and whether they want to let public libraries loan ebooks to patrons. They are afraid that ebook lending will cost them sales. Publishers forget that people who read, read a lot. People who read also buy. And now that there is data about ebook buying, people who buy ebooks buy more ebooks than people who buy print books. People who borrow library books who could afford to always also bought print books. They would get introduced to an author at the library, then buy their books. The library provided the “gateway drug”. Ebook lending can be the same thing. But if the big publishers get out of the library market, and library patrons still want ebooks, then there will be a LOT of room for small publishers and independent publishers and self-pubbed authors to get in. The demand for people to read ebooks from their library is big and growing. We all just need to find a way to meet it.

Great information, Marlene. Thanks for taking the time to answer these questions!

Make sure to stop by and visit Marlene’s site for the latest SF/F book reviews.

Posted in Interviews / Success Stories | Tagged , , , | 37 Comments

Tips for Interviewing Authors

One of the perks of running a blog is that it gives you a place to post author interviews.

Whether you’re a book blogger or you’re a writer yourself, if you’ve spent time building up your site (i.e. getting folks to find it and follow it), you might have the perfect place for authors to “visit.” And an interview is a great excuse to interrogate question your favorite writers. You can ask them about their books, themselves, their plans to take over the world with words, and other fun stuff.

But how do you approach an author? How many blog readers do you need to entice someone to take the time to answer questions? What should you ask if you do get an author to agree to an interview?

I can’t speak for all authors, but I’ll attempt to answer some of these questions.

How do you approach an author for an interview?

In this day and age, most authors have websites, and many will have blogs where they post regularly. If you surf around the site, you’ll probably find an email address or a contact form.

It can be harder with authors who got their start in the pre-internet age. Some of those guys jumped right on board and learned about promoting on the web, but others may never have gotten that involved with the internet and social media. You can always try getting in touch with these folks through their publisher. You might check Facebook and Twitter, too, since authors who aren’t sure about the ins and outs of buying a domain name and building a website might settle for a Facebook page.

Will popular authors agree to interviews on blogs?

One of the truths of being an author is that emails asking questions or requesting help increase as an author becomes well known. I’m a small fry, and even I’ve experienced this more of late. I can only imagine how it is for a bestselling author.

These folks may not have the time to do interviews, but it doesn’t hurt to ask. You never know. You might catch them on a slow day, or something about the theme of your questions (more on that further down) might pique their interest.

An alternative way to snag the popular guys is to find out what their conference/convention schedule is for the year (many SF/F authors in particular are active with conventions) and see if they have a few minutes to answer questions at a local event (make sure to take a recording device — you can transcribe the answer for your blog later or you can simply post the audio file). I’ve seen podcasters in my genre have a lot of luck getting bestselling authors to sit down and answer questions.

Remember, the more popular your blog, the more enticing it’s going to be for an author to appear there, so keep working on building it up and increasing traffic.

How popular does your blog need to be, anyway?

This is going to depend on the person. Some new authors just want to be interviewed and will agree to appear anywhere, but you’ll probably want to wait until you’ve built up a readership and are getting regular blog comments before approaching people.

If you have a fairly popular blog, use that as a selling point when you ask for an interview. Don’t be afraid to say, “I have 5,000 mystery readers who stop by each month and a newsletter with 500 subscribers” or whatever the case may be. If you install something like Google Analytics, you can share exact numbers and even some demographic information about your visitors.

If you don’t have many readers yet, don’t mention that. Some authors don’t really know how to figure that stuff out, so you might get lucky!

What interview questions should you ask authors?

There aren’t any rules here, but you may want to avoid some of the common questions that writers get asked all the time. Authors get a lot of “tell us about yourself” and “what first made you decide to become a writer?” There’s nothing wrong with these questions, but they aren’t always that interesting for the author to answer, and readers who aren’t familiar with the author probably won’t care.

Think of questions that might reward current readers and entice new ones. For example, I recently had a lot of fun answering questions that weren’t about me at all. They were about one of my core characters. The interview was about my assassin, Sicarius, and is up at a reader’s blog. I think the questions are fun for readers of my series, but they might also intrigue someone who hasn’t read the books (authors are always hoping to find new readers!).

Interviews with a theme can be a nice draw as well. If you share the interview on Twitter and Facebook, you need it to grab folks with nothing more than the title. What sounds more interesting to you? Interview with Jane Doe? or Jane Doe Offers Tips on Writing Psychopaths, Serial Killers, and Assassins?

If you have a writing blog instead of a book blog, it may make more sense to pick a theme that will appeal to other authors (i.e. an interview about writing or publishing or book promotion) as opposed to something that talks about the author’s books. Any extra visibility is good visibility for an author, and you’ll probably find that folks are willing to answer questions on a variety of topics related to their work.

Is there any sort of interviewer etiquette you need to keep in mind?

My first tip would be to respect the author’s time. It can take an hour or two to answer questions, especially if they’re thoughtful ones.

When I’m doing interviews, I usually only send five or six questions myself. I’d recommend you send no more than ten and make sure some of those ten are on the type where the response can be on the shorter side. Authors like to write, yes, but they’re busy working on the next book too!

Next, make sure to customize your questions for that author. I’ve had folks send me thirty generic questions and ask me to pick ten that I wanted to answer. Granted, that was early on and for a book blog tour where the blogger hadn’t read my stuff, but I definitely had an “Uhmmm, okay….” response.

If an author agrees to an interview for your site, he or she is probably doing it for book promotion purposes. It’ll be very much appreciated if you include links to the author’s website as well as their most recent book. That way readers can easily click through for more information or to download ebook sample chapters without having to head over to Google.

Many bloggers will schedule the interviews to post on a certain day. It’s good if you can let the author know the day in advance, but do yourself a favor and remind him or her when the post goes online (you’ll need to wait until it’s actually up to send the link anyway). That way, the author can help you with promotion. Social-media-savvy writers will post links on Twitter and Facebook so their fans can check out the interview.

That’s it for my suggestions on interviewing authors. If you have any comments or tips to add, please let us know below!

Posted in Tips and Tricks | Tagged , , , , , | 12 Comments

Cut Scene from Deadly Games

Happy holidays, everyone!

Here’s a cut scene from Deadly Games, for those who might be done eating and opening presents, and are looking for something else to do. I snipped it early on, because Amaranthe and Sicarius have similar conversations elsewhere in the story, so it’s on the rough-drafty side, but I hope it’ll be a fun extra. After all, how often do we get to see Sicarius shirtless? 😉 (Er, wait, he was nude for a while in EE3. Never mind!)

 * * *

Though the sun had not yet risen, bringing its unrelenting summer heat, Amaranthe perspired like an icy glass of lemonade. Sweat dribbled from her brow, stinging her eyes, and streaked down her sleeveless arms. Moisture slicked her palm and saturated the leather hilt of her short sword. She licked dry lips and forced herself to focus on her opponent and not the tall, cold, quenching glass of lemonade that had invaded her thoughts.

A long, slender rapier blurred under her guard and slapped the side of her ribs.

Amaranthe winced, not from pain–Sicarius was perfectly capable of making his points without hurting her–but from annoyance with herself. He had not even needed a combination attack to get by her that time.

“Focus,” he said, returning to his starting position, a relaxed bent-kneed stance in the shadows of a dilapidated railcar. Above it, dawn brightened the sky, providing enough light to see him and his blade, so she couldn’t use the darkness for an excuse. The fact that he wore no shirt probably wasn’t a good excuse either, even if any woman would struggle not to be distracted by carved-from-granite muscles gleaming beneath a sheen of sweat.

“I know,” Amaranthe said. There, no excuses. He ought to respect that. “And I know knowing isn’t the same as doing,” she added, heading off one of his typical admonishments.

“In a fight between equally matched opponents, the one who retains focus longest wins.”

“We’re not exactly equally matched,” she said dryly, though she knew what he meant. Today he was emulating an army officer, someone who had been raised with a rapier in his hand. Though Sicarius’s own combat style was an amalgamation derived from dozens of fighting disciplines, he could separate them to mimic any number of likely opponents she might encounter.

“This morning we are.” Sicarius twitched his blade toward hers, indicating she should assume a ready stance again.

“Right.”

Amaranthe wiped her palm on trousers too damp to act as a decent towel and lowered into an athletic stance. Her thighs burned, a reminder of the hour of “warmup” footwork drills they had done first.

Sicarius came forward at half the speed he was capable of. It was enough to keep her busy.

Advance, advance, lunge. His rapier tapped her sword wide and glided toward the inside of her shoulder.

She whipped her blade back in to parry the stab and pushed his across, thinking to open up his kidney, but the rapier was already dropping for a second attack, this time to her groin. She should have known the first was a feint. Acting on instinct, she jerked her short sword down. It wasn’t a pretty move, but the satisfying clash of steel announced an effective block.

There was her opening too. With his blade low, and briefly trapped below hers, his neck was unguarded.

Amaranthe grabbed the back of his arm with her left hand, pulling him forward and–she hoped–off balance while she moved to his side and slashed her blade toward his neck. Her sword was shorter than the rapier, but had razor-sharp edges on either side, giving it versatility in close quarters. She doubted he would let her get close to his neck, but she shifted the angle anyway, to hit him with the flat of the blade. Excitement thrummed through her. Maybe she would actually get a–

Cold steel at her own neck made her freeze.

It was not Sicarius’s rapier–she had put his body between her and that weapon–but a military-issue dagger that rested against her collarbone. Amaranthe sighed and lowered her short sword. She had been two inches from her target, but it might as well have been a mile. This “army officer” had just killed her.

Sicarius lowered the dagger and stepped back. “Your focus was good, but too narrow. You must be aware of all that is conspiring around you even as you keep your eyes on your target. Use your peripheral vision and your other senses. Did you hear the whisper of the dagger leaving its sheath?”

Amaranthe stared at him while she decided whether “whisper of the dagger” deserved a serious answer or a sarcastic one. She knew he expected a serious answer, but, really, who besides him had those kinds of senses?

“Do you know why I like training with you?” she asked.

He gazed back, his expression giving her no hint of his thoughts, though she imagined him mentally bracing himself for an inappropriate and completely not serious followup.

“You’re at your most garrulous when you’re lecturing me on my mistakes. If we didn’t spend time together in this manner, I’d never get more than one word out of you.” Amaranthe smiled, hoping he knew that, despite her teasing, she appreciated his efforts–his dead ancestors knew it was surprisingly generous of him to spend time every day training her and the others. “If I didn’t put myself in these situations where you can chastise me, I’d never get to know your chatty side.” She lifted her eyebrows, hoping she could coax a comment out of him.

“So,” Sicarius said, “you did not hear me draw the dagger.”

Amaranthe dropped her face into her hand. That wasn’t the comment she had hoped for. “No,” she said. “No, I didn’t.”

“We will practice again.” He returned to his starting position.

“Oh, let’s leave some fun for when the others get up and join us. You’re planning on leading a group weapons drill, aren’t you?”

“Yes.”

“I could use a few minutes break before we start up again with them.”

“You are weary?” Sicarius regarded her through half-lidded eyes.

“No!” Amaranthe threw up a hand. “Not at all.” If she admitted to being the faintest bit tired, he would say that meant she required more exercising, thus to build her endurance. She had learned not to make that mistake months ago. “I’m just…” She looked down at herself. “Sweaty. And dusty. And, uh…” She found a lock of damp hair that had escaped her bun and was sticking to her cheek. “And I need to fix my hair. I need to look professional for the men. Didn’t you say that once?” Yes, that was a pathetic excuse, but it might buy her five minutes. She laid her sword down, grabbed a towel, and tugged her hair free so she could tighten it.

“You are fine,” Sicarius said.

His eyes tracked her movements. Had she more courage, she might have offered up a suggestive wiggle of her hips, but she doubted he had anything prurient on his mind, and she would only end up feeling foolish.

“Anything else you want to chastise me about before we wake the others?” Amaranthe asked.

“Yes.”

Amaranthe stifled a groan. “Truly? Did I just open myself up for castigation?”

“Mancrest,” Sicarius said. “It is unwise to solicit him. A warrior-caste lord will not traffic will criminals.”

“You just think he’s a bad bet because he wrote unpleasant things about you. True things, as I understand it.”

Sicarius’s chin came up, and his tone cooled. “There was no truth in his proclamation that I kidnapped Sespian and intended to assassinate him. His articles on assassinations I did commit were full of hyperbole.”

“We’ve discussed this, though,” Amaranthe said. “Because he wrote those articles, he’s the perfect man to turn to our side.”

“He will not turn.”

“Maldynado is warrior caste, and he turned. He’s happy to be working with us.”

“Maldynado is a disowned fop,” Sicarius said. “He lacks the unyielding loyalty to the empire that members of the aristocracy have indoctrinated into them from birth. You should choose a plebeian journalist. Someone who has already expressed dissatisfaction with the status quo would be a logical choice.”

“But less of a victory if we get him.”

“Is this a race at the Imperial Games? We don’t need a victory, only for someone to cast doubt on the idea that we’re criminals, working against Sespian.”

“No,” Amaranthe said. “I think you’re wrong. Getting a staunchly loyal-to-the-empire warrior-caste scion to vouch for us, or at least suggest we might be reputable, would be many orders of magnitude better than a piece by a disgruntled plebe.”

“After the last time one of your ideas nearly got you killed, you said you were going to start listening to my advice.”

“I always listen to it,” she said.

“And dismiss it.”

“Usually because it involves torturing people. You probably think that’d be an acceptable way to get a journalist to write what we wish.”

“You can’t trust Mancrest,” Sicarius said with more dogged stubbornness than she remembered him using for any argument. For some reason he cared about this; he wasn’t content to let her hang herself. “He’ll try to trap you again if you arrange another meeting.”

Amaranthe grabbed her towel and her sword. She’d had enough of the discussion. If the previous night had ended without a hint of yielding from Mancrest, she could understand Sicarius’s argument now, but Mancrest had been curious about her. Emperor’s warts, he’d even laughed and flirted at the end, though if he was anything like Maldynado that did not mean much. But it was promising, surely. A sign that he might one day listen and–

Her thoughts skipped backward. Mancrest had flirted with her. Was it possible that was what was bugging Sicarius?

She draped her towel around her neck and searched his face, wishing it gave more clues. “Are you worried he’ll trap me, and I’ll be in danger? Or are you worried…he won’t?”

“What?”

Amaranthe almost accused him of being intentionally obtuse, but maybe she was being intentionally vague. No, not maybe. Probably. But she couldn’t bring herself to straight out ask if he was jealous. She had a hard time believing that was the case, and she would end up feeling stupid for asking.

“It’s time to wake the others for training,” Sicarius said.

“Yes, of course,” Amaranthe murmured, her head down as as they walked back to camp.

 

Posted in Cut Scenes and Fun Extras | Tagged , , , , | 12 Comments

How Editing Works for Independent (Self-Published) Authors

In the year that I’ve been self-publishing, I’ve been fortunate enough to receive many nice reviews and compliments on my work. It still tickles me to hear that other people enjoy spending time with my characters as much as I do.

It’s always nice to hear, as well, that someone believed the editing was of good quality, because that’s one of the areas where it’s tough to match up with the traditional presses. Even when you have beta readers and hire a freelance editor, you still don’t have as many eyes going over a manuscript as you’d have with the traditional system.

My Early Experiences

As with many new authors (AKA folks who aren’t yet making anything from their writing), I was trying to save money with my first manuscript, The Empeor’s Edge. I hired someone offering to proofread inexpensively on a forum. He said he was an English teacher, so I figured that was good enough.

He ended up editing the heck out of the manuscript, and most of the suggestions were incorrect. I don’t mean that we had stylistic differences of opinion; I mean the guy didn’t know how to punctuate dialogue correctly. In the end, it was a big waste of time for both of us, and, no, he didn’t offer to refund the money, even though I pointed him to sources on the web for examples of proper punctuation.

Lesson learned for me.

I went on to hire another editor (an actual freelance editor with a website this time!), though I was still trying to keep my costs down, especially since I’d just wasted money, and went for a simple proofreading. Overall, the experience was good, but readers did point out quite a few typos or flubbed words that had slipped through. (I should qualify that, I suppose, because some indie books are riddled with errors — EE had maybe 20 in 105,000 words, which isn’t a ton, but it bothers me when that many things slip through.)

It’s funny (or sad?) that I actually went into that first book thinking, “Oh, it’ll be nearly flawless since I ran it through my writing workshop twice.” Right. Note to self: beta readers are, rightfully so, usually more concerned about story and characters than fixing your typos, and, even when they do point such things out, you tend to add in as many errors as you fix when making corrections.

These days, I’m fortunate to be making enough from my book sales that I don’t have to scrimp quite so much, and I can afford to pay for a couple of read-throughs with an editor who has many years of experience in the business. She has a good eye and catches a lot. (If only I could get her to follow me around and proofread my blog posts, Facebook messages, and Twitter tweets.)

You’re probably always going to have a few things slip through (hey, that even happens with books from traditional presses), but it’s good to know that those types of errors are few and far between.

Hiring an Editor and Associated Costs

So, if you’re first starting out, what should you look for?

First off, let’s talk about the different options you have as a writer hiring an editor. And, because you’re probably wondering, we’ll discuss costs, too, though these will vary a lot from editor to editor.

Developmental/Substantive Editing

You can find freelance editors who specialize in developmental editing. This is where they’re going to look at narrative flow, consistency, logic, story and character development, etc. In short, they may tear your manuscript to shreds and tell you to re-write entire chapters.

This is the most expensive form of editing, and you may very well get quotes in the $2,000-$4,000 range for a novel-length manuscript. If you write epic fantasy tomes that, if dropped, could kill a chihuahua, then you might get an even higher quote.

While developmental editing often includes copy-editing/proofreading, I personally think that this is too much to pay for most self-publishers. You’re putting yourself into a huge hole right from the beginning, and it can take a long time (if ever) for your first novel to earn out when you start with such high expenses.

I believe that free/inexpensive writing workshops can fill the same role (the nice thing about a workshop is that you get to experience the editing styles of multiple other writers, some of whom know those grammar rules forward and backward, and you can develop long-term, beta-reading relationships with the ones whose suggestions click with you).

You’ll learn a lot from the workshop process too. I’m sure some will disagree with me, but I don’t think you’re ready to self-publish if you’ve never had strangers shred your work before. Friends and relatives don’t count. Your fellow writers will be some of your toughest critics, so if you can get them to like it, then maybe you’re ready for the next stage, hiring an editor and pubishing that puppy.

Copy Editing

This is when an editor reads through, often twice, to look for typos, missing words, frequently used words (apparently my characters were “lunging” all over the place in EE3!), incorrect words, grammatical boo boos, and awkward sentences.

The editor won’t typically make comments about story or character, so you should be confident that you have things fairly well nailed down ahead of time. Of course, some editors may stray into developmental editing territory from time to time if they see the need. It’ll depend on the editor and what you ask for.

With copy-editing, expect your person to make changes in the text. MS Word is what most people in the biz use, but you can find Mac-friendly editors, too, who have Pages. With either program, you can choose to accept or reject the changes with a mouse click.

Note: if you’ve been writing for a while, and you’re very confident in your style and your characters’ voices, then you may find yourself rejecting a lot of the suggestions (I do this, much to my poor editor’s chagrin). It’s not at all uncommon for freelance editors to have more experience with non-fiction than fiction (this whole rah-rah-self-publishing boom is quite new!), so there can be a little friction when it comes to matters of style. Just remember that you’re the boss, and it’s okay to reject changes! Most editors will understand that you’re not necessarily going to agree with everything. Once you find an editor you like working with, you’ll both get more used to each others styles.

Copy editing costs are usually figured on a per-word or per-page basis, so get out your calculators. Typical costs might be in the neighborhood of one cent per word. So, if you need 100,000 words copy edited, that’ll be $1,000.

I’ve definitely seen editors who charge more, but that may be getting into the realm of too-pricy-for-a-self-publisher. You need to shop around to find an editor who does a good job for you and offers an affordable rate. Don’t be afraid to ask an editor to give you a break. It won’t always happen (it’ll probably depend on how busy they are), but many are sympathetic to indie authors. They know a lot of us are just trying to start our writing careers up and don’t have a lot of money to spend.

But be realistic in your requests too. If you know grammar isn’t your strength, and there are likely a lot of flubs in your manuscript, be aware of how many hours are going to be involved in editing it. You may be tickled if you find someone on Craigslist or a message board to copy-edit your 150,000-word novel for $200, but you may either a) get a poor result or b) end up paying someone the equivalent of two dollars an hour. Neither are cool.

Note: Because editing, even copy editing, is a big expense, you may want to look for editors who offer sample edits. This might be a few trial pages for $25 or some such, and that gives you an idea about the suggestions they’ll make. I highly recommend this, even over getting recommendations from other indie authors (unless you’ve read that author’s book and found their editing to be nearly flawless). Remember, others indies are often new to the game, too, and haven’t necessarily worked with enough editors to make useful comparisons.

(Editorial) Proofreading

This is your least invasive (or, as the case may be, least corrective) form of editing and typically involves checking for typos, missing words, punctuation issues, etc. You may only get one pass from an editor here.

Costs for a novel-length manuscript may be in the neighborhood of .0035 to .006 a word, so a fraction of a cent per word. It doesn’t sound like much, but even that adds up for something novel-length. You may want to go ahead and pay for copy-editing, so that you get a more thorough look from an editor.

Editing Software

If you absolutely can’t afford to hire an editor, editing software such as AutoCrit is an inexpensive option and can help you find some of the common mistakes in your manuscript. I haven’t tried it, but I’ve heard good things from those who have.

Personally, I’d put the pennies toward hiring a human being unless you want to use the software in conjunction with hiring an editor later. They do have a free trial.

* * *

Okay, readers, authors, and editors who might pop in, anything to add? I know I’ve seen a lot of variation on what exactly falls into each category of editing, so I imagine folks might have differing thoughts here.

Posted in Editing | 68 Comments