Writing Excuses 19.02: Q&A Episode with WX Core Cast

Jan. 18th, 2024 04:32 pm
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Writing Excuses 19.02: Q&A Episode with WX Core Cast
 
 
Q&A:
Q: How do you keep motivation going for long-form projects?
A: What motivates you, generally? What got you engaged in the first place? Carrots, rewards, for the next piece. Short term rewards. Novelty, interesting, challenging, and urgent. Promise someone else? 
Q: How do you find comp titles similar to yours?
A: Think about a Venn diagram. That overlap identifies your audience. Step back, and look at it from a high level. Get someone else to suggest comp titles.
Q: Does a bad self-pubbed book mean you are doomed in traditional publishing?
A: Not really.
Q: How do you keep track in a long project of what you are writing and the hooks you are setting up?
A: Reread. Notes to yourself. Reverse engineer your outline.
Q: What personality systems do you use when building characters?
A: Any tool that works for you is a good tool. Ability, role, relationship, status, and objective. What motivates the characters, how do they react in situations, and what is their emotional core.
Q: What surprises are there in doing your own audiobook narrations?
A: Don't project, and don't get flustered by mistakes, just keep going.
 
[With apologies for possible mistakes on names of the questioners...]
 
[Season 19, Episode 02]
 
[Mary Robinette] This is Writing Excuses.
[DongWon] Q&A, on a boat.
[Erin] 15 minutes long.
[Dan] Because you're in a hurry.
[Howard] And we're not that smart.
[Mary Robinette] I'm Mary Robinette.
[DongWon] I'm DongWon.
[Erin] I'm Erin.
[Dan] I'm Dan.
[Howard] And I'm Howard.
 
[Mary Robinette] This is the Writing Excuses workshop and retreat. We are coming to you from the past, 2023, with a roomful of writers.
[Applause]
[Mary Robinette] They have some questions for us. You all get to join in learning about their questions.
 
[Chris] All right. So, I'm Chris, and I was wondering what... How do you keep motivation going for long-form projects, and don't say money?
[Laughter]
[Money!]
[Dan] I'm glad you don't want us to say money, because this is not an industry in which you make money.
[DongWon] It's shocking how ineffective that is at not motivating you in the middle of the project. I think that can be very exciting in the beginning, but you get paid on signature, and then you get paid on delivery. So, when you're in the middle, you're at the farthest distance between the times that you get paid, at that point. So it doesn't feel very exciting, it doesn't keep you in the moment. So, I think you're right to think that that's not going to be the answer.
[Erin] One of the things that I like to think about is that this isn't the first longform thing you've ever done in your life, probably. So, a lot of it is figuring out what motivates you generally. Like, if you're running a race or any time you were in school and you had to do a project, what kept you going? Then, figure out what's the version of that that works for writing. Because what motivates you is going to be very different than what motivates me or any of us.
[Howard] Couple of brain hacks. The first is something about this project got you motivated to start it. Find a way to go back and look at that and remind yourself of why you got engaged in this. What is it about this project that brings you joy? The 2nd is sometimes with the daily grind, you need to place a carrot out in front of you, some sort of reward for writing a thousand words or for finishing this broken scene or whatever it may be that slowing you down.
[Mary Robinette] So, I have ADHD, and I have this problem all the time. What I've found is that giving myself small-term immediate rewards can often help, because then I'm thinking about, oh, if I just write 100 words… Like, there's a program called Written Kitten. You write 100 words and it gives you a picture of a kitten. I will write ridiculous quantities of words for kitten pictures.
[Chuckles]
[Mary Robinette] So, what you're looking for… The kind of 4 things that will drive an ADHD brain, and I think this works for other people, is novel, interesting, challenging, and urgent. So, if you can figure out what's new about what you're trying to do today? What is interesting about it? If you can set yourself a challenge, like, can I write 100 more words than I did yesterday? Urgency. If you set a timer, like, how many words can I write during this time? Sometimes it's just I'm going to go to a different coffee shop, that that's the thing that will do it. But it's tricking your brain into finding the new joy every day.
[Erin] I will say, for me, that… For me, I actually will work better sometimes for other people than I will for myself. So there's this thing that I participated in a few times called the grind. Where they put you in a group of people you don't know, and every day, for the entire month, you're expected to send them a piece of writing. They don't really read it, you don't really read theirs, but the feeling that these people are waiting at their email for me to have written something will help me get words on a page. That's because I know myself, and I know that other people… Like, feeling that I'm going to let somebody down is sometimes more motivating. Which is… We'll talk about that in therapy.
[Laughter]
[Erin] But it's more motivating then thinking that I'm going to let myself down.
[DongWon] This is one of the reasons that when I talk about trying to figure out what your next project is or what you want to be writing, that I say separate out market concerns from what you're interested in. Because if you're writing something purely cynically for the market, then when you run out of motivation, it's really hard to get yourself back into it. Because if you don't have that kernel of love for the story that you're doing, if you don't have that enthusiasm, then that well is much shallower, I think. So, being able to pull from a deeper sense of investment in the project I think is really important.
 
[Mary Robinette] All right. Let's go on to our next question.
[Grovewit McCain] Hi, my name is [garbled Grovewit McCain]. I'm wondering… This is a question about querying. When searching for comp titles, are there any tricks to finding books that would be similar to yours?
[DongWon] This is one of my favorite topics. The question is about comp titles, and are there any tricks to sort of finding ideal ones. Unfortunately, there's no real tricks to it. This is always a challenge. It's one of the hardest parts of my job, and it's one of the hardest parts about figuring out how to query. Right? So my general piece of advice that I give about comp titles is to think about it like a Venn diagram. Because what you're trying to do is target the audience for your book. Comp titles are how you kind of zero in on that. So you're looking for 2 things that overlap and define a clear area. That is going to be the audience for your book. That's what you're trying to communicate to the agents that you're writing that letter to. So, really step back, look at it from a very high level. You're… People always make the mistake of digging too deep into, oh, this plot detail kind of works, or this aspect of it kind of works, but not that aspect. You're going for top level vibes. Right? You're going for the overall feeling of what the project is, or, when you say it, what's the first thought somebody has about that book, about that movie, whatever it is. So, keep it high level, look for things that are in your category, look for things that have the energy you're trying to bring, and look for the kind of people who like what you're doing. Who are you writing for? Work backwards from that to what do they like that's similar to your book.
[Howard] It's also useful to find someone who knows how to do comp titles, and is willing to give you a little help. I'm working on a serial prose thing in the Schlock Mercenary universe, and my first comp title was, yeah, it's like Doc Savage meets Douglas Adams. My friend Brandon said, "No, it's like Murder She Wrote meets Guardians of the Galaxy." I realized, oh, yeah, yours is way better than mine was.
[Dan] I love how DongWon's advice was here's how to do this, and Howard's advice was cheat.
[Laughter]
[Dan] Listen, use any tool you've got. If you can cheat, cheat. Please.
 
[Unknown] Let's say, purely theoretically, you published a book as a 17-year-old, self published a book as a 17-year-old, and it's real bad. How doomed are you in trad pub in the future?
[DongWon] If you have published a book previously that you feel like might be holding you back, if it's self pubbed, you are 0% doomed. On the trad side, basically, if you've self pubbed a thing, we care if it has sold a ton of copies. Otherwise, it doesn't really impact what anybody's looking at. When you're going to publish your first book with a traditional publisher, we'll just say it's your debut, or your trad… Your traditional debut or big 5 debut or whatever it is. Right? It doesn't impact it much. Nobody's going to be digging into that history and being like, "Wow. This person published a book as a teenager. We are blacklisting them from the industry." That just doesn't happen. Right? So, we're more interested in success when it's coming from an indie market versus stuff that didn't perform as much as you would have liked it to.
 
[Patrick] Hi! My name is Patrick. I handed a manuscript off to a friend. She read it, and she said, "I really like this part. I'm excited to see where it's going." I don't remember writing that part.
[Chuckles]
[Patrick] How do you keep track in a long project of where you were going and the hooks you were setting up?
[Dan] Practice.
[Mary Robinette] You just reread it. I have people come up to me all the time and tell me how much they liked something, and I'm like, "Um... Good."
[Howard] The lesson that I learned from Mary Robinette was to say, "I'm so glad you like that. I'm so glad you noticed that." I reread my stuff regularly… Well, not regularly, but often, and find that I did not remember writing a thing, but it's right there, and it's making me laugh.
[Dan] Here. Let me ask you a question. Is this someone who read… Because they're excited to see where it's going. So, clearly, this is not a full manuscript. Was this like a chapter by chapter or scene by scene situation?
[Patrick] It's not finished, but I gave them like 18 chapters.
[Dan] Okay. 18 chapters. What I found with people when you're in that kind of beta reading stage, like, I want you to read this, I want to get feedback, you are going to get very different feedback from someone who reads the whole thing versus someone who's reading chunks of it. The people who read chunks of it will give you much more granular feedback, which can often be very helpful, but they tend to hyperfocus on details that don't matter. Whereas someone who reads the entire project might not even notice those little details, because they're looking with a much wider lens. So, it might just be that this isn't a big deal, because… Of course, with 18 chapters, that's a lot, so… Yeah.
[Erin] I would also say to leave yourself notes. I'm a big fan of doing things that your future self will appreciate in all ways.
[Chuckles]
[Erin] But especially with writing. So, as your writing, if there's something that you are really excited about as opposed to assuming that you will remember that later, because you very well may not, it's really nice to sometimes go, like, "Oh, this is great. Make sure to come back to this." Leave yourself… Sometimes I literally keep notepaper on the side of my desk, or a PowerPoint, because I'm a weirdo, and I will put in, "This is something that I really want to come back to." I'll do the same thing if I'm rereading a section of a manuscript. I'll be like, "What's jumping out to me right now?" Then leave myself a note about it. So that when, 3 weeks from now, I have forgotten that section, I can look at those notes and use them as signposts to what was really motivating me and when I want to make sure ties back to my original thoughts.
[Mary Robinette] I also look at it as an opportunity. That sometimes they mention something you don't remember writing. This is an opportunity to say, "Oh, I accidentally did something cool." Sometimes you did it on purpose in the moment, but you forgotten it. So how can I use that going forward? If you've read my novel Ghost Talkers, and if you haven't, please do. Mrs. Richardson is nowhere in my outline at all. But I started… She plays a really pivotal moment, because I had situations like that, where someone said, "Oh, I really like this." The other thing that you can do if you did not leave yourself notes is you can reverse engineer your outline. So, you can go back and do that reread, as part of your prep for continuing forward.
[Howard] I'm excited to take some more questions, but we need to wait until after our break.
 
[Emma] Hi. My name is Emma. I'm the producer. I'm going to do the thing of the week this week. Because it is another podcast that is cohosted by Marshall, our recording engineer. It's called Just Keep Writing. It's an amazing podcast. It's a podcast for writers by writers. The whole purpose is to build community and to raise marginalized voices. Marshall and his cohosts are just incredible, and they have some wonderful guests on the show. Some of them are guests we've interviewed. But, as fellow writers and podcast listeners, I highly recommend checking out Just Keep Writing. You can listen to it wherever you get your podcasts or go to justkeepwriting.org.
 
[Emma] I'm going to ask a question that we have from the Discord, which is we have a writer who relies heavily on the Enneagram when they are plotting their character arc. The Enneagram… Dan's looking at me with confusion.
[Dan] Yep. I've never heard of this.
[Emma] It's a personality… It's not quite a test, but kind of similar to…
[Myers-Briggs]
[Emma] Myers-Briggs.
[Dan] Myers-Briggs.
[Emma] Thank you. So this writer is wondering if you all use certain personality type systems when you are building your character?
[Mary Robinette] My feeling on this is that any tool that gives you traction is a good tool. Because I come out of theater, where basically our job was to read the text and then figure out who the character was, I don't have a lot of tools for coming up with characters, because it's the parts of writing that comes most naturally to me. When I do have a problem with a character, I tend to reach for something that's like… I look at their ability, role, relationship, and status, and try to figure out what's driving them. I'll try to think about super objective or objective. But most of the time, I only do that if I'm stuck. Then I will go back and I will… I'll examine my own text to look for those things, to look for those markers to help me understand where I should move next. But I don't do that pre-work. Because it comes naturally to me. But it doesn't come naturally to everyone.
[DongWon] When I'm making an NPC for an RPG, I definitely do sun, moon, and rising sign. Just as, like, a little touchstone to return to in improv moments of like, how is this character going to react in this situation? So, something… I mean, there's a million different rubrics you can use for this. Any of them could be useful. It's just a way to crystallize in your own mind what motivates character, how do they react in a situation, and what is their emotional core.
[Erin] I also think… I love these types of personality tests, and sun, moon, and rising, and all of that. One of the things I like about them is that they make explicit some of the ways in which we relate to and see the world. So, sometimes you won't think... Like, how do I feel in social situations, is not a question people were thinking about as much until everyone started talking about extroverts and introverts. It made people think differently about the world. So, sometimes even if I don't use the specific character type, I'll think, what am I learning about the world from the way that this particular personality test breaks things down. Earlier today, I was actually speaking with somebody about from Myers-Briggs, there's intuitive versus sensing, which is sort of do you like things that you can touch and taste and hold or do you like things like figuring out, like making leaps of logic, I believe is true. I was thinking about what way a specific text was like going through things. So, you could have a detective, for example, in a detective story that is really based on the physical and the sensory, or you can have something that's based on huge leaps of logic and gut feelings. So, even thinking about the way that portions of text can have personalities and can have personality traits is a fun way to use that system in maybe an unexpected way.
[Dan] I… Uh… I've tried to use personality tests before and find that they don't work great for me. But what I do do a lot is kind of fancast my characters, with people I know, or actors, or whoever. What that does is it gives me a clear sense of kind of specific mannerisms and ways of speaking. If I'm writing a character, and in my head I'm thinking of Aqua Fina, for example, that's going to come across in the page. That doesn't mean that it has to, like, were it to be adopted, that it would have to be cast the way that I imagine it. Just because it gives me… Like I said, some specificity that really helps me characterize them.
 
[Rebecca] My name is Rebecca, and this question's probably more for Mary Robinette. I'm looking… I'm indie pubbed, and looking at recording my own audiobook. I got a little bit of a theater background. I was just wondering if there were… Was anything that kind of caught you by surprise as you started doing audiobook narrations? Things I should be looking out for?
[Mary Robinette] So, one of the things that catches a lot of people when they're going from stage in particular into audiobooks is that you don't project. Some people have a really hard time backing off. So you're kind of doing everything as an aside, and it's very intimate, like, you're telling a story to someone who is sitting right next to you. That's… That was a surprise to me. The other thing that was a surprise was how many mistakes I was allowed to make. What they're looking for isn't… I mean, obviously a clean read is ideal. But what they're really looking for is the ability to do a punch record and not get flustered. Like, every time you get flustered and apologize, you're slowing things down. So when you make a mistake, the engineer backs you up, he starts recording again, and then he'll punch in. You're supposed to just keep talking, as if you'd had never stopped. So learning to do that and matching your own tone of voice… That was one of the skill sets that I… It's very specific to audiobook. Everything else translates pretty well. But those 2… Like, don't project, real intimate, it's all an aside, and then learning how to just match your own tone, is… Are the 2 things that I would say to cultivate.
[Howard] There are a bazillion technical aspects of this. One of the things that you may find is that the voiceover community, there are a lot of people who do voiceovers, and who will do tutorials on how to set up your fan studio so that you can create a voiceover reel. Which is a cheap way for you to figure out how to get acoustic isolation and a consistent ambience for the room your recording in. These are things that are going to be important because you don't want your levels jumping around, you don't want the background room sound changing. But it's all very technical stuff, and it's… You end up training yourself to be an audio engineer if you're doing it yourself.
 
[Emma] That's all we have time for. I am going to do the homework tonight, or today. Which is to go listen to the most recent episode of just keep writing That, the podcast that Marshall, our recording engineer, cohosts.
 
[Mary Robinette] This has been Writing Excuses. You're out of excuses. Now go listen to Marshall's podcast.
 
[DongWon] Hey. Have you sold a short story or finished your first novel? Congratulations. Also, let us know. We'd love to hear from you about how you've applied the stuff we've been talking about to craft your own success story. Use the hashtag WXsuccess on social media or drop us a line at success@writingexcuses.com.
 
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Writing Excuses 16.03: Publishing Pitfalls

Jan. 20th, 2021 02:18 pm
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Writing Excuses 16.03: Publishing Pitfalls
 
 
Key Points: There are people out there who see aspiring writers as someone to make money off of! $50 reading fees? Remember, money flows toward the author. Beware of people who see you as a mark. Talk to other writers. Check Writer Beware and similar sites. Pay attention to the groups you join, you may not fit there. You may need multiple groups for different reasons. Accountabilibuddies! In indie publishing, you need to make business decisions. Think of yourself as two different people, a writer self and a business self, and make sure you are using the right one for the situation.
 
[Season 16, Episode 3]
 
[Dan] This is Writing Excuses, Publishing Pitfalls.
[Erin] 15 minutes long.
[Brandon] Because you're in a hurry.
[Howard] And we're not that smart.
[Dan] I'm Dan.
[Erin] I'm Erin.
[Brandon] I'm Brandon.
[Howard] And I'm Howard.
 
[Dan] Welcome back to the third episode of our intensive course on the insider business of publishing. We're very excited to have with us Erin Roberts on the show. Erin, can you very quickly remind our listeners who you are?
[Erin] Sure. I am a short fiction writer primarily. Early in my career, so excited to share that part of the publishing world. I've had stories published in Clarkesworld, Asimov's, and a few other places here and there.
[Dan] Fantastic. Well, we're excited to have you on the show.
 
[Dan] We're going to talk about publishing pitfalls this time. Things that inexperienced and sometimes even experienced authors fall into, mistakes that we make. Brandon, what are some of the things you need to warn us about?
[Brandon] Well, the big overarching theme for this episode is going to be to teach you to realize and recognize the fact that a lot of people out there see you as someone to make money off of as an aspiring writer. Or as a new professional. I point to an example of this in my career. Before I knew what I was doing, and I thought the way to get an agent was just to buy a book of agents and start submitting to all of them, I submitted to an agent who wrote back… Or, no, I didn't… Yeah, I just went to the website and they said, "Send your book along with $50 to our agency and we will consider you." I just lost 50 bucks. Right? They had a reading fee, and I'm sure they made a nice bunch of money off of being in whatever list that I had read on agents who took science fiction and fantasy books. They cashed my check, and I only got taken for 50 bucks. It's not a big deal to get taken for 50 bucks. But I'll tell you, when I was later on at a convention and someone said, "Watch out, there's a lot of agents out there who will put on their thing send us 50 bucks and we'll consider your book, and they're making their money off of people sending them 50 bucks rather than actually selling books," I felt like a total loser. Because I'd just been taken in, hook, line, and sinker by these people.
[Dan] Yeah. Now, there are, and I'm sure that we'll get into this a little bit in the show, there are certainly people that are not out to get you. There are absolutely legitimate writing conferences and editors for hire and things like that who are doing valuable work for the money that they get from you.
[Brandon] Yes.
[Dan] We're talking more about the hucksters, who, like you said, they make all their money on jilting you out of yours.
[Brandon] Yeah. The phrase that was commonly used when I was breaking in was money flows toward the author, and that any time you are writing a check to someone, you need to stop, consider, and decide if this is someone you should be sending money to. Normally, early in my career, people would say, "just never, never write a check to anyone." That's not the case anymore, because as indie publishing has become a much more legitimate way to make a career as a writer, there are lots of good places that you should be spending your money if you are an indie author. Indeed, there are a lot of good conferences and conventions that you have to pay to get in. That's not a bad expense. So this episode is to talk to you about the mistakes that new authors often make specifically relating to shortcuts that you are offered towards publishing that often can just either waste your time or your money. The first one I want to talk about is people who see you as a mark. Now, this doesn't actually have to always be someone who has your worst interests at heart. It can also be someone who just doesn't know what they're doing, right? Looking at the agency I submitted to, years later, I went back and looked at them. They were out of business. I don't think this was someone who was there to look at authors as marks. I think this was someone who thought I'd be a pretty good agent. I spent years as, say, a real estate agent. I know how to interact with people. I know how I… I sell houses, I should be able to sell books to publishers. But how do I make any money? Well, I probably should charge these authors a little bit upfront because we're in this together. So I need to know if they're serious or not. So that's probably how they came about having is like that. But the problem there was not that I necessarily was taken in by a con artist, I was taken in by an agent who had no idea what they were doing, and, indeed, could not further my career at all.
[Howard] You know how you tell if an author is serious about something? If they hand you a book. If they've written a whole manuscript, this is someone who's serious about something. A real agent knows that.
[Brandon] The easiest way… I mean, agents are one of the easiest ones to determine if they're legit or not. Because if they're a legit agent, you should be able to go to the bookstore and find new books represented by that agent. Authors who are represented by that agent, who include new authors that the agent is actively discovering. Not just the states that the agent is representing. If you can't find… If that agent hasn't released in the last five years, if they don't have new authors that are releasing books with the publishers you want to publish with, then that's just not an agent to send to.
 
[Dan] Now, Erin, you have published in some pretty high profile short fiction markets which is the kind of thing that typically makes someone a mark or predatory agents or publishers. Have you experienced any of this? People coming after you because you're kind of starting your career?
[Erin] I have had some people reach out to me because, as you should do, like, I have a writer website with how to contact me because legit people will also contact you. So, things come in, and some of them are, "Oh, this is actually a really great opportunity," and other ones where it's like, "Oh, I did a little research and no one seems to have heard of you. You're an agent, like you said, that doesn't seem to have any clients or any clients who have published books." So a lot of it is doing research. I also say one thing I really like about the short fiction world is that there's a really great community there. Talking to other writers is a great way to know, like, if you're dealing with something that is legit. Not everyone knows everything, but a lot of times asking people, "Have you heard of this agent? Have you heard of this editor? Do you know any experiences with this person?" can be a way to try to weed out folks who maybe don't have your best interests at heart.
[Brandon] When I was a newer writer, one of the places, and I would assume it's still there but I can't say… I haven't been there in years, was Predators and Editors, the forum, where there was generally a thread about every small press, every legit press, and a lot of threads about non-legitimate presses and agents on those forums. I went there a lot during the early part of my career because I had no idea who was legit and who wasn't.
[Dan] Awesome. I just looked them up, it looks like Predators and Editors is kind of in transition right now.
[Brandon] Okay.
[Dan] But there are other sites like Writer Beware that are still doing very similar work. So there are places to do this research.
 
[Dan] Let's pause for our book of the week, which is actually not a book. It is a channel that Brandon loves and wants to tell us about.
[Brandon] Yeah. This isn't maybe the best topic to slot this in, but I wanted to give a shout out to a YouTube channel called Noah Cadwell-Gervais. Noah Cadwell-Gervais, he does long form essays about videogames. Really long form. The sort of stuff that is terrible click bait, that YouTube does not optimize for. He'll have a four hour YouTube video that he'll do on some in-depth look at a series. He recently did The Last of Us where… The thing about Noah is, he's just an excellent writer. I listen… Every episode when I listen to, I write down multiple phrases that he said that I think, "Man, I would love to have come up with that." He talked about writing in a recent episode where he said, "Writing is about editing, and it's super hard to walk into a room with your two favorite paragraphs and a bullet for one of them, knowing you're only going to walk out with one of those paragraphs."
[Chuckles]
[Brandon] I'm like, "Man, that is a metaphor." That is just a brilliant way to use words. He's really good at it. He writes these all out ahead of time, and then reads them and puts over footages, and even if you're not interested in the games themselves, he has a really interesting take on video games. So I wanted to give him a shout out. I think that his channel is doing fine, it has more subscribers by a little bit than mine does, but he certainly isn't as watched as he deserves. So give it a look. It's really fun to watch people writing in other mediums and in kind of new media ways. I learn a lot from the way he crafts his prose for his video essays.
[Howard] You know, if you walked into a room with two paragraphs and you've only got one bullet, you're not editing hard enough.
[Laughter]
[Dan] One bullet and a machete. So that the paragraph that survives is a lot smaller when it comes out.
 
[Dan] Now, one thing that we were talking about in preparation for this episode is the idea that there are many different kinds of writers that are looking for different things. Part of the pitfall can be misidentifying which group you're in, or really just kind of accidentally stumbling into a group rather than choosing that deliberately.
[Brandon] Yeah. When I was early in my career, a lot of people recommended several local writing groups that I go and try out, because I was looking at writing groups and things. I found that each writing group had its own kind of theme, and some were not necessarily themed the way that I wanted to do things. Like, I was very gung ho about writing novels and publishing in the novel field very soon. I was looking for a writing group of people who would read a lot and who were also very aggressive about their publishing careers. I found a lot of well-established groups that were support groups for friends, for people who were not necessarily as aggressive about publishing as I was. I found I was a really bad fit for those groups. I've heard of other people getting in some of these groups and kind of adopting the mindset of the group, which can be a bad thing for helping you achieve your goals as a writer.
[Erin] I would say that it's… A lot of it, you can have a lot of also different groups that you belong to that feed different parts of your writer's soul. Like, we contain multitudes. So, as long as you know what that is doing for you. So, like, I have a group of friends that is more of like a just how are we getting through the day, like, have we made it through 2020, type of like let's just all commiserate group. But I don't use that group as a way to push me forwards. That's more of a group that's a way to make me feel comforted and that I do the work. Then I have groups that are more about critique, group accountabilibuddies where I'm riding with someone and it's about getting the time into do the writing. As long as I know what each of those is, it completely works.
[Howard] Accountabilibuddy.
[Erin] Yes.
[Howard] Accountabilibuddy. I'm going to say that word a couple of times, and then maybe write it down in the liner notes. Accountabilibuddy.
[Erin] Everyone should have at least one in my opinion. But, yeah, as long as you know what the people are and you're not going to one group for something that they're not going to provide for you, I think it can work. But the problem is when you think one group maybe is going to do all things for you. Or you don't recognize that they're not in the same place as you are.
[Dan] Yeah. I… This isn't just about groups, either. This is how I divide up a lot of my alpha and beta readers when I send out a book. Because I need to be able to send it to someone who's going to give me a meaningful, useful critique, but I also need to be able to send my books to someone who is going to tell me that it's awesome and make me feel good about myself, even when it's terrible. One of the groups, we've kind of hinted at this, I want to be a little more explicit. There are absolutely writing groups out there that are not really treating writing as a professional career or as a professional outlet, it's more of a supportive community. I would wager that a big chunk of you wonderful listeners fall into that category. So I want to be clear that we're not trying to bag on that. If you are writing in a way that gives you joy, then you are doing it correctly. If your goal is to make money, then that's a different goal than just having some fun Friday nights with your writer buddy. So that's why it's so important to know which group you're in.
[Brandon] Yeah. Writing groups are this kind of their own special pitfall in that you can find one that matches your career goals, but the type of feedback you're getting is detrimental to your writing style and to your writing psychology. So, we have several other episodes on that. But just be aware, it's okay for a writing group to be a good writing group, but a bad fit for you.
[Dan] Now, that said, I bet a lot of our listeners maybe didn't realize that they were in the wrong group until we said it just now. So take this opportunity to take stock of yourself. Maybe one of the reasons that your aspiring career dreams are stalling is because you've slotted yourself into the wrong kind of community. Howard?
 
[Howard] Yeah. I wanted to talk a little bit about the publishing pitfall for indie publishers. I say the publishing pitfall. There are a million of them. Because when you are an independent publisher, when you are indie publishing, you have become the publisher, and Amazon, for instance, really is the distributor. As the publisher, you are now being asked to make partnership decisions for who am I going to hire to copyedit my book. Who am I going to hire to do cover art for my book? Who am I going to work with to help me build a promotional campaign around my book? This is a fantastically fraught space, especially if you have never in the course of your career doing other things, never had the opportunity to, for instance, administer a job interview or say no to someone who wants money. These are life skills that if you haven't developed yet, indie publishing is a space where even if people aren't looking towards you as a mark, you are a mark. You are going to hemorrhage money and time until you figure out how to make the decisions correctly. When Sandra and I decided to do, and this was a decade or more ago, the Schlock Mercenary iPhone app for reading the comics via iPhone, we put together a very simple application which was, "Hey, if you'd like to build an iPhone app, show us an app that you've done and come to us with a business plan for how you'd make money with this app." We had dozens of people show us apps that they'd made, some of which were pretty shiny. Only one person came to us with a business plan. That was Gary Henson. We don't have an iPhone app anymore because reasons. But Gary is now running the Schlock Mercenary web service. Because I set up a threshold where I knew I'd only be doing business with somebody who understood that this was a business.
[Erin] Yeah. To that point, I think a piece of advice that I've always loved is the idea that you've got your writer writer self and your business of writing self, and to really think of those as sort of two different people inhabiting your body, and that sometimes you need to turn things over to the businessperson and sometimes you need to be focusing on the writer person. In the short fiction world, a lot of times that'll be like, "You can write as many lovely stories as you want," but your businessperson's going to have to be the one being like, "When do I need to submit them, and to whom? And, like, in what order?" I think that continues in indie publishing, your businessperson is a huge part of what you're doing.
 
[Dan] Absolutely. I wish we could talk about this all day, but we do need to be done. Brandon, you've got some homework for us?
[Brandon] Yeah. So. One of the best websites that was really helpful to me when I was breaking in, and it's still being maintained and supported by SFWA is Writer Beware. If there's a single best resource to watch, it is probably them. They explain a lot of these pitfalls in much more depth than we can cover. Particularly, indie publishing as it was becoming a thing, it was really hard, and still is kind of difficult, to determine who is a legit editor, freelance editor you should pay, and who is someone who is out there to try to feed you into this vanity press loop, where you pay for editing, they send you to a publisher, a publisher recommends another editor, who then you pay for editing. The publisher gets a kickback, and then you… You could end up in this loop forever, spending tons of money. Vanity publishing, which is different from indie publishing. Learning the difference will help you, if you go to Writer Beware. So our homework is spend some time familiarizing yourself with Writer Beware and other resources like it on the Internet that will help you see who is trying to take advantage of you and who is a legitimate editor that you may want to hire.
[Dan] Fantastic. Well. This has been Writing Excuses. You are out of excuses. Now go write.
 
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Writing Excuses 15.09: Choose Your Own Adventurous Publishing Path

Mar. 4th, 2020 05:02 pm
mbarker: (Me typing?)
[personal profile] mbarker
Writing Excuses 15.09: Choose Your Own Adventurous Publishing Path
 
 
Key Points: Self-pub? Traditional pub? Hybrid? How do you decide what's the best outlet for your work? Right now, trad and indie are two parallel but separate markets. Which one is best for your book? Who else is doing similar work, are there successful titles like it in the market? Don't try to go indie just because your work isn't very good! Look where your audience is. But there is no easy mode of publishing. Don't get taken in by "Here's the simple path to success." Fundamental strategies or principles are the same, but you have to keep up with the changes, too. You can make self pub and trad work together. Your goal should not be "making a stunning debut." Your goal should be cranking out good books. Be a 10-year overnight success! Similarly, awards are a consequence, not a goal. Turn your words into money. 
 
[Mary Robinette] Season 15, Episode Nine.
[Dan] This is Writing Excuses, Choose Your Own Adventurous Publishing Path.
[Pause]
[Dongwon] 15 minutes long.
[Piper] Because you're in a hurry.
[Howard] And Dongwon didn't know he was supposed to turn to page 3.
[Chuckles]
[Dongwon] I was too busy marveling at the beauty of that very smooth episode title.
[Howard] Isn't it great?
[Piper] I was panicked because I'm in… Like, a different spot.
[Dan] These are the kind of titles that we get when there's no adults in the room.
[Dongwon] Choices have been made.
[Dan] I'm Dan.
[Howard] Who are the people who…
[Dongwon] I'm Dongwon.
[Piper] I'm Piper.
[Howard] I'm Howard.
 
[Dan] Awesome. Okay. Despite the very unprofessional nature of this episode intro, this is a very great and important topic to discuss. One of… Like… As we've been covering throughout the entire year, there's a lot of career questions that we know you listeners have. This is one of the big ones that we hear at conventions and all the time, is, should I go self-pub? Should I go traditional pub? Should I do some kind of hybrid of that in the middle? So we wanted to make sure that we had both Dongwon as an agent and Piper as a very successful hybrid author on this cast to talk about this. So, I'm going to ask be really dangerous question first that's going to get us all in trouble. When you're looking at a particular work, how can you decide what the best outlet for that is, self pub, indie, trad? How do you know?
[Piper] I have a thought, but I think Dongwon has a thought, too.
[Dongwon] Let's see if our thoughts are in alignment. So, I think, is my thinking about this has evolved and as I've sort of taken a close look at both markets and sort of the state of where traditional publishing is, I have become more and more convinced that they're two parallel but separate markets happening in book publishing right now. I think the indie readership and the indie authorship and publishing is often a discrete set of people from the people buying traditional books in bookstores. So I think the question is whenever you have a specific book is, is this particular type of book working in the indie bookstore or… Well, indie bookstores or independent publishing, right? So I think you need to be looking carefully at who else is doing this and are there other successful titles like your book in this market, right? So if you're writing a 200,000 word literary beautifully written epic fantasy story, I think that's going to be a really tough sell in the indie market, right? On the other hand, if you're writing a 60,000 word compulsive urban fantasy that's part of a 10 book series, you're going to have a really hard time finding a traditional publisher, right? So I think a lot of this is being driven by certain market trends, certain audience expectations and demands.
 
[Howard] I'd like to take just a moment to address the third possibility, which is that the thing that you are writing, depending on who you are and what it is that you are writing, might not fit in either place because it's not very good.
[Chuckles]
[Howard] I hate to phrase it in that way, but if you've been turned down for representation by agent after agent, if you've gotten rejection from editor after editor, and what they been saying is, "This isn't ready yet, thank you for playing." That's very different from what my agent told me in 2006, which was, "I have tried to sell this…" We were talking about Schlock Mercenary. "I have tried to sell this, and everybody I've talked to has either said I'm already reading Schlock Mercenary, I love it. We don't have any place for it at our publishing house. Or, I don't know what that is, but I can tell you right now, we don't have room for it at our publishing house." In every case, the answer was, "Howard, you need to be self-publishing." Now, I'm self published differently than the Kindle Unlimited or whatever market, but the decision point is the same. I was told by the gatekeepers, if you will, that my thing fit in a different space. If I'd been told, "Oh, we would love to pick that up, something like that up, we've been looking for just such a thing, but this one is really crappy…"
[Chuckles]
[Howard] Going to the indie space with it might not be a great career move. So… That's… I bring that up because I don't want people to go to Indy because… I don't want them to go to Indy without good critiques, without understanding…
[Dan] Yeah. I'm glad that you brought that up, because even 10 years ago, that was the whole stigma of the entire indie market, which is, these are the people who couldn't hack it in the real publishing, and so they went indie. Which is not… It wasn't true then, and it's very, very not true now. It is absolutely a respected and viable publishing path, but it wasn't before. Now, Piper, you keep trying to talk, and we keep stepping on you. What do you want to jump in here with?
 
[Piper] You're not stepping on me. I'm dodging, I'm waiting, I'm dodging. But, the moment is here. So, I do agree that there needs to be a certain quality, that you have to have faith in, in your book, and be sensitive to… Open to critique so that you know this is the right quality. There are, I agree, certain market trends that will help you to realize that perhaps your book could find your readership better via self pub or indie. So, for example, science-fiction romance right now, at this time in 2019, is very niche. It has a very specific readership, and that readership often looks for things online in certain ways. So it's so niche, it's not necessarily picked up by trad pub. But there are readers out there hungry for it. So it can still be very, very successful if you take the leap of faith to go indie with this series. You can have a really small, tight, but super loyal readership out of that. That can be very, very profitable. I would say paranormal romance is something that people have been waiting for it to come back for years and years and years, but I've got news. There's readers. They're out there. They love paranormal romance, they would eat it up. The audience is out there for indie work and self pub work.
[Dan] Yeah. I agree with that. I… My first self published book is now eight or nine years old. I've been hybrid for a while. It was for that exact reason. Here's a book that is clearly good and there clearly is an audience for it, but that audience is small enough that a big publisher is not necessarily interested. So we put it out in that space, and it found its audience and that's great.
[Piper] Yeah, and you can make money that way. It's not that trad pub is the way to go to make bank. Right? Indie pubs can definitely make, if your goals are focused on the financial return. Any pub can be very profitable done strategically. There are advantages to trad. But indie can also have strategies that allow it to be profitable.
[Dongwon] You keep such a higher percentage of every sale you make, if you go indie, that it takes so many fewer copies sold to really be very profitable. If you know what you're doing, and if you're successful, you can make significantly more money by going indie than you will traditional.
[Howard] Six weeks ago, we had several authors on the show. It was one of the ones that we recorded live at the Writing Excuses Retreat. That episode is probably resonating with you right now, dear listener, as you are recalling some of the numbers that they spouted.
 
[Dongwon] The thing I really want to caution you, though, is for every one person who is making those kind of numbers, there are thousands and thousands and thousands of people who are selling under 10 copies a week, right? Those who have under 20 copies sold total of their book, right? All I'm pointing out… That's true on the traditional side, too. There's plenty of books that are published traditionally that vanish without a trace, that you've never heard of, right? I'm only pointing out that there's no easy mode of publishing, right? Sometimes where I get very nervous about the conversation around self-publishing and indie is there's a certain industry of people who are invested in making it look easy and invested in saying that here's a simple path to success, right? Here's the 10 tricks you can do. From my experience, that just doesn't exist.
[Howard] They're invested in it, because they have built a business around selling shovels to the prospectors.
[Chuckles]
[Howard] They are the ones who are selling editor services, selling cover services, selling whatever. Part of their pitch is telling you…
[Dan] Well, it's not entirely these people, though. I do think that there is kind of a…
[Howard] Oh, there's absolutely…
[Dan] A group of old-school people that've kind of been burned by the market and their primary investment is biting the hand that used to feed them and doesn't anymore.
 
[Piper] Well, I would like to say that I have some recs because sometimes it's really frustrating to listen to these episodes and just have somebody tell you to go out and find somebody who knows what they're doing. So, dear listeners, I have some people who know what they're doing.
[Chuckles]
[Piper] So, Zoe York is getting a shout out. I don't know her personally. I have not ever spoken to her, but I do stalk her… I mean, follow her on social media. Zoe York has a book coming out. She also has two really great podcast episodes on the Sistercast about building your marketing brand. Now, it's applicable if you're a trad author, but particularly if you're going to go indie, if you're going to go with self pub, those two episodes really, really break down what it's like to think strategically about your approach to the market, and how you're not only going to market your first book, but your series if you're going to have a series, and then how do you keep that going over time so that you can build that trickle income up to something that really feels good. Skye Warren also did a marketing class for expert marketing advice through the RWA forum to celebrate the opening of their RWA marketing forum in January 2019. So those are two people who really know what they're doing and have made that information and knowledge available to you publicly.
 
[Dan] Perfect. As it happens, Zoe York is our book of the week.
[Piper] It is.
[Dan] Romance Your Brand. What can you tell us about that?
[Piper] So, Romance Your Brand came out in December 2019. It's, actually, the full title is Romance Your Brand: Building a Marketable Genre Fiction Series. So, friends, don't think that this is limited to romance. It is applicable across, I would say, all spec-fic genres. It is really, really focused on helping you build a marketable brand with an eye towards all the things that you need to be able to keep in mind, the moving parts of promotion and marketing and ads and also planning out your series.
[Howard] Because some of these things just work so much better in print than they do in audio, what we're going to do is were going to get a list of Piper's recommendations for people you can trust. I want to throw Writer Beware in there. And we're going to get them into the liner notes, so that you've got links. I bring up Writer Beware because I figured out how to articulate my concern. My concern is that the un-agented author, the author who has… Who hasn't found their footing, hasn't found their connections within the industry, and is looking for somebody to help out, is a prime target for predatory publishing schemes. We don't want any of you to end up there. We want all of you to never end up there. The way to avoid that is to listen to the reputable voices and do some homework. We will have pre-done some of that homework for you.
 
[Dongwon] For me, I'm very focused on educating writers about how the business works, and I think it's really important. It's one of the reasons I do this podcast, not just to hang out with your beautiful faces. But what I want to do is make sure that people understand what they're getting into. So I hope I'm not coming off as negative about the indie market, I'm not at all. I think it's a really wonderful opportunity. It just breaks my heart when I see people going out there being sold a false bill of goods and not understanding how things work. In my experience, kind of going into what Piper was talking about a little bit, is publishing is kind of publishing no matter how you're doing it. The fundamental strategies, whether you're doing literary fiction, contemporary realistic, women's fiction, or indie romance, or whatever it is, the fundamental principles are all still the same. Selling books is just selling books. There are different tactics that can apply in very limited ways, right? I think indie has a certain set of tactics that are working. Those change seemingly every six months or so. So a lot of it is keeping up on, like, what's working right now, what strategies are we using, how's the algorithm working, and those kinds of things. But we're doing the same thing on the traditional side. On a slightly slower cycle, but what's going on with the booksellers, what's going on with the libraries, what's going on with the school markets? So, a lot of it is similar factors, but the underlying principles are all the same, no matter where you are.
[Piper] As a hybrid author, I just want to say that you can harness those marketing strategies so that your indie and your trad can work together and actually build each other up.
 
[Dan] That… Let's talk about that. Because we talk about being a hybrid author all the time, and yet there still are people who are wondering, "Can I self pub and still have an agent? Is it possible to self pub one book and then get picked up by a trad publisher for your second one?" What can you tell us about that?
[Piper] Well, I can tell you that it is totally possible. There are some concerns sometimes with it. You want to look at the genres of what works you're going to self pub and what works you're going to try to put out there for submission for trad. In some ways, it may be easier for you mentally to think about I'm going to self pub in this genre first while I submit for trad in another genre. That doesn't necessarily have to be the way you go, but sometimes it's easier. Because the risk is if you put a book out indie and it doesn't perform well, and then you try to take that same book or a book in that series to trad, there's a track record that the publishing houses going to look at to determine whether they think there's a market for that book. That can impact you. Right, sometimes if your book went gangbusters and awesome, then, yes, the trad pub is going to want to eat that up and take it and publish out further with their extended distribution capabilities for you. But in other cases, when the book does not do as well or does not find its audience, the trad pub may unfortunately decide that that's not a good investment, and therefore it can hurt your chances. You want to think critically about that.
[Dongwon] You almost never can take a book that you've self published and resell that to some publisher. The cases where that happens is people are coming to you because you are selling so many copies, right? So if you are Andy Weir and you're just selling a billion copies every 30 seconds, then, yeah, publishers are going to come knocking, yelling, "Hey. We want in on this." Right?
[Dan] We want some of your money.
[Dongwon] If that's happening, then that is when that works. If you self publish something, you're not getting the numbers, you're not getting a lot of excitement, then my advice is to move on to something else that's in a different category, a new series, and that's what you want to be pitching to some publishers. The hybrid authors I work with, we really view the self-publishing side and the traditional side as two parallel careers. There's crossover in terms of the marketing and brand. In my experience, there's almost no crossover in terms of audience. The people who buy one are not buying the other one. Right? So you can't expect that if you sold 100,000 copies indie, that suddenly you're going to sell 100,000 hardcovers, right? So I think learning to think of them as two separate channels that you're developing in parallel. It's really more about market and career diversification, then it is about transferring audience from one to the other.
[Piper] I'm going to slightly disagree with you on the fact that I do, as a Venn diagram, think there's a small amount of overlap, because I don't want to disregard the readers that are buying both. But that's because there are readers that have become loyal to the author and decide that the author, regardless of how it was published, is a one-click buy. But they are a smaller selection.
[Howard] We also need to take into account that 10 years ago, this conversation would have been completely different, and that these markets change. For me, the decision points about choosing your own adventurous publishing path hinge on some of the same things, which are, on these two different paths, which market is my book going to sell better into? That's going to change over the years. The big one for me is do I want to make the sale once and let somebody else sell it a million times, or do I want to beat down 10,000 doors myself? I chose the beat 10,000 doors down myself path because I'm an idiot.
[Chuckles]
[Dongwon] Or you really like knocking on doors, Howard.
[Piper] Yeah, maybe.
[Howard] I really… I would much rather have somebody else doing that work for me. But what we found is that my primary product, as of this episode airing, is something that plays to a market where I can't let one person sell it for me.
 
[Dan] It's worth pointing out, you said that these markets change over time. They're still changing. We're in the middle of a massive technological flux in this industry. I genuinely don't know what either the trad or indie market is going to look like a year from now. We don't know. So it is worth your time not just to figure out what to do with your own books, but to keep your thumb on the pulse and keep track of what is going on. Who is big, and where they're big, and why they're big. Because it's going to keep shifting throughout your career. I have one more question before we end. We're going to go a little bit long, because somebody asked a question that I think needs more of a disabusement than an answer. He says, "Does self-publishing count as a debut, and hence ruin your chance of emerging with a big bang?" In a lot of ways, I think that if you're publishing plan is I want to emerge with a big bang, I want "a stunning debut" written on the cover of my book, your publishing plan at that point is to win the lottery. What you need to be focused on more so than these questions "of am I going to hit big? Am I going to have a massive debut?" You just need to be cranking out good books.
[Howard] For every big debut we can think of, we can quickly put our fingers on, there are 100 ten-year overnight successes. Where people have been grinding away at this, and they've had books hit the market, and they've perhaps rebooted their career a couple of times… That would be a great topic for later this year.
[Dan] Hey!
[Piper] Hey-o!
[Howard] And yet, we don't really notice them until this thing happens. Well, that's not a debut author. That is a ten-year overnight success.
[Dan] One of the examples I love to use is Hilary Mantel. She started small, she got big, and then with Wolf Hall, she got huge. She got massive. She had a BBC miniseries. All of these things. That was the first time most of her readers had ever heard of her. So, in a sense, that was emerging with the Big Bang. She just had to write 20 other books 1st.
[Piper] Right. Patricia Briggs is my favorite, favorite author in the urban fantasy space. But I read her before she hit big with the Mercy Thompson series. She had the Sianim series, she had Hurog series, she had a really, really fun adorable book, The Hob's Bargain that I was in love with and have read 50 bajillion times and had to buy three new copies of that book. So she was out there already for quite a few years before she ever wrote urban fantasy. People are like, "Oh. She hit big." But she was already out there, friends. She was already out there, she had written quite a few books already before the Mercy Thompson series came out, and that hit.
[Dongwon] To sort of go back, though, and answer the actual question, if you all don't mind?
[Chuckles]
[Dan] Oh, fine.
[Dongwon] What we do do is we say it is a traditional debut, or a traditionally published debut. You put parentheses around traditionally published and you make the font really little, so it looks like it's just a debut. That's the actual answer.
 
[Dan] I'm glad that you hit that. Okay, so there is one aspect of this that I do want to touch on a little bit, which is awards. Again, I don't think that your goal should be to win awards. Your goal should be to write good books in a long-term career. But, for example, the Astounding Award for Best New Author, which is connected to the Hugo, that one, I… You can only win that in the first two years of publishing. But they look… They do, for that one, look at specific markets. So they don't count self pub for that. To my knowledge. That could change any day. Because as we said these things are still in flux. So. There is that. But I don't want anyone listening to this episode to say, "Oh, I've got a fantastic book. I'm going to wait three years to publish it because I want to make sure I have a shot at the Astounding Award." That's not your goal.
[Howard] "I don't want to spoil my Astounding eligibility." No, what you don't want to spoil is you're not getting paid for writing these words.
[Dan] Exactly.
[Howard] Let's go turn these words into money.
[Piper] Awards, actually, don't often boost your sales. Like, there's a spike. Don't get me wrong, there is a spike. But they don't skyrocket your career in the big picture and the long tail.
[Dongwon] The thing I always say is that awards are a sign that other things are going well. Awards are a consequence, not a goal.
[Piper] Agreed.
 
[Dan] Excellent way of putting it. We are going to end our episode right here, and we are all kind of on egg shells because Howard told us he has a secret homework planned and he wouldn't tell us what it was.
[Howard] Okay. The secret homework plan is I want you to write the Choose Your Own Adventurous Publishing Path thing. What you're going to do, you're going to build yourself a flowchart with little decision points about your manuscript. Is this going to sell into a wider market? Is this a niche market? Do I want to hand sell a bunch of copies? Do I want to sell it to one person? Do I have test readers in mind? How do I feel about this manuscript? You're going to write this thing, and in writing this thing, start fleshing out the flowchart. Start fleshing out the flowchart, and write a fun fiction about your Adventurous Publishing Path. Fill every one of those pages. I promise you, when you are done with this, you will be the first person ever to have written this.
[Laughter]
[Howard] Because it's ridiculous. But also, I promise you, you'll be way more excited about choosing these things, because you will have begun imagining yourself making the difficult decisions.
[Dongwon] Please work hard to keep it from becoming GrimDark.
[Laughter]
[Howard] Oh, I want to read the GrimDark one.
[Chuckles]
[Howard] That's going to be great.
[Piper] Make it light! And fun.
[Howard] He didn't win the Astounding Award. Something got hit by a meteor. All right. Dan, take us home. Please.
[Laughter]
[Dan] From where?
[Howard] The ruins of civilization.
[Dan] Okay. Unlike Howard, you have no excuses. Now go write.
 
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Writing Excuses 11.11: Self-Publishing in 2016, with Michaelbrent Collings

Mar. 16th, 2016 04:06 pm
[identity profile] mbarker.livejournal.com
Writing Excuses 11.11: Self-Publishing in 2016, with Michaelbrent Collings

From http://www.writingexcuses.com/2016/03/13/11-11-self-publishing-in-2016-with-michaelbrent-collings/

Key points: Self-publishing. Indie. Kicked in the door, shot a bunch of people, and is casually sipping its whiskey at the bar over the dead bodies. But... It's a lot of work. The question is not "Can you get published?" The question now is, "Can you get noticed, read, and reread?" The secret to authors making a living is having other people sell their books. Also, your first book sucks. Be aware of the Dunning-Kruger effect. You are a business. Be objective about it. Kindle Select or diversify? Promotional lists? Investment? It depends. The big thing is volume -- once they read one great book, make sure they can find more! Best online resource to learn about self-publishing? Google. Lots of options, from small press, to farming it out, to DIY all the way.

( Do It Yourself? )[Brandon] All right. So we're going to stop here for our homework. Actually, Michael's going to give us his favorite writing exercise.
[Michaelbrent] Okay. So take a first line of any book and turn it into a scary line. Take the scary line and create two separate short stories based on that scary line.
[Brandon] Oooh. That's cool. Thank you to our audience here, at Life, The Universe, and Everything.
[Whoo! Applause]
[Brandon] Thank you to Michael for being on the podcast with us.
[Michaelbrent] You're welcome.
[Brandon] This has been Writing Excuses. You're all out of excuses, now go write.
[Mary] Writing Excuses is a Dragonsteel Production, jointly hosted by Brandon Sanderson, Dan Wells, Mary Robinette Kowal, and Howard Taylor. This episode was mastered by Alex Jackson.
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