Category Archives: publishing

Submission Protocol

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Nancy J. Cohen

Last week, I sent a submission via snail mail. “What’s that?” you ask. It’s almost a forgotten art. I hadn’t sent out a physical manuscript in so long that I’d forgotten the specifics. I think it’s been at least five years, likely longer, since I last had to send anything from the post office. This submission went to a niche market and was another of my father’s travel journals.

So what was involved? After reading the online submission guidelines, I reviewed my manuscript. Oops, I’d forgotten all about headers and footers with the book title, author name, and page number. Having formatted for ebook requirements, I added those back in.

writing

Since this book is nonfiction, I had to include a Table of Contents. No problem. I know how to do this in Word. Oh, wait. I forgot to write a Foreword like I did with my father’s other journal, Thumbs Up, that I’d indie published. So I added the TOC. Then I deleted some of the book buy hyperlinks in the back. I shouldn’t include those for this type of submission.

A query letter topped it all off. I polished mine once more before adding it to the pile of papers. It’s also been ages since I’d had to write one of these things. It’s never easy, is it?

Now what? I printed out the whole work, since it is short and about equivalent to a normal book proposal in page count. Next came the SASE. How do you do this again? If you want the manuscript back, you have to put actual postage stamps on a suitably sized manila envelope. This means you have to weigh the envelope for return postage with the manuscript inside, affix the stamps, remove the pages and stuff them into the outer envelope along with the folded SASE. A complicated business, isn’t it? Or you can just include a stamped and self-addressed #10 business envelope for the form rejection letter you’re sure to get.

envelopes

And then comes the great sigh of relief when you send your baby off at the post office. This generates a more visceral response than sending a book into cyberspace. Somehow the physical manuscript seems more a part of you.

Weeks pass and then months. You watch the mail for the return envelope. Once you see it, gloom sets in. You’ve been rejected. And you start the process all over again.

At least that’s how it used to be done in the old days. Do you remember those times? Do you miss them?

The Ten Commandments of Writing Failure

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new_cokeMr. Donald Keough died this past week. He was 88 and was for a time the number two man at Coca-Cola. This was during an era called the “soda wars.” Keough’s job was to beat back the challenge of Pepsi, which was winning the younger set while Coke was out there trying to teach the world to sing in perfect harmony.

Keough was also the mastermind of one of the worst product blunders in history.

The original formula Coke (at least the one that came after they took the cocaine out of it) was, and is, the best tasting cola ever. It was Fred Astaire to Pepsi’s journeyman hoofer. It was Spencer Tracy to Pepsi’s high school senior starring in the school production of Our Town.

But for some unknown reason––probably due to overpaid consultants––Keough decided to change the formula, and “New Coke” was born. With great fanfare they rolled it out. And the country responded with a loud, collective YECCH!

So passionate was the push back that only 10 weeks later they brought the old formula back, calling it “Classic Coke.”

timenewcoke-copyAnd sales boomed. The controversy had become national news. The publicity turned out to be priceless.

Some cynics suggested the whole thing had been planned.  If so, it was brilliant. But when asked Keough said, “We’re not that dumb and not that smart.”

Later on, with a bit of self-deprecatory wisdom, Mr. Keough wrote a book called The Ten Commandments for Business Failure. I thought they might also apply to writers, especially now that self-publishing is a viable business option for the “authorpreneur.” Let’s have a look.

1. Quit Taking Risks

Resting on your laurels. Mailing it in. Doing the same old, same old. Maybe that works for a few traditionally published and bestselling authors. But for the true writer, the one who wants to honor the craft and get better, risk taking is part of the plan. Risk in characterization and plot and style and theme. That, in turn, brings a certain excitement to the writing, and you know what? Readers can sense that you’re excited. That makes your writing more appealing.

2. Be Inflexible

“Flexibility,” writes Keough, “is a continual, deeply thoughtful process of examining situations and when warranted, quickly adapting to changing circumstances.” These days, every writer, no matter who butters their bread (i.e., New York or Seattle) needs to be aware of process, changes in the marketplace and distribution channels, and quality improvements.

3. Isolate Yourself

Success in business means being in touch with both workers and customers. A good manager is one who walks around and knows what’s going on in the building and in the satellite offices.

Writers, who by the very nature of the work spend most of their time alone, need to know how to nurture a fan base, work social media wisely, grow an email list and, if contracted with a traditional house, schmooze a little with the increasingly nervous staff therein.

4. Assume Infallibility

You want to fail at this game? Then put a chip on your shoulder and always blame somebody else. Your critique group is a great place to start. Tell them you’ve forgotten more about writing than they’ll ever know. Reject editors’ notes. Then rail at the marketplace when your books don’t sell. Do anything but admit you have weaknesses that need to be addressed.

5. Play the Game Close to the Foul Line

What Keough means by this is that cheating, even a little, will eventually catch up with you. In recent years we’ve seen instances of plagiarism and sock-puppetry snag writers and impact careers. Trust is built up over time but can be lost in an instant. Just ask Brian Williams.

6. Don’t Take Time to Think

The saying in business is “data drives decisions.” You have to stop doing things that don’t lead to profit and do more of the things that do. Which is why traditional publishing companies drop authors who aren’t selling enough books. If you are a midlist writer and that has happened to you, maybe it is time to think … about going indie.

For the full-time indie writer, data is available so you can see what’s selling and how certain promotional ventures pay off. You can keep on developments via many fine blogs (start with The Passive Voice, a good aggregator of publishing news).

When I was running a small business I took time each week for “thinking, planning, and studying.” I called this my “TPS time,” which must never be confused with the TPS in this clip.

7. Put All Your Faith in Experts and Outside Consultants

Writers, more than ever, need to take responsibility for their own careers, no matter what side of the walls of the Forbidden City they’re on. You cannot simply hand everything over to an agent or publisher. You have to know what questions to ask and what terms to refuse. You have to know how to limit a non-compete clause and define “out of print” in a way that is meaningful and fair.

If you self-publish, the worst thing you can do is give some outfit thousands of dollars to get your book out there, and then thousands more for them to “market” your book. You need to know how to do this yourself. You need a plan, like the one I’ve followed and put into a book, which is on special now for 99¢ (you also have to know how to spot a real bargain, and this is one of them).   

8. Love Your Bureaucracy

In business, the bigger the organization the harder it is to move. Traditional publishing has been living this challenge for the past five years. Why only five? Because when digital publishing took off in 2008-09, the main reaction of the Bigs was to see it as a blip, nothing to worry about. They had their comfy bureaucracies.

Oops. Now we see all the changes that have been happening inside the Forbidden City, from the cutting of editorial staff, to tussles with Amazon, to new direct-to-consumer programs. It’s been a difficult transition period and it’s still going on.

The indie writer, on the other hand, can move quickly, but can also fall in love with systems that aren’t ultimately helpful. For example, if you’re spending 80% of your time on social media and 20% on your writing, you’re actually heading backwards.

9. Send Mixed Messages

In business they say “the main thing is to keep the main thing the main thing.” As a writer, your main thing is to tell great stories. If you also want to be a bad-boy blogger, or a mouthpiece for some political persuasion, just know that readers will have mixed reactions. If that doesn’t bother you, fine. Just be intentional about it.

I consider myself a writer first and a teacher of writing second. What I do on this blog and in social media is consistent with those two things. That doesn’t mean I won’t share the occasional opinion, or even write a book with opinions in it [drop intriguing teaser about upcoming book here]. But I keep most everything consistent with those two roles.

10. Be Afraid of the Future

Oh, this is major. For 150 years the publishing industry has operated one way. It had a settled distribution system and there were plenty of bookstores for their stock. All that has changed in a flash, leaving agents, editors and trad-based writers wondering how this is all going to shake out. To which the answer is: no one knows. It’s like what old Carson the butler says with a sigh in a recent episode of Downton Abbey: “The nature of life is not permanence, but flux.”

So the successful writer keeps writing and doesn’t let anxiety freeze up his flying fingers. Keep writing, keep trying to get better.

Keough finishes his book bonus eleventh commandment:

11. Lose Your Passion for Work, for Life

You’ve got to find ways to keep the joy in your writing life. That doesn’t mean it’ll always be unicorns and rainbows. A lot of the time it’s tar pits and tsetse flies. But an inner core of love for what you do, and hopes for what you can achieve, will keep the fire burning.

When the flame begins to dim, take a couple of days to relax, regroup, rethink. And reread. Take a few of  your favorite novels off the shelf (or off your ereader) and look at a few chapters. Get caught up again in the romance of great storytelling. Soon enough you’ll be itching to get back to the keyboard.

So here’s today’s command: write your best scene ever. When you’re done, pour yourself a Coke … the real thing. Once in a blue moon the calories won’t hurt you!

14 Questions People Ask Writers

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Nancy J. Cohen

As a writer, you might encounter the following questions during the course of your career. Preparing answers ahead of time will prevent you from becoming tongue-tied when hit with one of these verbal arrows. If you feel left out, don’t worry. Once you get published, these people will jump out of the woodwork.

1. At Thanksgiving dinner, your cousin comes up to you, leans forward and speaks in a conspiratorial tone. “I have this great idea for a story. Would you be interested in working with me on it?” Before he launches into a lengthy and convoluted plotline, give this response: “I have more ideas than I can write, thank you, but I know another author who acts as a ghostwriter. He charges $10,000 per book. Shall I put him in touch with you?”

thanksgiving

2. “I have a friend who’s written a book, and she needs someone to edit it. She’s desperate for help. Can I give her your phone number?” Let this person know that your services, if available, are not free. You would require a fee, a contract, and a waiver of liability. Or suggest she gain feedback by joining a critique group or entering a writing contest with score sheets. Another alternative is for her to hire a professional freelance editor, but you still have to make clear it’s a long road ahead. See Question Number 8.

3. You are in the doctor’s office, and he asks your line of work. “Really?” the doctor says after you reply that you’re a writer. “What do you write?”
“I write mystery novels.”
“Are they, you know, published?”
“Yes, I’ve written over twenty books. You can buy them online.”
“That’s impressive. I’ve been thinking about writing a book. How do you get published?”
“You join a professional writing organization, attend meetings and workshops, go to writing conferences, and learn the business aspects of the career along with the craft. I’d love to talk more about it. How about if we exchange an hour of my time for an hour of yours?”

4. “How are your books doing?” is another question you might get from friends and family. Here’s your answer: “They’re doing great, thank you. Have you bought a copy yet?”
Another writer once told me she’d like to say her books had failed, she had entered bankruptcy proceedings, and did anyone want to help her out with some cash?

5. “Where do you get your ideas?” is a common question at book talks. Well, I pull them out of thin air, don’t you? You’d think this one would be a no-brainer, but it’s a question that genuinely baffles people. Ideas are all around. It’s having time to write these stories that’s difficult.

MountDora

6. “Are you making money at it?” I’d really like to reply, “No, I’m starving, and I need a loan.” Many people think published authors are rich and famous. “I guess you earn a good living, right?” is another variation. Some folks will come right out and say, “So how much do you get for each book?” That’s like asking your doctor, “So how much do you make on each patient?” I have a standard response: “I write because I love to tell stories. My advice to new writers: Don’t quit your day job.”

7. “I want to write a book, but I don’t have time to learn the ropes. Can I pay you to write it for me?” See answer to Number One. Add a bit on the publishing biz and how writers are expected to spend time promoting their novel. Even if someone else writes the book for them and it sells, are they willing to put the time into marketing?

8. “Can you recommend a book doctor?” My answer: “If you’re serious about becoming a writer, you’ll learn how to edit your own work. All careers require practice and training, and writing books is no different. The only magic bullet is persistence. But you can hire a freelance editor to help you in the right direction. This still won’t guarantee a sale. Plus, publishers expect more books than one work. You’ll need to start on book number two right away, and be prepared to do your own marketing.”

9. “Can I find your book in the library?” Librarians order books, so we want patrons to request them. But this question could be a good opportunity to launch into an explanation about the sources of distribution and the different formats for books today. You could counter with, “Do you like to read your books in print or on ebook?” And even if the person gets your book at the library, encourage him to write an online customer review.

10. “Where can I find an agent?” Hello, anyone hear of the Guide to Literary Agents? The AAR site online? Attending professional conferences? Entering writing contests? Let this person know about local writers organizations, classes, and seminars. They need to do their homework. And no, I am not going to introduce them to my agent.

SFAugustBlogs

11. “Is your book on the bestseller list?” This one is easy to answer: “Not yet, but if you buy a copy and tell all your friends about it, that will help me get there.”

12. “Have you been on any talk shows?” The line is blurred here between the concept of an Author and a Celebrity. Becoming a published author may take years of learning, rejections, submissions, and rewrites. Celebrity equates to stardom. Serious writers work at the craft because they love to write. They know it is not an easy road to follow, and they’re willing to put in the effort, suffer the indignities, and keep going regardless of whether fame or fortune come their way.Your answer: Repeat the one from Number 11.

13. “I’ve never heard of you. Are your books in the bookstore?” Again, this is a good opportunity to mention the various platforms for distribution.

14. “Any chance of getting your book made into a movie?” Realistic answer: “Unfortunately, it’s not up to the author. The publisher may [or may not, depending on your circumstances] own the film rights. An agent might be approached by a studio or interested party who pays a fee to option the book. But even then, that might go nowhere. So the chances are slim for most authors.”

Many of your answers will be individual based on your preferences. Consider every encounter an opportunity to educate the public about the publishing industry and what they, as readers, can do to help authors.

What we write comes from the heart. It’s our personal expression, not ideas we pluck from someone else’s consciousness or can teach in a quick lesson. Each person’s journey is his own. We get where we are through hard work, grit, a thick skin, and persistence.Yes, we can offer tips and point wannabe writers in the right direction, but they have to be prepared to do the work. And they have to love telling stories.

So how would you answer some of these questions above?

Top Three Tips for Getting Published

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Today we welcome our guest, friend and TKZ emeritus, Michelle Gagnon filling in for Jordan Dane.

—————————

By Michelle Gagnon

On the road to publication, I was fortunate to receive many tips and pointers along the way. Today I wanted to offer the three pieces of advice that had the biggest impact.

high res Michelle_Gagnon color –Perseverance

Getting published was an extremely long and tortuous process for me.

More than a decade ago, I started compiling a series of short stories into a novel. Like many debut novels, it didn’t have much of a story arc, and was largely autobiographical (sounds great, right? J). Convinced that it would be an instant bestseller, I immediately send it off to dozens of literary agents.

Then the rejections started rolling in. I seriously must have set some sort of record; by the end, more than 50 agents had passed on it.

A few wrote lovely letters, encouraging me to try again. But frankly, I was heartbroken. By that point, the book represented years of my life; time I would never get back.

So I stopped writing for a few months. Then by chance, I attended an author event. Lee Child spoke about how it usually took a decade to become an “overnight success story.” And he explained that in his opinion, the authors who succeeded were the ones who didn’t give up.

I’d come close to doing just that. But the next day, I started writing another book. That book became THE TUNNELS; the first literary agent I sent it to offered to represent me (and mind you, this was an agent who had rejected my first novel).

So tip #1: never give up

–Don’t pick up that red pencil until you’ve reached the end

I meet a lot of writers who have written 50, or 100 pages of a book. And that’s precisely when a lot of them give up. Listening to them, I’ve figured out why: when they got to that point, they went back and started editing their work.

Granted, everyone has a different process, but here’s my advice: don’t start editing AT ALL until the bones of the story are in place. I’m currently finishing the rough draft of my 12th novel; and when I say rough, believe me, it’s no exaggeration. The manuscript is riddled with typos, overwrought metaphors, and clunky dialogue. I accept that much of the time, I’m going to despise what’s appearing on the page. But I grit my teeth and keep going, because the rough draft is called that for a reason. It’s all about getting the bones of the story in place. Later, I’ll end up reworking it chapter-by-chapter, scene by scene; I usually make between 15-20 passes on every book I write. So there’s plenty of time to fine tune it later.

The problem with editing as you go is that it’s a much slower process. I usually write 10 pages a day; during the editing process, I’m lucky to get through 3. So when a first time writer finally gets back to page 50, after perfecting those opening chapters, it’s daunting; like looking up at Everest, and realizing that you’ve barely reached base camp. Many, many people give up at that point. Avoid that by not stopping until you reach the end.

–You don’t have to write every day

Stephen King famously claims to write 4 hours a day, and read 4 hours a day. Every time I hear that, all I can think is that he probably never has a day that starts with driving carpool, followed by a PTA meeting, then returning home to discover that the water heater burst and somehow he has to get that fixed and clean all the water up off the floor.

Or maybe he does, I don’t honestly know. But the truth is, we’re not just writers, we’re people too; with families and pets and homes to maintain. We need to go grocery shopping and pay the bills. We need to take care of the people in our lives, and sometimes that doesn’t leave a lot of extra time to work on our manuscripts.

And you know what? That’s okay. Because here’s the thing: even if you only write one page a day, by the end of a year, you’ll have a book. And if you manage to write five pages one day, and nothing for the next four days: same result.

I write when I can, for as long as I can. And there are days—heck, weeks—when I don’t write at all. I don’t bring a laptop on vacation; I don’t take it with me for family visits. It’s not always easy to get back into the groove of a story after a long absence, but it’s manageable. And preferable to not writing at all. So don’t buy into the myth that a “real” writer spends every spare minute slaving away at their keyboard, because by and large, that’s not the case.

I hope these three tips are helpful; I honestly wished that I’d known them when I was starting out. So persevere, plow through your rough draft, and know that skipping a few days doesn’t make you any less of a writer.

We all take different paths to publication; the important thing is that we all end up at the same place.

Michelle Gagnon

www.michellegagnon.com

Michelle Gagnon is the international bestselling author of thrillers for teens and Dont Let Go_jkt_des6.inddadults. Described as “The Girl with the Dragon Tattoo meets The Bourne Identity,” her YA PERSEF0NE trilogy was nominated for a Thriller Award by the International Thriller Writer’s Association, and was selected as books of the year by Entertainment Weekly Magazine, Kirkus, Voya, and the Young Adult Library Services Association. The final installment, DON’T LET GO, was just released. She splits her time between San Francisco and Los Angeles.

Practice, Persistence, Professionalism

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Nancy J. Cohen

Usually when I’m giving advice to aspiring authors, I name the 3 P’s as Practice, Persistence, and Professionalism. In his recent post, James Scott Bell mentioned his 3 P’s for writers: Passion, Precision and Productivity. These are all valid and equally important.

Practice
It helps if you set a daily word count or page quota and a weekly quota, then put yourself on a strict writing schedule. This gives you definitive goals. Keep moving forward. If you get stuck, either you haven’t laid the proper groundwork or you are letting outside distractions snag your attention. Don’t get hung up on self-edits until you finish your first draft. It’s easier to fix what’s on the page once the story is complete. The point here is to write on an ongoing basis. Then follow James’ advice about Precision by learning how to hone your skills. Attend writing conferences. Read Writer’s Digest. Enter contests with feedback. Join a critique group. Go to meetings of your local writing group and sign up for workshops. And keep writing.

editing

Persistence
Persevering at this career despite rejections, bad reviews, poor sales, and other setbacks is critical to success. If you drop out, you have only yourself to blame. Keep at it, and your skills will improve along with positive responses from readers, critique partners, and editors. “Never give up, never surrender.” That holds true for a writer same as for the crew of Galaxy Quest. Have faith in yourself. If you have the drive to write, you can improve your craft and learn marketable skills. The more books you have out there, the more chances you have to gain a following. Keep going despite the odds, and be versatile. At times, you may have to try something new and different. Don’t be afraid to take risks. Whichever route you take, quitting isn’t an option.

Professionalism
Always be polite and gracious, even when you get a bad review or a rejection. It’s hard not to take these personally, but they’re aimed toward your book and not you. You don’t want anyone saying you’re a gossip or you bad-mouthed your publisher or you made condescending remarks toward another author. It’s better to be known as someone who shares her knowledge, is helpful to her peers, and is a consummate professional in her dealings with editors and agents. If you need someone to hold your hand, turn to your critique group and not your publisher or agent. With their busy lives, these people don’t care to take on needy writers. They want career authors who will persistently turn in polished manuscripts, who establish and maintain a platform, who are active online, and who understand the publishing world. Act toward others as you’d wish to be treated. You never know when a writer friend from today might become your editor tomorrow, or an editor might become an agent, or a reviewer who raked your previous books over the coals might give you a rave review. The old adage, “Don’t burn your bridges,” holds true here, too. Be polite, courteous, and helpful at all times.

shaking hands

Follow the P’s along the track of your writing career. If you have to step off for a brief interval, be sure to hop back aboard the train before it gathers speed and steams ahead.

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Amazon, Hachette, Michael Corleone and Me

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@jamesscottbell

Unless you’ve been on the surface of Saturn for the last couple of months, you have no doubt read at least something about the clash between Godzilla and Mothra.

By which I mean, of course, the strained negotiations

between Amazon and Hachette. There is a whole lot out there on the internet about this. Just tickle Google and you’ll find hours of reading pleasure.

On the macro level, this is about nothing less than the future of publishing. If Hachette “wins,” things will look brighter for the entire traditional publishing industry. If Amazon “wins,” traditional publishing will face ever-increasing challenges to its relevance and perhaps even its survival.
So this is a very big deal indeed, which is why both sides are entrenched and why so much acid is being hurled from advocates of either side. For a bit of this, consider James Patterson (Hachette advocate) versus Joe Konrath (Amazon advocate).
Which brings me to  Michael Corleone.
You’ll recall that Michael is the good son, the Army vet who comes back from the war determined not to get involved with his family’s enterprises.
That all changes when his father, Don Vito Corleone, is nearly assassinated. Michael comes to the hospital one night and foils another attempt on his father’s life. Outside the hospital he confronts the dirty police captain, McCluskey, who proceeds to break Michael’s face.
At a meeting of the Don’s inner circle, Sonny Corleone rants and raves. Michael then quietly suggests a plan to take out the traitor, Sollozzo, and the dirty cop. He, Michael, will be the shooter. (This, by the way, is the “mirror moment” for Michael).
Sonny rejects Michael’s suggestion. After all, Michael is just a “nice college boy.” What does he know about such things? He’s mad just because a cop slapped him around? “You’re taking this very personal,” Sonny jokes.
But Michael lays it all out in further detail, convincing everyone to go along with it. Then he looks at his brother and says, “It’s not personal, Sonny. It’s just business.”
And that’s what’s going on with Amazon and Hachette. It’s business. Big business. Really, really big business.
But it’s not personal. This is what businesses do: jockey for the best position in a competitive marketplace. (Of course, if a business runs afoul of anti-trust law in this competition, the Department of Justice is liable to step in).

This time, we assume everyone’s playing by the rules. How does the game look?
Amazon does not owe Hachette a profit and Hachette does not have to do business with Amazon.
If Amazon loses Hachette’s business, it will not have a huge affect on Amazon’s bottom line (one that is fed by other items than books). If Hachette walks away from the world’s biggest book seller, Hachette will suffer a major hit.
On the other hand, Hachette believes that if it accedes to the current offer by Amazon it is accepting a long, downward trendline.
But it’s not personal. Except for authors. Because right now Hachette authors are being squeezed out of the Amazon store, and that means real harm to actual careers. This week Hachette revealed just how much they are being impacted in the Amazon dispute. And several Hachette authors have gone public on said harm, often making Amazon the villain in very Godfather-like terms (“Amazon stabbed me in the back!”).
So when I see frothing and vitriol from authors over this fight, I am not surprised. I’m even sympathetic. Yet I remind myself that such fights are just business as usual, and fuming does not put steak on the table.
I am a Hachette author and I am an indie author.
But I am also a cork riding on top of the roiling sea. No matter what happens around me (most of it out of my control), my job is to keep writing and then find the best place for what I write.
Which is why, as Godzilla and Mothra decimate Tokyo, I sip coffee in Los Angeles writing my next novel.

So how do you view the Amazon/Hachette kerfuffle? Do you see villainy here or simply the free market at work?  

Amazon, Hachette, Michael Corleone and Me

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@jamesscottbell

Unless you’ve been on the surface of Saturn for the last couple of months, you have no doubt read at least something about the clash between Godzilla and Mothra.

By which I mean, of course, the strained negotiations

between Amazon and Hachette. There is a whole lot out there on the internet about this. Just tickle Google and you’ll find hours of reading pleasure.

On the macro level, this is about nothing less than the future of publishing. If Hachette “wins,” things will look brighter for the entire traditional publishing industry. If Amazon “wins,” traditional publishing will face ever-increasing challenges to its relevance and perhaps even its survival.
So this is a very big deal indeed, which is why both sides are entrenched and why so much acid is being hurled from advocates of either side. For a bit of this, consider James Patterson (Hachette advocate) versus Joe Konrath (Amazon advocate).
Which brings me to  Michael Corleone.
You’ll recall that Michael is the good son, the Army vet who comes back from the war determined not to get involved with his family’s enterprises.
That all changes when his father, Don Vito Corleone, is nearly assassinated. Michael comes to the hospital one night and foils another attempt on his father’s life. Outside the hospital he confronts the dirty police captain, McCluskey, who proceeds to break Michael’s face.
At a meeting of the Don’s inner circle, Sonny Corleone rants and raves. Michael then quietly suggests a plan to take out the traitor, Sollozzo, and the dirty cop. He, Michael, will be the shooter. (This, by the way, is the “mirror moment” for Michael).
Sonny rejects Michael’s suggestion. After all, Michael is just a “nice college boy.” What does he know about such things? He’s mad just because a cop slapped him around? “You’re taking this very personal,” Sonny jokes.
But Michael lays it all out in further detail, convincing everyone to go along with it. Then he looks at his brother and says, “It’s not personal, Sonny. It’s just business.”
And that’s what’s going on with Amazon and Hachette. It’s business. Big business. Really, really big business.
But it’s not personal. This is what businesses do: jockey for the best position in a competitive marketplace. (Of course, if a business runs afoul of anti-trust law in this competition, the Department of Justice is liable to step in).

This time, we assume everyone’s playing by the rules. How does the game look?
Amazon does not owe Hachette a profit and Hachette does not have to do business with Amazon.
If Amazon loses Hachette’s business, it will not have a huge affect on Amazon’s bottom line (one that is fed by other items than books). If Hachette walks away from the world’s biggest book seller, Hachette will suffer a major hit.
On the other hand, Hachette believes that if it accedes to the current offer by Amazon it is accepting a long, downward trendline.
But it’s not personal. Except for authors. Because right now Hachette authors are being squeezed out of the Amazon store, and that means real harm to actual careers. This week Hachette revealed just how much they are being impacted in the Amazon dispute. And several Hachette authors have gone public on said harm, often making Amazon the villain in very Godfather-like terms (“Amazon stabbed me in the back!”).
So when I see frothing and vitriol from authors over this fight, I am not surprised. I’m even sympathetic. Yet I remind myself that such fights are just business as usual, and fuming does not put steak on the table.
I am a Hachette author and I am an indie author.
But I am also a cork riding on top of the roiling sea. No matter what happens around me (most of it out of my control), my job is to keep writing and then find the best place for what I write.
Which is why, as Godzilla and Mothra decimate Tokyo, I sip coffee in Los Angeles writing my next novel.

So how do you view the Amazon/Hachette kerfuffle? Do you see villainy here or simply the free market at work?  

Predicting the future

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By Joe Moore
@JoeMoore_writer

In a recent article in THE TELEGRAPH, the founder of the famous Waterstone’s London book store, Tim Waterstone, stated that the “printed word is far from dead” and gypsey-with-crystal-ball (Small)the “so-called e-book revolution will soon go into decline.” He joked that insiders were generally “apocalyptic” about the book industry’s prospects but said he refused to believe the traditional physical book was under threat.

I tend to agree with Mr. Waterstone in as much as most bookstores I visit are packed with books and people buying them. I know it’s a simplistic measure of current trends, but when I start seeing large sections of empty shelves in book stores, I may change my viewpoint.

I disagree with him about e-books. So does Gaby Wood, who also wrote an article on the subject in THE TELEGRAPH. She states that “Booksellers are the group most threatened by the possible death of the printed book, and they have a reason to think wishfully of the digital book’s demise.” She also said that publishers have got to stop thinking of their digital products as “books”, and start imagining more expansive ways of communicating information. Until then, the digital revolution hasn’t even begun.

I think Gaby Wood has it right—this whole electronic publishing wave has just gotten started. The possibilities for industries like publishing, education and entertainment are endless. To say that e-books will soon go into decline is a prediction that may become laughable in the future.

To put this prediction business into perspective, let me share with you some famous visionaries of the past whose predictions carried a great deal of weight when first put forth, but didn’t stand up to the test of time. Enjoy.

"This ‘telephone’ has too many shortcomings to be seriously considered as a
means of communication.  The device is inherently of no value to us."
— Western Union internal memo, 1876

"Computers in the future may weigh no more than 1.5 tons."
— Popular Mechanics, forecasting the relentless march of science, 1949

"I think there is a world market for maybe five computers."
— Thomas Watson, chairman of IBM, 1943

"640K ought to be enough for anybody."
— Bill Gates, 1981

"I have traveled the length and breadth of this country and talked with the
best people, and I can assure you that data processing is a fad that won’t
last out the year."
— The editor in charge of business books for Prentice Hall, 1957

"But what… is it good for?"
— Engineer at the Advanced Computing Systems Division of IBM, 1968, commenting on the microchip

"There is no reason anyone would want a computer in their home."
— Ken Olson, president, chairman and founder of Digital Equipment Corp., 1977

"The wireless music box has no imaginable commercial value. Who would pay
for a message sent to nobody in particular?"
— David Sarnoff’s associates in response to his urgings for investment in the radio in the 1920s

"The concept is interesting and well-formed, but in order to earn better than a ‘C,’ the idea must be feasible."
— A Yale University management professor in response to Fred Smith’s paper proposing reliable overnight delivery service. Smith went on to found Federal Express Corp.

"Who the hell wants to hear actors talk?"
— H.M. Warner, Warner Brothers, 1927

"I’m just glad it’ll be Clark Gable who’s falling on his face and not Gary Cooper."
— Gary Cooper on his decision not to take the leading role in "Gone With The Wind"

"We don’t like their sound, and guitar music is on the way out."
— Decca Recording Co. rejecting the Beatles, 1962

"Heavier-than-air flying machines are impossible."
— Lord Kelvin, president, Royal Society, 1895

"So we went to Atari and said, ‘Hey, we’ve got this amazing thing, even built with some of your parts, and what do you think about funding us?  Or we’ll give it to you.  We just want to do it. Pay our salary, we’ll come
work for you.’  And they said, ‘No.’  So then we went to Hewlett-Packard, and they said, ‘Hey, we don’t need you. You haven’t got through college yet.’"
— Apple Computer Inc. founder Steve Jobs on attempts to get Atari and H-P interested in his and Steve Wozniak’s personal computer

"Professor Goddard does not know the relation between action and reaction and the need to have something better than a vacuum against which to react. He seems to lack the basic knowledge ladled out daily in high schools."
— 1921 New York Times editorial about Robert Goddard’s revolutionary rocket work. NASA’s Goddard Space Flight Center is named after Professor Gaddard.

"Drill for oil?  You mean drill into the ground to try and find oil?  You’re crazy."
— Drillers who Edwin L. Drake tried to enlist to his project to drill for oil in 1859. Drake was the first man credited to drill for oil in the United States

"Airplanes are interesting toys but of no military value."
— Marechal Ferdinand Foch, Professor of Strategy, Ecole Superieure de Guerre

"Louis Pasteur’s theory of germs is ridiculous fiction."
— Pierre Pachet, Professor of Physiology at Toulouse, 1872

"Everything that can be invented has been invented."
— Charles H. Duell, Commissioner, U.S. Office of Patents, 1899

How about you? Any predictions on the fate of the printed book and the electronic book revolution?

Book Production

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Nancy J. Cohen

What happens after you sell a book to a publishing house? Despite what you may think if you’re a new author, your work is far from finished. In case you haven’t had experience yet with this stage in the writing process or if you are an interested reader, let me describe it for you.

First you’ll hear back from the editor with line edits. Usually we get these as Track Changes in Microsoft Word. The editor will write comments in the margins relevant to the story and will delete/add sentences in the body of the work. You may or may not have a deadline for returning revisions, with your corrections also done in Track Changes.

editing

Assuming your editor accepts this version, next you’ll receive the copy edits. If you’re unsure about the difference between line or story edits and copyediting, see my article here: http://bit.ly/18zyJbj. You make corrections again and send them back. Often I’ll find problems like sentences that should be bumped ahead to the next paragraph, missing punctuation or dialogue attributed to the wrong character. These are formatting errors.

copy edit

Next come the page proofs or galleys. This is your last chance to make changes and to proofread your work. Again, you’ll have a deadline, often a week or two, in which to respond.

Sometime along the way, you may be lucky enough to receive an advance peek at the front cover design. Recently I got the one for my next mystery, and I immediately sent back two corrections and some color preferences. I’m lucky my publisher is so accommodating.

You may also get a glimpse at the inside cover flap (for a hardcover) and back cover copy. Once I felt the wording was too revealing about the suspects and requested changes. It’s nice when you have a chance to give your approval.

Naturally, if you are self-publishing, you have to hire people to do all these tasks. But you’ll still have the proofreading and corrections regardless of which route you take.

At the moment, I am working on four books. Three are already written. On Book 1, I’m waiting for page proofs and final cover design. This one already has a scheduled publication date. On Book 2, I am hoping for an offer followed by line edits. These will take me a while since the story is a long one. On Book 3, I’m working with an editor toward self-publishing my first original title.

As for book 4, I’m only at the synopsis and research stage, but I need to start writing it soon to finish by my  editor’s requested date. Add in various trips and holidays within the next few months, and I’ll be lucky to have time to breathe. This requires prioritizing. The books that come in with edits or page proofs from my publishing houses will be first on the list.

So you see, until a book is actually on the virtual (or real) bookshelves, your work isn’t finished. When the book finally is  for sale, then you’ll be jumping on the marketing bandwagon. And that starts a whole new ride.

How many of you have several works in production at the same time?

More Signs of the Times

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By Joe Moore

In a recent article in The Economist, it was reported that in the first five months of this year, sales of consumer e-books in the U.S. surpassed those of adult hardback books. Only a year before, it was 3 to 1 in favor of hardbacks. Amazon now sells more e-books than paper copies. It’s predicted that as more bookstores close, that will just continue to increase.

Another sign of the times: furniture manufacturers like IKEA are introducing book cases that aren’t designed to hold real books.

The publishing industry is running behind newspapers and music in moving into the digital world. But while the music and newspaper industries are in decline, many publishers feel the transition to ones and zeros will have better results. One big reason is that digitization will breathe new life into old titles and out-of-print books. Some genres, such as serialized romance novels, has a very short shelf life. This will no longer be a big factor since e-books never go out of print. Fans can access these books any time after publication thus extending the income potential for the publisher and author.

Despite this glowing advantage, the article also points out a couple of darker concerns. Number one on the list is piracy. Unlike a digitized movie or music album, e-book files are very small. BitTorrent-powered peer-to-peer websites make sharing and downloading books easy. Accessing the latest bestseller for your e-reader takes only seconds. And it’s widespread and growing like weeds. I get a couple of Google Alerts a week notifying me of new websites where my e-books can be downloaded for free.

Pricing is another threat and directly contributes to piracy. The higher the price, the better the chance that someone will go looking for a free download.

Then there’s the demise of the brick and mortar bookstore. As more stores close, the ability of a publisher to market and promote their books disappears. In the case of Hollywood, fully produced movie trailers run on TV and the Internet, and with music, radio stations are the main path to promotion. But as the number of bookstores decreases, so does the ability of publishers to promote their latest books, virtually the only cost efficient marketing outlet they’ve had up until now.

So with the steady growth of e-books, which one of these issues has directly affected the writers out there? Is your backlist being given a rebirth in digital format? Are your books being pirated? Are the bookstores in your town hanging on or vanishing? Has your publisher found other avenues to promote your work?