Friday, June 6, 2014

Indie Author Hub Conference TOMORROW

Indie Author Hub



You can still register. Walk-ins also welcome as long a there's room.

June 7, 2014, Courtyard Marriott Hotel, 1600 N Freedom Blvd, Provo, Utah.

7:30 am Check-in & complimentary bagels & juice
8:30 am Welcome
8:40 am Keynote NY Times Bestselling indie author Amy Harmon
etc!



The Indie Author Hub is made up of many successful indie authors and hybrid authors.

Guest speakers include NY Times Bestselling indie author Amy Harmon, USA Today bestselling author Rachael Anderson, bestselling hybrid author Rachel Ann Nunes, and PEG's Heather B. Moore, Lu Ann Staheli & Julie Wright.

Workshops include classes on ebook creation, marketing, business, and the writing craft.

Registration information here.

Thursday, May 15, 2014

Stages of Editing

By Heather B. Moore

At the recent LDS Storymakers Writers Conference, I taught the class on Navigating the World of Revisions (without burning your manuscript to a crisp). No matter how many books you write or how many you have published, you will still have to go through editing. And it will be painful every time. Not that you won't see the value of it, but it's work--hard work.

Here is a run-down of what to expect when working with a traditional publisher. If you are self-publishing, you need to also mirror this editing process because you are now competing with the traditional publishers.

1. Beta Readers. When do you need Beta Readers? Always. Change up your beta readers with each manuscript. Customize to your subject matter. Vary your readers, ie another writer, someone knowledgeable in subject, someone who is a good technical editor, those in your target market, the most outspoken person in your book club.

2. Critique Groups: Pros: several opinions at once, motivational, accountability, great support system. Cons: time investment, give and take, differing visions and goals. 

3. Acquisition Editors: First to review query or manuscript and determines if manuscript is a possible fit. Rejection a high possibility at this stage. Sends to evaluators or next stage acquisitions. Usually is the contact person with author until book is accepted.


4. Content Editors (Developmental Editors): Once your book is under contract, you’ll be assigned an editor (in house or on contract). Developmental Editor focuses on structure, plot, characterization, conflict, pacing, etc. You are typically given 2-3 weeks to work on revisions. 

5. Copyediting: You’ll have 1 or 2 copyeditors go through your manuscript. Technical considerations, sentence structure, punctuation, grammar, consistency errors. Some publishers let you review the copyedits, some don’t.

6. Proofreading: Proofreaders look for errors and any formatting issues in the typeset version. I always ask for a chance to proofread as well. Then I double check that my corrections were put in correctly… Each stage of editing presents an opportunity for new errors to be made. 

7. Contract editors: In-house editors are those who work for the publisher, usually at their on-site location, for 40+ hours a week. They only have so many hours they can spend on each project. Contract editors are often used when there is a large line-up and the in-house editors are swamped. Contract editors are freelancers who may or may not have regular work from the publisher. They may be commissioned for any of the editing stages.

Sunday, April 13, 2014

New Indie Author conference

Indie Author Hub



The Indie Author Hub writers group is putting on their first writers conference. June 7, 2014, Courtyard Marriott Hotel, 1600 N Freedom Blvd, Provo, Utah.

The Indie Author Hub is made up of many successful indie authors and hybrid authors.

Guest speakers include NY Times Bestselling indie author Amy Harmon, USA Today bestselling author Rachael Anderson, bestselling hybrid author Rachel Ann Nunes, and PEG's Heather B. Moore.

Workshops include classes on ebook creation, marketing, business, and the writing craft.

Registration information here.

Tuesday, March 4, 2014

Hitting the Top 100 Categories on Amazon


by Heather Moore

An alternate version of this post previously appeared on Eschler Editing Blog.


Once you have your most-excellent manuscript edited, cover designed, interior formatted into a mobi file, you are ready to upload to the Kindle platform on Amazon. When you load your book to Amazon, every word in your book becomes a searchable item. From the reviews, to the text, to the author bio. Also searchable is the book description and editorial reviews that can be added when you upload. This is why it’s important to select key words that will be repeated throughout each searchable entity. 

Before you choose your categories and key words, do some research on Amazon. Find out what categories bestselling books in your genre are listed under. Some will be very broad (fiction, romance, suspense), others will be very narrow (art, Italian hotel, Egyptian History). If you choose a narrow category, you’ll probably hit the Top 100 a day or two after your book is listed onto Amazon. With a broader category, you’ll be competing with other bestselling books in that same category.

This post will give you a quick overview of how metadata and categorizing works on Amazon, and how it can be a key sales tool for being a successful Amazon seller. Michael Alvear’s book is great at explaining how to use metadata effectively in the file creation process, and how to categorize in the upload process: Make A Killing On Kindle Without Blogging, Facebook Or Twitter: TheGuerilla Marketer's Guide To Selling Ebooks On Amazon.

In short:
What is Metadata: Metatags are search terms that readers use to find a book on a specific topic.

What is Categorizing: Done when the Kindle file is uploaded through KDP on Amazon. You can select 2 categories and 7 keywords that will help your book get categorized and positioned for selling on Amazon.

Do now: Put together a chart for your book as you research:
Example for my historical novel, ESTHER THE QUEEN:
Categories (Amazon allows 2 main categories. I prefer ‘non-fiction’ to capture Top 100. I might go in and tweak this from time to time as I watch sales.)
(I researched a similar genre book: The Red Tent)
*Religion—Ancient
*Biblical Studies—Old Testament
Genre(s) (Amazon gives you 7 categories to list. I may tweak this as well.)

Esther, Famous Queens, Adventure, Judaism, Biblical Fiction, Religious Historical Fiction, Christian Fiction

Metadata List

Action & Adventure; Religious Fiction; Queen Esther; King of Persia; Famous Queens; Biblical Queens; Famous Kings; Biblical Kings; Book of Esther; Judaism; Jewish Life; Jewish Exodus; Middle East; Biographical; The Heretic Queen by Michelle Moran; Cleopatra: A Life by Stacy Schiff; The Red Tent by Anita Diamant; Biblical Fiction; Turkey; Mediterranean; Tombs

To explain the chart above. I looked for a bestselling Biblical novel to compare to mine. I found The Red Tent. These were the categories and rankings:
·  Amazon Best Sellers Rank: #2,612 in Books (See Top 100 in Books)
A non-fiction book on Jewish Life:

I then went to Christian Books & Bibles, and checked out the books listed in the top 100. Then I clicked on those books to see what their rankings were. I slowly built a category list and decided where my book would best fit.

The Amazon page will also have “Other categories”

Look for Similar Items by Category


Other examples of books in Top 100 categories and their key words:

Sarah M. Eden’s, Seeking Persephone, with the $2.99 deal, its rank is here:
·  Amazon Best Sellers Rank: #1,594 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

Spring Vacation Anthology:
·  Amazon Best Sellers Rank: #13,219 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

Novella, Third Time’s the Charm:
·  Amazon Best Sellers Rank: #23,931 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

Heart of the Ocean:
·  Amazon Best Sellers Rank: #22,775 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

Other concepts recommended by Michael Alvear have to do with the Book Description and the Reviews. Every word in the description and a review becomes a searchable entity. In my Book Descriptions when I get a few great reviews, I’ll add them to the beginning of the description. Some recommend when you ask for a review to have the reviewer compare it to another best-selling book and use the Category words… this will become part of the Amazon algorithms.

Here is a Book Description example that uses key words in the description that will link the book to other authors and categories. I’ve bolded keywords that will help this book become categorized more effectively on Amazon. (Age, era, setting, genre, target audience, comparable authors, comparable books…)


Seven-year-old Helen Marie Heffner has a knack for getting into trouble, followed close behind by her older sister, Leona Mae. Whether it’s walking the barn beams like a tightrope, fooling the neighbor boys into thinking they’re being chased by a fiery jack-o-lantern, or making a mess rather than transferring a pattern for Mama’s Christmas surprise, Helen comes out the winner every time.

But life is not always fun and games in 1922 for this southern Indiana family. In the wake of the Depression of the previous two years, the girls and their mama are often left alone in Hancock’s Chapel while their papa travels to find work to keep the family finances alive. Lately, Mama’s been showing signs of not feeling well, and Helen is stuck at home, missing the entire school year while she recuperates from the rheumatic fever that struck her the year before. Mama fears the worst is about to happen. Everything from the barn owl, to the chicken thief, the stranger who passed by one evening to a poor neighbor-boy who falls into the ravine, all point to signs of trouble to come. And sure enough, it does.

Leona and Me, Helen Marie, a middle grade novel from A Small Town U.S.A. series, is hometown historical fiction in the style of Richard Peck (A Long Way from Chicago, The Teacher’s Funeral, Here Lies the Librarian) and Kate DiCamillo (Because of Winn-Dixie), with a touch of Laura Ingalls Wilder’s Little House on the Prairie thrown in for good measure.

Categorizing is not a one-hit wonder method, but it’s an important marketing tool to use when selling on Amazon. You can change your categories and key words anytime, but know that it takes 2–3 days for them to become effective. When I change them, I wait a few weeks to see which lists are being hit. If I’m not happy with the results, then I can easily go back in and change them.

Wednesday, February 5, 2014

Novellas, Novelettes, & Short Stories: What’s the Difference?

by Annette Lyon

For about two years, I’ve been fortunate to be part of an anthology series. As of February 2014, we have put out six Timeless Romance Anthology collections, and will continue to do at least four a year. Each has been fun and challenging in its own way.

For those unfamiliar with the series, each collection has six stories, three by continuing contributors (PEG’s own Heather B. Moore, plus Sarah M. Eden, and yours truly). We select a theme and then look for three guest writers to join us who are established, published writers we know will produce a great story.

We have few rules, but the ones we have are written in stone: No story can go over 15,000 words, so the entire collection is no more than 90,000 words, not counting author bios and other back matter. Each anthology is roughly the length of a typical novel.

The other two rules: 
  • the stories must all follow the theme
  • they must all be sweet romances (read: clean romance, with nothing beyond kissing in them and no graphic violence, etc.).

 In today’s digital world, the experiment has proved to be a great success. We treat the collections as a professional endeavor, including hiring a talented graphic designer experienced in book covers. The stories all get professionally edited and formatted, and the final result has been fantastic—as has the response from readers, proving that there is indeed a market for sweet romance.

We recently made the first anthology (the WinterCollection, featuring historical stories set in the winter) available in paperback, and we’ll likely put more of the e-books into print as we move forward.

So why are am I talking about these stories? Because in today’s e-book world, we’re seeing the return of relics from the publishing past. There was a time—before the Internet and all of the many distractions it brings—when magazines and book publishers regularly published short stories, novelettes, and novellas.

Short stories lasted a bit longer than the other two, especially in magazines. I may be dating myself here, but I recall a time when teen magazines still included a short story in each issue. Novelettes and novellas pretty much went the way of the dinosaur decades ago, and a big part of the decline of those literary forms was the cost. With the printing, shipping, and other costs that mirror the costs of full-length novels, but with lower price points, novellas and novelettes simply couldn't make enough of a profit to stay viable. 

As for the space short stories used to take up in magazines: It was quickly replaced by other content, with the belief that "no one reads short stories anymore."

In the last few years, however, many people, from the Big 5 publishers in New York to self-published writers, have changed their tune. Formatting for e-books is inexpensive, and a lot of writers have learned to do it themselves. There are no costs for printing or shipping, and little to no cost for delivery. Plus, they can be produced far faster. In other words, they're profitable again.

As a result, many writers, including bestsellers, have contracts to write novellas, often as a prequel before a new book comes out, or to give hungry readers a taste as they wait a year between volumes in a series.

Anthologies are one the few places that never stopped publishing shorter fiction entirely. A lot of them were and are produced by fantasy or science fiction publishers, and getting into one was a great way for a writer hoping to publish novels to break into the market.

Anthologies are still a great way to get started and break in. At the 2013 League of UtahWriters conference, Paul Genesse taught a great class about short fiction. He's had success making a name for himself through contributing to many anthologies over the years, and while he’s admitted that you won’t get rich doing that, you will grow a readership and develop a name for yourself.

But before you attempt to submit to a collection, be sure you know the varying lengths of the different forms. Today's readers aren’t yet that familiar with the terms, so if you self-publish a shorter work, the technical term won't be nearly as important as if you plan to submit your work to a contest, publisher, or anthology.

According to both Paul Genesse and SFWA, the following word counts are pretty standard in the industry: 

Short Fiction Word Counts
Short Story: under 7,500 words
Novelette: 7,500 words – 17,500 words
Novella: 17,500 words – 40,000 words

A few things to keep in mind with those numbers:

Middle-grade and early chapter books often fall below 40,000 words but don’t get the novella label, even though they're in that range. 

Word count is a far better guide to story length than page count, especially in fiction. Why? Word count per page can vary widely. For example, a page with mostly description will have many more words than a page with a lot of dialog, where a new paragraph starts every couple of lines, creating a lot of white space.

For example, the Timeless Romance Anthology stories, which typically run 13,000 to 15,000 words, will take up from 45 to 60 pages double-spaced in Word. That's a pretty broad page count for stories roughly the same word length.

As you can tell by the guidelines above, the TRA collections are technically made up of six novelettes per collection, yet in our book descriptions, we still call them novellas, because that’s the term readers are most familiar with. As novelette becomes a more familiar term to readers, we may use it.

So, you want to publish a novella/novelette/short story?
As with any potential market, be sure to research the submission guidelines and follow them exactly. Thinking you're the exception to the rule only shows you aren't a professional taking the job seriously.  

If it’s a contest, submit by the deadline or even before. Follow the format required. And, of course, know in advance if the market is open to submissions at all. (The Timeless Romance Anthologies are invitation only, for example.)

How do you write short fiction, anyway?
Actually writing short fiction is a very different animal from writing a full-length novel. For me, at least, it's been a wild but awesome ride learning how to create a good story in a small space. 

For that matter, it's a topic worthy of its own post another time.

Wednesday, January 1, 2014

This Year, Go Big or Go Home

by Annette Lyon

Last month, as I have for well over a decade, I attended another Christmas dance recital to watch my daughter light up on stage. As usual, her grace performing (this time ballet) didn't disappoint.

A different dance number jumped out at me for a different reason, however. Most likely, it jumped out at every member of the audience: a hip-hop piece. The number was well choreographed, and the star dancer, a sixth grade black boy, stayed front and center, and for good reason. He was nothing short of jaw-droppingly amazing.

Every move he made was powerful and precise. He exuded joy and energy and attitude and got the audience excited, returning his energy a thousand-fold.

The few times my eyes strayed from him, I regretted it.

Why? The other hip-hop dancers on stage with him weren't anywhere in the realm of his league, for starters. But that in and of itself wasn't the problem. The real problem was that the other dancers didn't seem to be trying at all

In dance speak, they were marking the routine rather than dancing full out, as if they were afraid of looking stupid doing the moves, so, hey, I'll do them small and weak, and maybe no one will notice.

To be honest, the other dancers looked almost embarrassed to be up there. Surely they knew they weren't as good as the star, but by not doing their best, by not going full out, they looked even worse. Their movements looked sloppy and weak. They looked unsure and had so little energy that as an audience member, I found watching them to be total yawn fest. At least, when I wasn't cringing.

Worst of all, I made the discovery that when hip hop is performed halfway, it does look really, really silly, which I can almost guarantee was the dancers' (and, I'd wager, every artist's) worst fear. Do it halfway, and you'll look ridiculous. Do it full-out, and you're on to something.

As I sat in the audience, it dawned on me that writing is somewhat the same way.

Writing and putting your work out for an audience can be downright terrifying. But you can't play into that fear. If a writer backs away from being as strong and powerful and in control of their work as they can and should be, that is the moment when the work looks sloppy, weak, and chaotic. It's as if the writer wasn't at the helm, had no idea what to do next, and simply hoped no one noticed the missteps.

And yes, there will be times a writer is unsure. We have all taken risks in our work (or we should have). We all have grown, so we've all had our weaker moments, and will continue as we (hopefully) keep growing. The risks that have the best shot of working are the ones we commit to: the ones we write full-out. The minute we start marking a risk or a new technique, hoping no one will notice we're unsure and scared? That is the moment our work looks sloppy and weak.

Watching that hip-hop routine, I thought back to times where I've seen writers who have poured their souls into their work, even into a first draft, when maybe they weren't entirely at the skill level they wanted to be at. But they were trying with everything in their souls. The result: riveting and exciting writing anyway. As a reader, I find myself forgiving errors or weak spots because I see the passion and power that lies behind the writing. On the flip side, I'm far more likely to give up on prose that happens to be free of typos but lacks any heart.

So however you write, whether it's sitting at the keyboard or curling up with a notebook and pen, don't hold back. Yes, you may have some missteps along the way; that's to be expected. Maybe you aren't (yet) as good as other writers you're "on stage" with.

But chances are, if you hold back, your work will only draw negative attention to itself, and you won't grow. You'll never reach that glorious point where the eyes are all on you, where people's jaws drop in awe and admiration at the feats you just pulled off.

And remember: Every time a writer steps on stage, he or she is writing all by themselves. We must write full out, every single time.

Is baring your soul, pouring your all into your work, easy? No. Unequivocally no. But I'm convinced that doing so is the only way to ever be great.

So for this new year, here's my challenge for a resolution:

Get in the game, all the way. Write full-out every time. Leave the fear on the wings of the stage.

When you write, be that amazing kid in the front who made the dance look cool and amazing and awesome instead of the ones in the back who made it look, well, silly.

In other words, go all the way. Go big, or go home.

(I don't really want you to go home. Just decide to go big!)


Tuesday, November 5, 2013

Good Writers Use . . .

By Julie Wright

Good writers use pens. That's the advice from my tenth grade English teacher, Mr. Cowden. I know I shred this man a lot due to the fact that he singlehandedly tried to put a stop to the writing career dreams of my youth. But I thought of something he'd said all those years ago that struck me as weird today while I edited over some of the new pages I'd written. He said something to the effect of: "Good writers always write in pen because it shows they have the confidence and education to know that they will get it right the first time."
I wanted to be a confident and educated writer. I wanted to be a *good* writer most of all. I wrote with a pen from then on. My first three and a half books were written by hand and all in pen. I have a dozen notebooks filled with pen-scrawled words (and scratched out words and even scratched out pages). It's been years since my handwritten manuscript days, years since a pen was used for anything more than signing a book.
The computer is my new pen. Bless the smart people who created word processing.
Today, I deleted a whole lot. The deletes made the dialogue smooth, the narrative stronger. And I thought back to that day with Mr. Cowden. I thought back to how on some level I must have respected him as a teacher--must have believed his declaration that good writers use pens. Why else would I write with such an instrument for so many years after his class?
I declare my independence from such bad advice.
Why use a pen when a pencil is so obviously superior? A pencil comes with an editing device called an eraser. Good writers should use pencils. Because good writers know the importance of a good edit. It isn't about being arrogant the first time you put an idea down. It's about getting it right.
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