Category Archives: #writerslife

To Pay or Not To Pay – Book Reviews For Sale

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By Debbie Burke

@burke_writer

 

“Fly-by-Night Book Reviews says, for $100, they’ll give me twenty guaranteed reviews. Should I try that?”

“I paid $500 to Pie-in-the-Sky Reviews. My book didn’t receive a single review.”

“You don’t dare pay for reviews—that violates Amazon’s terms and conditions. You’ll be banished.”

“Kirkus Reviews are the gold standard.”

“Ever since Kirkus started selling reviews, they lost all credibility.”

~~~

That’s a sample of the spirited responses and contradictory opinions on a recent Authors Guild discussion thread about whether or not to pay for book reviews.

I wound up thoroughly confused, pondering the following questions:

How much do reviews really matter?

Are there still “legitimate” book reviews? What defines “legitimate”?

Have reviews merely become another profit opportunity for vendors peddling them?

Do customers really believe Amazon reviews?

Do reviews increase sales?

Author Maggie Lynch

Multi-genre author Maggie Lynch participates frequently in AG discussions. Over years of reading her contributions, I’ve come to trust her knowledge, judgment, and analysis. Her data is carefully researched. She looks at publishing history from the long view and puts so-called new trends in perspective.

During this ongoing, weeks-long debate about book reviews, one day Maggie wrote: “Warning, I’m going on a bit of a rant.”

What followed was her essay that offered a fresh perspective and updated information about reviews that all authors can benefit from.

I asked if I could share her “rant” at TKZ and she kindly agreed.

Here’s what Maggie has to say:

Paid reviews have always been around, long before the advent of the Internet. Who do you think paid for placement in magazines, journals, and newspapers?

When a publisher buys an end cap display in a bookstore and provides potential review quotes for the store to post, isn’t that paid? If your book is featured on the front page of a major genre magazine, it gets attention. The magazine is going to do a review because you paid $2-$5K to be there.

All advertising is, in effect, paid reviews.

The only difference now is that there are more books, more online venues, and more authors willing to pay for ads, reviews, and all kinds of placement.

Once Amazon entered the online market, it became the focus of most authors. Not because it is the only distributor, but because it is the only distributor using sophisticated algorithms that are somewhat transparent. A number of analysts and programmers focus on Amazon algorithms and then share that information via their own book publications.

Whether you love or hate Amazon, it’s a great search engine. They understand data. They understand how to present the most likely options for getting a sale from a customer. IMO there is no other bookseller with programming that sophisticated.

If other major booksellers–Apple, Kobo, Google, the Big 5—had that same search and analysis capability, they would get more customers as well.

For myself, I have many reasons not to like Amazon. Yet, I give them props when they do well. If I want to find a book or learn more about an author, I’ll look it up on Amazon first because I know it will be quick with lots of information–including other books in the same genre, series, similar authors, etc.

I will likely end up buying the book somewhere else to support a local bookstore or another vendor, but I go to Amazon first.

Many people stay on Amazon because of that ease of use. Authors often believe (mistakenly in my opinion) that they only need to be on Amazon.

But…book sales are NOT Amazon’s primary business.

Only 10% of Amazon’s overall revenue is book sales.

Unfortunately, far too many people think they can game the system. I know hundreds of authors who spend more time trying to figure out how to get higher ranking on Amazon than they do writing books. It’s crazy.

Review factories have always been a part of the online book environment. When I first entered indie publishing in 2011, there were entire “review factories” in Asia where one could buy 100 reviews from “sock puppet” accounts. They were pretty obvious back then, poorly written, using similar phrases.

A couple of times, Amazon has cracked down on these practices–usually when it becomes obvious and egregious. But they usually do it through programming changes.

In the process, some books with legitimate reviews get caught in the net. When crackdowns happened in 2014 and 2018, many authors lost hundreds of reviews and waited months to have them reinstated.

[Note from Debbie: I know authors who simply gave up fighting and started from scratch all over again. Sad.]

Whenever Amazon makes a programming change to search out and punish fake reviews, those who make money on reviewing simply find a more sophisticated way not to get caught.

Algorithm watchers believe that instead of looking for and stopping these reviewers, Amazon is proactively changing the algorithm to counteract the sway of review farms.

Now reviews are weighted significantly less in the algorithm than they have been in the past.

Of course, no one knows how much less or what the criteria are, but it is something to consider. Because of that, authors who are focused on reviews simply pay more.

Authors consistently worry/believe that a high number of reviews (particularly on Amazon) means a high number of sales. That is not necessarily the case.

It is more likely that a high number of sales means a high number of reviews, UNLESS reviews have been supplied primarily by non-purchasers.

To evaluate this, look at the Top 100 bestsellers in Amazon. Many have ZERO reviews. Why? Because the book hasn’t been released and is selling on pre-order. What is creating those sales? Many factors that have nothing to do with reviews such as:

  • Advanced audience definition;
  • Pre-press ads, word of mouth, news, reaching out to fans;
  • Building anticipation for the book followed by a launch blitz that delivers on the promise;
  • ARCs to media and other reviewers (NetGalley, Edelweiss).

It may also be that Amazon never shows a lot of reviews for a particular book because the primary sales are on other sites, NOT Amazon. Many print books sell in bookstores, libraries, or direct from the publisher.

Reviews are not the answer to low sales. Do they help? Good ones do, those that provide information and key ideas to appeal to the audience you want. But the number of reviews does not necessarily correlate to sales.

The last good analysis I read about Amazon indicated there were more than 300 data points that are weighted in the sales and ranking algorithms.

THREE HUNDRED!

Where do reviews stand in that weighting? Not at the top. Probably not even the top 10.

The reality is the #1 weight is actual sales.

You have direct control of many other factors that guarantee more sales such as:

  • Create a fan base;
  • Write more books;
  • Identify your audience;
  • Deliver to their expectations with a consistent brand.

Of course, these take work and time. They can’t happen overnight.

But many authors want a fix right now, an easy button to push.

People always want an easy answer as to why their book isn’t selling better. They don’t want to accept the more likely reasons it’s not selling better.

The reality is the majority of the book reading public has fairly narrow interests.

 My fantasy fans rarely cross into SF. My SF fans almost never cross into romance. My Women’s Fiction fans don’t like anything else in fiction. My nonfiction readers rarely read fiction.

That’s just from my list of fans–a small number of 12K people. But the sample size is enough to extrapolate statistically.

Identifying the audience and creating a package that appeals to them on many levels is key. That package includes:

  • Excellent blurb that makes the reader want to learn more;
  • Great cover;
  • Appropriate pricing for the genre;
  • Look Inside/Preview pages that draw the reader in;
  • Advance praise from ARC readers that tells the reader what to expect and why they loved it.

Indie authors particularly get uptight about reviews—they can see the numbers go up and believe they can control that. Then they start paying for reviews because they believe more reviews equals more sales. But that is a false sense of control.

Where do you stop paying? Is 50 enough? How about 100?

I now see books with over 100K ratings. Are you kidding me?

 The get-more-reviews game is one you can’t win because:

  • You likely don’t have the budget for big PR or marketing campaigns;
  • You can’t compete against contacts that big publishing houses have.

Amazon’s own imprints publish roughly 1,000 books a year, making it as large as the Big 5 publishers.

Amazon controls all the data and knows the sales information. They can certainly tweak the metadata as needed to drive sales within their algorithm. Other publishers can do this too, if they know how and employ people to do it. Most don’t, not even the Big 5.

What can the average author do to compete?

First, do not accept Amazon as the arbiter of books or literature.

They are not. Don’t become one of those authors–and some small publishers– who have bought into the Amazon way of book sales–low pricing, multiple promotions, exclusivity.

Small publishers and indie authors have given Amazon all this power yet selling books is less than 10% of Amazon’s revenue. 

Second, you can shout and bring bad practices to the fore.

Point it out and most of all DO NOT PARTICIPATE in the bad practices yourself.

We can’t let our avarice, our immediate desire for an easy-button solution, give us permission to game the system, pay for reviews, tell lies, or buy hundreds of print books to try to make the bestseller list.

If few authors engage then it will become evident that no one can make good money off of these deals. 

Third, expend your energy in engaging with actual readers.

Build your mailing list, blog or use some other social media that you like to keep your readers informed.

Outside of your next book, the biggest asset is YOUR readers—people who have already voted with their dollars and their time to buy and read your book. Once they already read and like your book, they want more—more about you, more about upcoming books.

  • They will tell their friends
  • They will write reviews;
  • They will volunteer to read ARCs in the future;
  • They will post to social media;
  • They will talk to libraries about carrying your book.

Your readers are your biggest asset.

 ~~~

Thank you, Maggie, for sharing your perspective and wisdom with TKZ!

Maggie reaffirmed my belief that time is best spent writing more books.

However, that doesn’t lessen my gratitude to readers who make the extra effort to write reviews!

~~~

Learn more about Maggie Lynch and her 26 books at her author website.

Check out her free video course about Why Books Don’t Sell. It covers the basics of putting together a good package for your book and buy pages with vendors.

On that same POV Author Services site she has many blogs just for writers about both business and technology, as well as mental health and philosophical writing concerns.

~~~

TKZers: What is your experience with reviews? Have you ever paid for reviews? Do you think they helped your sales?

Telepathy and Writing

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Deep down each of us have a strong but underused connection to the world around us.

Consider the time when you sensed someone watching you, even if you couldn’t see them. Or the gut feeling, telling you something significant was about to happen. Or the intuitive, instinctive feeling that gave you the name of the person on the other end of the line before checking the caller ID.

If we learn how to tap into this sixth sense, we begin to notice when someone—dead or alive—is thinking about us, even when we’re physically apart.

Telepathic communication explains why, when you randomly thought of a friend and she texted you the next day. Or that time when you spontaneously called your third cousin, and he said, “Oh em gee, I was just thinking about you!”

Writers are especially attuned to the “little voice” inside us.

Some are more intuitive than others, but we all have an underutilized sixth sense. Once we learn its power and how to use it, new doorways open up, doorways that enhance our writing.

The more we open up to the possibility of telepathy, the more we’ll start to notice the messages from our spirit guides and ancestors, and the synchronicities or coincidences that have always been present in our lives.

The Natural World thrives on telepathic communication.

An animal’s survival depends on it. If you’ve ever wondered how one species warns another about potential threats, telepathy answers this question. And humans — as members of the Natural World — can tap into that same energy.

The notion of telepathic communication first intrigued me as a way to chat with animals, wild and domestic. Because when we watch and listen to animals, they help us reach our full potential. Animals enrich the mind, body, and soul. They’re sentient, intuitive beings who communicate with us in many ways. Body language, vocals, and telepathy, whether we’re cognizant of it or not.

Think about this: Most animals know more about their environment than you or I ever will.

An intuitive exchange with any animal — cats, dogs, guinea pigs, crows — begins the same way. First, with physical body cues. Then with the silent language of love.

So, how can we telepathically communicate with animals?

Step 1: Rest your hands over your heart and practice deep breathing exercises.

Step 2: Once you’re relaxed, pay attention to your heart, to your soul, and feel the gravity of your love for the animal.

Step 3: Express your love for that animal by visualizing a soft beam of light, a tether connecting the two of you.

Step 4: Silently or vocally ask the animal for permission to telepathically communicate with them.

Step 5: If you don’t sense any reluctance, express how you’re open to receiving messages in return. Keep it light in the beginning and progress deeper once you build trust, confidence, and strengthen your bond.

Keep in mind, animals live in the moment. They’re not distracted by the phone, the to-do list, or regret. And so, you must also be in the present moment to connect with them.

The only obstacle is you.

Trust the flow, the energetic pulse of life. Align with, not against, this flow. By blocking out all distractions, the energy exchanges between you and animals will occur effortlessly. You are in the present, anchored by love and grace, and coming from a place of neutrality. You are part of the Natural World, connected across space and time.

The same principals apply to human-to-human telepathic communication. Both parties must be willing participants. Don’t use this life skill for evil (unless you’re targeting fictional characters).

Remember These Three Simple Truths

  1. We are all part of divine consciousness.
  2. Love creates alignment with all creation.
  3. We all have the ability to listen with our heart.

When we refocus on lowering the frequency of emotions — fear, self-doubt, anxiety — we raise our cognition, enhance the vibration of our energy, we align with nature. Animals are drawn to bright inner lights, and therefore will be enthusiastic about communicating with you.

That’s all well and good, Sue, but how does that help our writing?

Glad you asked. 😉

In On Writing, Stephen King provides the perfect example of telepathy and writing.

“Telepathy, of course. It’s amusing when you stop to think about it—for years people have argued about whether or not such a thing exists—and all the time it’s been right there, lying out in the open like Mr. Poe’s The Purloined Letter. All the arts depend on telepathy to some degree, but I believe that writing offers the purest distillation.”

What does the quote mean?

The best way to think about writing is the process of transferring a mental image from your mind to the mind of a reader. As writers, we envision scenes, settings, characters, etc. Our job is to transfer that mental image to the page for the reader to experience later.

Sounds a lot like telepathy, doesn’t it? Because it is!

Hence why writing coaches tell us to envision our ideal reader, carrying that image with us while writing. The trick is learning what images to include and what to leave out. Hint: Less is more.

Want to hear something bizarre?

While writing this post in Word, the document kept disappearing. One second it’d be on my screen, gone the next. And I had three other documents open at the time. The other two stayed on the screen. Coincidence? You tell me.

Releases tomorrow! Preorder on Amazon for $1.49 before my publisher raises the price.

She may be paranoid, but is she right?

A string of gruesome murders rocks the small town of Alexandria, New Hampshire, with all the victims staged to resemble dead angels, and strange red and pink balloons appearing out of nowhere.

All the clues point to the Romeo Killer’s return. Except one: he died eight years ago.

Paranoid and on edge, Sage’s theory makes no sense. Dead serial killers don’t rise from the grave. Yet she swears he’s here, hungering for the only angel to slip through his grasp—Sage.

With only hours left to live, how can Sage convince her Sheriff husband before the sand in her hourglass runs out?

 

 

 

Reading Is a Luxury

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Photo credit: emmanuel ikwuegbu – unsplash.com

By Debbie Burke

@burke_writer

 

In the US, 130 million adults read below sixth grade level.

Shocked?

Me, too.

But, according to the US Department of Education, 54% of people ages 16-74 fall into that category.

Most writers take reading for granted, as automatic and effortless as breathing.

I certainly did…until I couldn’t.

Recently I had cataract surgeries in both eyes, three weeks apart. Those three weeks of limbo slapped me in the face with the realization how much I depended on reading just to get through the day.

Because of myopia, I’ve worn glasses since sixth grade. Over time, my nearsightedness worsened to the point where I couldn’t even see the big E on the eye chart.

True story: without glasses, I once mistook a dark brown house for a UPS truck.

For the past couple of years, increasingly strong prescriptions could no longer fix the problem. Near or far, my world was blurry.

Hence, cataract surgery was the only option.

Ten minutes under the scalpel implanted a new lens that almost instantly corrected vision in the left eye to 20-20.

An absolute miracle!

But my right eye was still 20-800. Objects were clear up to about four inches away, then faded in fog.

My wonderful 20-20 left eye could see hundreds of feet away but not up close.

I was cockeyed. (Some people say that’s nothing new!)

The optician tried popping out the left lens in my glasses but that turned out to be as disorienting as five shots of tequila.

For computer work and reading, I was non-operational.

After surgery, physical restrictions included no bending over, lifting, or strenuous activity.

No vacuuming? No problem!

But that also halted my regular exercises like gardening, Zumba, and air boxing. Thankfully, walking was okay.

That made me realize reading and/or writing normally occupied 12-14 hours of each day. How could I get any work done?

There are free-standing magnifiers for computer screens but $100+ was too much of an investment for three weeks’ of use. Dollar Store readers helped a bit but soon caused eyestrain.

Photo credit: lilartsy – pexels

A pirate patch and magnifying glass worked marginally but awkwardly.

This would have been the perfect opportunity to try audiobooks…except I couldn’t read how to download them.

From across the room, I could clearly see the spines of books on my TBR pile but I couldn’t read the insides.

Driving was allowed but, when I took the car for service, I couldn’t read the repair list and invoice. The bank’s ATM screen was a blur. So were price stickers on supermarket shelves—probably just as well not to see how much they’d gone up since the week before!

The list goes on and on: product labels, instructions, on/off switches for appliances, texts on the phone, cable connections like audio, video, auxiliary.

I couldn’t even read the directions on the various bottles of eyedrops I had to use multiple times each day.

Most every task in life required reading.

How does someone who can’t read or reads at a low level navigate through today’s world?

According to the Barbara Bush Foundation for Family Literacy:

To read a driver’s license manual, you need to have a sixth-grade reading level. To hold a job as a cook: seventh-grade level. Directions on an aspirin bottle: eighth-grade level. Understanding frozen TV dinner instructions or to get a job as a mechanic or supply clerk: ninth-grade level. Newspapers: high school level. Apartment lease: college.

Let’s not even talk about filling out a tax return.

The Foundation’s 2021 report reveals staggering statistics that cause economic, social, and health deficits.

The U.S. could be losing up to $2.2 trillion—or 10% of GDP—in economic growth due to low adult literacy rates.

  • The existing gap in digital literacy skills could cause 76% of Black individuals and 62% of Hispanic individuals to be shut out or under-prepared for 86% of jobs in the U.S. by 2045.
  • Low-literate adults are four times more likely than others to report low levels of health, requiring hospitalization and using emergency services at significantly higher rates.

 

Per the Governors’ Early Literacy Foundation:

Illiteracy and crime are connected. The Department of Justice states, “The link between academic failure and delinquency, violence, and crime is welded to reading failure. Over 70% of inmates in America’s prisons cannot read above a fourth grade level.”

This recent experience made me appreciate that reading is a luxury not everyone has access to. People who can’t read are doomed to a life of struggle and frustration.

Processed By  ImageMagick,

 

Remember Henry Bemis from The Twilight Zone? He found himself in a post-apocalyptic world where he rejoiced in the newfound luxury of unlimited reading…until his glasses broke.

Unlike poor Henry, my inability to read only lasted three weeks and ended with a miracle of new vision.

 

 

My world no longer looks like an Impressionist painting. I can see individual leaves on trees, blades of grass, street signs (oh, that’s where I was supposed to turn).

The gift of improved sight is incredible.

But the gift of being able to read again runs a close second.

 

~~~

Thanks to Kay DiBianca who introduced me to the worthy nonprofit Barbara Bush Foundation for Family Literacy.

~~~

TKZers: How would your life change if you couldn’t read? What is your most important reason for reading?

~~~

Cover image by Brian Hoffman

 

 

Receive a FREE short story, The Job Interview, when you join my reader’s group at debbieburkewriter.com

What Writers Can Learn from I Was Prey

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Please excuse my absence over the last 7-10 days while I was on deadline. I’m usually a better multitasker. *sigh*

Every once in a while, a TV show comes along that’s a goldmine for writers. I Was Prey is that type of series.

If you’re unfamiliar with the show, each episode recounts the hauntingly true stories of people who found themselves in a life-or-death struggle with a dangerous animal. Whoever puts these shows together knows story structure, because each episode grips you, holds interest, and keeps you watching. It’s like a car crash. You cannot look away.

The benefit for writers comes through observation.

As each victim recounts their harrowing tale, watch their facial expressions, their involuntary tics and body movements. Listen to the inflection of their voice. It’s all real, raw emotion. These victims carry lifelong emotional and physical scars.

The grizzly bear and hippo attacks are my favorite. Not because I enjoy watching people fall prey to these animals, but because of their reaction to the animal’s power and strength. And we can use that to our advantage. The shock when they first encounter the animal, and what that looks like as they relive the moment on screen. More importantly, how they felt at the time.

Stories thrive on emotion.

It’s how we breathe life into characters.

By studying real people in dangerous situations, we can then transfer that emotion to our characters. It’s especially helpful for the young writer who has never experienced trauma, thus has an empty well of emotional upheaval to dip into.

Emotions add to the credibility of the story.

In a much-cited experiment, researchers showed several versions of the story of a father whose son is dying of cancer. The goal was to encourage listeners to donate money to charity. The versions of the story that emphasized statistics yielded the least donations. Versions focusing on the father’s feelings for his son’s condition gained the most.

Surprising? Not really. When we connect on an emotional level, we react.

Emotionally infused messages are more memorable.

Researchers have also shown how compelling stories boost hormones, oxytocin and cortisol. These hormones help us forge powerful connections. Stories that unlock strong emotions linger in a reader’s mind.

Evocative storytelling overcomes objections.

If we focus on “Just the facts, Jack,” the reader can experience analysis paralysis. Hence why there’s a fine art to weaving in research. Emotion allows readers to mark choices as good, bad, or indifferent, which in turn allows them to move beyond objections.

Emotional narratives inspire change.

For centuries we’ve told stories around the campfire. We’re wired to respond to traditional narrative structures. And so, emotion encourages empathy (say that five times fast). That emotional connection grounds the reader in the scene. Because they’ve been transported into the story, rather than merely reading words on a page, we’ve changed their mindset. Whether it’s temporary or permanent depends on the story.

A vivid, emotional story packs an extra punch and feels more real, more important. If you look back through times at moments when somebody’s beliefs changed, it’s often because of a story that hit home.

Emotion encourages word of mouth.

Emotion begets emotion. Readers who are moved by a story are more likely to recommend the book to friends, family, coworkers. They may even sing the author’s praises online.

Visceral emotion commands attention and creates a shared experience between character and reader.

Don’t tell the reader how the character feels. Show them through body cues, dialogue—external and internal—and unspoken truths. By doing so, the reader bonds with the characters.

Have you ever seen I Was Prey? Any suggestions for other documentary-style shows that writers can benefit from?

Happy Summer Solstice!

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Photo credit: Salix alba at en.wikipedia, CC BY-SA 3.0

By Debbie Burke

@burke_writer

Welcome to summer and the longest day of the year…at least in the Northern Hemisphere.

To readers in the Southern Hemisphere, sorry, this is your shortest day but, from now on, the days will grow longer, honest.

To folks who live in the far north, summer solstice is especially appreciated after long, dark winter days. Today, at my Montana home, latitude 48 north, the sun rises at 5:37 a.m. and sets at 9:41 p.m. But dawn can be seen coming for almost an hour before then and twilight lingers until around 11 p.m.

At latitude 64.8 north, Fairbanks, Alaska enjoys almost 24 hours of sun today. Here’s time-lapse video:

 

For TKZ’s crime dogs who are also star-gazers, five planets—Mercury, Venus, Mars, Jupiter, and Saturn—are currently lined up across the sky like train cars with the moon as the caboose. According to Space.com, the last time this type of alignment occurred was March 5, 1864.

The Farmer’s Almanac offers these tidbits from history and how different cultures celebrated summer solstice.

  • In Ancient Egypt, the summer solstice coincided with the rising of the Nile River. As it was crucial to predict this annual flooding, the Egyptian New Year began at this important solstice.

  • In centuries past, the Irish would cut hazel branches on solstice eve to be used in searching for gold, water, and precious jewels.

  • Many European cultures hold what are known as Midsummer celebrations at the solstice, which include gatherings at Stonehenge and the lighting of bonfires on hilltops.

Here’s a fun quiz about the summer solstice, also from the Farmers Almanac. Feel free to share your score in the comment section.

In the early 1960s, archeoastronomer Gerald Hawkins was the first to theorize that Stonehenge (built somewhere between 2950 – 1600 B.C.) was a giant astronomical calendar that tracked movements of the sun and moon. According to Wikipedia:

He fed the positions of standing stones and other features at Stonehenge into an early IBM 7090 computer and used the mainframe to model sun and moon movements. In his 1965 book, Stonehenge Decoded, Hawkins argued that the various features at the monument were arranged in such a way as to predict a variety of astronomical events.

From the center, the observer can see the summer solstice sun rising and setting in exact alignment between the monolithic stones.

Photo credit: By simonwakefield – https://www.flickr.com/photos/simonwakefield/3149066878/ (cache of original license), CC BY 2.0,

While rabbit-holing, I ran across a site called Spiritual Gangster, which sounded appropriate for crime writers and readers. Here’s an excerpt about setting summer intentions:

The Summer solstice is an energetically charged day and an important one to set intentions. Direct your intentions on the themes of this phase, which are patience, nourishment and trust. Create powerful “I am” statements that reflect these qualities and the development of them. Include “reception” statements that open you up to receiving the energies available on this day. Examples are; “I am open to receiving nourishment and growth” or “I am able to receive the energy needed to develop trust in my life.” Set your intentions and continually remind yourself of them all summer long. 

The longest day of the year is a good opportunity to review New Year’s resolutions you may have made in January and assess how well you’ve achieved them (or not!).

Remember that solemn vow to write XXX words or pages each day?

Or submit to XX agents?

Or organize your writing space?

Or finish that #%&$ manuscript languishing on your hard drive?

Or send your First Page to TKZ for critique? Here, I’ll make it easy for you with this link. We’re waiting—don’t make us come and get it! 

Who cares if you didn’t check off resolutions in the first half of 2022? You still have six months to nail goals you want to accomplish.

June 21 is the longest day of the year. Grab your hazel branch, set a bonfire, and dance like a Druid. Make the most of that additional daylight and score some extra words.

Happy Summer!

~~~

TKZers: Do you take stock of your writing/reading goals at the year’s midpoint? How are you doing?

Do you celebrate the first day of summer? Favorite activities and traditions?

 

Are You Anxious or Eager?

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Photo credit Pisit Heng, Unsplash

By Debbie Burke

@burke_writer

We wordsmiths know that language changes over time. Words often veer far away from their original definition and usage.

Take, for instance, the adjective ANXIOUS. Anxious is an old word, originally coined in about 1548 that (according to Google’s dictionary) means:

1. experiencing worry, unease, or nervousness, typically about an imminent event or something with an uncertain outcome.“she was extremely anxious about her exams”

2. wanting something very much, typically with a feeling of unease.”the company was anxious to avoid any trouble”

However, consider the following examples heard in current everyday speech:

“She’s anxious to reunite with her childhood sweetheart.”

“He’s anxious for his first book to be released.”

“She’s anxious to wear her new jeans.”

The implication is the subjects can’t wait for these occurrences to happen because they are generally considered happy, exciting events.

That made me wonder if EAGER is a more accurate word to describe the above feelings.

So I checked with Merriam-Webster. That source adds a third definition that reflects the increasingly common usage in today’s speech:

  1. ardently or earnestly wishing.

Merriam-Webster goes into a deeper discussion:

Choose the Right Synonym for anxious

EAGER, AVID, KEEN, ANXIOUS, ATHIRST mean moved by a strong and urgent desire or interest. EAGER implies ardor and enthusiasm and sometimes impatience at delay or restraint.  eager to get started  AVID adds to EAGER the implication of insatiability or greed.  avid for new thrills  KEEN suggests intensity of interest and quick responsiveness in action.  keen on the latest fashions  ANXIOUS emphasizes fear of frustration or failure or disappointment.  anxious not to make a social blunder  ATHIRST stresses yearning but not necessarily readiness for action.  athirst for adventure

Can anxious Be Used as a Synonym for eager?

The fact that individual words can have multiple senses that are closely related in meaning is something which many people find objectionable about the English language. Anxious is an example of such a word, as people will use it to mean “worried,” “eager (but with an undertone of worry),” and simply “eager.”

Here are a few more examples of words whose meaning has changed over time:

AWESOME – originally, it meant inspiring awe. Now the word is overused as a superlative compliment for any and everything great: “That sushi is just awesome, dude.”

Which leads to…

Public Domain

DUDE – Merriam-Webster’s definition:

1 : a man extremely fastidious in dress and manner : dandy. 2 : a city dweller unfamiliar with life on the range (see range entry 1 sense 3b) especially : an Easterner in the West.

Yet in the past several decades, how often have you heard dude used in that context? Probably not too frequently since surfer and “bro” culture co-opted the term. Now it’s mostly a casual greeting: “Whassup, dude?” Or dude is a noun that refers to a guy.

Which leads to…

GUY – This word has an interesting, violent history. Guy originally referred to Guy Fawkes, a British terrorist. In 1605, Guy and several co-conspirators tried to blow up Parliament with gunpowder. He was sentenced to be hanged and drawn and quartered but, on the way to the noose, he either fell or jumped, breaking his neck. November 5 is still celebrated as a holiday with fireworks and bonfires. Guy is an eponym, meaning a word that is believed to be named for a person or event.

Originally it referred to males, e.g. “He’s a nice guy.”

Nowadays, it’s used collectively—“You guys are an awesome audience!”—inclusive of men and women, adults and kids.

Which leads to…

Photo credit: Pinoydiscus CC BY-SA 3.0

KID – My third-grade teacher Miss Parker didn’t approve when we referred to ourselves as kids. She always corrected us, saying, “A kid is a baby goat.” Ultimately, she lost that battle because Merriam-Webster now lists the first definition as: “a young person, especially a child;” followed by the second definition of “a young goat.”

Which leads to…

Muhammad Ali CC BY-SA 3.0

 

OLD GOAT – an insulting way to refer to an old man, goat has evolved into an acronym especially popular in sports: G.O.A.T. = Greatest Of All Time.

 

 

 

TKZ word geeks, let’s open the discussion.

As a writer, do you feel anxious or eager when words evolve and change meaning over time?

Please share examples you’ve noticed lately. Do they annoy you? Or do you appreciate the fresh variation?

~~~

 When the law prevents justice…When DNA isn’t proof…When a lie is the truth.

Please check out Debbie Burke’s new release, Until Proven Guilty. Available on Kindle, Nook, Apple Books, and online booksellers at this link.

The Writer’s Voice

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By Elaine Viets

We talk a lot about the writer’s voice, and how we develop our own.
But some readers want more than the writer’s voice on the page. They want to hear the writer’s actual voice.
They want to know what this author sounds like. Is their voice high and reedy, low and sexy, gruff, educated, or sweetened with a soft Southern accent?
When writers read their own work for audio, we readers hear their voice in our head every time we pick up their book. It changes the book: now the writers are speaking directly to us.
Their writing becomes more personal, more intimate.
We expect entertainers to be good at reading their own books for audio, and most are. Listen to Tina Fey read her book, “Bossypants.” Trevor Noah is terrific reading his “Born a Crime.”
And hearing Maya Angelou read her poem, “Still I Rise” brought tears to my eyes.

But what about ordinary writers? Should we read our own work?
Some years ago, I read my first four Francesca Vierling mysteries for audio. It was hard work. I was exhausted when I finished each day. I read my mysteries in the studio for six to eight hours a day.
Want to know what it’s like to read an audio book?
Okay, read this blog out loud, down to this line – without a single stumble, pause or mispronunciation. Go ahead. I’ll wait for you.
Start reading now. In three. Two. One.

Difficult, isn’t it? Every time you make a mistake, the producer has to stop the recording, back up, and have you start again.
I decided to read my first four mysteries because I’d had speech lessons in New York. To get ready for the studio, I went into training. I printed out the books in manuscript form and read from them several hours a day, to be familiar with the words. I outlined each character’s part with a special colored pencil, so I could change my voice at the right time.
I wrote notes at the top of the pages to remind myself. Mostly, SLOW DOWN!!!!
Finally, I thought I was ready. I flew to Santa Fe, New Mexico to begin reading in the studio. Santa Fe is a much drier climate than I’m used to, and my throat quickly turned scratchy. Now I sympathized with singers who babied their throats.
I had a patient producer and the reading went fairly smoothly. I followed the advice of some pros and drank warm water with lemon. No sugar, no tea, just warm water and lemon. I swilled gallons of the stuff. After a while, my mouth puckered when I even saw a lemon.

When I finished, I needed to put my tongue in a sling. My sore, scratchy throat took weeks to recover.
I was lucky to get kind reviews for my work, but when it came time to read my other mysteries, I left that to the pros. Tanya Eby and Amanda Stribling read many of my books now. Why did I stop reading my work?
Because I was good, but not quite good enough. And I wanted the best for my work.
So what about you? Have you read your own work for audio? Do you have a favorite audio reader?

Listen to my audio books free during your 30 trial with audible.com. Listen to my Dead-End Job mysteries, Josie Marcus, Mystery Shopper mysteries, and the Angela Richman Death Investigator mysteries. https://www.audible.com/author/Elaine-Viets/B001HD2WX2

How to Earn Short-Term Rewards During the Long Haul

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Author Debbie Burke and Buffy

No, this picture is not Photoshopped clickbait. It’s me and a real bear. Details below. 

 

By Debbie Burke

@burke_writer

 

In your real-world job, would you be willing to work for two or more years before receiving a paycheck? Probably not.

Yet, as authors writing books, that’s exactly what we do.

Writing a novel is often likened to a marathon. It takes months, if not years, to complete a book. Traditional publishing tacks on another one or two years before you see your book for sale. Indie-pubbing speeds up the process but it still doesn’t happen overnight.

Thirty-plus years ago, I was stuck in the endless loop of writing novels, submitting them, and being rejected. Lather, rinse, repeat.

Because fiction was my passion, I didn’t really consider writing nonfiction until a couple of journalist friends offered their help and encouragement. I dipped my toe into article writing and made the happy discovery that nonfiction was much easier to publish than fiction (not to mention it paid better).

At last, I had the satisfaction of seeing my words in print.

One magazine gig led to another. As my file of published clips expanded, editors began to call me. Article assignments took a little sting out of the rejections that my novels continued to collect.

Many more years would pass before I reached the ultimate reward of a published novel but, along the way, articles were small consolation prizes. They encouraged me to keep moving toward my goal.

My journalist friends taught me another neat trick—take the same article but re-slant it for different markets. Do research once and get paid several times.

For instance, a story about how to run a successful garage sale could be pitched to community newsletters, antique/collectible magazines, and senior-interest markets as tips for retirees to earn extra money.

An article about gold mines might fit in a travel magazine, a state historic journal, and a niche publication for hobbyist prospectors.

Often, during research, I ran across interesting people and wrote personality profiles about them.

One in particular led to a number of offshoot articles plus a memorable experience with the stunning bear in the above photo.

At the Flathead River Writers Conference in the 1990s, I met Ben Mikaelsen, a kid-lit author who had his own bear. Buffy had been a research cub that couldn’t survive in the wild. To save him from being euthanized, Ben adopted him. Life with Buffy inspired Ben’s award-winning novel Rescue Josh McGuire and several other books.

Side note: Ben does not advocate keeping wild animals as pets. He went to great effort and expense to build a suitable home for Buffy that was approved by state and federal authorities.

The unique friendship between an author and a bear was a story idea that begged to be written. Ben graciously invited me to his home near Bozeman, Montana, for an interview and to meet Buffy

Yes, that really is me feeding Wheat Thins to the 700-pound black bear. Fun fact: He didn’t use his teeth or tongue to take the treat but rather his prehensile lower lip, similar to an elephant’s trunk. I watched in awe as his bottom lip gently folded around the cracker in my hand.

The amazing encounter resulted in multiple articles that were published in Writer’s Digest (including a reprint in their annual children’s writing guide), several Montana general interest magazines, and international nature and wildlife magazines.

This experience was definitely not a consolation prize but rather a once-in-a-lifetime opportunity for which I’ll always be grateful.

Back to the marathon. While I wondered if I’d EVER have a novel accepted, articles were like short sprints where the rewards of publication and payment were only months away rather than years. Those helped sustain me through decades of discouragement.

In addition, writing nonfiction helped hone my craft.

Here are a few things I learned:

Write concisely and clearly. If an editor said 500 words, that’s what has to be turned in.

Choose what’s necessary and what should be cut. No matter how fascinating the research might be, it can’t all be crammed into the allotted space.

Always meet deadlines.  

Most important, I learned about storytelling and pacing to keep the reader engaged.

The 21st century changed the market for short nonfiction from print to online. As the internet expanded, magazines went out of business.

Nowadays my articles are mostly digital content. Fewer trees give their lives. I no longer have to buy sample print copies to study magazines’ style and focus. Finding outlets to write for is as easy as asking Mr. Google.

The downside is online markets often pay little to nothing because there is so much free content on the net. To make significant money, one needs to find particular niches that pay for specialized content.

However, there’s a different kind of reward: Publication is fast. As soon as authors hit submit, their writing is available to an audience of millions. 

On top of that comes the gratification of immediate feedback. I really enjoy reader comments on my posts for TKZ.

Steve Hooley recently asked me if research for an article had even sparked an idea for a novel. Not yet. But the research I do for articles often finds its way into my plots.

The second book in my series, Stalking Midas, concerns elder fraud. I attended seminars presented by local and state watchdogs to learn about that growing, insidious crime. Unfortunately, research turned personal when my adopted mother was victimized by a caregiver. Her experience became a True Crime Thursday post.

Several newspapers published my elder fraud article. It also formed the basis for a talk that I give to senior groups. Additionally, I revamped parts of Stalking Midas to incorporate what I’d learned.

I started writing articles to counteract discouragement during the long marathon of trying to get novels published. Articles became short sprints refreshed by water breaks of publication. They helped keep me going toward the ultimate finish line.

In 2017, my thriller Instrument of the Devil was published.

Seven novels later, I’m writing more articles than ever because…

A funny thing happened during that decades-long marathon. I discovered I like writing nonfiction as much as fiction.

Especially when I get to meet a bear.

~~~

TKZers: Do you write fiction, nonfiction, or both? How important is getting published to you? What sustains you during the long haul of writing a book?

~~~

 

 

DNA is supposed to prove guilt or innocence. Instead, it reveals deception and betrayal in my new thriller, UNTIL PROVEN GUILTY. Please check it out at these online booksellers.

A Disturbing New Trend

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There’s a disturbing new trend on social media that could bankrupt authors. I first learned about it on Facebook, but it’s since traveled throughout all social media.

Some readers feel it’s fine to buy a Kindle book on Amazon, read it, enjoy it, and then return it for a full refund. After all, who’s it hurting? Authors, that’s who.

Did you know if authors rack up too many returns Amazon can send them a bill? I didn’t realize this, either, but it’s happening as we speak. I’ve heard from more than a few Indie authors who, along with royalty payments they received a bill for returns. And these are professional authors who sell 200-500 books per week.

Before you dismiss this post because you think it doesn’t apply to you, this trend affects all authors regardless of how they choose to publish.

A massive influx of returns might result in a publishing house dropping the author. At the very least, they may be hesitant to buy the author’s next book. Why? Because too many returns give the impression that readers are not enjoying the series, when in fact these habitual returners do it to save money. For some reason they’re under the misguided impression that all authors are rolling in dough. They also don’t take into consideration how hard we work. Most authors I know work six days per week, sometimes seven if they fall behind.

Is it fair for these habitual returners to prevent us from earning a livable wage?

Look. I’m not sayin’ if the book sucks due to a lack of editing or poor formatting you shouldn’t be able to return it. That’s different. But to read the entire book and then return it is just plain wrong. Would you go to a theatre, watch the movie, and then ask for your money back because you didn’t like the ending? Of course not. So, why do habitual returners think the same rules don’t apply to ebooks?

Amazon makes it easy to return digital products within a seven-day period. Here’s the kicker. If these habitual returners continue to game the system, Amazon can stop them from buying more Kindle books for at least a year. Nowhere could I find the parameters of what’s considered abuse, but there’s at least one habitual returner who publicly apologized for her behavior after getting banned from Amazon.

Thankfully, I haven’t seen an increase in returns, but this new trend worries me. Some authors are even habitual returners — and they’re bragging about it on social media! I will never understand what goes through some people’s mind. Be reckless all you want with your own life, but don’t let your crazy loose on the rest of us.

I have never returned a Kindle book in my life, and I’ve slogged through more than my share of crappy reads. Now, I download the sample first. If I like it, I buy it. If I don’t, no harm done. That’s why Amazon has the sample feature.

The return feature is available for readers who one-click by mistake.

SUBSCRIPTION ALTERNATIVES THAT DON’T HARM AUTHORS

Join Kindle Unlimited

For $9.99 a month, you can read an unlimited number of Kindle books. You will only have access to books within the KU library, but for voracious readers it’s a good option. Amazon offers a free 30-day trial period or a two-month deal for $4.99.

FREE ALTERNATIVES THAT DON’T HARM AUTHORS

Prime Reading

Yes, you need a Prime account, but most households have one to save shipping costs. If you don’t, you will need a subscription ($99/yr.). Otherwise, a Prime account automatically gives you access to FREE Prime Reading books. I’ve found some amazing new-to-me authors this way. If I love the author’s writing, I usually buy all their books, but that’s me. You could stay within the Prime Reading lending library and never buy another ebook.

Local Libraries Offer FREE Ebooks Through Libby.

Download Libby from the App Store or Google Play. The welcome page will ask if you have a library card.

If you do, click YES.
Then click ADD LIBRARY.
Enter your zip code.
Select your local library from the list.
Enter your library card details.

If you don’t have a library card, click NOT YET.
Libby will walk you through requesting a library card through the app.

Once you’re inside Libby, you can browse through the books or search for a specific title, author, or genre. Libby adds new titles all the time.

If you read on a Kindle device, click READ ON KINDLE and Libby will open an Amazon account log-in window.
Enter Amazon username and password, and the ebook will automatically download to your Kindle.

Never worry about late fees. At the end of the loan period (time varies among local libraries), the book vanishes from your device.

Libby also provides audiobooks, as Jim mentioned in this post. If you live outside the U.S., you can access Libby through Overdrive.

Become a Reviewer on NetGalley

Use NetGalley for free to request, read, and recommend books before they are published — and provide essential reviews and feedback to publishers and other readers.

Contact Your Favorite Author

Tell the author how much you love their work and ask to join their ARC team. If you keep up your end of the bargain by posting honest reviews, the authors will continue to send you FREE ARCs. Plus, you’ll be the first to read new releases!

With all these free options, why return Kindle books? Unless you one-click by mistake or the book is riddled with typos or formatting errors, please, please, please stop returning ebooks to save money. Think about your favorite authors. Do we deserve to feed our family? Do we deserve a roof over our head? Do we deserve heat in the winter and cool air in the summer? Then let us earn a living. We’re not asking for donations. We’re simply asking habitual returners to stop stealing our work.

If you want to help prevent this trend from continuing, sign the Change.org petition.

TKZers, have you heard of this disturbing new trend? Have you been affected by it yet?

Tips To Write a Character You Hate

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Have you ever written from the perspective of a character you hated?

It’s a unique experience for me. Which is sayin’ something, considering I write psychological thrillers involving serial killers. With all my other serial killer characters, I could find at least one endearing quality, and I clung to that while I wrote from their perspective. I may not have agreed with their motivations, but at least I understood how they justifIed their actions.

Let me back up a minute.

I mentioned in one of my Reader Friday questions that I’ve been teaching a virtual course about serial killers as part of the Advanced Education Program for a school in Connecticut. I’m also racing toward the finish line in Book 5 of my Grafton County Series. I drew a firm line between the two projects until an Ah-ha! moment slapped me across the face. I was working on the lesson plan for Week 3 of my course when a deliciously evil idea popped into my head.

Don’t you love when that happens?

Even though the finish line was within reach, I couldn’t ignore the new idea. It’s a game-changer, and the perfect way to round out the series as a whole. It also required me to go back to page one, drop a few new clues, and include POV chapters from the killer.

Writing from a serial killer’s point of view isn’t anything new for me. In my Mayhem Series, readers expect a cat-and-mouse chase with alternating POVs between protagonist and antagonist. The Grafton County Series is different. I don’t normally include scenes/chapters from the killer’s POV.

To write a character in deep POV we need to know everything about them or slipping into their skin would be challenging to say the least. And here’s where my two projects—fiction and nonfiction—blurred together.

Out of all the serial killers we’ve discussed during class the most frightening of all was a nasty individual named Israel Keyes, whose MO happened to fit my plot. As part of my research for class, I sat through endless video confessions from Keyes, and learned a lot about who he was as a person and what motivated him to kill. Subconsciously, I must have had in mind all along and only now realized it. After all, if I fear him, so will my readers.

To write from his point of view, I had to view the world as he did. Think as he did. Feel—or more accurately, not feel—as he did. This was problematic for one huge reason—I despised everything about him. He’s evil to the core and didn’t possess even one redeeming quality.

Now, you could say, but Sue, this is fiction. You can add anything you want to his characterization. True, but then he wouldn’t be as frightening.

See what I’m sayin’?

The part of him that most frightened me was his complete lack of empathy toward anyone or anything, his arrogance, his inflated self-worth, and the violent blitz attack of his home invasions. If I softened his psychopathic personality, I’d lose the qualities that made me choose him in the first place. A softer villain wouldn’t pack the same punch. And let’s face it, after going head-to-head with numerous other serial killers in Books 1-4, my protagonist is no shrinking violent. She needs a frightening opponent.

Basing an antagonist on a real serial killer is hardly a new concept.

In the 1960s, Thomas Harris was visiting the Topo Chico Penitentiary in Nuevo Leon, Mexico while working on a story for Argosy, an American pulp fiction magazine that ran for 96 years, between 1882 and 1978. The 23-year-old Harris was interviewing prisoner Dykes Askew Simmons, who was committed to the prison’s psych. ward and sentenced to death for a triple murder. Simmons bribed a guard to help him escape. The guard took the money but had second thoughts during the prison break and shot Simmons.

As Simmons lay on the ground, bleeding out, another inmate, Dr. Alfredo Balli Trevino, treated the gunshot wound, saving his life.

This led Harris to develop an interest in Trevino. He interviewed the doctor and learned Trevino was convicted for the murder of his boyfriend, Jesus Castillo Rangel, in a “crime of passion” after an argument.

Apparently, Rangel had attacked Trevino with a screwdriver. The enraged doctor administered anesthetic to Rangel’s body and dragged him to a bathtub, where he slit his throat, draining all the blood out of his body. Trevino then chopped up Rangel’s body into small pieces and packed them into a box, drove to a relative’s farm, and asked if he could bury medical waste there. One of the farm workers called the police.

Thomas Harris said the doctor “had a certain elegance about him,” even as he discussed dismembering his boyfriend in a bathtub.

I found no such qualities in Israel Keyes.

How do we write from a hateful, despicable point of view?

Much like an actor who plays a villain, we must become one with the character. We have to identify with him. Win his arguments, even if those twisted views rub against our values. I despise this antagonist as much as I do Israel Keyes. Doesn’t matter. Our job is to breathe life into him, bring him to life on the page. The only time we can express our own personal feelings is through the protagonist if, and only if, the protagonist shares our views.

I find it easier to skip over a hateful character’s chapters while drafting the storyline. Then I take a day or two, get into character, and bang out his chapters. The next day when I reread those chapters I’m stunned by his actions and comments. That’s a good thing. If it shocks me (the writer), imagine readers’ reactions.

In my case, though the real killer can’t hurt anyone else—he committed suicide like a coward—it’s left me with one burning question: How many other Israel Keyes walk among us? I’d tell you, but I don’t want to shatter your reality. 🙂

Have you ever written a hateful, angry POV character? Did you handle it in a similar way?