Psych Up

Whenever I'm out for a run or competing in a swim meet, music always pumps me up and gets me in the mood. If I'm sore, tired, or struggling, there are a few songs that will come through the speakers, instantly psych me up and help me power through.

I find the same can be true for writing. There are mornings where you wake up, sit down at the computer and, you're just not feeling it. Words don't seem to come, ideas don't flow, and your word count goal seems impossible to reach. For me, music doesn't inspire me to write, but there are a few things that can get the creative juices flowing.

Reading. What better way to inspire a novel than to read a great one? Reading a few chapters from one of your favorite books can remind you why you wanted to write in the first place and inspire you to keep moving forward. Nonfiction can be helpful too, especially writing guides. ON WRITING by Stephen King and WRITE FASTER, WRITE BETTER are two that always motivate me.

Getting Out. Most writing is done inside, alone, in a chair. You sit at a computer and make things up. Getting out of the house and exploring your neighborhood can open your mind, reconnect with the real world, and allow you to bring authenticity to the fictional world of your novel. Even if you're not writing about the same city you live in, hearing people talk and interact can be enough to freshen your dialogue and watching the traffic or the trees can help add texture to your scene.

Change The Scene. Do you always work at the computer at your desk? Try sitting in a chair with a paper and pen or heading to a nearby coffee shop. Changing the circumstances can initiate a change in attitude and motivate you to write.

Pep Talk. Every writer should have another writer they can talk to. Spouses and friends are okay, but if they're not writers, they won't completely understand where you're coming from. I think of the writer friend like an AA sponsor: they're there to encourage you and help you move forward while making sure you don't slip. Sometimes calling your writing buddy and talking about your story can be a world of motivation to keep moving forward.

Writer's Block Wednesday: Sell out?

Despite all the advances with e-book readers, online media, and creative marketing, the world of publishing continues to struggle. There hasn't been a jump in book sales, overhead for hardcovers is extremely high, and after everyone takes their cut, there's very little profit left over.

Lately, I've been musing over different ways for publishers to increase their profitability. Not just by selling more books, but actually increasing their profit margins. For ideas, I looked at newspapers and movies, to see what they're doing right.

Product Placement: In movies, whenever you see the actor drinking a can of Diet Coke or washing dishes with Palmolive, it's not a coincidence. Companies pay to have their products shown in films. So what about books? Bestsellers like James Patterson and Nora Roberts have an enormous following of readers, how much would a company pay to have Alex Cross talking on a Nokia or driving a Ford? Authors name products all the time, but putting a price on those product names could mean an increase in profit.

Advertising: When you purchase a Mass Market paperback, there is often advertising for the author's next book or other books by that publisher. What about selling that space and using it to house ads for other companies? Of course, to maintain integrity, the ads would have to be appropriate:

• A Nike coupon in the back of Jamie Freveletti's RUNNING FROM THE DEVIL
• A Bloomingdale's ad in the back of Sherrill Bodine's A BLACK TIE AFFAIR
• An ad for the Kindle, Sony Reader or Nook "You could have read this on a ___"

If the advertising fit, not only would the publishers earn some money off that space, it could increase sales for the author. Would people purchase an $8 book if they knew they would receive $15 off a Kindle? This could also apply to e-books, in the same way Hulu or online newspapers use ad space. Would readers care if, when they load their e-book for the first time, they see an advertisement?

These are just a couple ideas I came up with and I welcome additional suggestions. Ultimately, fiction is art, and selling art is far different than selling a commercial product. But if publishers are willing to adapt and think of creative ways to make their art profitable, they'll stay in business longer and authors can earn a better living.

Writer's Block Wednesday: Q&A with Robin Burcell

Today, The Chicago Contingent welcomes Anthony Award winning author, Robin Burcell. She's here to discuss her latest book, THE BONE CHAMBER, recently released with Harper:

Dana Kaye: You've made a distinct shift from Police Procedurals to high-octane thrillers. What motivated the transition?

Robin Burcell: I read one of James Rollins’ thrillers and I was hooked! There was something about the excitement and adventure of jetting off to other countries, exploring new cultures, and vicariously living the life of an operative working for the government that thrilled me, made me want to experience it for myself. Suddenly, my own life of investigating crime as a police officer seemed so… ordinary. It may have something to do with my passion for the old “Man From U.N.C.L.E” shows when I was a kid. I wanted to be a secret agent. I decided to write a book where an ordinary law enforcement officer was thrust into the midst of a government conspiracy, thus allowing me to live the dream of being a special operative from the safety of my own computer desktop.

DK: How does your background as a police officer and forensic artist inform your writing?

RB: Quite simply it allows me to instill my experience from over twenty-seven years working as a police officer and forensic artist into the book. My protagonists benefit from that experience, since my training is their training. Granted, while I’ve been to Rome I’ve never jetted off through Europe, chasing after criminals and investigating legendary caches of treasure. My crime fighting has only been done on the local level. But that is what imagination is all about.

DK: After publishing five novels, how has your writing process changed?

RB: I’ve started writing on a larger canvas, so to speak. I am allowing my characters to take bigger risks, move outside their comfort zone, travel to new places and fight bigger villains. The writing process itself has not changed that much—unless you count the research. Where I was writing about San Francisco PD in past books, I am now writing about foreign countries, the most recent being Italy. And naturally, traveling to Italy was necessary to make sure my scenes rang true. I might have to set more books in foreign countries. Traveling to foreign countries for research is a lot of fun.

DK: In this economic climate, are you making any changes to your marketing efforts? Doing anything differently this time around?

RB: Internet, internet, internet. I am running a contest on Facebook and Twitter, and hitting various blogs, giving away copies of books to lucky readers as well as some other choice prizes. But I am also visiting a few key independent bookstores in hopes of introducing my work to new readers.

DK: What's the biggest piece of advice you could give an aspiring writer?

RB: A page a day is all it takes to finish a book. I wrote my books working full-time and raising three children, so I understand a busy schedule. At first the idea of writing a book under these circumstances seemed daunting. But when you break it down to small steps-a page a day-it becomes a manageable and enjoyable endeavor.

Robin is heading out on book tour, so visit her author page to see if she's coming to a bookstore near you. Chicagoans, she won't be doing a formal signing in the windy city, but she'll be in town January 28th for stock signings at various local bookstores.

Writer's Block Wednesday: Etiquette

No, Chicago isn't a day behind, it's just me! But better late than never, right?

Today, I'd like to discuss etiquette. As an author, there are many things you wish you could do: lash out at the idiot who gave you a bad amazon review, heckle all the agents that rejected you, call Janet Maslin every day until she agrees to review your book for the New York Times. Obviously, you cannot do any of these things without ruining career, but there are other actions that go against etiquette which many not be so obvious.

The Follow Up: If you sent your book to a reviewer or bookseller, you're probably chomping at the bit to hear back. You sent it priority mail, you know they read fast, why haven't they gotten back to you yet? Rest assured. The package didn't get lost in the mail, your book isn't lost in the slush piles, and the person didn't forget about you. People are busy and nagging won't help. If you sent a query or pitch, make sure to review their guidelines before following up. If an agent or editor doesn't have follow up guidelines on their website, give them 6-8 weeks for a query, 3 months for a manuscript. If you're pitching media, 1-2 weeks is sufficient for pitches. If they request a book, wait 3-4 weeks before following up. Jumping the gun can leave a bad taste in people's mouths and may discourage them from working with you.

Online Protocol: Many people don't realize that when they twitter or blog about a subject, it's out there for the world to see. Unless you delete it, it's out there forever. Though it may be tempting to vent about how the new NYT bestseller sucks or how a certain author is such a hack, but keep those thoughts to yourself. Don't vent about your agent or editor over twitter, they may be listening. Don't discuss an upcoming book that you're publisher wants to keep secret. Don't post any photos you wouldn't want a fan or colleague to see. Though most of this seems obvious, I continually see authors talking about their publishing team or dogging books online. Not a smart move.

For Your Fans: Your fanbase is one of the most important elements to your success as an author. They are the people who will buy your books and remain loyal without regard to reviews or bad press. When your fans approach you, treat them as you would a friend. Chit chat, sign their book, ask them questions. I don't care how tired you are, where you are, or how little you want to talk to a stranger. Embrace your fans and treat them with respect. Your publisher may write the checks, but your fans are the ones who determine how large those checks will be.

Networking and Events: Attending conferences and book festivals is a great way to expand your name recognition and connect with your fans. But too often, I see authors conducting themselves in a way that's a turn off rather than a turn on. The biggest one is authors acting "too cool". We're writers. None of us are cool. This ties in with the previous section: embrace your fans. Another is authors getting sloppy drunk and making inappropriate comments. I know you're out of town, the wife and kids are at home, and you want to have a good time. But you're on a business trip, you're there to meet fans and sell books. Getting hammered and being offensive is the quickest way to lose your fan base.

What other etiquette taboos do authors need to be aware of? As readers, what behavior can an author exhibit to make you not want to read their book?

Writer's Block Wednesday: Self-Publishing Today

It seems that lately more people are turning to self publishing. Instead of going through conventional channels, they are printing their work with Lulu or other print on demands, uploading Kindle editions, and marketing the books on their websites. Does this mean that the publishing industry is changing? Absolutely. Does it mean self-publishing is a better option over traditional publishing? No way.

I wrote about this subject a couple years ago, so I won't repeat myself, but a lot has changed since then. E-books no longer carry the same stigma and, in some cases, are actually more profitable than print books. Most of our society has moved from print to digital and books are slowly following. When writers are rejected by agents and big houses, self-publishing seems like a viable option. After all, you get to control your product, the way its marketed, and if you need to, you can change it.

I understand why more and more authors are going down this road, but despite all the changes, the downside of self-publishing is still far greater than the upside:

The Cons:

• No Distribution. Chain stores won't carry the book and the indies that take it on consignment will take a large chunk of the profits. In order to hit it big, your book needs to be available everywhere.


• No Financial Help. Even though publishing houses don't have huge marketing budgets, they will still give you something. Whether it's free copies of the book to send to critics, promotional bookmarks and business cards, or even providing you with a webpage, the publishing houses offer you something. When you're self published, all those review copies, promotional materials, and shipping costs come out of your pocket, and even though it doesn't seem like much, after a while it begins to add up.


• No Resources. Publishing houses have a lot of pull. If you want to be on a panel at a conference, have a book signing at a local bookstore, or land a guest spot on a radio show, your publishing house has the backing to make those things happen. The publicists and marketing team have contacts and long standing relationships that you don't have. If you self-publish, all the market research will have to be done yourself unless you hire an independent publicist, which again, takes money.


• Lack of Media Coverage. Even with all the changes in e-publishing, book critics still won't review self-published books. This is due to reasons I explained in my previous post. Media coverage is necessary to marketing a book, and without it, your book cannot succeed.

My advice to writers is get published through traditional channels. If you get 400 rejections, it has nothing to do with the quality of your manuscript. It could be the current market, sales trends, or for whatever reason, it simply didn't strike a chord with anyone you queried. Fight the temptation to self publish and simply put the book aside and start a new one. Once the new book is completed, return to the query-go-round. Eventually someone will bite.

Writer's Block Wednesday: The Gimmick

Most authors have gimmicks nowadays. Tom Schreck has beer cozies, J.A. Konrath has coasters (I'm sensing a theme here), Joanna Campbell Slan has scrapbooking, and Luisa Buehler has coffee. A platform is a theme for what your book is about; a gimmick is something you use to market that platform.

Two questions arise from this observation: what makes an effective gimmick and do gimmicks actually sell books?

An effective gimmick will help you remember the author, or better yet, will never let you forget them. At last year's Love is Murder conference, Jamie Freveletti (a black belt in Aikido) and Tom Schreck (a trained boxer) performed a fight scene demonstration. The image of this petite woman bringing a six-foot tall boxer to his knees is forever burned in my memory, which makes it an effective gimmick.

Giveaways like coasters and beer cozies can be effective because they're things you'd actually use. I still use my BIG CITY BAD BLOOD notepad and my Jack Reacher USB which looks like a Swiss army knife. Pens are kept but seldom looked at, bookmarks and postcards can be easily thrown away, and anything high tech and fancy will be expensive. The items which are used and kept are more effective because people will see your name everyday and, like in the case of my notepad, others will too.

Though effective gimmicks work well to brand an author and increase their name recognition, will it translate into sales? I've never run out and bought a book because someone gave me a cool pen or a snazzy matchbook. Bookmarks tell me a bit about the book and about the author, which could theoretically lead to a sale. However, the fight scene demonstration definitely sold some books.

The difference is personality and author recognition. A pen or bookmark picked up from a freebie table won't directly sell books. A pen or bookmark given to you by an author with a few minutes of conversation might. A unique demonstration or moving speech is likely to translate into sales because readers get a glimpse of the author. A glimpse of the author is a glimpse of their writing, so the more readers know about the author, the more likely they are to read the book.

Not every author has a platform and not every author will have a gimmick. But if something sets you apart, if something differentiates you from others, find a way to utilize it. If you're unique, you'll stand out amongst a crowd of authors, and so will your books.

Writer's Block Wednesday: Q&A with Onrie Kompan

Joining the Chicago Contingent just before the Thanksgiving festivities, is comic book author, Onrie Kompan. Onrie is a graduate of Columbia College Chicago, a native to the area, and his first comic book series, YI SOON SHIN: Warrior and Defender, launches today!

Dana Kaye: What was your motivation for writing this series?

Onrie Kompan: I grew up reading many comic books and have always been intrigued by the struggles that super heroes dealt with. I always felt like I could relate to them on a personal level but there was always this line that couldn’t be crossed because none of these heroes actually existed.

When I first started writing comics I found that nothing I had produced was adding any value to the medium. Then one day, I came across a TV show called THE IMMORTAL YI SOON SHIN.

Like many super heroes, Admiral Yi endured very difficult hardships and I believe he stands out more because he existed. Not only is he real but you can also relate to him because he was just as human as everyone else. His philosophies not only guided me through the process of producing the series, but they also had a significant impact on my life in general.

Because so few people outside of Korea know who Yi Soon Shin is, I feel it is my calling to bring his story to the center stage of the world.

DK: Speak a little bit about the writing process. How is it different for comics and novels?

OK: I spent 5 years learning how to write novels and then spent two years unlearning it all. Not that writing novels is a bad thing but comics have a very different flow to them than novels. You need to get the point across very quickly.

In college, many of my professors asked me to slow down when I was writing so that I could see everything on the page. This forced me to pay attention to all the fine details going on in each scene, but I was no longer focused on the actual story itself and I often found myself stopping and asking, “Wait, what’s this about again?” In other words, when it comes to writing, I have a severe case of A.D.D and memory loss.

In prose forms, you control the whole playground and I find that to be a bit distracting. I like to get close to my characters and I like to watch them interact with one another. Writing comics has always felt natural to me because I can let my artist worry about the background details. I’m all about character interaction.

DK: Since this is your first series, what has surprised you about the publishing process? Anything you wish you knew going in?

OK: Oh yeah! I’m still learning things as I go and I’m making lots of mistakes and having lots of breakthroughs. I had many mentors who helped me along the way. Mort Castle and Len Strazewski taught me how to write and produce. My father taught me how to conduct business. All of them have been extremely supportive.

Putting my production team together was a dream come true but there were some difficult moments. Till this day, none of us have actually met each other face-to-face. David (the editor) and I talk on the phone fairly often but the rest of the team is pretty spread out. Gio’ lives in Italy and Adriana and Joel are from Argentina.

Despite our distance and how difficult it can sometimes be to communicate with each other, I have never worked with such a committed group of artists. They are all extremely talented and it’s a great honor working with them.

In my humble opinion, the ride isn’t worth it if you know what’s in store for you. If you decide to get involved in comics, you’re already taking a risk and are in store for a ton of surprises. Some are great and some just really suck. But there is nothing more gratifying than accomplishing the goals you set for yourself and standing out from everyone else.

DK: Which book or series made you want to write comics?

OK: Growing up, I was a huge Spider-Man fan and I always knew that I wanted to write comics professionally.

Over the last ten years, I began exposing myself to more mainstream comics and eventually started developing an interest in independent graphic novels.

I have a great deal of admiration for writers that choose to maintain their integrity and know when to walk away from a project. Alan Moore’s works are a prime example of that.

I would love to write all kinds of comics but I also feel that it’s important to add to the medium. The comic book industry as a whole is in dire need of afresh perspective in order to survive and attract new readers.

For decades comics have been seen as a childish form of entertainment. That’s something I would like to see change over the course of time and I’m really glad to see that there are so many talented writers out there who are telling their own stories.

******
Want a signed copy of Issue #1? E-mail Onrie and he'll send you one! For more information on Onrie and YI SOON SHIN, visit his website.

Writer's Block Wednesday: Expectations

I'm a firm believer in having reasonable expectations. This doesn't mean you shouldn't set lofty goals or you should have a pessimistic attitude. It simply means accepting the reality of situations and knowing that not everything is going to go perfectly or as planned.

Many authors have lots of unreasonable expectations and I'd like to address a few. This is not meant to be mean and I'm not trying to be a downer. It's simple honesty and I believe the more reasonable your expectations, the better chance you have at exceeding them.

The Expectation: I'll be rich and famous
The Reality: I always laugh when people think we become authors for the money, but apparently, a lot of writers do have the expectation of wealth and fame. Unfortunately, there is only a very small percentage of authors who make six figures and there are more authors who make less then 10K. This isn't to say if you work hard and market yourself you can't get up to that eight-figure-four-book contract, but it's not going to happen with your debut novel. Fame is even less likely. Even authors who I deem famous (Dennis Lehane, Nora Roberts, Junot Diaz) are still unknown to many non and infrequent readers. If you want to be rich, go into finance. If you want to be famous, star on a reality TV show. Write because you want to write.

The Expectation: You'll go on an extensive book tour and pack bookstores across the country
The Reality: Aside from your home town, you will be lucky to have 5 people at your book signing. Many times, it will be you and the two bookstore employees. The reality is, it is very difficult to get people to go to book signings, even for well known authors. I attended a duel signing with Michael Connelly and George Pelecanos at the Borders downtown. There were about 20 people in attendance. That was for two bestselling authors. Over time, you'll build up an audience and there may be a few signings where you do pack the room. But don't be surprised or disappointed when attendance is light. It's just the reality.

The Expectation: Your book will be reviewed in the New York Times and Washington Post, you'll have a feature on the Today show, and your book will chosen for Oprah's book club.
The Reality: If you have a decent publicist, the odds of landing a handful of newspaper reviews and radio spots are good. Odds of appearing on network television? Slim. Big media is hard to land, especially if you're a debut or mid-list author. Even the bestsellers don't always have luck. Online reviews can be just as effective as those in newspapers and an appearance on Leno isn't a guarantee that your book will be pushed up into the NYT bestseller list. Work to attain any possible media coverage rather than focusing on the most prestigious.

The Expectation: You won't have to market or promote your book; that's what the publisher is for.
The Reality: Unfortunately, writers cannot simply sit at their desks and churn out product while their publisher handles the promotion. Bookstore visits, writing conferences, and utilization of social media are all necessary steps for a successful writing career. If you have a supportive publisher, they'll attempt to attain press, maybe take out a few ads, but the grassroots marketing is all up to you. The most successful authors are accessible to their fans, which means attending conventions and scheduling bookstore signings.

Feel free to comment with additional unrealistic expectations. The more aspiring authors know about the business, the better, even if the reality can sometimes be harsh.

Writer's Block Wednesday: What I Learned at Court

For those of you who follow me on Twitter or are friends with me on Facebook, know that I've spent the last couple of days serving on a jury. It was a criminal case, a drug dealer on Chicago's west side, and although it was extremely disruptive to take off work for so long, I did find the whole experience rather intriguing. I learned a lot about how our legal system works (or sometimes doesn't work), procedures cops must follow when apprehending a suspect, and really how hard it is to convict someone of a crime. All of this information, all of the details I experienced during my two days, could be used in a novel.

Though most of our research is done via the internet, nothing compares to the authority of personal experience. I can go on Google Earth and look at an aerial photo of a neighborhood, but it's not the same as growing up on that block. I truly believe the best research is active research, where you are experiencing something first hand rather than reading an account of it on your computer.

So, should all crime writers stand on the most violent corner to witness crime first hand? Should romance writers attempt to get involved with an unattainable man and overcome obstacles where love triumphs in the end? Of course not. We write fiction because it's more interesting than anything we've experienced. But there are small things we can do to research and bring more authenticity to our novels.

Talk to People. Say you're writing a police procedural or some novel involving a cop. Do not write a single word of dialogue before talking to a couple police officers. Cops have a different way of speaking, a specific way of saying things, and it's necessary to capture that on the page. Is one of your characters a lawyer? An ER nurse? Talking with people in these professions will give you insight into their daily lives, which you will bring into your book.

Explore the City. Most of us are perfectly content to stay in our house for days on end writing and not seeing the light of day. But if you're writing about people and places, you need to get out and experience them. I find driving or biking through different neighborhoods gets the creative juices flowing. If you know what certain neighborhoods look like first hand, your knowledge will shine through in your writing. You don't have to visit every location in your book, that takes too long. But if you're writing about a neighborhood you've never been to before, it's probably worth a trip.

Try Something New. Do you know what it feels like to hold a gun? To dig a ditch? To ride in a helicopter? Trying a few of these things can also help bring authenticity to your book. Again, you don't have to experience everything you write about, that's why they call it fiction. But if you have one or two new experiences a year, you'll eventually build a large stash of knowledge. Visit a shooting range (or in some states, Wal-Mart) and ask to hold a gun. Go on a helicopter ride. Even something as small as swimming in the ocean can serve as important research.

With all of these suggestions, comes a warning: Research is fun, sometimes more fun than writing. Don't get so caught up in the research that you use it as a way to push the writing aside. Remember your goal is to write a novel, a good novel, and while research is necessary, it does not take the place of writing.

In Lieu of Real Content...

Because of work and some family obligations, I don't have time to blog today. Instead, I refer you to some of my colleagues, all of whom have some very helpful writing tips:

• J.A. Konrath continues his e-book observations
• Marcus Sakey discusses his favorite writing words of wisdom
• Tess Gerritsen analyzes her audience
• Agent Michelle Wolfson discusses the benefits of Twitter
• Lynne Patrick lists the reasons why publishers don't offer feedback on submissions

Enjoy!

Writer's Block Wednesday: The Blurb Revealed

What's one thing writers hate and editors will always require? Asking for blurbs. Those little snippets on the back of books from New York Times bestselling authors and prominent book critics. They rave about the characters, claim the book kept them up all night, and praise the exceptional prose. A great blurb can give a lesser known book a boost and being paired with a NYT bestselling author in Amazon searches always helps. But are blurbs really accurate recommendations?

Well known authors can receive as many as ten manuscripts a day from authors requesting blurbs. Many of them, in the interest of helping fellow writers, will try and read as many as they can, but obviously, can't get to them all. Others will blurb based on the back cover and first 50 pages. Some will give an okay book an exceptional blurb by finding one or two things the author did really well.

The blurbs are not mean to deceive readers, but to help writers. However, if you pick up a book because your favorite author blurbbed it and the book was bad, does it make you feel different about your favorite author?

After years of reviewing and spending a lot of time with authors, I've learned that there are four types of blurbers:

1. The Blurb Whore - This is the big name author whose stamp of approval seems to be on every single new release, whether it be a crime fiction novel or a low-carb cookbook.
2. The Fair blurber - This author will blurb a fair amount of books, but only ones they honestly enjoyed.
3. The Newbie - This is the recently published author who is so flattered when approached by authors for blurbs, they feel obligated to provide one, even if they didn't enjoy the book.
4. The Coveted Blurb - This is a blurb from an author who never blurbs anything, and if s/he said something wonderful about your book, it must be amazing.

As a reader, you learn to identify the difference, and the blurb whores will soon lose credibility. A book with a coveted blurb may rise to the top of your list and a blurb from a newbie author may have no affect at all. As an author, it's important to identify a big name author who will enjoy your book and who doesn't dole out blurbs by the dozens. You can go after the coveted blurb, it may pay off, but it's risky and time consuming.

Lastly, there's the issue of conflict of interest. Can an editors ask one of their big name authors to blurb a book by one of their lesser-knowns? Can an agent? Would people outside of the industry notice?

I think now, with Amazon reviews and book bloggers, blurbs aren't playing as much of a part in book buying. Most people will consider reviews and friend recommendations rather than solely relying on a blurb to tell them whether a book is good or not. But looking at all the implications of a blurb and all the outside factors, it's impossible to say without a doubt that the quotes on the back of the book are accurate recommendations.

Writer's Block Wednesday: What I Learned at Bcon

Get a bunch of writers in a room, guaranteed you'll leave with some helpful writing tips. This weekend, we had a hotel filled with authors, and I left with lots of great insights into the world of writing:

"Everyone has to have skin in the game." --Marcus Sakey
I think this is something a lot of writer's forget. They let their minor characters meander through the book, not serving any purpose. A good rule: if the character has a name, s/he should have something at stake. This doesn't mean cut your cast of characters in half. Instead, give those characters something to gain and, more importantly, something to lose.

"I don't do much research, I just make shit up." --Harlan Coben
Besides causing a lot of laughter from the audience, I know this quote struck home with a lot of writers. We spend so much time doing research - police procedures, setting details, etc. - that we sometimes forget we're writing fiction. Research can give writing authenticity, but it can often serve as a form of procrastination. Don't waste all your time doing research, just make it up. Once the story is on the page, you can authenticate it later.

"Write what your passionate about. Write the book you want to read." --R.J. Ellroy
This is a good alteration to the old adage, "write what you know." For most people, what they know isn't too exciting. Or maybe it is, maybe you're a homicide cop in south central LA. But if you're not passionate about the life, if you have no interest in reading LA crime fiction, then don't write it. Most people take 10 months to write a book, that's too much time spent on something you're not passionate about.

The last quote I picked up was spoken by so many authors, I couldn't give attribution:

"You sell books one reader at a time."
I honestly believe this. While there are many who read reviews or hear an author on the radio before racing to buy their book, most of us rely on word of mouth. If you impress one reader, they'll recommend the book to other readers, creating a snowball effect. Many authors are so concerned with numbers, signing attendance, and media coverage, they forget who's doing the buying. Even after all the technological advances, I still believe word of mouth is the best way to sell a book.

Writer's Block Wednesday: Q&A with Rebecca York

This week, bestselling author Rebecca York joins The Chicago Contingent. She is the author of over a hundred novels and her latest, DRAGON MOON, was released yesterday by Berkley.

Dana Kaye: Tell us a little about your writing process. How has it changed over the years?

Rebecca York: Every book I write begins with what I’d call a “cool idea.” For DRAGON MOON, the germ of the book comes from the idea: What if a frightening dragon-shifter monster from my parallel universe planned to invade our world? What if he sent a spy here–and she had to figure out how to free herself from his hold on her?

I always get as much of the story down in outline form as I can before I start to write. And I try to develop plot and character together–because they are so intertwined. The characters must fit into the plot, and the plot must keep the reader interested and illuminate the characters.

I always plan to start with a gripping first scene that will plunge the reader into the action. In DRAGON MOON, Vandar, my dragon-shifter monster, flies over his domain, lands and gathers his slaves so he can execute one of them by drinking his blood. Then he thinks about his current project–invading our world and how he’s going to accomplish it.

When I write the first few chapters of my book, I get to know my characters. Although I have an outline, I’m free to abandon any part of it if I think of something better. As I said, I try to write ten pages a day. I always start the next day by editing what I wrote the day before, which gets me back into the story. I try to write fast. Then I spend a lot of time editing my manuscript. Each book I write gets edited on the screen at least once. Then I edit on paper two to four times. I also try to write fast to give myself time to put the book away for a few weeks or months. When I get it out again, it’s like someone else wrote it, and I can be very objective about what works and what doesn’t.

Really, my writing process hasn’t changed much over the years. I just understand it better. When I wrote my first novel, I said to myself, “Let’s see if I can outline part of this book before I start writing.” When I’d come up with part of the plot, I felt comfortable starting the chapters. I wrote the first part of the book while working on the outline. And just as I do now, I edited over and over to make the story better.

DK: What inspired you to write a mix of paranormal, romance and suspense? How does each genre inform the other?

RY: My chief reading material when I was young was science fiction and fantasy with some mysteries and adventure novels scattered in. I didn’t even know that “romances” existed. So it was natural for me to start off writing science fiction. My first published novel was a kids’ science fiction story. Then the romance field heated up, and a friend asked if I wanted to write one. When I told her I’d never read a romance, she brought me shopping bags full of paperback romances. I LIKED them. I’d always loved reading about the development of a relationship between a man and a woman (like the strong romance element in THE PUPPET MASTERS, by Robert Heinlein, for example), and romances were all about that relationship. I wrote a few, but I wanted more plot with my stories. So I was one of the early modern writers of romantic suspense, beginning with the Peregrine Connection series for Dell in 1986-87. In my first books for Harlequin Intrigue (in the early 90's), I started sneaking in paranormal elements. At first I wrote what I call “stealth paranormals” because I had to hide the weird bits until well into the story. The reader didn’t know the hero was a space alien or a clone being trained for a suicide mission until she’d already gotten to know and like him.

As paranormal became more acceptable, I got more overt about using it. I wanted to use those elements that I’d liked so much in my own reading. One book that stuck with me for years was DARKER THAN YOU THINK, by Jack Williamson, about a man discovering his werewolf powers. It made me want to BE a werewolf. Later I read THE WOLF’S HOUR, by Robert McCammon, and that rekindled my interest in the subgenre. I wanted to write my own werewolf story, but I was sure I couldn’t sell one unless I wrote the whole book. It was hard to make myself do that since I was selling to Harlequin Intrigue on short proposals. But finally, I HAD TO write KILLING MOON. That was my first single-title paranormal, and I’ve been deep into the weird ever since. DRAGON MOON is the latest example.

The heroine of DRAGON MOON, Kenna, is a slave from my alternate universe, sent here to help Vandar, her ruthless dragon-shifter master, invade our world. She meets werewolf Talon Marshall, is drawn to him, and desperately wants to tell him the secret she’s been commanded to hide. But every time she tries to reveal her plight, excruciating pains stab into her head. Even as Kenna and Talon fall in love, he knows he can’t trust her. And she struggles to break through the barriers that control her mind. It’s classic romantic suspense, with the paranormal twists that add so much to the book for me. I love writing stories about men and women falling in love against a background of suspense and danger, so I always have a fast-paced plot with plenty of frightening incidents that my hero and heroine must deal with. But the most important thing about any plot element is how it affects the hero and heroine emotionally. Like when Talon comes home from a wilderness expedition to find Kenna attacking a man who came to Talon’s lodge to burn it down. Or when Kenna’s programming forces her to rob a nearby house, and Talon watches her in wolf form. Knowing she’s a thief sends him off on a near disastrous course.

DK: In this economic climate and with the world of publishing drastically changing, how are you shifting your marketing efforts? Are you doing anything differently this time around?

RY: I’ve been looking for more ways to bring my books to the attention of readers. Several books ago, I decided there was value in having a book trailer made because it’s something you can “show” people. Circle of Seven, which produced all my book trailers, is offering more services to go along with the trailer (like podcasts), which I’m taking advantage of. I’m also doing more guest blogging, and I’m taking more advantage of Facebook and Twitter, and trying to increase my followers.

DK: What piece of advice can you give aspiring writers?

RY: Don’t think that because you’ve written something, it’s set in stone. Be prepared to revise and improve your work. Shoot for the best markets first. Don’t try “easier” publishers until you’ve struck out with the bigger ones.

Writer's Block Wednesday: Q&A with Jason Pinter

This morning I have the pleasure of hosting Jason Pinter, author of the Henry Parker series. His latest installment, THE FURY, launched yesterday from Mira Books.

Dana Kaye: Tell us a little about your writing process. How has it changed from book one to book four?

Jason Pinter:Writing the first book, the hardest thing for me to learn was pacing. I think most every first novel is a little overwritten, and when writing a thriller the first think you need to do, as Elmore Leonard so wisely said, is cut out the boring stuff. So I trimmed probably about 70-80 pages from THE MARK. Now as the series progresses, I feel like I have the pacing down pat, but I want to make sure that every book keeps the characters growing and changing. If the book doesn't have some sort of emotional impact on the character, it's not worth writing. I want readers to have a stake in what happens to the characters, so that's something I've worked hard on, especially in the new books coming out.

DK: THE FURY is out now and the THE DARKNESS is out in December. Multiple books a year seems to be the growing trend. What led you to publish two books back to back? Is this something you'll be doing every year?

JP: When it came time to write the fourth book in the Henry Parker series, I wanted to do something different and bigger. Probably my biggest inspiration for these books was James Ellroy's masterful L.A. CONFIDENTIAL. And what I loved about that book was how he took a seemingly isolated incident, the Nite Owl murders, and as you looked closer you saw it was the tip of a massive and sinister iceberg. I'm no Ellroy, but I wanted to write a story that was much larger in scope, intimate in character, but possibly a snapshot of the time (as Ellroy's book was of 1950's Los Angeles). I'm not sure if this will happen every year, but I think that because these two books should be read back to back it works well.

DK: You came from a publishing background as an editor. How has this shaped the way you write?

JP: I think I'm a good self-editor, and I also listen to my editor (who is very, very wise). I've fought battles before with authors who refused to believe that I had their best interests in mind. And anyone who thinks their prose doesn't need a fresh set of eyes probably isn't a very good writer. So I'm a pretty ruthless self-editor, but I also almost always defer to my own editor, as she's really made every one of my books better.

DK: Newspapers are shutting down, indie bookstores going under and kindle sales on the rise. How has the rapidly changing world of publishing changed your marketing strategies?

JP: Much more attention has shifted online, and that's both a blessing and a curse. Rather than add to newspaper coverage of books, online coverage seems to be replacing it. Newspapers in a lot of ways signed their own death warrants, but I'll never understand how they can ignore some of the biggest problems with their book sections. Many papers, including some of the biggest in the country, seem to almost willfully ignore the books that people are actually reading. And when you lose touch with your readers and the community, you're living on borrowed time. Thankfully the online community is full of passionate hardworking reviewers, critics and bloggers who don't care about what other people think they 'should' be covering--they just write about what they love. Which is why there's such a great mix of online sites devoted to mysteries, thrillers, romance, literary fiction, non-fiction, and everything else. I only wish newspapers would embrace such diversity.

DK: You mentioned earlier that James Ellroy inspired THR FURY. Has Ellroy read THE FURY? Any joint signings in your future?

JP: I wish and I wish. Though Ellroy is on Facebook, so perhaps I can cyberstalk him. Can one be 'The Demon Dog of Facebook'?

DK: What's one piece of advice you can offer aspiring writers?

JP: Use rejection as fuel. We've all been there, we've all faced rejection, but the successful writers internalize that frustration and anger and use it to hone their craft. It's easy to blame external forces--editors, agents, the industry--it's harder to sit back, look in the mirror and work your butt off. Success is often as much about discipline as talent.

Writer's Block Wednesday: To Blog or Not To Blog

Writers often ask me, "Should I blog?" Many editors and publicists are telling their writers to start blogging before they even ask. Blogging is a great marketing tool and an effective way to expand your name recognition. I love reading writers' blogs because I can see who they are and how they write before I buy their book. However, if a writer has nothing informative to say, blogs infrequently, or only blogs to say, "Buy my book!" then it's a turn off.

My rule of thumb is don't blog unless you have something to say. JA Konrath blogs about the world of publishing on a regular basis. Sarah Weinman reviews books and blogs about industry news. The Outfit Collective is a team of Chicago authors (since a daily blog was too much of a commitment for any one writer). All of these blogs are clear, focused, and updated regularly. Therefore, they are effective marketing tools.

When I started this blog three years ago, I did it because I had something to say. I had just started reviewing books, recently graduated from college, and had lots of thoughts and musings about writing. Now, I have become more focused, using this blog as a way to promote talented writers, especially those in Chicago, and to help aspiring authors write better books and get published. Full disclosure, this blog is also a great place to promote my clients and my business. But promotion isn't the only reason I blog, which is why, I think, The Chicago Contingent works.

For the authors still unsure whether or not they should start a blog, ask yourself the following:

• Do I have something to say?
• What would my focus or angle be?
• Do I have time to blog? (Depending on length and speed, posts can take up to an hour)
• Would people be interested in reading it?

And don't forget all the benefits. Blogging:

• Gives readers a preview into your writing style
• Expands your name recognition and Google-ability
• Helps you hone your craft. The more you write, the better writer you become.
• Is an outlet to market your books and interact with your readers.

Bloggers? Non-bloggers? Care to weigh in?

Writer's Block Wednesday: Ask an Agent

This week I wanted to blog about querying agents, but since I don't have an agent myself, I'm not an expert on the subject. Instead I've invited Sara Wolski of Calliope Content to answer some frequently asked questions:

Dana Kaye: What is the first thing you look for in a query letter? Is there something that can make or break that submission?

Sara Wolski: A good query letter is clear, concise, and follows a specific format. I get almost all of my queries via email, and there can be a few pitfalls to that medium. Informality is one pitfall, along with casual errors, typos, improper grammar, and my favorite, accidentally addressing the query letter to another agent or something standard like “Dear Gentlemen.” A great query letter is one that tells me (succinctly) what the book is about, a brief introduction to the author and his writing credentials, and hopefully, it piques my curiosity. Nathan Bransford, an agent with Curtis Brown, has an excellent blog on the anatomy of a good query letter (http://blog.nathanbransford.com/2008/03/query-letter-mad-lib.html).


DK: After you've asked for pages, what do you look for? What's your decision making process?


SW: If the query letter has done its job and hooked my interest, I’ll usually ask for the first three chapters or the first fifty pages. Less frequently, I might request the full manuscript. At that point, I’m looking for a story in which I become completely absorbed – I know what I’m looking for in writing quality so the winning combination is if the craft is there structurally and I can get lost in the story. Assessing the market is also a consideration (i.e. is there a book already published that’s exactly like this, has this story been told before, etc), but overall, if a book has a great story, compelling storytelling, and strong writing, chances are there will be a publisher for it. Sometimes books that don’t quite fall into a clear genre (genre-benders or “hybrids” and whatever else they’re calling them these days) are a bit harder to sell on principle, but “General Fiction” has become a genre of its own these days, so sometimes that’s not a huge factor in my decision-making process.


DK: Agents are always inundated with manuscripts and pages often get lost in the piles. Is there anything writers can do to stand out? Is there anything that will make you dig someone's manuscript out of the slush pile?


SW: The slush pile can be very daunting, but again, a well-written query letter automatically stands out from the rest. Queries printed on scented, pink paper do not stand out in a positive way, nor do query letters with fancy fonts or photos. Authors often forget that this is first and foremost a business, and agents love it when authors are on the same page – kitsch and cute is not the way to an agent’s heart. A professional query is always best. Once a manuscript is requested, if the author is sending it by post, the best way for it to not get lost in the jungle of paper is to label the envelope with “Requested Material” in large, clear writing. Sending it certified mail is another way to assure its arrival without bugging the agent. Sometimes assistants and interns handle the mail and requested manuscripts (and at times will even read it first), so certified mail can be a less obtrusive way of confirming this. However, I don’t mind at all when authors follow up with a short, professional email 3-4 weeks after sending their requested manuscripts. With agents dealing with a million different irons in the fire, a polite reminder can be helpful.


DK: Many agents are saying now, "If you don't hear from me, I'm not interested." What is the follow-up protocol?


SW: This is a product of the emailed query letter, unfortunately. I know how frustrating it can be to send missives out into the ether and wonder if anyone is ever even reading them, so I try to follow up with every query letter with either a “No, thank you” or a “Yes, please.” Some agencies put on their websites that replies are not guaranteed with emailed queries, which is somewhat better, but the best practice is to research each agency to learn their submission guidelines. The way email is, sometimes queries get snagged in spam filters. This is unavoidable, but again, I think it’s acceptable to send a short, professional, and polite follow up to ensure that the query was received and read. If there is still no response, I’d move on. The fact of the matter is that publishing can be a long process and with the amount of agencies out there, there’s no sense in dwelling on whether one of them received a query letter. Authors should be submitting to as many agencies as possible – hundreds if possible! It’s such a subjective process too, so the more agents queried, the better chance an author has of attaining representation.


DK: What is the most common mistake made by writers?


SW: I find that the biggest mistakes made by writers all stem from not understanding the publishing industry. Authors have to realize that this is a business, and even though it’s virtually impossible to be completely objective about one’s book, authors have to separate the rejection factor and the business methods from their intellectual property. Directly related to this is the mistake of letting emotions get in the way. I can’t tell you how many nasty responses I’ve received over the years from authors I have rejected. As a writer myself, I do understand the frustration and desolation of rejection. What writers might not realize is that agents have to deal with rejection with almost every book they sell. Georges Borchardt, one of the most famous agents (with clients like the Tennessee Williams estate, Ian McEwan, Kate Millett, the Samuel Beckett estate, the list goes on!) talks about how Elie Wiesel and William Faulkner were rejected from several big publishing houses before finding their editorial homes in a recent interview he did with Jofie Ferrari-Adler in P&W (http://www.pw.org/content/agents_editors_qampa_agent_georges_borchardt). With email it’s so easy to just click “reply” and send an ugly tirade of insults to the agent that did the rejecting: regardless of how polite and sincerely regretful the rejection may be, some authors insist on having the last – bitter – word. I guess it gets it out of their systems. Needless to say, this does nothing to help them. I have had some severe replies to very nice rejections and have not hesitated to tell my agent colleagues about it. The bottom line is that graciousness and professionalism speak volumes in every situation.


DK: What is the biggest piece of advice you can offer writers seeking an agent?


SW: My advice is to do the homework and stay active. Even when an author is published, there is no time to sit back. To get an agent, read agents’ blogs, research how to write a strong query letter, look up the agencies you’d like to submit to and follow the submission guidelines. Don’t agonize over whether everything is perfect – make the materials as strong as you can and run with it. Send it out to as many agents as possible that represent books similar to yours. Once the submissions are out, don’t sit back and wait. Submit short stories to literary magazines whenever possible, submit articles and make contacts within local publications – learn how to pitch articles to magazine and newspaper editors. The more you develop your pitching skills the better you will be at pitching your book to agents and editors. Create a website and blog frequently and on topic. The more active an aspiring author is about furthering his writing career through every avenue and means possible, the more likely an agent will find him and offer representation – not to mention that the stronger an author’s platform is, the easier it will be to publish the book and most importantly, sell copies.


Sara Wolski is the founder and president of Calliope Content, a full-service literary agency. She is newly based in Chicago after spending four years in the publishing industry in New York and London. She enjoys general fiction, educational books, children's literature, historical fiction, thrillers, mysteries, literary fiction, memoir, narrative non-fiction, and business books for the trade. Visit her online at www.calliopecontent.com.


Feel free to comment with follow-up questions for Sara and she'll do her best to answer them.

Writer's Block Wednesday: Speak up!

It always amazes me how many authors have difficulty reading aloud or speaking in public. But if people are going to buy your book, they'll want to hear you read from it first. Why do you think every Must-See Monday has at least one reading or open mike? If you fear stepping on stage and reading in front of an audience, here are a few tips to help you out. These may seem obvious, and yet, there isn't a reading I go to where I don't see someone who could benefit from this advice:

Practice. You should always read your work aloud for editing purposes, but for a reading, it's important to practice the finished piece a few times and learn your story better. If you're familiar with the words, your piece will sound like storytelling rather than reading.

Gestures and Eye Contact. These will also help you tell your story rather than read it. When the stage lights hit you, it's easy to keep your head down and get sucked into the page. Don't forget to connect with your audience and meet their eye. It's hard to ignore someone who's looking right at you. Gestures help get your story off the page and animate the material. As your character absentmindedly scratches the back of his neck, go ahead and demonstrate.

Slow Down! I'd say 90% of readers go too fast and I guarantee 100% of them think they read at a fine pace. Most of us talk too fast to begin with, but when we're anxious, we only speed up. Always slow yourself down and give every word full value. Often, a slower speed helps build the tension and suspense.

Speak up! Most readings you'll have a mic, but if you don't, make sure you get your voice up so even the folks in the back can hear you.

Mind your body. When you read, you don't want your feet glued to the floor, but you don't want to be running the marathon either. Command your presence on stage by turning to either side every few pages and addressing your full audience. Again, it doesn't hurt to practice this at home.

The best practice is doing this in front of an audience, so attend a few open mikes to get more comfortable. Once you're published, you're going to have to read aloud and speak in front of audiences, and by then, the stakes are a lot higher. As with anything, practice makes perfect, so start attending the smaller readings before you hit the big time.

Writer's Block: The Bookstore Schmooze

As an author, one of the most important players to have on your team, is the book seller. They are the ones recommending and hand selling your book. Because most of you are avid readers and have to-be-read piles up to the ceiling, you usually don't seek out a book seller's advice on what to read. But you're not the norm.

Last week, instead of bringing my laptop to the local cafe, I went to a Barnes and Noble to work. Their cafe was positioned across from the customer service desk, close enough that I could hear each inquiry. In the three hours I was there, I heard seven people ask for some sort of book recommendation:

"I liked GIRL WITH THE DRAGON TATTOO. Do you have another book like that?"
"My dad really likes Law and Order. Do you have any books like that?"
"My daughter read all the Stephanie Meyer books. Now what?"

As an author, you want your book to be the answer to these questions, and unless you have a rapport with the book seller or are on the NYT bestseller lists, it probably won't.

Obviously, you cannot visit every bookstore in the country, take the seller out for a drink and schmooze, but there are plenty of ways to make a connection without breaking the bank or using up your frequent flier miles:

Identify Key Bookstores. Since you can't contact every bookstore in the country, pick out ones that are priority. These are the bookstores in your area and the ones outside your area that sell a lot of books. If you write crime fiction, stores like Seattle Mystery Bookshop, Murder by the Book in Houston, and Mystery One in Milwaukee do a lot to promote authors and sell a ton of books to collectors (which means signed first edition hardcovers). Literary authors should check out Book Passage in San Francisco and Book Cellar in Chicago. They have great programming, extensive mailing lists, and a very loyal customer base. You can also consult with your publicist on these matters.

Book Signings. Once you've identified the key bookstores, you'll need to schedule signings. Most authors get discouraged at out of town book signings as there is usually a low turnout. Even Michael Connelly and George Pelecanos only had 20 people at their signing and they're well known, bestselling authors. Remind yourself that you're not only there to sell books. The main purpose is to meet the seller, start a rapport and sign their stock.

Drop Ins. Many of the high profile bookstores book up fast. If they don't have any signing time available, ask if it would be okay for you to drop in and sign their stock. Always let the book seller know you're coming so you can ensure they'll be available. It also doesn't hurt to bring bagels, doughnuts, or some other treat for their break room. People are a lot more likely to sit and chat if they have food in front of them. You should also sign stock at all the bookstores in your area, but don't worry about schmoozing every seller. You don't have the time and if they're not the type of store that hand sells books, it's not worth it to you anyway.

Galleys and handwritten notes. If you are unable to make it to a few of the priority bookstores, make sure to send a galley along with a handwritten note. The galley will encourage bookstore employees to read the book and hopefully recommend it. The handwritten note shows that you care enough to take the time out of your schedule, even if your schedule didn't allow for a special trip.

Give 'em some buzz. If there is a bookstore that has been particularly supportive of your career and always recommends your books, it doesn't hurt to send some business their way. Thank the bookseller in your acknowledgements, mention them on your blog or twitter account, recommend the store next time your on the radio. They'll never forget it.

Writer's Block: Time Management

Time is something that is never on our sides. We have too little of it and we run out of it far too fast. Unfortunately, writer's need time to plan, edit, promote, and...oh yeah, write! Many of my clients are parents or have day jobs. When I tell them they should be twittering, updating their website/Facebook, and visiting certain bookstores, they look at me like I'm nuts. "Who has time for that?" In a perfect world, writers would write and someone else could take care of the marketing. But we don't live in a perfect world, so here are a few tips and tricks to more effectively manage your time.

Organize. I recently obtained a Blackberry and immediately fell in love. Not because of the internet or the twitter app (although I do love those) but because of the task reminders. I sometimes forget to open Outlook until I'm well into my morning or I'll forget to enter an item into my calender. Now, I can record tasks even when I'm away from the computer and if I forget, a little buzz and a couple beeps remind me. You don't want to waste time figuring out what you're supposed to accomplish that day. Write To-Do lists, utilize your smart phone, stick post-it notes to the computer, whatever works. But when you wake up and pour that first cup of coffee, you should already know what's on the agenda for that day.

Have a plan. My brain begins slowing around 6pm and dissolves into mush by nine. I work best and I'm the most creative in the morning. Therefore, e-mails, phone calls and errands are pushed to the afternoon. If I have a lot on my plate that day, I wake up a couple hours earlier. Some writers work better at night, which is fine. But if your muse visits you after dinner, make sure you complete all administrative tasks prior to sunset.

Set limits. If you wanted to, you could waste your entire day on Twitter and Facebook alone. It's a good idea to only dedicate 1-2 hours a day to social networking. Anything more than that takes away from writing and isn't the best use of your time. Also, it's easy to respond to every e-mail right when it comes in or to pick up every phone call. If you need to write a certain amount of words, don't let yourself answer the phone or check e-mail until you've reached your word count. You'd be amazed how much quicker you complete tasks when you focus on one thing at a time.

Use all the tricks. Why update both Facebook and Twitter when you can link the two? Why Twitter about every blog post when you can set up an automatic tweet? Why blog everyday when you can write five blog posts in one day (after you've reached your word count of course) and schedule them to post throughout the week. Using these tricks can save you precious writing time and overall, simplify your marketing efforts.

Delegate. There are many marketing and administrative tasks that you don't necessarily have to do yourself. Many of my clients hire me not only for my contact list, but so I can give the marketing effort they don't want to do themselves. Sending out books, visiting bookstores, setting up Twitter and Facebook; all of these take time and many authors would rather use that time to write. If you're not in a financial position to hire an assistant, publicist or manager, reach out to your network. Is your husband a computer whiz? Let him manage your website and Facebook pages. Don't have time to visit every bookstore in the US? Tell your aunt in Omaha, your college buddy in Ann Arbor, your in-laws in LA and your Bubbe in Boca to head down to their local bookstores and libraries and ask for your book. If you delegate the tasks you don't need to complete yourself, you will have less stress and more time to write.

Feel free to comment with your own time-saving tips and tricks. We can never have too many!

Wednesday Writer's Block: Channelling the Muse

Writers are artists. The work we produce is subjective and comes from inspiration. But when you're on a deadline, you don't have time to wait for your muse to show up. There's a reason most career novelists can write a good book every year: they know how to channel their inspiration.

A Few Tips for Channelling The Muse:

Location. Write in a place that's free of major distractions. Background noise at a coffee shop or park can be beneficial, but you don't want the phone ringing off the hook or the dog begging for a walk.

Timing.Writing at the same time every day will train your brain to be creative on a regular schedule. Most writers don't have all day to reach their word count; they squeeze in a few hours of writing before work or after the kids have gone to bed. Writing on a regular schedule will cut down on the brainstorming or "warm up" time and will prevent hours spent staring blankly at a computer screen.

Think. This one seems pretty obvious, but it's easy to forget your story throughout the day. Most of the writing process is brainstorming, and what's great about brainstorming is you don't have to be in front of a computer to do it. While you're doing the laundry, commuting, sitting in a waiting room, think about your story and it's characters. Try to solve some of the plot problems or develop the characters in your head (it also helps to carry a small notebook). The more your story is in your head and the more problems you work out prior to sitting down at the computer, the easier the writing will come.

Read. I know a lot of writers who cannot read during the writing process, but for most of them, that only applies to fiction. Reading regularly will keep you accustomed to storytelling. If you are a crime writer, you may not be able to read crime fiction mid-manuscript, but you can read newspapers, magazines, and non-fiction books. For me, it helps to read in the genre I'm writing. It often acts as inspiration, but mostly I read to see how other writers handled similar situations. We'll often hit obstacles such as point of view shifts or backstory; it helps to see how other writers conquered the hurdles.

Some writers have their favorite chair or a lucky pen, but for me, these practical tips are enough to keep the creative juices flowing. What about you? How do you channel your muse?