Sitting at the computer with a blank word document in front of you may be intimidating for a writer. You just finished one manuscript, or you’ve hired out to ghostwrite a story, or whatever the reason is, you need to begin writing a children’s story.
Hmmm. What should it be about? You think and think. You gaze out the window. You draw a blank.
Alexander Steele wrote a short article in the October 2010 issue of the Writer, “Where can you find the seeds of a good story?” It was interesting to read that Herman Melville, author of Moby-Dick, had his own whaling adventures which he used to create a wonderful and everlasting story. Steele advises, “Probably the most fertile place to look for ideas is right inside the backyard of your own life.”
You might be thinking you don’t have close contact with children and your childhood was boring, so you don’t have any experiences do draw on. Or, you may be so busy living your life and raising your children that you don’t have time to stop and see all the amazing story opportunities that are right in your own backyard. Well, even if these scenarios fit, you can take steps to rectify the situation.
Finding Story Ideas if You Don’t Have Close Contact with Children:
1. Turn on the TV. Yes, this is an excellent source for story ideas, as well as watching children’s behavior. While it may be in the confines of a scripted show, the writers of these shows try to keep it as real as possible. Take note of the situations, the attitudes of the actors, the scenes, and everything else. Even children’s cartoons have engaging storylines. It may be just the spark you need.
2. Go to a playground with notebook in hand. Watch the children play and listen to them talk. If you’re a professional writer (ghostwriter), or you’re already published, consider asking your local age appropriate school if you could sit in the lunchroom during lunch periods. A useful way to get a positive answer would be to first ask if you could give an author or writing presentation to the students. The principal would need to be sure you are a legitimate writer. Please note though, there may be legal and safety aspects a school would need to consider.
Note: If you do go to a playground or other area where there are children, be sure to inform parents, guardians, or administration of what you're doing. It'd be a good idea to bring a copy of one of your published books with you, so they feel comfortable that you are indeed a writer. It's a crazy world, always take precautions, and keep the safety of our children at the forefront.
3. Read newly published children’s books, and reread ones you enjoyed as a child then reinvent a story. This is a tip I took advantage of with my own children’s fantasy chapter book. I read an old Chinese tale and reinvented it for a children’s book. I was recently reminded of this ‘story idea source’ by multi-published children’s writer Margot Finke.
Finke advised to study books you like; pay attention to why they work, then “craft an entirely new story.” She explained that, “quirky and fresh” wins publishing contracts today.
Finding Story Ideas if You Do Have Close Contact with Children
1. Study the children you do have contact with, whether your own children, your grandchildren, or other relatives.
Children are an amazing source of inspiration and ideas. They have an innate ability to make you feel: just looking at a picture of children may make you smile; hearing a baby laugh can actually make you laugh.
Watch the children, notice their mannerisms, body language, movements, attitudes and emotions, speech, and their interactions with other children and adults. You’ll not only get story ideas, you’ll also get dialogue and ‘showing’ descriptions.
2. If you have regular contact with children, you really shouldn’t need any other steps, just listen, observe, and take notes. But, if the character’s age of your new story differs from the ages of the children you see, use the steps noted above.
Have you had an idea for a children's story for a while now and just haven't done anything about it. Have some notes or an outline? Maybe it's time to talk with a children's ghostwriter!
Karen Cioffi is an award-winning author, ghostwriter, and author/writer online platform instructor.
Writing, publishing, book marketing, all offered by experienced authors, writers, and marketers
Are You Living the Writer's Life?
Yesterday as I was coaching a client, she said she had trouble connecting her writing life to her "regular" life.
She has so many things coming up in her personal life in the next month or so, that she just wasn't sure how she would continue doing things for her writing life, too.
Yet she didn't want to lose the momentum she'd gained in the past few months for her writing career.
This is a common feeling or situation among writers.
Many tend to see their writing or their writing business as a separate part of their lives.
When they do, they tend to either let their writing take over their personal lives almost completely (and they write, write, write all the time) or they NEVER find time for their writing or their writing business because they're always caught up in personal or family matters.
Either way, they constantly feel guilty and stressed.
So what's a writer to do?
Well...I think the answer is to live the writer's life all the time.
That doesn't mean you have to be writing all day, every day.
It just means you need to be making connections between your personal life and your writing life as often as you can, so you don't feel you have to sacrifice one part of your life for the other.
For example, take the things you enjoy in your personal life and write about them.
I do this all the time, often selling my personal essays, stories, articles, or other items to magazines, newspapers, online publications, and other publishers.
The great thing about doing this is that I can write about almost anything.
As you go about your day today – and every day – think of ways to connect your personal life with your writing life.
In other words, live the writer's life!
It's fun and profitable when you do.
Can't Think of Anything in Your Life Worth Writing About?
Try one of these ideas:
1. Your Most Memorable Birthday
2. The Best Car Trip You Ever Took - or the Worst Car Trip You Ever Took
3. Your Biggest Teenage Crush
4. The Scariest Thing That Has Ever Happened to You
5. The Most Difficult Thing You've Ever Done
6. How You Learned to Drive
7. The Worst Date You Ever Had
8. The Most Difficult Person You Ever Met
9. Staying Fit - Easy and Fun or Next to Impossible
10. Your Favorite Place in the World
Suzanne Lieurance is a freelance writer, the author of over 30 published books, and the Working Writer's Coach.
Let her teach you how to turn writing about your personal experiences into a career and your brand.
Learn more at www.fearlessfreelancewriting.com.
The Freelance Writing Drivers Seat
Are You in the Driver's Seat of Your Freelance Business?
Guest Post By Nick Usborne
Only a few very successful freelancers are truly in the driver's seat of their business. They control every aspect of their business and their work — day by day and year after year.
The majority of freelancers don't work this way. They spend their entire careers in the passenger seat. They are reactive. They allow their clients and other external factors to do the driving.
How about you? Read through these five key differentiators, and then determine whether you are in the driver's seat of your own freelance business, or not.
Differentiator #1 – Drivers have a 5-year plan, at least.
Freelancers who are in the driver's seat know where they are going. They also know what it will take to get them to their destination. They know the roads they will have to take, and the waypoints along the trip.
If you don't know where you are headed — if you don't have a long-term plan — you can hardly claim to be in the driver's seat.
(Unless you're out for a joy ride, with no particular destination in mind. But, if that is the case, you don't really have a business.)
Differentiator #2 – Drivers choose their clients, and their projects.
Top freelancers know which types of clients are best to work with and pay the highest fees. These are the clients they approach, capture, and work with. They don't waste valuable time on multiple, low-value engagements.
These freelancers behave less like typical freelancers, and more like small consulting companies or boutique advertising agencies. They go for the best clients.
You can take the same approach, behaving more like an up-and-coming company than an individual for hire.
Differentiator #3 – Drivers increase their value.
Smart freelancers know there is always more to learn. And, they are never shy to invest in their own education. They spend money to improve their core skills, and to add more skills their clients will find valuable.
The key here is to increase your perceived value in the eyes of prospective clients. The higher your perceived value in the client's eyes, the higher the fees you can charge.
Differentiator #4 – Drivers don't bill for their time, they bill for their value.
Smart freelancers don't have hourly rates. They don't write their estimates based on the time they will spend on an assignment. Instead, they estimate and bill based on the value of the work they produce.
A three-page online article might take you the same time to write as a three-page sales page. But, the sales page is worth ten times as much to the client. So, why charge the same amount for both?
Differentiator #5 – Drivers maximize their income from every job they do.
Ambitious freelancers seek to increase the scope of every project they take on. They don't just listen to what the client asks, but also make recommendations that deliver great value to the client, and more dollars to themselves.
As an example, when asked to rewrite a website home page, the driver might ask something like, "Would you like me to review your second-level pages at the same time? If the home page is changing, it would probably make sense to change some of those second-level pages, too."
In other words, freelancers in the driver's seat are proactive, seeking out new opportunities, and expanding on current projects.
In summary …
Most freelancers are totally passive, grateful for the work their clients give them, and getting by on the fees they are offered.
But, as soon as you claim your rightful place in the driver's seat, everything changes.
You take control and start taking action to get better clients, work smarter, and make more money.
Are you ready to get in the driver's seat?
[Ed. Note: Nick Usborne has been a copywriter for 30 years now, 11 of which he's dedicated solely to online copy. He is also the author of Copywriting 2.0: Your Complete Guide to Writing Web Copy that Converts (formerly Million-Dollar Secrets for Online Copywriting), a step-by-step guide showing copywriters how to apply their skills to writing for the Web, and confidently present themselves to any company, large or small, as an expert who can transform their online presence.]
This article appears courtesy of American Writers & Artists Inc.’s (AWAI) The Golden Thread, a free newsletter that delivers original, no-nonsense advice on the best wealth careers, lifestyle careers and work-at-home careers available. For a complimentary subscription, visit http://www.awaionline.com/signup/.
MORE ON WRITING AND MARKETING
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Think You’re Fast at Typing?
Freelance Writing Work – The Possibilities
Guest Post By Nick Usborne
Only a few very successful freelancers are truly in the driver's seat of their business. They control every aspect of their business and their work — day by day and year after year.
The majority of freelancers don't work this way. They spend their entire careers in the passenger seat. They are reactive. They allow their clients and other external factors to do the driving.
How about you? Read through these five key differentiators, and then determine whether you are in the driver's seat of your own freelance business, or not.
Differentiator #1 – Drivers have a 5-year plan, at least.
Freelancers who are in the driver's seat know where they are going. They also know what it will take to get them to their destination. They know the roads they will have to take, and the waypoints along the trip.
If you don't know where you are headed — if you don't have a long-term plan — you can hardly claim to be in the driver's seat.
(Unless you're out for a joy ride, with no particular destination in mind. But, if that is the case, you don't really have a business.)
Differentiator #2 – Drivers choose their clients, and their projects.
Top freelancers know which types of clients are best to work with and pay the highest fees. These are the clients they approach, capture, and work with. They don't waste valuable time on multiple, low-value engagements.
These freelancers behave less like typical freelancers, and more like small consulting companies or boutique advertising agencies. They go for the best clients.
You can take the same approach, behaving more like an up-and-coming company than an individual for hire.
Differentiator #3 – Drivers increase their value.
Smart freelancers know there is always more to learn. And, they are never shy to invest in their own education. They spend money to improve their core skills, and to add more skills their clients will find valuable.
The key here is to increase your perceived value in the eyes of prospective clients. The higher your perceived value in the client's eyes, the higher the fees you can charge.
Differentiator #4 – Drivers don't bill for their time, they bill for their value.
Smart freelancers don't have hourly rates. They don't write their estimates based on the time they will spend on an assignment. Instead, they estimate and bill based on the value of the work they produce.
A three-page online article might take you the same time to write as a three-page sales page. But, the sales page is worth ten times as much to the client. So, why charge the same amount for both?
Differentiator #5 – Drivers maximize their income from every job they do.
Ambitious freelancers seek to increase the scope of every project they take on. They don't just listen to what the client asks, but also make recommendations that deliver great value to the client, and more dollars to themselves.
As an example, when asked to rewrite a website home page, the driver might ask something like, "Would you like me to review your second-level pages at the same time? If the home page is changing, it would probably make sense to change some of those second-level pages, too."
In other words, freelancers in the driver's seat are proactive, seeking out new opportunities, and expanding on current projects.
In summary …
Most freelancers are totally passive, grateful for the work their clients give them, and getting by on the fees they are offered.
But, as soon as you claim your rightful place in the driver's seat, everything changes.
You take control and start taking action to get better clients, work smarter, and make more money.
Are you ready to get in the driver's seat?
[Ed. Note: Nick Usborne has been a copywriter for 30 years now, 11 of which he's dedicated solely to online copy. He is also the author of Copywriting 2.0: Your Complete Guide to Writing Web Copy that Converts (formerly Million-Dollar Secrets for Online Copywriting), a step-by-step guide showing copywriters how to apply their skills to writing for the Web, and confidently present themselves to any company, large or small, as an expert who can transform their online presence.]
This article appears courtesy of American Writers & Artists Inc.’s (AWAI) The Golden Thread, a free newsletter that delivers original, no-nonsense advice on the best wealth careers, lifestyle careers and work-at-home careers available. For a complimentary subscription, visit http://www.awaionline.com/signup/.
MORE ON WRITING AND MARKETING
6 Tips to Increase Your Blog Traffic
Think You’re Fast at Typing?
Freelance Writing Work – The Possibilities
Blog Review Checklist
Ideally it's good to make changes to your website or blog as they happen. However, bloggers are busy. Inevitably something - or things - fall through the cracks.
Here are ten things to check on your blog around the beginning of the year.
1. Headshot. Did you change your look at all in the past year? Do you have stunning new pic? Has it been a while since you put a new headshot on your website? If you answered yes to any of these, it's time to update your headshot.
2. Bio. Add any new jobs/clients, writing venues, and speaking engagements acquired.
3. Accolades. Incorporate any awards and accomplishments, as well. Also, if you are involved in any sort of philanthropy, include that too.
4. Media. What sort of media coverage did you get last year for your book, product, services, or business? Do an online search to get links and/or embed codes for video clips to your site's Media page.
5. About Your Business Page. Add any new clients, awards, and accomplishments to your business' about page. While you're at it, check your contact page to make sure all that info is up-to-date, as well.
6. Products and Services. Did you release a new book this year? A new product or service? I'm guessing you added them at the time. But, just in case, check your product and services pages. Also, if you are increasing your rates, make that change too. Give current clients a few months notice (or grace period) or grandfather them into your new pricing.
7. Frequently Asked Questions. If you noticed any new frequent client questions, add them to your FAQ page. Don't have a an FAQ? Create one to add to your website.
8. The Look. Do you like how your website looks? Is it ready for a refresh? Review sites you like for inspiration, and determine what sorts of elements (navigation, sections) you want to incorporate into your blog in the new year.
9. Blog Schedule. As with your blog's look, also review your blog schedule. Do you have set posting days? (You should.) Are you keeping up with your schedule? Consistency is key. So, if you find posting twice a week is difficult, go down to once a week. If you have only been posting a few times a month, consider going weekly or twice a week. Determine what will work best with your schedule to set yourself up for success.
10. Copyright. Many blog themes will update the copyright year automatically. If it doesn't, make the change manually. It's one of those little things that shows your blog is current.
Note: After you update many of these items (#1-7), make the corresponding changes to your press kit, too.
Any blog needs to look professional, whether it's a showcase for writing, a consultancy, or a more traditional store or business. Investing a little time each year to review and refresh can make a huge difference.
What do you think? What else should you review and update each year on your blog? Please share your thoughts in the comments.
* * *
She is author of Write On Blogging: 51 Tips to Create, Write & Promote Your Blog and Purple Pencil Adventures: Writing Prompts for Kids of All Ages and host of the Guided Goals Podcast.
Debra is an editor at Social Media Examiner and a speaker/moderator on the subjects of writing, networking, goal-setting, and social media.
By-Pass Marketing and Book Selling
Whether you're an author, writer, or have a home business you should have a book under your belt.
Books are one of the most powerful authority building tools. And, they can be created with little or no money, though services like CreateSpace.
Since bookstores don't have the same draw as they once did, to sell that book you need to think out of the box. You need to think about by-pass marketing.
I first learned of the term, by-pass marketing, through a teleseminar presented by Steve Harrison. The featured speaker was Jack Canfield. He explained that “only one out of seven people in the United States go into book stores to buy a book.” This was back in 2010. Imagine the percentage today.
In fact, today, book stores have jumped on the internet bandwagon, as the majority of their sales come from that source.
By-Pass Marketing
Getting back to by-pass marketing, what does it mean?
By-pass marketing is selling in places you wouldn’t expect to see books for sale.
Some By-pass Venues for Selling Books:
• Bakeries
• Nail salons
• Gas stations
• Beauty salons
• Barbers
• Fitness centers
• Spas
• Cleaners
• Tailors
• Doctor offices
• Chiropractic and Acupuncture offices
• Radiology offices
• Local restaurants
You get the idea. Sell anywhere you can. Think of establishments in your area where you have to wait for services or that get a lot of traffic.
Talk to management or the owner of an establishment and offer a percentage of sales or a set amount per book. This is a win-win situation for you and the business owner.
They have absolutely no investment of money, time, or effort, therefore no risk. Yet, they have the opportunity to make money. This should be a no-brainer on their part. All you need to do is ask.
Remember: Nothing ventured, nothing gained.
Karen Cioffi is an award-winning author, ghostwriter, and author/writer online platform instructor. Get must-know writing and marketing tips at http://thewritingworld.com.
Check out Karen's e-class through WOW! Women on Writing:
Give Your Author/Writer Business a Boost - Get Results
Basic Website Optimization, Blogging Smart, Email Marketing, and Social Media Marketing
----------
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Tropes in Literature #3: Conveniently an Orphan
If you haven't seen my other posts on tropes, a trope is a
common plot device, character type, writing element, etc. I believe that many tropes are so common
because they're popular, fun, and good—except that they've become so overused
that they've lost some of their goodness.
These should be treated carefully and creatively. Other tropes are simply a result of laziness
or convenience. These should often be
avoided.
Whatever your opinion of tropes, they're fun to discuss.
This month's trope: "Conveniently
an Orphan."
(named by TVtropes.org)
Advantages of making
your characters orphans:
-They can conveniently take off on adventures without any
family to tie them down or make them look selfish and irresponsible for doing
so.
-They don't have to constantly be interrupting the adventure
and action in order to go home and visit their family or watch their niece's
ballet recital.
-They don't have a support network already, so they'll need
to depend more on themselves and their friends—perhaps new and unlikely
friends.
-It forces young characters to solve difficult problems that
normally their parents would solve.
-You have fewer characters to write.
-It provides a ready-made tragic backstory. ("My mother
was murdered so now I'm a workaholic homicide detective who can't get close to
people" or "I'm a delightful, sweet-tempered child who, for some
strange reason, nobody has ever loved…until now.")
-It can provide motivation in the vein of, "You killed
my father. Prepare to die."
-The bad guy can't kidnap your character's family members in
order to force him to do his will—which would, let's face it, be the logical
thing for many bad guys to do. But your
character has no family, so…plot problem solved.
-Orphanhood tends to go well with various "Chosen
One" tropes.
-If the character doesn't even know who his parents were,
you have various twist possibilities ("Luke, I am your Father!" or
"Oh, I'm actually not a milkmaid but a princess!").
-Readers LIKE orphan characters, perhaps because we identify
with the loneliness typified best by orphans, perhaps because we like
underdogs, perhaps because it's interesting to think about what we would be
like without the influence of our parents and families. Whatever the reason, orphans in literature
are popular.
Disadvantages of
making your characters orphans:
-If you're not careful, it can easily come off as a convenient
cliché.
-It can come of as lazy.
-It can come off as unrealistic. True orphans who grow up in horrible
Dickens-like orphanages or in the dark side of the foster care system aren't
always the sweet, innocent, well-adjusted people they are in old books. Even true orphans do often have other
family: adoptive parents, biological
uncles, cousins, grandparents, etc, and these would still provide kidnapping
fodder for bad guys. Some of this family
might also be people your character could—and would—phone in a crisis. So be careful not to write as if your
characters grew up in a vacuum, even if both their parents have been dead for
many years.
Where this trope
appears:
The "Conveniently an Orphan" trope is VERY common
in fantasy and science fiction, especially if you count characters who still
have one parent alive: Lord of the Rings, Harry Potter, Star Wars,
The Belgariad, the Discworld novels,
The Black Cauldron, half the fairy tales you can think of (though they may
have one parent), The Wizard of Oz (though
she has adopted parents she loves), The Hero and the Crown (still has a
father), the Hunger Games (still has
a mother).
Many other more mainstream books and classic works of
literature also have orphans or characters with only one live parent. Victor Hugo, Charles Dickens, Jane Austen, Louisa
May Alcott, George Elliot, and various Brontes certainly partook. James Bond is an orphan. It's also common for the detectives in
mysteries (especially TV crime dramas).
You'll see it sometimes in romances and women's lit and other genres.
And, of course, it's essential for sweet orphan stories like
Anne of Green Gables (and
Montgomery's Emily of New Moon), Annie,
The Secret Garden and A Little Princess, Little
Lord Fauntleroy (only one dead parent), Jane
Eyre, A Series of Unfortunate Events, Heidi (though with a loving
grandfather), The Boxcar Children,
Pollyanna, etc. These are all great books, but you'll need a
pretty original slant or some particularly compelling characters if you're
going to do it now.
For my previous trope posts, click below:
Tropes in Literature #1:
Mr.
Exposition and Captain Obvious
Tropes in Literature #2:
This
is My Story
Melinda Brasher is back in the United States
after spending two more years in the Czech Republic among castles and forests
and hiking trails. Her most recent sales
are to Ember and Double
Feature. Visit her online at http://www.melindabrasher.com.
Carolyn Howard-Johnson Tells Truth About Why You Need to Get Reviews for Your Book Yourself
I thought I'd share an excerpt from my newly released How to Get Great Book Reviews Frugally and Ethically with you Writers on the Move subscribers and visitors. It's all part of its launch celebration. Learn more about it athttp://howtodoitfrugally.com.
Why Getting Great Reviews Is Your Job
In spite of a contract or even an advance your publisher may not be a true publisher. True publishing includes the marketing of a book. Think big names like HarperCollins and Knopf. They assign a marketing budget to your book and an actual marketing department complete with actual human-type marketers who are trained in the specialized field of not just marketing, but marketing books. Except for those who write only for pleasure, there is no reason to publish a book that doesn’t get read.
And here’s more: Big publishers are relying on bloggers for their review process as print journals and newspaper book sections shrink or disappear and as they begin to understand that grassroots publicity—reviews or otherwise—can produce a very green crop. Bloggers, you say? Well, that’s a resource pool you can easily plumb yourself
Some publishers—even traditional publishers—may not respect tradition, be uncooperative or goof. One of my writing critique partners was published with a fine press. When she learned they had not sent advance review copies of her literary novel to the most prestigious review journals before their strict sixteen-week deadline, she was naturally upset. They explained it was a snafu that could not be fixed. That was no comfort at all. It did help her to know that because thousands of galleys sent to the important review publications lie fallow in slush piles, the chances of having a book reviewed by a major journal—even one published traditionally let alone getting a glowing review—is remote. Because she had me to nag her, she moved on to alternative marketing and review-getting strategies found in Chapter Six of this book. Using those methods, she was still able to schedule several major bookstore appearances that tend to favor established names and rely on big-journal reviews in their decision-making process. Nevertheless, it’s not the kind of loss any author wants to face.
These days most small publishers have no marketing department—or marketing plan. In fact, many admit that when it comes to marketing, you are on your own. No offense, publishers. I know many of you do a terrific job considering the profit margin in publishing these days. Let’s face it, you can use help, and you don’t need to deal with disappointed (irate?) authors. And, authors! We are ultimately responsible for our own careers. Sometimes when we wait to take responsibility, it is too late in the publishing game.
Some publishers charge the author an additional or separate fee for marketing. Many who offer marketing packages do not offer a review-getting package. If they do, the review their authors get is a paid-for review, which is definitely not the route you want to go. More on that later in this chapter.
Many publishers do not even have lists of people to contact who might help your marketing with endorsements or reviews. Further, many big publishers are relying on bloggers for their review process more and more as print journals and newspaper book sections shrink or disappear and as they begin to understand that grassroots publicity—reviews or otherwise—can produce a very green crop. And bloggers? Well, that’s a resource pool you can easily plumb yourself.
My first publisher supplied review copies only upon written request from individual reviewers. They did not honor requests generated by their authors’ initiatives. This meant that I could not count on them to supply books to reviewers I had successfully queried for a review. Unless the reviewer accepted e-copies (and many reviewers don’t!), I had to order copiesdirectly from the publisher and then reship them to my reviewers. This method is slow, cumbersome, unnecessarily expensive, unprofessional, and discourages authors from trying to get reviews on their own.
Publishers should offer review copies to a list of reviewers—even unestablished grassroots bloggers—who have been responsive to their authors in the past. And they certainly should not charge an author for review copies. Publishers have a profit margin and publicity obtained by their authors (including reviews) affects their bottom line, too. They should send their author a thank you (or a red rose!) along with encouragement to keep up the good work
Publishers should also market their books. That means that even if they are too small or underfunded to have a marketing department, they should have a list of reviewers to query for reviews, a list of influential people to provide blurbs for your cover, access to book cover designers (not just great graphic designers) who know what sells books, and a whole lot more. Ask potential publishers about their marketing process before you sign, but—even if you feel assured after having that conversation—it’s best to assume you may be on your own.
So, the marketing part of your book that includes finding the right reviewers to read and comment on your book will—in most cases—be up to you and well within your skill set after reading this book. And even when you have the luxury of a marketing department behind you, those authors who know how to get reviews on their own can keep a book alive for an infinite amount of time after their publishers relegate their books to a backlist or their contract expires.
Note: If it is too late to apply this information to the process you use in choosing a publisher, tactfully take hold and guide the publisher you have through the review process. There are lots of ways to do that in this book. I love Nike’s advice to “Just do it!” only I add “yourself” to the motto. Many publishers are in your employ. You may be paying them for services. At the very least, when your book sells, it makes money for the publisher. You don’t have to ask for permission (though it never hurts to listen to their reasoning before you make a decision).
------
Carolyn Howard-Johnson brings her experience as a publicist, journalist, marketer, and retailer to the advice she gives in her HowToDoItFrugally series of books for writers and the many classes she taught for nearly a decade as instructor for UCLA Extension’s world-renown Writers’ Program. The books in her HowToDoItFrugally Series of books for writers have won multiple awards. That series includes both the first and second editions of The Frugal Book Promoter and The Frugal Editor won awards from USA Book News, Readers’ Views Literary Award, the marketing award from Next Generation Indie Books and others including the coveted Irwin award. Her next book in the HowToDoItFrugally series for writers will be How To Get Great Book Reviews Frugally and Ethically.
Howard-Johnson is the recipient of the California Legislature’s Woman of the Year in Arts and Entertainment Award, and her community’s Character and Ethics award for her work promoting tolerance with her writing. She was also named to Pasadena Weekly’s list of “Fourteen San Gabriel Valley women who make life happen” and was given her community’s Diamond Award for Achievement in the Arts.
The author loves to travel. She has visited eighty-nine countries and has studied writing at Cambridge University in the United Kingdom; Herzen University in St. Petersburg, Russia; and Charles University, Prague. She admits to carrying a pen and journal wherever she goes. Her Web site is www.howtodoitfrugally.com.
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How to Get Great Book Reviews,
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Why Even Self-Published Books Need A Proposal
By Terry Whalin ( @terrywhalin ) No matter what method you choose in the publishing world, I encourage you to create a book proposal. Whethe...
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Contributed by Margot Conor I started looking for alternative platforms for my creative writing process. Moving all my projects is a dau...
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by Suzanne Lieurance Many new freelance writers are confused or intimated by sidebars. But that’s usually because they just don’t understa...
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Contributed by Karen Cioffi You may be an author or writer who takes the time to comment on other websites. This is an effective online mark...