To Market, To Market

To Market, To Market

Ruth E. Walker

I recently attended a celebration of local authors in Ontario’s cottage country. Aptly named Kaleidoscope, the book sales event offered a wide range of styles and published works for readers. Intriguing mysteries, fantasies for all ages, beautiful photography collections, wildlife explorations, compelling memoirs and biographies, and children’s picture books filled huge dining tables on two floors of the rustic Wintergreen Maple Syrup and Pancake Barn in Gelert, near Minden.

For readers, Kaleidoscope was a great opportunity to sample works by some of the many writers who call the Haliburton Highlands home. But for writers, it was an even better chance to learn from one another: what kinds of books were being inspired by the rugged natural beauty of the landscape and who are the people behind the titles? And even more important to me, how are those writers sharing their words with each other and their readers?

Even Margaret Atwood has to promote her books

I saw a range of approaches to direct sales of books and each has benefits and pitfalls. Of course, it’s always a personal choice on how one sets up their sales table. And that choice has to suit the writer. Some writers are painfully shy. I can say this because I am exactly that kind of writer. But I’ve put on my “act outgoing” pants so often now that people think I’m an extrovert. Don’t tell anyone — let’s keep it our little secret.

I toughened up my sales approach after a few years of setting up booths at Word on the Street and Eden Mills Writers Festival. I was there with LICHEN, a jewel of a literary journal I’d helped found and edit. Eventually, I learned to accept people walking past our table, avoiding all eye contact. I no longer took it personally when, after talking up a potential buyer, I watched them put the journal back and walk away. And I quietly celebrated those who bought their own copy.

I watched the writers at Kaleidoscope and recognized the many ways we promote our books:

The Quiet Table

This is the simple “here are my books on display” approach. Just the books. Stacked in an attractive display: cover out, at least one in a stand. The writer stands behind/next to the display, ready to chat with anyone with questions. This is a time-honoured marketing approach. Head to any bookstore and you’ll see lots of those display tables. Readers are attracted to quiet displays.

What you need to remember:

  • show the price; if there are specials let visitors know (2 for $xx or BOGO 50% off) Yes, it feels weird but it is part of marketing; most people dislike having to “guess the price”
  • business cards/postcards show readers you’d like to engage, even through an email or note
  • smile and say hello; it can feel unnatural (and really awkward if they ignore you) but you get used to it
  • NOTE: A recent article in Write magazine recommended displaying a question to give visitors a topic to engage with you on: “Ask me about…” — especially effective if your book(s) tackle tough or intriguing subjects that you spent time researching
The Audio-Visual Augmented Table

Video is a remarkable tool for marketing. Just like an illustration in a book, a video attracts passers-by through sound and/or images. It’s easily set up on a laptop or tablet that’s tucked in among the books.

At Kaleidoscope, a writer displayed a video of First Nation drumming scenes to share at his table. He did the following and these were exactly what we fellow writers appreciated:

  • consider your neighbours by watching the volume (but even the fairly low sound attracted visitors from the first floor to climb the stairs and see what was going on the second floor)
  • avoid constant looping to allow your visitors (and those at other tables) time and space in which to chat
  • NOTE: check in advance or arrive early to ensure your electronics are close to a power plug AND watch the cord for any tripping hazard (including for you)
The Multiple Offerings Table

Some readers are attracted to busy tables. And many readers are also writers (and that should not surprise you, writer!) so I make it a point to have material on hand for writers. Sometimes a jar of writing tips to reach in and pick from. Sometimes writing prompts. And, of course, I always have the latest on upcoming Writescape retreats.

  • offer treats or takeaways; even a jar of wrapped candy or bookmark can attract people to your table
  • define your space with a backdrop/tablecloth or banner (especially effective if you can tie it into the book)
  • get creative — for a children’s story about a picnic, use a picnic blanket and display copies of the book in a picnic basket along with picnicky items. If it’s a mystery novel, include a Sherlock Holmes cap and magnifying glass, etc.
  • NOTE: A plastic display stand can hold excerpts of reviews on your books or promote your next reading or event

No matter what kind of salesperson you are, writer, you know that in today’s noisy and crowded marketplace, we need to be prepared to sell our words and find our readership. No matter what, be ready to answer this question: What is your book about? A short one- or two-sentence answer should be on the tip of your tongue.

Like the writing process, marketing your book is a journey. But thankfully, with cooperative sales events like the first-ever Kaleidoscope in the Haliburton Highlands, it’s not a journey we need to take on our own.

DID YOU KNOW
Heather. signing BETTING GAME

Book sales events are just one piece of the marketing pie. Remember that websites and social media can also be a useful tool to introduce readers to your work. Here’s a look at Heather O’Connor’s Top Drawer post on the marketing work she did IN ADVANCE of the launch of her best-selling YA novel, Betting Game.

Invaluable and oh-so-practical advice from a successful author. And, as noted, it’s a journey.

Goodbye Vanity Press Impression

Goodbye Vanity Press Impression

Ruth E. Walker

I recently heard from a teen writer who was puzzled about self-publishing. She explained that she was on a committee looking at books to recommend to the Forest of Reading summer program at Ontario libraries. She was especially excited about a book from a local writer and presented it to her committee colleagues to review.

The committee agreed the book was really good and moved it forward as a recommended read to the Ontario Library Association (OLA). But my friend was disappointed to receive an email explaining that the book could not be included. The OLA has a policy to only include traditionally published works in that summer program. A novel, no matter how compelling, couldn’t be on the list if it was self-published by the author.

No matter how you feel about self-publishing versus traditionally published books, the OLA’s policy is not out of line with many organizations. And there is a good historical reason for it: vanity presses.

Feeding the Vanity Machine

Not so long ago, some printing companies called themselves publishers. Writers were attracted to those companies that would quickly publish their manuscripts without long waits to hear from an editor and no questions asked. Writers were guaranteed their book would be published…for a fee, of course. But the writers were confident of being able to sell their finished product. And all the money would go to them, not to some agent or publisher. Once they put out a lot of money to the “publisher.”

It seemed like a great idea.

Of course, the inevitable happened to most of those writers. Basements and garages filled up with boxes of books that, once family and friends had been tapped out, couldn’t be sold to strangers.

 

 

Not all vanity publications were in vain

There were amazing success stories:  David Chilton’s self-published financial advice book The Wealthy Barber has sold over 2,000,000 copies to date. He even mentored sisters Janet and Greta Podleski, and their Looneyspoons cookbook has sold 850,000 copies to date. Many speakers on the “talk circuits” self-publish companion books that sell very well on the strength of their seminars and workshops.

But they were the exception.

In the past five or so years, the winds have shifted for self-published authors. When Terry Fallis won the 2008 Stephen Leacock Medal for Humour forThe Best Laid Plans, and then the 2011 CBC Canada Reads winner, he raised the profile for self-published authors in Canada. Even The Writers’ Union of Canada now accepts memberships from authors of self-published work (applicants must submit their book for review and it must meet professional standards to be accepted.)

It won’t be long before self-published titles are received everywhere with respect.

Make sure your book deserves respect

So you’ve decided to self-publish. Just because you’ve written a great story doesn’t mean it’s ready to go to press. If you truly respect your own work, you need to give it the time and focus it needs and deserves. If you truly respect your reader, ensure that you’re actually giving your reader a great story in great shape. And if you respect yourself as an author, act like you do.

Hire an editor. No, don’t rely on friends or family for this. A professional and skilled editor will help you refine your manuscript to publishable quality: a logical plot, compelling characters and a clean copy for the proofreader. An editor is not concerned with hurting your ego — an editor wants your book to succeed and if that means giving you tough news, well, that’s what will fix this book and make you an even better writer with the next book.

Hire a proofreader. Here you might have friends or family with this skill but understand a proofreader is not just reading your story and looking for oopsies. A proofreader takes a different approach to an editor. A proofreader is looking for transposed numbers. Of chapter headings in slightly different fonts. Of two similar but different spellings of the same name. The things that trick the eye of even the best editor.

Put it into your publishing budget: $800 to $2000 for editing and proofreading.

Things are changing

I’m an assessment volunteer for the Writers’ Union, reading some the self-published books submitted for membership. Some have been pretty darn good.

However, a few have been sadly in need of an editor. And a layout professional. And proofreader. The main criteria for acceptance is “would this book be comparable to a traditionally published book, with evidence of editing and professional appearance/layout?”

More often than not, the answer is yes. And that is heartening.

It means that those vanity presses are not getting as much business. Instead, we see quality book printers who also offer editing services to various levels. We see self-published books from writers who hire editors and proofreaders on their own. We see co-operative publishing ventures, where the cost and profits are shared by the printer and the author, and include editorial supports. That’s a nice balance of respect and a much better business model instead mass printing from unpolished manuscripts.

The publishing world is ever-shifting. How readers access their books is also ever-shifting just as the line between traditional and self-published books is blurring. Ultimately, readers — like my young friend — will set the pace and tone for choosing between those two approaches. And it seems that as long as a book captures a reader’s heart, it won’t matter how it made its way onto the bookshelf.

DID YOU KNOW?

Writescape self-publishes on a regular basis. At our Spring Thaw and Turning Leaves retreats, we prepare a 35-page workbook to support writers on retreat with inspiration, ideas, prompts, tips and helpful information.

When Gwynn and I published Inspiration Station, our “retreat in a paperback” in 2010, we paid for a quality layout and print product. And you can bet that book was edited, proofed and re-proofed before it came off the press.

It’s sold out right now but plans are in the works to bring it out in an electronic version. Stay tuned.

18 Ways to Choose a Title

18 Ways to Choose a Title

Gwynn Scheltema

 

Your book title is the first impression your readers get of your novel. It’s the first chance to connect, to inform, to intrigue, and to firmly hook readers. A great title will help readers find, remember and buy your book.

You want your title to be representative of your story, to give an indication of content or theme or genre. You want it to be unique but not confusing. You want it to be memorable and easy to spell. If you are writing a series you’ll want something to tie them together.

On a practical level you need a title short enough to fit on the cover or spine, but long enough to not get lost among other titles in computer searches. Consider how it will fit in URLs, tweets and Pinterest posts, how it will read on digital devices. The current trend seems to be single word titles, but five words or less is a good length to aim for.

Because a title is such an important aspect of your book, choosing one can be tricky and even overwhelming. The choice isn’t necessarily one you need make when you are still drafting the manuscript. If you have one in mind when you begin, by all means make it your working title, but reconsider its suitability again when the book is finished.

 So let’s get started…

What is your story about?

  • The Hunger Games
  • Harry Potter and the Philosopher’s Stone
  • The Adventures of Huckleberry Finn

A memorable image

  • Little House on the Prairie
  • In the Shadow of the Banyan
  • The Girl with the Dragon Tattoo

 Character’s name

  • Carrie
  • Anna Karenina
  • Jane Eyre

 Characters role

  • The Golden Son
  • The Last Emperor
  • My Sister’s Keeper

 When the story happens

  • 1984
  • That Summer in Franklin
  • Midnight in the Garden of Good and Evil

 Where the Story takes place

  • The Colonial Hotel
  • Treasure Island
  • Jurassic Park

 Genre

  • Murder on the Orient Express
  • A Hitchhikers Guide to the Galaxy
  • Dracula

 Metaphors

  • All the Light We Cannot See
  • The Nightingale
  • Three Day Road

 A representative line from the text

  • Cutting for Stone
  • Let’s Not Go to the Dogs Tonight
  • Sweetness in the Belly

 Questions

  • They Shoot Horses, Don’t They?
  • Who Has Seen the Wind?
  • Are You My Mother?

 Go against expectation

  • Fahrenheit 451
  • The Blind Assassin
  • Slumdog Millionaire

 An important symbol or object in the story

  • The Golden Compass
  • The Book of Negroes
  • Harry Potter and the Goblet of Fire

 A Play on words: double meanings, puns

  • Living Underground
  • Lifting the Veil
  • One Flew Over the Cuckoo’s Nest

 A twist on a known phrase

  • The Wife’s Tale
  • Elementary, She Read
  • By Book or by Crook

 Single words 

  • Divergent
  • Room
  • Silk

 Old titles reworked

  • Pride and Prejudice and Zombies
  • Zen and the Art of Faking It
  • Gnomeo and Juliet

 The promise of a story

  • The Handmaid’s Tale
  • The Girl on the Train
  • Gone Girl

 Theme

  • Infidel
  • Pride and Prejudice
  • Greener Grass

 

There is no ONE right way of choosing a good title. Brainstorm many possible titles, ask family and friends or readers which ones grab them. And when you sign a publishing contract make sure you know who gets to choose the final title.

DID YOU KNOW

When naming Writescape’s annual retreats we chose titles that had double meanings, were metaphors for the act of writing and which evoked a visual image: Spring Thaw and Turning Leaves

Registration is now open for Turning Leaves. We’re celebrating our 10th anniversary in 2018 on November 2 to 4 at Fern Resort near Orillia, Ontario. This all-inclusive retreat includes Friday night fireside chat with our guest, Andrew Pyper, about the writing life and an intense morning workshop with Andrew on Saturday. He’s an award-winning writer, a master of dark and disturbing mysteries and fantasy, and excellent workshop facilitator.

Our limit is 20 participants. A $250 non-refundable deposit will guarantee your spot. We expect there will be a waiting list.

Theme and Premise

Theme and Premise

Gwynn Scheltema

I’m often asked what the difference is between theme and premise. Here’s my take—with a comment or two from others:

 What is theme?

A story needs to be unified around something, and that something is theme, a recurrent idea or motif.  You can begin to identify your theme by coming up with ONE word to sum it up. That one word is usually a human quality: Friendship. Love. Trust. Fear. Redemption. Abandonment. Freedom. Motherhood. Truth. Ambition. Justice. Revenge. Confidence.Or a universal quality: Duality. War. Confinement.

But the theme of a novel goes deeper. Theme in a novel is not just that one word, say LOVE, but the statement the author makes about the motif with the story.

FROZEN: sisterly love is greater than power.

Generally, theme is linked to the emotional growth of the protagonist, or the personal vendetta of the antagonist.

Sometimes you don’t know what your theme is up front. You might change it, or discover it in the course of storytelling. It evolves. And that doesn’t matter because it isn’t stated anywhere in the narrative. It’s a sense we come away with, a flavour, a key.

Theme can also be several statements/explorations around a human quality. For example, an author could explore different kinds of LOVE through different characters: brotherly love, love of self, absence of love, parental love, love of money over people, love of country etc.

What is Premise

Premise, on the other hand, is the idea behind the story, what the author is writing about, the basic idea and foundation for the plot.

John Truby suggests premise is the simplest combination of character and plot: Some event that starts the action, some sense of the main character and some sense of the outcome.

Author and screenwriter Alexandra Sokoloff talks about the premise being “the pitch” for the story. That works too. After all, a pitch is the one-liner distilled version of your book and introduces us to the main character, what obstacles he must overcome, and why.

 

HARRY POTTER: When boy wizard Harry Potter and his friends at Hogwarts wizard school are threatened by the Dark Lord, Harry must find his magical power to overcome him and become a man and a great wizard.

 

Premise out of theme

Chris Vogler agrees that premise is the basic idea and foundation for the plot but also that it is “a more developed expression of the “theme” idea, beyond just one word. It’s a sentence that you pull out of that one word.”

First be specific.  “LOVE” isn’t specific enough. What kind of love? Brotherly love? Blind love? Love of country? Loving yourself?  What kind of trust? What kind of faith?

And then restate it as a kind of formula:   

X behaviour leads to Y consequences

MACBETH: ruthless ambition leads inevitably to destruction

 

 

Why does it matter?

Premise is useful as you write because it holds the ultimate character transformation in the front of your mind, so you are conscious of your character’s actions and reactions being in step with where he is along the character arc. For instance Harry Potter could never have faced the dementors at the beginning of the series, not only because he didn’t have the wizardly skills, but because he had not yet found his confidence or his loyalty.

As you write, theme doesn’t matter, but when it comes to editing, it provides an umbrella measure to decide which scenes and characters can get cut. Does this scene support the theme better than this one?

One last word

Screenwriter Andrew Oye sums the whole thing up very nicely. He says premise and theme are cousins not twins. That the premise is the subject of the story and the theme is the meaning from the story.

 

Celebrating Poetry during NPM

Celebrating Poetry during NPM

Gwynn Scheltema

I love April. It’s a month of budding trees, long-asleep bulbs poking through the earth, warm sun on my back and the promise of summer to come. And April is National Poetry Month (NPM)—a chance to read, write, share and support poetry on a national scale. I love it!

I also love the story that started it all: Back in 1996, members and staff of the Academy of American Poets headed to the steps of a post office in New York City where individuals waited in line to mail their tax returns. The story goes, that they handed out copies of T.S. Eliot’s poem, The Waste Land, which begins, “April is the cruellest month….”

In 1998 Canada followed their lead and today, NPM brings together schools, publishers, booksellers, literary organizations, libraries, and poets from across the country. This year, 2018 will celebrate the 20th anniversary of NPM in Canada!

Reading poetry

If you don’t have poetry on your bookshelves, there is plenty out there to sample. You might want to start with the Poetry Foundation website where you can search poems by poet or poem title or explore their collections by topic. You can listen to audio clips of poetry read aloud and browse their magazine Poetry, the oldest monthly poetry magazine in the English-speaking world.

Another great website for classic poetry and prose is Project Gutenberg. This volunteer-based site offers over 56,000 free eBooks mostly of older works for which copyright has expired. Here is a great spot to sample poets like Keats, Wordsworth, and Robert Frost.

Or consider having a poem delivered to your inbox each day. Sign up at Academy of American’s Poets.org to receive original new poems during the week and classics on weekends. Poetry Foundation also offers a poem a day by email or via an app on your phone. If you’d rather begin small, try Carol Rumen’s Poem of the Week published in The Guardian.

Writing poetry

Just like the reading version of a poem a day, Writer’s Digest runs a Poem-A-Day challenge each year curated by Robert Lee Brewer, author of the blog Poetic Asides. Each day during April, Robert posts a prompt and invites poets from around the world to write and post their poems and comments on the postings. He also chooses a daily winner and an overall winner for the month. Writescape’s Ruth E. walker won one of the daily challenges with a poem she wrote at our Spring Thaw retreat that year.

If you are new to poetry, perhaps consider taking an online course to get you started and inspired. MOOC (Massive open online courses) offers a wide variety for studying poets or writing poetry like this one from California Institute of the Arts.

Sharing poetry

During poetry month, poets and lovers of poetry encourage activities to celebrate poetry. In my region, Poetry in Cobourg Spaces (PICS), along with convenor James Pickersgill, worked with Ted Amsden, Cobourg’s poet laureate, to create a poetry event on Earth Day.

The public plus local schools were invited to submit to a poetry contest. The poems had to be on topics directly related to Earth Day, like the environment, our planet, ecology, nature, organic gardening and/or farming, evolving human awareness of other living organisms, climate change, greenhouse effect, and pollution. The poems were to be 24 lines or less and the winners read their poems at ceremonies at Cobourg’s Ecology Garden on April 22, Earth Day at dawn!

Also in my area, a group of poets, equipped with vintage typewriters brought people’s stories to life through poetry in a unique public art installation.

At the Shelter Valley Folk Festival five Green Wood poets talked with people and created poetry, non-stop, for over three hours. Beginning with the question “what brought you here to this moment?” the poet and person talked for 15 minutes before leaving the poet to capture the essence of the conversation. It was all pecked out on a typewriter in public view. Identified with a number for anonymity, the poem hung on a clothesline, both as a public art installation and a personal gift for the person to take away.

I love it!

One of the spin-offs that came out of NPM is something called Poem-in-Your-Pocket Day. Also celebrated in April—this year on April 26—Poem-in-Your-Pocket Day encourages people to carry a poem with them, and share it with others throughout the day. This day is celebrated not just in North America, but in Europe and Australia too. Some of the activities that everyone (not just poets) are encouraged to get involved with are:

  • Start a “poems for pockets” giveaway in your school or workplace
  • Urge local businesses to offer discounts for those carrying poems
  • Post pocket-sized verses in public places
  • Start a street team to pass out poems in your community
  • Distribute bookmarks with your favorite lines of poetry
  • Add a poem to your email footer
  • Post lines from your favorite poem on your Facebook, Instagram, Twitter, or Tumblr
  • Send a poem to a friend

Supporting Poetry

Of course, like writers, poets struggle to make a living from their art. So I challenge you to buy a book of poetry this April. No idea what to buy?

Visit some of Canada’s poetry publishers: Brick Books; Black Moss Press; Hidden Brook Press and Guernica Editions. Or check out these 16 collections recommended by CBC last fall. Or the 10 best of 2017 recommended by Canadian League of Poets. When in doubt, head to your nearest independent book store.

Poets also appreciate attendance at their poetry readings. A quick Google search of “poetry reading” and “Northumberland” gave me 3 readings in the next three weeks I could attend including this one at the Cobourg Poetry Workshop.  Notice boards in coffee shops often have reading flyers, and if your city boasts a university, there are bound to be readings connected with them too.

Let us know in the comments how you intend to celebrate National Poetry Month. So much poetry to explore. Only 30 days in April. Better get busy!

DID YOU KNOW

A Writescape retreat alumnus, Ingrid Ruthig, recently won the 2017 Gerald Lampert Memorial Award for the best first book of poetry, This Being. This national award, sponsored by the League of Canadian Poets, places Ingrid firmly in the midst of such well-known poets as George Elliott Clarke, John Newlove, John Barton and Pearl Pirie.

And she spent her Spring Thaw retreat time focusing on her poetry. We think it was time well spent.

What’s on the 49th Shelf?

What’s on the 49th Shelf?

Gwynn Scheltema

My spring email notification from the 49thshelf.com arrived today and it got me thinking about what an amazing treasure of Canadian literature this website is—one that every Canadian writer (and reader) should know about.

49thshelf.com is the largest collection of Canadian books on the Internet. They are also likely the most fully realized collaborative website in the world celebrating one nation’s books and authors.

How did the 49th Shelf get started?

Rather than complain about Canadian books and authors often being overshadowed in the marketplace by the sheer volume of books from the US, a community of Canadian publishers of all sizes, across the country, got together and created this site.

Funding came from the Association of Canadian Publishers (ACP), in partnership with the Canadian Publisher’s Council, and from the Department of Canadian Heritage and the Ontario Media Development Corporation (OMDC). Amazon.ca is currently the lead sponsor for the project.

What’s on the 49th Shelf?

The 49th Shelf has one purpose: “to make it easier for readers to discover Canadian books. Canadian books in all genres, from bestselling authors to new talent, from publishers large and small, from all regions of the country.” Each week the homepage highlights new releases.

 

 

To date, they have assembled more than 100,000 Canadian titles from all types of authors, publishers, and genres including self-published authors. The search function allows you to search by those categories as well as by region with their Local Map function (which you can add to if you are a member).

 

 

Reading Lists

My personal favourite feature on the site is the reading list feature. Everything from 2018 award lists like 2018 Finalists for BC Book Prize and the 2018 RBC Taylor Prize Finalists to perennial genre lists like Cozy Mysteries to lists linked to current happenings in the world like this one in response to #National Walkout Day last week:.

Inspiring Stories of Fighting Injustice

#NationalWalkoutDay, where school children and teachers across the US protested gun violence by walking out of their schools for 17 minutes this morning – part of a larger, powerful movement organized by kids – inspired us to share this list with you. The books are all about recognizing injustice, finding ways to fight it, being inspired by real-life heroes, and becoming powerful in important new ways.

And what I love is that I can create my own personalized reading list to bookmark new releases I’m interested in reading, as well as recommend books to others.

Off the Page Blog

They also have a great blog, “Off the Page” with insights into Canadian authors, books and publishing as well as cool stuff in and around Canadian books. For instance, these new releases included The Apocolypse of Morgan Turner by Edmonton author, Jennifer Quist. The book is set in Edmonton and Jennifer blogs on what other authors, books and literary institutions Edmonton has to offer.

Can I add my book to the site?

49thShelf.com imports publisher-supplied data from the national database: BNC BiblioShare: including eBooks, from all publishers, and self-published titles. There is no charge to have books listed on 49th Shelf.

If you don’t have an ONIX data file for your book, you can find out how to make that happen by going to BookNetCanada.ca. There you’ll find the necessary webform to fill out as well as tutorials and manuals to help you.

Any data that you add to the system via the webform will automatically be imported to 49th Shelf as long as you add the country code for Canada (“CA”) in the Contributor section.

Can I sell my book or buy books on 49thShelf.com?

49thshelf.com does not sell books. Instead it supports bookstores across the country, providing direct buy links to retailers’ sites and publishers’ websites on every book page.

 

Oh! And one more thing!

Every week, 49th Shelf posts #giveaways and #bookgiveaways on Twitter and also for members on their website. Free books! You gotta love it!

DID YOU KNOW

Gwynn recently interviewed Beth Bruder, Vice President at Dundurn Press and a founding member and chair of the ACP committee that launched The 49th Shelf. Listen to that interview on Word on the Hills radio program on Northumberland 89.7FM.

Paying It Forward: Writers’ Karma

Paying It Forward: Writers’ Karma

Ruth E. Walker

I’m a firm believer in the truth behind the saying: Be kind to others and it comes back to you. I also subscribe to the belief if someone shows you a kindness, do the same for someone else. Pay it forward.

So I was delighted at a recent panel discussion to hear one of the panelists respond to the question: What’s the best piece of writing advice you ever received? 

Heather Tucker, author of the acclaimed novel The Clay Girl, smiled into the audience to reply, “Ruth Walker told me to ‘Get naked, girl, and let the epiphanies fall where they may.'” She went on to explain that she was reluctant to share her work, to submit it for consideration, to let others look at it. My words gave her inspiration and encouragement just when she needed it.

So why did I say that to Heather? The writer I am can be directly linked to a series of kindnesses that supported or encouraged me along the challenging writer’s journey. I can’t begin to recount all the ways in which others have selflessly offered help or support, often arriving at a time when I was ready to give up the dream of publication.

Making the difference

A professor at Trent University’s Durham Campus had a huge impact on my writing career. Adrian Michael Kelly knew my work from his creative writing class a year earlier. He invited me to come and meet respected author and editor, John Metcalf. John offered to read my manuscript at a time I was woefully discouraged about rejections for my novel. A couple of weeks later, he called me. Told me to keep submitting, that the manuscript was good, publisher-ready. And he was right. That novel I was ready to abandon went on to publication with Seraphim Editions and achieved second printing.

It was the support of others that got me there. My professor didn’t have to call me to come and meet John Metcalf. And John didn’t have to look at my manuscript, and then call me. It was all a kindness and I’ll always be grateful.

Ever since, when I hear a writer musing about giving up on a manuscript, I tell them my story. I tell them what John Metcalf told me. Submit, I say. And keep submitting. I pay forward the kindness I’ve received every chance I get.

Spread the support

There are lots of ways to pay it forward. I’ve benefitted from receiving grants and bursaries. They’ve helped me attend conferences and workshops in which I hone my craft. I’ve escaped to write at retreats that I couldn’t have otherwise afforded. So I know the difference it can make in a writer’s life to get a financial boost.

The Pay it Forward philosophy is happily shared by my business partner, Gwynn Scheltema. For several years, Writescape has sponsored a scholarship grant with The Writers’ Community of Durham Region (WCDR). Their scholarship program offers members a chance to apply for a range of awards, up to $500 at the top end. Gwynn and I happen to like the process where applicants don’t need to have a long list of publishing credits to apply. And there isn’t a focus on the literary form. Writers of all kinds and at all levels can apply, as long as they are a member of this 300+ group.

We’ve happily offered the Writescape scholarship each year. And we’ve been delighted to see the recipients use the grant to develop some aspect of their writing goal. This year, the Writescape scholarship went to writer and baker, Rich Helms. He planned on taking a recipe development course at George Brown College, starting in June. Recipe development is not a simple “How to write a cookbook” course. The science in the art of developing a recipe is as precise and vital as the passion needed to create tastebud-exploding foods and then write the recipe.

Rich was deeply disappointed when the June course was cancelled but he didn’t give up. He emailed us recently to announce the course was being run again and he was signed up. We never had a single doubt that Rich would use the scholarship funds to achieve his writing goals.

More than feeling “good”

For Gwynn and me, Rich’s joy in attending his course is a wonderful reminder that paying it forward is an important part of the writer’s journey. Writescape believes in paying it forward, of finding ways to encourage other writers. It can be in small ways, like chatting in networking opportunities and sharing market insights. Or larger efforts, like the WCDR scholarship that we have sponsored for a number of years.

When we “pay it forward” we remember that it was the unexpected and unasked-for time that other more experienced writers gave us that made a difference. Both Gwynn and I have been the recipient of many kindnesses — they certainly soothed the sting of the rejections and disappointments, and fuelled the energy to keep going.

We all benefit when we pay it forward — in this case, Rich’s enthusiasm is contagious. And many writers who are not writing fiction can see that there are grants and scholarships for those “other” writers — the ones who, like Rich Helms, are writing something different but no less worthy of finding a home.

Did You Know

Ways a writer can “pay it forward” are everywhere. Start a writing critique group to share ideas, feedback with other writers. And there are lots of low-cost ways to support writers.

It’s the season of giving, so how about an “unasked for” as a “gift” to fellow writers:

  • write a review
  • like/join an author page
  • comment on a writer’s blog or Facebook author page
  • subscribe to a writer’s blog,
  • ask your local library to get a copy of a book
  • even better BUY A BOOK!! (support independent bookstores too if you can)

If your royalty cheque was especially flush this year, consider donating to an organization that supports writers or give to a literacy program.

Always remember that we all are on the journey together, some further ahead of you and some just behind. Where you are today is not where you will be tomorrow and, more often than not, you moved forward with the help of others.

Places that support writers:

Literacy programs:

Go Bravely, Pioneer!

Go Bravely, Pioneer!

This week Writescape welcomes A.B. Funkhauser as our guest blogger. We first met her in a Writescape workshop where her unique storytelling voice immediately grabbed our attention. She recently launched her third novel at the Indie Author Day in Pickering, and this successful and self-propelled author lets us in on how she sees marketing in the indie world.

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A.B. Funkhauser

Recently, I had the privilege of participating in Indie Author Day at the Pickering Central Library. Sponsored by the PineRidge Arts Council, its purpose was to bring independent and micro-published authors together under a single roof to share ideas and lamentations about this journey we call writing.

So much more than words

Writing is so much more than words on a page. We chase character, motivation, arc, pacing and a satisfying resolution, each ideally wrapped tight in a prescient, unique voice that distinguishes the work and acts as a fingerprint for the artist behind it. Finding that combination can take years accompanied by scores of rejection letters that keep fourth-place-finishes in writing contests company.

That’s the trip. Those of us stubborn and committed enough to either win a contract or go boldly into self-publishing know that the second part of the journey has begun, and it is on this that I’d like to focus.

Pioneering the next wave

Writing it all down is a great beginning. It’s the foundation for a finished product that will be advanced by a marketing plan anchored to a brand.

Most of the speakers at Indie Author Day touched on the fact that indie books have a hard time finding a home in libraries and book stores large and small. There is a very good reason for this. Curated decisions at macro and micro levels are always informed by history and convention. What worked last year will continue to work in subsequent years until new factors change the conversation.

The Canadian Big Three and US Big Five publishing houses and their star authors rule the day and there is nothing wrong with this. Success models like these did not appear overnight; they started small and they grew over time. And they will continue to do so.

But times are changing and Indie authors in the digital age are in a unique position to pioneer the next wave by reaching where they could not before. Heavy oak doors barred, locked and guarded by agents and executives fall away when the author, published or not, has access to millions of readers via Internet platforms. Promoting  in the safety and comfort of one’s home is the best place to start building the profile that grows the brand.

What is brand?

Think of “brand” in terms of an author resume—for how can authors rightly expect to be taken up without an introduction? Many times we hear about great manuscripts going nowhere because the author (the brand) has little or no Internet presence.

The same happens when authors approach libraries and book stores. “Who are you?” and “What are your credentials?” takes the place of “What is the book about?” These questions are not unreasonable.

Making connections develops “cred”

Like a politician with a constituency, independent authors need followers as a first step to developing “cred” for the words they write. As I explained more than once on Indie Author Day, we can write the best novel, screenplay, short story or poem, but no one will know if we do not get out there and let people know.

Standing in front of our book tables trying to engage a busy parent or indifferent teen on their way to the stacks can be soul depleting. But after a handful of books-oriented events, we do get the hang of connecting on a person-to-person level. Many of us tempt with bowls of candies, free key chains, magnets, bookmarks or short story samples. When a conversation goes well, a book or two may actually be sold.

But it is the connection that is key. For every 50 business cards handed out, only a precious few will be retained; even fewer will be used to access the author’s buy links or website. But that is also okay. We’re not only building a constituency of readers and “cred”, but we’re also building a bridge to that first invitation to guest on a podcast, blog or cable show.

Seven years or five books

Publishing models in the Indie world present many formulas. My publisher says “seven years or five books” before anything happens. Whatever is served up, writers should not be discouraged. Time is an opportunity not just to write, but to build brand and the followers who support and advance it.

The times they are a changin’ opines one of my favorite clichés. For those willing to embrace the change, there is much to be done. I’ve only scratched the surface in a handful of words. The rest is up to you.

Go bravely, Pioneer.

Shine.

 

Toronto born A.B. Funkhauser is a multi-published genre-bending author who loves to market as much as she loves to hash out new material. She credits Writescape with helping her find her way. She publishes through Solstice Publishing.

Twitter https://twitter.com/iamfunkhauser

Facebook  http://www.facebook.com/heuerlostandfound

 

Reading outside your genre

Reading outside your genre

Gwynn Scheltema

My last post was about defining what genres we write in. Which got me to thinking about what genres we read. And the value of reading outside our usual genres.

Books that move me

I love language and wallowing in words. I love to reread evocative passages, to stop mid story to share a sentence with my husband that I find particularly beautiful or thought-provoking. I like skilled play with fiction forms. Consequently, I often gravitate to literary fiction. Story is important to me, but plot is not. I prefer internal character struggles rather than thrilling events, or fast-paced action. I’m happy to spend time in people’s heads, seeing the world from their perspectives. Recent reads (which I highly recommend) have been: The Orenda by Joseph Boyden. All the Light We Cannot See by Anthony Doerr and Cutting for Stone by Abraham Verghese.

I also like the books I read to be set in exotic places, in other cultures, and affected by political or natural turmoil that I am never likely to be faced with. I like to learn about other customs and occupations. The Bonesetters Daughter by Amy Tan (historical fiction), Three Cups of Tea by Greg Mortenston (non fiction/memoir) and In the Shadow of the Banyan by Vaddey Ratner (historical fiction) fit that bill.

Broadening my reading horizons

But I’ve also had to spend a fair amount of time this year away from home, and have found myself reading books passed on to me or chosen for me by others, books I likely would have walked right by in the bookstore.

I learned a lot in the process. Reading time is limited and with the books I have to read for a variety of reasons, the time left for reading for enjoyment is really limited, but I was reminded that broadening my reading horizons was a necessary—and enjoyable— part of being a well-rounded writer and editor.

What I learned from the books that found me

Of the books that found me, let me tell you about just three of them. Turns out, I enjoyed them all, and reading as a writer, I learned a lot too:

The first one: Spud by John van der Ruit is a YA humorous coming-of-age story set in a fictional private boys school in South Africa in 1990 around the time of the release of Mandela. It’s written in a diary style like The Secret Diary of Adrian Mole.

Apart from bringing back a lot of memories of my own schooling in an Anglican Church School in Zimbabwe, Spud reminded me that humour is a great foil for addressing tough and often brutal circumstances. This book tackled bullying, attempted rape, mental illness as well as the usual problems of growing up, boarding school and relationships. It showed me that sometimes less is more, and that young boys and girls face many of the same problems. Structurally, the diary format allowed much to be said without embellishment or long drawn-out scenes. It allowed room for things to be left unsaid.

The next: The Casual Vacancy by JK Rowling, listed as a contemporary mystery thriller, is a multi-voice fiction about a seemingly ordinary small-town and what really goes on behind closed doors.

Rowling’s dialogue in this book is superb. She handles the dialogue of different ages, cultures and socio-economic characters in way that their speech and dialect is distinct, authentic and utterly believable. I had a hard time getting into the book because there is an enormous cast of characters, and Rowling “head-hops” a great deal, but once in, I was hooked. From this book, I learned that multiple viewpoints can work well as long as each voice has their own story not more or less important than the others.

And the third: Some Girls, Some Hats and Hitler is a memoir by Trudy Kanter, an Austrian Jew who used her connections as a hat designer to escape events in World War II and find safety for herself and her husband Walter. Like Spud, this book handled grave situations with humour. What really struck me though, was how Trudy spent a lot of time talking about hats and fashion and parties and décor and other things that at first seemed frivolous and inappropriate for the dire war situation and terrible and frightening circumstances she was facing. But then I realized that that was Trudy’s coping mechanism. It got me thinking about the different ways different people use to handle a given situation. Just because I might handle a situation one way, my characters (and readers) might do something completely different.

Other reasons to read out of your usual genre

Stephen King famously said, “If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.”

Yes, you should read extensively in the genre you write to become familiar with it on all levels, but reading on a regular basis outside your genre, outside your comfort zone, makes you a better well-rounded writer. It clears the cobwebs away in your creative brain. Gets you out of a rut. New perspectives, new craft approaches and new possibilities. Same-old-same-old in your reading leads to same-old-same-old in your writing.

Who knows, you may discover a new genre that really speaks to you. Perhaps that coming-of-age story you’ve been struggling with as an historical romance might be better reworked as a dystopian YA. But you have to read some dystopian YA to find out.

And not just different genres, but different writing forms: short stories, poetry, plays…  Each form can teach you different writing skills that will help with your novel. Plays are excellent for studying dialogue, poetry can remind you about image and metaphor and the economy and power of words.

So take the plunge, be adventurous, make a pact with yourself to include a new genre or new form when you pick up your next book. You’ll be glad you did.

DID YOU KNOW

Ruth and Gwynn are off to the Niagara Region this month to deliver a workshop that explores writing in different styles and genres, called What’s in Your Writing Closet. If your group is interested in this or any of our workshops, explore our on demand workshop options.

 

 

What Genre do You Write?

What Genre do You Write?

Gwynn Scheltema

Seems like a simple question, but increasingly these days it can be confusing. Genres not only have subgenres, but subgenres have sub-subgenres: Steampunk is a sub genre of science fiction (or science fantasy) but steampunk itself has sub genres like steamgoth, gaslight romance, clockpunk and dieselpunk.

Then of course, you have the age cross-overs and cross-genres like paranormal romance, crime fantasy, or action comedy.

The mind boggles.

Why does knowing your genre matter?

Initially, it doesn’t matter. When you begin your first draft, story is key and the story will land in the genre it fits best. But once that draft is done, knowing your genre is important. You’ll need to know so you can fine tune your manuscript and pitch it to the right agent or publisher.

It’s a marketing issue. How many places will your book fit? Knowing your genre shows a better understanding of the market, which can only help your submission. If you don’t know where your book fits, you’re saying you don’t know your target audience.

We all like to think that our book is unique, but the reality is, if we can correctly categorize it, readers can access it and agents and publishers will know immediately whether it potentially fits their market.

Genre and editing

And because knowing genre is a marketing issue, it becomes an editing issue, so you can mould your submission to fit publishing needs and reader expectations.

Let’s take the crime/mystery genre as an example and the typical “dead body”. In a cosy mystery, your readers will expect to spend a few chapters meeting the inhabitants of a cosy community and getting to know the protagonist and her friends before the “dead body” is discovered. The actual killing will be off stage. In a police procedural mystery, the “dead body” is there by the end of chapter one. Readers may even witness the murder. It will be important to follow real police investigative and forensic procedures.

Some publishers have well-defined expectations that can help tremendously at this editing stage. Harlequin, the world’s largest publisher of romance, provides clear, detailed guidelines on their website for each of their genre imprints, from the word count to the level of sexual content.

So what is my genre?

Genre definitions are constantly changing and evolving, but you have to start somewhere.

1. Prepare a book jacket blurb

Once the first draft is done, prepare a book jacket blurb (the paragraphs on the back cover that entice readers to buy because they answer the question “What is this book about?”.)  Writing the jacket blurb helps to distill the thrust of the story: the conflict, the stakes and the character arc.

It also helps define what genre it is, because it focuses on the main thread of the story.

2. Define the main genre

With your book jacket blurb in hand, you have your main dominant story thread. Use that main thread to define the main genre. For instance, if your book involves a mystery and a romance, is the dominant story thread a classic “who done it” with a bit of romance thrown in for character growth? (mystery) Or is it really about a relationship blossoming between two people who happen to be solving a mystery together? (romance)

Here’s a list of some of the main genres to get you started:

  • Action/Adventure — epic journeys, lots of conflict/pursuit, high stakes, some violence.
  • Crime/Mystery — stories that involve solving a crime, usually a murder.
  • Fantasy —magic, other worlds, myths and mythological/mystical figures.
  • Historical — fictional characters and events in an historical setting
  • Horror— stories that invoke dread or fear.
  • Thriller/Suspense — harm/danger about to befall a person or group and the attempts to evade the harm/danger, high tension.
  • Romance —love/intimacy/relationships.
  • Sci-fi —impact of technology, aliens, science-related alternative worlds, often futuristic
  • Women’s fiction — stories about women experiencing emotional growth

Once you have your main genre, you can explore subgenres. This link on the definition and characteristics of the main genres is worth looking into.

3. Define your reader

Nail down the age group your book is aimed at: children, young adult, new adult or adult. If your manuscript appeals to more than one group, you have an age cross-over. (Think Harry Potter (children/adult) or Hunger Games (YA/adult).)

Imagine your ideal reader. If you were that reader looking for your book, where would you look? Again, focus on the main narrative thread. Is your ideal reader looking for a romance with a bit of mystery thrown in, or are they problem solvers who like mysteries and might like some relationship stuff thrown in?

Ask your beta readers where they would expect to find your book. Ask your critique group. Tell other writers your blurb and then ask them, “What section of a bookstore would you look in to find my book?”

4. Visit a book store

Go to a bricks & mortar bookstore or hop on the Net. Identify half a dozen books similar to yours and find where they are shelved. Go to Goodreads and check the Listopia recommendations for your main genre, like “Best Science Fiction.” That will lead you to the sub-genres like “Best Steampunk Books.” Read the blurbs on the back covers. Does your book jacket blurb follow a similar pitch?

One way to do this is to have two windows open, one on Amazon and the other on Goodreads. Read the blurb on Goodreads and then search the book on Amazon to see its classification.

I always like the section below the “purchase” button with the phrase “People who bought this also bought….” It’s a great way to find other novels that are categorized the same way. Could your book fit here?

Still not sure?

You’re fine as long as you know your main genre and reader age. Agents will be able to spot a crossover even if you haven’t mentioned it. If your query letter has a good hook and good comparables, the sub-genre will be apparent to them.

However, the time you spend on defining your genre will help you make a better connection between your story and your reader. And your well-crafted blurb will be ready for those moments when someone (maybe an agent or publisher) asks “So what are you writing?”

DID YOU KNOW?

Vicki Delany, our guest at this year’s fall retreat, Turning Leaves  2017, writes in several subgenres of the crime/mystery genre. As  Eva Gates she writes the cosy Lighthouse series, and as Vicki Delany she writes a Police Procedural series featuring Constable Molly Smith.