How Many Hours to Write a Novel?

Photo Credit: Craig Chew-Moulding / flickr / Creative Commons

Photo Credit: Craig Chew-Moulding / flickr / Creative Commons

I just finished the third draft of Pair Alleles, the fourth book in my Derivatives of Displacement series yesterday. This was probably my most challenging novel yet to write. I have a more demanding job than ever before, requiring me to fit writing around all sorts of critical things like meetings, data analysis, and generally trying to look like my job is super important to me (which it is, but I’m sure most writers can identify with the feeling of being torn). In addition, as the fourth book in a series, Pair Alleles is more complex with many plot threads to keep track of and pull through from the previous books. It is also longish at 120,000 words.

Pair Alleles took me seven months to go from blank screen to third draft, and that felt like a very long time with many hours of toiling at my screen. I did not record the number of hours I sat at my desk writing my novel, unlike for work, where I record my time down to the fifteen minute increment, which provides me with a lot of useful data with regard to exactly how long it takes me to write a report, sit through a meeting, or craft an evaluation plan. I started to think that analyzing my productivity on the writing front might be helpful too.

How long, really, does it take to write a novel?

How many hours of work really go into a first draft, a second draft, and the final product? Google the question and generally speaking you won’t get a satisfying answer. Many of the responses are trite.

“Writing a novel takes as long as it takes, no more and no less.”
“Writing a good book takes however long it takes.”
“You will get to however many pages you want in the right amount of time for your story.”

As a lifelong measurer and a data analyst by day, these kinds of answers drive me nuts. Of course they are partially true. How long it takes to write a novel depends on how fast and experienced a writer you are, how long the novel is, what kind of novel it is, how much research is required, how many days a week you work in it, and how many hours a day you work. I know that, but surely we can come up with more precise data than “it takes as long as it takes.” Yes, there will be outliers—there always are. But there will be an average, median, and standard deviation as well.

People often talk about writing a book in terms of months or years, like I just did when I said it took me seven months to write Pair Alleles. Many literary fiction novels take three to ten years to write a novel, while some famous romance novelists, such as Nora Roberts and Barbara Cartland can write a novel in a month. We all know of novels that were written in a very short time—I have blogged about this before. Sarah Gruen wrote Water for Elephants in four weeks. A Clockwork Orange was written in three weeks. We’ve all heard of novels that take almost twenty years to write.

A year is often thrown around as the time it takes to write a book. Indie writers often do it faster, with many producing a novel every one to three months.

But the thing that is deceptive about all of those time frames is that we have no idea how many hours a day the writer is working. Do they show up to their desk at nine for a leisurely two-hour stint, write frantically for an hour every night after the kids have gone to bed, or spend fourteen hours chained to their desk? Do they write every day, or just on weekends?

How long does it take to write a novel in hours?

Was Sarah Gruen working twelve hours a day seven days a week for those four weeks? If she was, it took her 336 hours to write her novel. Or was she writing three hours a day, five days a week? If so, she churned it out in a measly 60 hours.

After doing some math based on the average number of hours I write per day (3.5), the number of days I write per week (7) and accounting for the days when I had meetings, social events, holidays or soccer tournaments to attend, I figured that I wrote on average 17 hours per week from February 1 to August 26, with four weeks off in which I had to write a short story for The Future Chronicles and a one-week marathon of 12 hour days when I was trying to finish Pair Alleles up. Conservatively then, Pair Alleles took me 476 hours to write, with 357 hours for the first draft, 85 hours for the second draft, and 34 hours for the third draft.

Is this normal—how many hours does it take other people to write a novel? An intensive Google search yielded not very much. Most writers do not calculate or record the number of hours that it takes them to write a novel, but I did find a few people (often data wonks like me) who tracked it and got the following numbers:

  • 736 hours for a shortish novel that included a lot of rewriting
  • 376 hours for a non-fiction book
  • 200 hours for a first draft
  • 200 hours for a 100,000 word first draft
  • 120 hours for a bad 100,000 word first draft
  • 272 hours for a 120,000 word first draft and 140 for a second draft for a total of 412

The last estimate, recalculated based on my word count, from data collected from a survey of 380 writers developed by Holley Lisle is the most useful number because it reflects the experiences of many writers and it includes the word count. Thus my total of 442 hours for a first and second draft is somewhat similar to the experience of other writers.

Why Track your Writing Time?

All of this was interesting to me. I felt like I worked at writing Pair Alleles doggedly, despite my more limited hours to devote to writing. I made my word count of 1000 words a day most days during the first draft phase, and yet it took me 135 days to write my 120,000 words, so I must not have hit it every day. I was also able to calculate my words per hour to be about 336 for the first draft phase.

Chris Fox is a big advocate of tracking how many words you write per hour in order to analyze your productivity and continually work to improve your output. His book is entitled 5,000 Words Per Hour, and that is how many words he claims to write per hour. Obviously at 336 words per hour, I am well off this goal. Until now, I had not really seen the value of tracking my output that obsessively—after all I obviously write as fast as I can write, and I already know I am far more productive in the morning than I am in the evening. But since I already track this kind of thing for my work, why not track it for my writing? I doubt I will ever get to 5000 words per hour, but maybe I can aim for 1000 words per hour. During my marathon “I have to get this done” session of 12 hour days, I was able to write 500 words per hour… better, but still room for improvement. Nevertheless, it is interesting to know that as I suspected when focused exclusively on writing, my output per hour increases.

So my resolution moving forward is to track my output more vigorously. I will report in when, and if, I have some interesting data - until then keep writing! What are your experiences tracking your productivity?

I believe, I don’t believe, I believe…

We all know that making it as a writer is a tough gig. It is possibly one of the toughest around in terms of the work and commitment required to get something amazing on the page, and in terms of the likelihood of breaking out and selling enough copies to make a living, even if you do write something amazing. So as writer, I will not deny that I struggle with believing that I will be successful enough to make writing my main focus.

But we all know that believing can make things happen, and that the writers who believe in themselves are more likely to be successful. I'm not going to pitch a bunch of woo woo The Secret kind of fluff at you. I don’t think success is simply a matter of believing hard enough. It also requires consistent hard work, persistence, and no small amount of luck. But believing does matter. Your beliefs shape your behavior, they shape how others perceive you, and they shape how hard you pursue your goals. There is scientific evidence behind it. People who believe are happier and healthier, and often more successful (even if they are deluding themselves).

Believing might not make you succeed as a writer, but not believing will surely make you fail.

Despite knowing the value of believing, I’m a funny mix of believing and not believing. On the one hand, I find four-leaf clovers at least twice a week, and used to read people’s tarot cards with unnerving accuracy. I’ve seen enough of the magic of the universe to think there is something there—that belief can bring luck. I’ve also tasted the success that hard work can bring with strong sales, great reviews, and exciting opportunities.

On the other hand, just when I start to let myself consider believing, my unfailingly pragmatic and accurate view of reality (which quite possibly borders on a pessimistic view) kicks in. I review the reality. I have had failures or long periods of low sales. My day job, while fantastic, requires focus and dedication too—so I don’t have as much time as I need to write. I know how hard it is to break through. I believe in my own abilities, but I don’t believe that’s enough. So instead of pushing to the next level, I have always played it safe (in all areas of my life, but that’s another post). I am a hardened cynic who looks for four-leaf clovers.

Like Mulder, I want to believe.

I know believing would help me. And yet, I still can’t quite make myself do it. So instead I hope, and hoping doesn’t quite have the same power as belief. It seems psychologically (and financially) safer to say “I might not make it” and ensure that I have a good job and try to save for retirement in case I don't. Cushioning my aspirations in non-belief also helps me on those days or weeks when it is not going well. One only has to go to a writing conference to see a multitude of people doing the same thing—talking about how difficult the publishing world is, talking about those who do make it in a tone of disbelief and wonder. Believing is risky. But what if not believing is the exact thing that is causing me to plateau.

When I first started writing, I used to subscribe to a blog about writing by Jeff Goins. He was very positive and wrote useful posts—he was just starting out too—but I just couldn’t see how he was going to make it as a writer. He was in the same boat as me, and we were in rough shark-infested waters with a long voyage ahead. Well, guess what? He did make it, and I think he believed his way through it. Yes, there was definitely a lot of hard work involved, but he never gave up and he believed enough to go all in when it counted.

But Jeff didn’t just rely on his books, he also worked on building a brand and a following.

We all know about people in the indie world like Jeff Goins, Steve Scott or Hugh Howey, who are making a living as writers. We also all know about people in the writing industry, like Joel Friedlander or Jesse Krieger, who are succeeding as entrepreneurs, and make their living pursuing their passions. Most of us in the indie writing world have that entrepreneurial edge, that desire to set our own schedule, do what we love, be our own boss, and make enough money to have some freedom (having a boat like Hugh Howey’s wouldn’t hurt either).

Every time I see one of those people in my Facebook feed or on social media, I think “I could be them, but they probably had something special going for them.” Some special kind of luck, or chutzpah or the willingness to work 24-hours a day. But maybe they don’t. Maybe they just believed and pushed through to the next level. My inner cynic says no, but I did find a four-leaf clover yesterday.

In just five days, on June 20, Jesse Krieger is hosting a free online event called the Book, Business, & Brand Building Summit. It will have live sessions each day with a multitude of experts, including Jeff Goins, Steve Scott, and Joel Friedlander. It’s absolutely free. I’m going to attend and hope that I learn enough to make that breakthrough, and you should too. Register here. With all the great material that they will be offering (for free) you can't help but learn something. And now I must race to get ready for a work meeting—sigh. I will be reporting back in on whether it’s changed my perspectives! I believe... maybe.

Tightening your Writing by Deleting

Photo Credit: Ervins Strauhmanis / Flickr / Creative Commons

Photo Credit: Ervins Strauhmanis / Flickr / Creative Commons

It’s been too long since I’ve blogged. I’m deep in the final ten to twenty thousand words of Pair Alleles (or Auntie Matter, I can’t decide), the fourth book in my Derivatives of Displacement series and am barely coming up for air as the day job continues to get more intense, the soccer season is in full swing, and I must get my thousand words written every single day. Every. Single. Day.

I had the good fortune to be selected for a Masters writing class with Lawrence Hill of The Book of Negroes fame last month. I got to sit next to him for the entire two-day class and tried not to be too literary fan girl, although I’m pretty sure I failed.

One of the exercises that he had us do, which I thought was quite useful, was to go through a polished, published short story by a famous Canadian writer and pretend we were editors. In order to fit the story within some page constraints of the journal, we were to trim forty words from the first two pages without changing the story.

The point of the exercise was that there is always something to be cut, even in a piece that seems perfect and has been crafted by a master.

Cutting words and tightening your prose can make your story flow faster and the action more gripping. Setting a precise target of the number of words to cut makes it more like a game and might make you more likely to actually make the cuts.

The things I deleted offer some insight into the kinds of things you should always consider pruning in your own prose, and were good reminders to me of the things to scrutinize when I do that final draft.

1) Adverbs

First to go were the adverbs (illogically, largely, slightingly). You know those ‘ly’ words that I defended here. They add color to your writing, and are okay in a limited quantity, but if something has to be cut, they are easy wins. I didn’t cut all of them though. Some of them are necessary to convey the intended meaning.

2) Redundancies

Then I hunted for redundancies – things that were said more than once or close enough, or things that were unnecessary clarifications of something the reader already knew or could guess. I several victories there and these had the benefit that they were often phrases so bumped up my deleted word count. Even famous writers repeat themselves occasionally it seems.

3) Adjectives

A few adjectives were the next to go (little, loose, sweet), especially the double barreled ones. You know when you love both descriptors so much that you put them both in. I do this all the time, but in a forced deletion exercise, having two adjectives for one noun is definitely unnecessary.

4) "That"

I found a “that” that could be axed along with the “were” that was with it, (“needles that were buried in my rump” became just “needles buried in my rump”). According to some editors, “that” is only necessary for clarity about 5 to 10% of the time, and the rest of the time it can and should be cut.

5) To Be

There were two cases of use of the verb to be (was, were, is) that I was able to cut and replace with the stronger verb that followed. (“The kettle was soon burbling” became “The kettle burbled”)

6) Prepositional Phrases

I found one prepositional phrase that could be deleted. Prepositional phrases (phrases that start with of, for, to, in, by) can clutter sentences and can often be replaced by a single word, or cut entirely (“It was the garden of the pastor” becomes “it was the pastor’s garden).

7) Detail

I cut an entire sentence of interesting, but unnecessary detail. Yes, I know details add color to a story, but this was a deleting exercise, and it’s important to examine every single sentence in your story and ask yourself whether adds.

Applying the deletion lens to someone else’s work was a useful exercise. I’m not wedded to someone else’s words the way I am to my own, so I could be more playful and experimental with my cuts. Since I had a word target, I scrutinized every word and sentence, looking for opportunities to trim words. It was also helpful to analyze my deletions to find that I was, without thinking, following some of the key rules to tightening prose. Because this was a previously published piece, it was already pretty tight, but other things to look for when you are deleting include:

8) Fatty Words or Phrases

Fatty words or phrases don't say anything. They just clutter your sentences. Try to get rid of them as much as possible. Look for words and phrases such as:

  • in order to
  • start to
  • very
  • really
  • definitely
  • just
  • currently
  • there is/there are
  • -ing verbs with a form of to be in front of them

9) The Passive Voice

Not only is the passive voice weaker (The bird was eaten by the cat), but using the passive voice often also results in using more words than the active voice (The cat ate the bird).

10) Unnecessarily Complex Phrases

Always look for unnecessarily complex phrases that could be replaced by single words e.g. replace “came to a stop” with “stop” and “due to the fact that” with “because”.

11) Noncontractions

Okay, I know that isn't a word. But there isn't a word for the opposite of contraction in a grammatical sense. Use contractions to trim words and make your writing flow better. I tend not to write with contractions at all, but when you read writing without contractions, especially aloud, it sounds stilted and overly formal. In my final manuscript review, I do a search on “not”, “could have” “it is”, “I am”, “we have” and a handful of other potential contractions-to-be, and adjust accordingly.

12) It, There and Here

Phrases that start with “it”, “there”, or “here” followed by a form of the verb to be (it was, there are, here is) can often be rephrased to go directly to the subject.

Okay that was a fun and temporary diversion. Now back to drafting. 75,000 words written. I’m really hoping I can round this novel off with another 10,000 words.  

What Makes a Character Likable?

Photo Credit: AnikaandAj

Photo Credit: AnikaandAj

In honor of the Writing Idle podcast on crafting likable characters, which we recorded tonight, I thought I'd talk a little about what makes a character likable, and almost as importantly, do they have to be likable?

I am a big fan of complex characters in my writing.

I really want my characters, especially my POV characters, to be real and nuanced people. This means that they are going to have flaws, because let’s face it, we all do. It’s part of being human.

In my novel, In the Shadows of the Mosquito Constellation, it’s possible that I edged too far over into writing characters that were too real. A consistent comment I have received in reviews and at book clubs that I have attended is that the characters are well-drawn and complex to the point of being shockingly real. The characters are what people either love or hate about my novel. Readers find Richard, the husband, narcissistic and sociopathic, even though there are lots of people in the world who are. Natalie and Daniel are too weak and in the thrall of Richard, even though these sort of co-dependent relationships are common. And please note, all my characters had very likable characteristics too. Richard saved his brother’s life, Natalie saved the farm, and Daniel took care of the farm animals and loved Natalie.

So, should I have tried to make them more likable?

The short answer is, it depends. Readers have different tastes and tolerances for characters who are likable. Some readers prefer characters who are almost flawless heroes or heroines. Read a few romances and you will see many of these almost perfect characters. Other readers don’t mind seriously flawed or even almost unlikable characters. Literary fiction is replete with pretty unlikable characters. Consider Nick and Amy Dunne in Gone Girl, or Humbert Humbert from Lolita. True they may have a few redeeming characteristics, but would you want one of them to be your BFF, would they even be capable of it? Nevertheless, readers snapped these characters up. Read Adrienne Crezo’s take on the importance of unlikable characters.

What are the characteristics that make characters likable?

Let's just say that I wanted to make sure all of my characters were likable. How would I go about it? Characteristics that theoretically make characters more likable include:

1) Not being too vile or mean.

Even bad characters have to have good characteristics, and most readers would not want to spend too much of a novel in the head of a truly bad character. Dropping into the head of the truly bad villain occasionally is okay, but they have to have some good characteristics—perhaps they love animals, or their mother—or they have a good reason for their badness—perhaps they were abused as a child. It is hard to define what is too vile or mean though and if done with delicacy, a terrible character can be likable. Hannibal Lecter is in theory pretty vile character and yet people liked him.

2) Not being too perfect or good.

Someone who is too good, or perfect is also annoying. Nobody is perfect. And we are quick to hate someone who appears to be. Flaws, such as having a quick temper, being clumsy, or disorganized, make a character relatable. Your character has to make the wrong decisions sometimes, or let their flaws show through occasionally. At the same time, they must also be aware of their flaws and strive to keep them a bit under control.

3) Not being too annoying or crass.

We all know annoying people. We all know people who engage in crass or rude behavior. We might even do some of those things ourselves sometimes. But just as we do not want friends who are consistently annoying, crass or rude, we don’t want to spend too much time in the head of someone who is that way. We also don’t want too much information regarding certain aspects of the person’s life.

4) Having a backbone or agency.

They have to take action and do something or they are boring. Characters who simply react to everything, even though this is in fact what some people in the world do, are often not as appealing to readers as characters who are more active in creating their own destiny. On the other hand, Bella Swan was a character with limited agency and obviously readers liked her, or liked something about Twilight (maybe it was the sparkles). Anna Karenina is another famous pretty weak character.

5) Having a goal and being persistent.

This relates to having agency. Characters we like have to have something they want and work toward achieving it in a persistent manner. They can give up or take a rest occasionally (this can be the dark night of the soul for your character), but they eventually need to pick themselves up and go on again.

6) Having other “good” characteristics.

To be likable, in addition to having a backbone and a goal, your character often will need to have a blend of other good characteristics. Not too many of course, but enough. Characteristics that readers often find appealing include being modest, courageous, kind to others, fair, funny and dependable, and uncomplaining (few people like a persistent whiner).

7)  Being complex.

This relates to not being “too” anything above, but it goes beyond that. Do your characters have unique or idiosyncratic obsessions? Do they have a history? Do they have interesting skills or party tricks? What are their fears? We all have quirks and different aspects of our personality that make us unique. Your character should have those too. Just being Prince Charming with no other major characteristics other than a nice smile, horse and lots of money does not make for a likable character.

8)  Having a name that suits them.

This is a minor point, but important. Names matter and say a lot about a character. It is not a matter of having a likable name, but having the name that suits the character. Think Ebenezer Scrooge, Scarlett O’Hara, or Atticus Finch.

9) Reacting the way real people react.

If your character’s family is murdered in the night, or she turns up to the ball with her dress tucked into her underwear, it is important that your character respond in at least one of the ways we all think we would respond, not making too light of certain situations, and not going over the edge in other situations. Characters have to be realistic in order to be relatable.

10) Learning and growing.

While readers may not be thinking it as they go into a story, we all (apparently) like characters who learn and develop as a result of their actions and the things that happen in the story. Just was we don’t like someone who seems stuck by their life situation, we don’t love characters who seem incapable of change, even though realistically, many real people are in fact stuck or incapable of change. This relates back to having agency. They have to be willing to stand up and do something, about something. That way we can root for them while they are undergoing their growth. You can’t root for someone who never gets out of bed… well you can, but it soon becomes evident that it is fruitless.

11) Being good looking.

This one is not a necessity and there are many famous unattractive characters, but many readers do like characters who are attractive. We want to live through their eyes after all, and being good looking can be enjoyable.

These are important things to keep in mind when developing your characters. The bottom line is that nobody will like every character. Just as we all have different tastes in friends, we all have different tastes in characters, and different characters will appeal to us or be more relatable to us at different points in our lives. Thinking about how likable a character is matters, but remember that likability is a complicated combination of a whole bunch of characteristics, flaws, idiosyncrasies, and motivations. The idea is to make your character complex, flawed and realistic enough to be relatable, but also motivated, cool enough, nice enough and talented enough to be a bit extraordinary. It is a tough line to walk!

On the Writing Idle podcast we talk about making your character real like your readers, but just a little bit more extraordinary, and more likely to do what your reader hopes they will do in difficult situations (that they may or may not ever encounter). Check it out!


Scene Turns or Polarity Shifts

I am deep in writing Pair Alleles, Book Four in my Derivatives of Displacement series. I’m just under a third of the way through and on a tight schedule. I’m writing more by feel and less by outline for this novel as I work to find my story and I’ve been thinking a lot about what Robert McKee calls scene “turns” or what Shaun Coyne of Story Grid fame calls polarity and value shifts.

According to McKee and Coyne, every scene in a story or novel must have a turn or polarity or value shift in order to give the scene purpose and the story forward movement. Shifts can be from positive to negative, negative to positive, positive to negative and back to positive, negative to even more negative, and positive to even more positive. There just has to be a shift, or reversal of circumstance. Each scene should start with a polarity, either positive or negative—things are either going well or according to plan, or they are going badly. By the end of the scene, that should have changed.

If thinking in terms of polarity and shifts is too complicated and you failed math and don’t ever want to think of whether two negatives make a positive again. Just think of these shifts as turning points, or “turns” for short.

Every scene should have a turn

So for example, the hero starts the scene dangling from a cliff and is saved by a donkey in a hot air balloon (negative to positive), a couple is having a romantic dinner and end up in a heated argument (positive to negative), the main character enters his new school alone and meets a friend (negative to positive), the main character enters his new school alone and meets an enemy (negative to more negative).

Turns introduce drama and conflict

The idea is that turns/shifts/changes introduce drama and without at least some drama, your story might not have life. If a scene does not include a polarity shift or turn, if it is neutral, then chances are it may be boring and not serving a clear purpose and should be edited or cut. There are exceptions here of course, but a book full of scenes without turns will not likely entertain anyone.

Lee Allen Howard observes:

“The effects of turning points, according to McKee, include: surprise, increased curiosity, insight, and new direction. The turning point provides new information and a goal for the next scene.”

What changes in turns?

That which changes can be the character’s circumstance, knowledge or emotions. Thus shifts can occur through action (the Death Star is destroyed), revelation (Harry discovers he is a wizard) or a change of heart (Maverick finds the courage to go back and help Goose).

Often the change is related to something that is of value or importance to the character. Some larger ideal or goal is at stake, such as freedom, love, trust, or survival. This relates back to the idea of character motivation and what is driving your characters. Most turns should reflect your character’s motivation and the key values that they hold dear. Your character can go from despair to hope, frustration to relief, trust to doubt, or anxiety to certainty.

Your turns need to have variety

If needing to have turns in every scene doesn’t make it hard enough, Coyne advises ensuring that you switch up what changes and the mechanism through which it changes. If you continually turn your scenes through revelations, your readers will get bored. Similarly, you should vary the direction of polarity shift from scene to scene. In other words, you do not want to have three consecutive scenes where the shift is from positive to negative.

Depending on what you are writing, turns can be small and subtle or or very evident. But even with literary fiction, the degree of charge (or change if you’re not a math person) should ramp up as the story develops so the shifts near the end of the story are more stunning than those at the beginning.

So what do turns mean for your writing?

Some writing coaches suggest going through each scene in your book and recording the direction and nature of the polarity shift. I’ve tried this and can assure you it is a mind-bendingly tedious task, and it’s hard, but it is worth doing for a few scenes to ensure you understand how it works.

Some writers advise being very conscious of your turns—planning them out in advance of writing the scene and tracking them as you go. I’m just not that organized in my writing. I am conscious of turns and for the most part I do them instinctively, and I feel most writers can get away with that approach. But it is worthwhile if you feel a scene lacks energy or just isn’t working for some reason to step back and ask yourself if there is a turn.

What do you think? Do you track turns in a spreadsheet or on index cards, or just try to ensure that they show up when needed?

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Maintaining Motivation through the Second Draft: 11 Tips

A fellow writer recently asked me to do a post on how to find the motivation to do a second draft. I was up to my ears in my second draft for a pen name novel, so held off for a couple of weeks, but now with that novel published and a blank page ready to start on my fourth Derivatives of Displacement novel, I have time to do a couple of posts (and catch up on the consulting work that I skipped while intensely proofreading).

A second draft means different things to different people.

A second draft even means different things to me, depending on whether I am working on a short or long piece and whether I am working on something I’m going to publish under my own name, or my pen name.

Everyone’s editing process is slightly different, especially for the second draft. Some people will read their book through in its entirety and make revision notes, some will start working on the prose while they do an initial pass, looking for plot holes and structural issues. Some will approach it in a linear fashion starting from page one and working their way through page by page, whereas others will go where they know the biggest problems are and work on those one by one.

There is no right way to do it. The important thing is that you do it. Generally, a second draft is reserved for more structural edits, fixing plot holes, addressing major issues, adding or deleting scenes. Thus it is generally inadvisable to spend a lot of time polishing prose until later drafts as some of it may be deleted anyway. I tend to do a combo with stuff I publish under my own name, doing an initial non-linear blitz of problems that I have on my revision list, and then a complete pass through where I sharpen the prose, fix the no brainer sentence structure problems, amp up the characterization, and look for other structural or major problems to be fixed. For shorter stuff and my pen name stuff, which tend to be less complex, I combine these two steps into one linear pass through.

A second draft is tough.

You don’t have the euphoric high of creating new stuff, although in reality you will (or should) be writing many entire new scenes and sections of scenes as the novel demands, and worse, all your writing faults (yes, we all have them) will be right there on display, which can be discouraging. And a second draft can also take a long time and seem like a grind, especially when you just want that high of being done and hitting publish! But you can’t without doing a second draft.

Eleven Tips for maintaining motivation through a second draft

1. Take a short break after finishing your first draft.

You’ve just written a short story or a whole novel for goodness sake. You deserve a short celebratory break, and you will start your second draft far more refreshed and motivated if you take one. But don’t let that break be longer than two weeks, or you might get accustomed to quaffing margaritas on the beach or watching The Walking Dead, and never come back. I take a one week break between drafts of the stuff I publish under my own name. The pen name only gets a one-day break. She’s hardier, and my pen name generally writes novellas that require fewer revisions.

2.  Use your revision notes as a motivating “to do” list.

You have revision notes don’t you? The things you jotted down while you were doing your first draft that you intended to go back and deal with or check on later, the holes that you thought might be in your plot, the cool things that happened later in the book that you now have to go back and foreshadow earlier in the book. If you don’t, you should. I fix a lot of things in my first draft as I go, but in the interest of pressing on and getting a first draft done, I keep a running list of fixes. If you don’t keep a list of fixes, do a quick read through of your first draft and make that list. Include things like plot holes, foreshadowing opportunities, issues with character motivation, and other general problems. This revision list serves as your “to do” list, and if you are anything like me, crossing off all the items on that to do list, and eventually making that crossed out chicken scrawled piece of paper disappear from your desk forever, is a great motivator.

3. Set a realistic, but firm, deadline for completing your revision and then set a daily word or page target based on that deadline and meet it.

A realistic deadline is going to depend on a few things—the length of your WIP, how drafty your first draft is, and how many hours a day you have to work on it. For a long short story of about 16,000 words, I give myself a week to two weeks to do a second and third draft. The pen name only gets four days (I’m so mean to her). For a novel, I often give myself three to four weeks for a second draft, which means spending a week to a week and a half blitzing the fixes on my revision list in a non-linear fashion and then moving page by page through the entire manuscript at a pace of about 4000 words a day, which is doable even if I can only work at night (which is often the case when I am working) especially if I can do 6000 words a day on weekends, giving myself a bit of leeway for those nights my head is drooping over the keyboard (which happens, believe me). The pen name gets about seven days for a novel, which since they are shorter means a pace of about 7000 words a day.

If those deadlines sound short, keep in mind that this is just the second draft. I’m still going to do a third, fourth and fifth and potentially a sixth draft on the work I publish under my own name (don’t be totally demoralized by this… some of those drafts are just quick read throughs—they are excruciating, but necessary). Also keep in mind that I am now at a stage in my writing where I can usually pull off pretty polished and put together first drafts—the second draft of my first novel took me four years. If you think your first draft needs more work, allocate a longer and more realistic deadline. But don’t belabor the second draft (i.e. do not take four years). You will have to do additional drafts, and a quick, but complete, second draft is better than agonizing over each chapter for a month and never finishing.

4. Remember that if you want to be a writer, it has to be done.

This is a very simple motivator. If you want a finished piece of work, a second draft is necessary. Nobody can do it for you, and there is no way around it. Every single book you have read started as a first draft that someone had to turn into a second draft, and quite often a third, fourth and fifth draft. It may seem daunting, but you made it through the first draft didn’t you?

5. Don’t get bogged down in how awful your WIP is or how much work it needs.

We all have that feeling sometimes when we look at our drafts, but don’t let it paralyze you, prevent you from starting, or cause you to get stuck on a particular section or problem that you don’t know how to fix. If you encounter something you don’t know how to fix, sometimes the best thing is to just flag the problem (yup, make another list!) keep moving, and get through the entire manuscript. Sometimes after thinking about it for a day or two I can go back and fix that thing that I wasn’t sure about on the day I was revising that section. But also expect that you will need to do a third draft and you will catch additional things then. Keep doing additional drafts as long as you need to, hopefully doing them more quickly with each draft. Your draft will get better with each revision, you will become more confident with and accustomed to revising, and eventually, after writing many pieces of fiction, you become a better writer you won’t need to do as many revisions.

6. If you are working on a list of things that need revising, pick appropriately for your motivation that day.

On days when you are feeling less motivated, look for the easy wins. Is it just a name that has to be searched and replaced, or a small but easy red herring that needs to be woven into a scene? I do these on the days I’m exhausted. There is nothing like being able to cross things off of on your list at the end of the day and see the list get shorter—yay! Conversely on the days where I have a few hours to write at the beginning of the day and am feeling more motivated, I tackle more challenging problems.

7.  Remember that not everything about your manuscript is going to suck.

Some things will suck and you need to fix them, but there will be good sections, and great sections. Knowing that you don’t need to fix everything can help keep you going. In my first novel, I had to rewrite about 60 to 70 percent of the first draft. Now I probably rewrite about 30 percent. I’m getting better, which means the second draft is less work.

8. Bring all of your tricks for writing a first draft into play.

What do you do when you get stuck on a first draft? Go for a walk, dreamstorm a scene, decide what could logically happen next, guzzle coffee or whiskey, play with your cat, noodle on Facebook for a couple of seconds? All of those things work on a second draft too. We all know the key to a first draft is keeping your bum in the chair—and that’s the key to a second draft too. You’ve already developed that discipline in the first draft. Now is the time to test your fitness level. If the first draft is the running blissfully through the woods section of your workout, the second draft is the squats section. Learn to love it, or at least tolerate it, and your blissful run will be all that more fun.

9.  Speed it up by keeping a checklist of your own writing peccadilloes or developing a process.

Revising is easier if you approach each scene with an idea of what you are looking for. I devised this list of things to look for in getting from first to second draft. K.M. Weiland offers this look at her own revision process, complete with a list of things she looks for. It is much easier to go through a list when you check out a scene to figure out what needs to be changed. Eventually this list will become ingrained in you, and you will automatically look for those things, but in the short term, a list is handy.

10.  Understand that nothing is a waste of time.

Adding scenes, deleting scenes, fixing sentences that will eventually be deleted, rewriting the entire last half of your book—it can all seem like an incredible waste of time and energy. The nice thing about a first draft is that it is whole and complete and if you walk away from it and never do a second draft, you can imagine it is great. It's painful to take apart something you have painstakingly put together, and sometimes seeing your novel in pieces on the virtual floor can be terrifying. What if you can’t put it back together? What if it's a huge amount of work to put it back together? Those poor scenes on the cutting room floor represent hours of your precious time. It is tempting to never take your novel apart. But be confident that none of these steps are a waste of time, and even if you delete scenes, chapters, or entire characters, they were part of the scaffolding that was necessary to build your novel. I know… it hurts, but it’s necessary.

11.  Remember why you wrote the book in the first place.

There are a lot of reasons for writing a book: a burning idea that just won’t leave your mind, the prospect of fame and fortune (although this might not be the best reason for writing), building a writing career, recording a piece of history. If you are having trouble with your second draft, think about these reasons to inspire you to keep going.

Those are my best tips for keeping motivated. Chocolate helps too. What keeps you going through your second draft?


Balancing Writing and the Day Job: 7 Tips

Photo Credit: woodleywonderworks / flickr / creativecommons

Photo Credit: woodleywonderworks / flickr / creativecommons

Balancing writing and the day job. The age-old conundrum for writers. As Elissa Field points out, “The repeated refrain in evaluating the perfect day job is the need to earn a living against a writer’s hunger to preserve time and creative energy for writing.” Although the indie world is making it increasingly possible for people to be full-time writers, that still doesn’t happen to most of us. As Liz Entman Harpur observed, “the truth is that being a full-time writer is basically just the literary equivalent of a career in the NBA.” I don’t know if that is strictly true anymore. There seem to be a lot of full-time writers out there, but it is still true for many of us.

After a sobering look at our finances a few months ago, I realized that I needed to make more money somehow—one of our vehicles got totaled a few weeks ago, my kids are going to need to go to university, and skiing is an expensive hobby (as is, it turns out, eating). Although my writing revenues are increasing, they are not increasing rapidly enough to match my consulting income. When a great part-time contract fell into my lap in November, I decided I should take it, both for the money and the career furthering opportunity (and it’s cool to be part of a fantastic team doing important work).

I could have made the case to myself for holding off on taking on a new contract a bit longer. After all, I’m on the upward writing income trend, right? But it isn’t a quick upward trend, and I worry about the sustainability of a writing career. Even if I did make it relatively big, for how many years could I make a reasonable income? I’m still going to continue to buy tickets in the writing lotto, of course, but I figure that maintaining a diverse and strong CV is still a valuable asset…

All right, that’s a falsehood, if I was coming close to replacing my income with my writing, I’d shove the professional CV down the toilet and throw all my eggs in the writing basket in a heartbeat.

But I digress… as 2016 moves forward at a rather alarming pace (inching ever closer to my May 15 deadline for my next Derivatives of Displacement book), I find myself thinking often about achieving a balance of some sort. Working at a demanding job in which I am mentally tracking multiple to dos and projects, even when I am not officially on the clock, leaves me less headspace than I would like for writing. I know all you writers who work full time and still churn out four novels a year are rolling your eyes at me right now. I did manage to write three novels two years ago while working three-quarter time, but doing so did have health costs that I do not care to repeat.

Not working and writing (at the same time) definitely causes my productivity to go way up. I earned enough money in the first four months of last year to enjoy a six-month stretch of focusing only on my writing. During that time, I got a lot done—two novels and two short stories under my name, and five novellas under my pen name. I also managed to more effectively do all the other things that go along with being a writer—social media, blogging, promoting my books in a myriad of ways, editing, proofreading, and managing my business.

Now that I am back to juggling, writing, working, parenting, housework, cats, exercising, cooking, and skiing, I’m finding myself more challenged to get words on the page and had started to feel a bit concerned as a result.

So I decided to look for tips on achieving balance. It is possible, right? Or maybe it isn’t. In a great blog post on achieving balance as a writer, David James Poissant points out:

“at all times, you will be either a bad parent, a bad writer, or a bad employee. Get used to being one of these things. The trick is to make sure you’re not being all three of these things all at once.”

He’s right, but darn it, I can’t afford to be bad at any of those three things. It was refreshing to read about other writers facing the same struggles, and to know that most writers are incredibly honest about the challenges of working for a living and still finding the muse. Susan Lanigan observed “For a working writer, there is constant awareness of needing to sacrifice, and pain associated with that need. It is never resolved.” After all, multiple writers throughout history have held down full time day jobs while writing, including Lewis Carroll, Bram Stoker, Philip Larkin, T.S. Eliot, Anne Rice, and Virginia Woolf. Then again, the leisurely publishing days of yore may have allowed for more of an easy union of writing and working.

So what are my top seven tips for finding balance?

1. This isn’t going to be a popular one in my house, but I am going to get my husband and kids to do more.

Everyone gets cranky when I’m not the one doing the grocery shopping and making dinner six nights out of seven. But I am going to stop feeling guilty about not making dinner two or three nights a week, even if everyone is grumpy about it. I will take their grumpiness with a smile and know that I have spent many years in the dinner trenches and now I am pursuing my dream, at least part of the time.

2. I am going to try and work in more short and intense bursts.

Sinéad Crowley, an Irish writer with a day job, notes “Because I have such a busy day job, I have developed the ability to work in short, intense bursts. I can sit down at the kitchen table at 8.30pm and write between 500 and 900 words and then that’s it, I’m done. Even if I had more time I don’t think I’d write more than that a day, my brain is trained to write like that now.”

3. I am going to stop checking Twitter, Facebook, Amazon, my email, and Goodreads fifty times a day.

It’s become a habit and a bad one. Even now my Facebook trigger finger is growing itchy, and I’ve only been trying to focus on this piece for like five minutes since my last check. I might even try to stop using Facebook (my biggest time sink) almost entirely. Blasphemy, you say. Even though I’ve met many marvelous writer friends, and fans on Facebook, and it’s great for writing events and hanging around the virtual water cooler, there’s lots of evidence that too much time on Facebook can have have a negative effect on mood. Even though I am happy for my writer friends when they accomplish something, a small part of me gets panicky and thinks maybe I’ll never make that break through or have that success. I don’t need to waste my time on that. If I’m going to work and write, I’m going to need every advantage I can get.

4. I’m not going to try to write at the same rate I was writing when I wasn’t working.

This is going to be hard. I became accustomed to that level of production, and it paid dividends in terms of my writing income. But it just isn’t realistic if I want to keep my health and my sanity (okay, sanity is probably overrated, but I do like my health). I may have to give up the pen name, cause you know working and writing for one person is hard enough, never mind two people. On Chuck Wendig’s Terrible Minds blog, Tom Pollock, a writer who also works full time, argues for planning your time and he only plans to write three days a week. By not having the expectation that he will write every day, he is free to do other things, important things, like spend time with his family and recreate on the alternate days. But because he has taken the time off the other days, he is more committed to his writing times.

5. I’m going to put writing first in my day on every day I possibly can.

Although I can write in the afternoon and at night, my best writing happens in the morning. My work is part-time and flexible, and I work from home. But I do have lots of meetings I must attend, and I have lots of deliverables. My conscientious self wants to get my consulting work done first, so I get that hit of completion and feel like the rest of my day is clear. But then when I turn to my writing I am less fresh, and less productive. Because I don’t have to do my writing, I might not push as hard. If I were to do my writing first on the days that I don’t have meetings, I would still get my work done because I have to… I think. Bryan Hutchinson argues for writing at the same time every day so that it becomes a habit. Unfortunately my schedule does not quite allow for this. But putting it first most days might help.

6. I am not going to listen to what Tom Pollock calls my “dick” voice.

You know that voice that we all have fueled by Facebook that says everyone else is getting ahead, the market is tougher than it ever has been, that if you aren’t churning out twelve books a year, it isn’t going to happen, that voice that tells you to give up everything else and just write.

there are only so many hours in the day, and you’re already spending so many of them at the day job. You keep seeing on Twitter how everyone else is writing every spare second of every day (I mean, even Stephen frickin’ King says you need to write every day, and he’s Stephen frickin’ King).  What if everyone else is getting ahead because you’re not focussed on your game? Everyone’s talking about how tough the market is right now. Maybe it’s time to make the writing the priority, even ahead of some of the people in your life…
Do not listen to this voice. This voice is a massive dick, formed out of your own paranoia at falling behind some imagined curve and cloaked in just enough statement-of-the-obvious to make itself look reasonable. Yes, there may be times when you need to prioritize, and you know what? Prioritize the people. They’re more important.

Unfortunately that voice is very persuasive, but I am no longer going to listen to it… (cue crazed laughter), because if I don’t listen to it, writing might cease to be fun, and isn’t that why I got into writing in the first place?

7. I will start looking for other things to sacrifice.

Writing is all about sacrifice we all know. I have already given up ballet, volunteering, socializing and practicing piano. I won’t give up skiing, eating well, exercising, sleep, or being with my kids. But maybe I could give up housecleaning….

Wish me luck. And good luck in your own effort to find balance. I don’t know if I have the answers, but I’m still trying to find them. If you have a secret to finding balance in your writing and working life, please let me know. And now I am off to ski. My kids are in a competition today, and I want to be there to cheer them on.

The 12 Blogs of Christmas: Blog Twelve

Today we have Martin Crosbie, the organizer of this blog hop, and a recent Kindle Scout winner with his novel The Dead List (A John Drake Mystery).

I'm pretty much done my list of things that I hope will change in the indie world in 2016 (although I am sure if pressed I could come up with a few more), and need to go out and do some last minute shopping and get the food for Christmas dinner. Even though it is not perfect, the indie world of writing is pretty awesome. I got one of my best Christmas gift ever yesterday when I happened into the local bookstore to see that all of my books had sold out and a man in the store stopped me and asked where he could get one of my novels. It's time to sit back and contemplate Christmas and be grateful that I have the privilege of being an indie author.

I hope you enjoy Martin's heartwarming story and that you all have a lovely Christmas season. It really speaks to the heart of Christmas and gratitude. Don't forget to check out some of the other blogs of Christmas.

Martin's Story

Last year on the night after Christmas, even though it had been an exceptionally busy day, I drove a car-load of family members around the streets of our town. For two and a half hours we drove up and down roads searching out the brightest, most illuminating lights on people’s houses and lawns. My eighty-six year old passenger in the back seat, wrapped in a blanket and clutching a mug of hot chocolate, smiled the whole time and asked me pull over and look at every light on every street. Two days later we took her into hospital and three weeks after that we lost her.

            Doreen Clark was diagnosed with cancer when she was thirty years old. It was a form of cancer that took ninety-five percent of its victims. She beat it. In the following fifty-six years she lost a kidney, suffered heart failure, lost the ability to walk without a walker and overcame it all. She beat everything that was thrown at her. Some people are resilient, she was more than that. She was unbreakable. Click here to read more...

Martin Crosbie

In a press release, Amazon called Martin Crosbie one of their success stories of 2012. His self-publishing journey has been chronicled in Publisher's Weekly, Forbes Online, and Canada's Globe and Mail newspaper. He’s the author of six books including the Kindle Scout winner “The Dead List – A John Drake Mystery”.

Martin was born in the Highlands of Scotland and currently makes his home just outside Vancouver, on the west coast of Canada.


The 12 Blogs of Christmas: Blog Eleven

Only one more day in my countdown to Christmas. Today I must actually visit some stores and make some purchases for the people in my life (yes I know... I should have started weeks ago, but it is hard when there is powder to ski and words to write). On the blog today we have Cate Pedersen with a story about a Christmas Mystery Man. In my penultimate rant about things that need to change in the indie world, I am going to touch on something more controversial perhaps... those writers who become breakout successes on Amazon who are not great writers.

Please do not think that this post is about sour grapes. It isn't (I wouldn't do that two days before Christmas). It is more about me being utterly confused sometimes at what somehow at some moment in time decides to fly up the Amazon charts. I read a lot of books, and I'm not a particularly discriminating reader. I will read literary fiction, genre fiction, and everything in between. I can even appreciate indie books that contain a multitude of errors if I connect with the characters or become involved in the story line. Although I appreciate the qualities that traditional books often bring to bear (more refined prose, tighter editing), I do not always think they are better than indie books. I also think many of the indie writers who sit at the top of the charts have totally earned it with great writing, characters, and plots.

However there are some books that seem to fly up the charts and stick that just are not great, or even good (in my perhaps incorrect opinion). But the reviews often bear out my opinion, with people stating upfront that they don't understand why the book has received so many other earlier good reviews. I can't help but think some of these authors are gaming the system somehow, or just got really lucky. I notice that some of them are the ones who have the balls to basically state that they are really great in their marketing material. And if something gets up beyond a certain rank on Amazon, it develops a momentum of its own and it sticks there.

I don't even know what I think needs to change on this front, because I don't want the system to become so locked down that writers don't have a chance to have a breakout success. I appreciate that these writers may have worked just as hard as any other indie writer, and my dislike of their book may be just a matter of personal taste (obviously millions of people saw a shining gem in Fifty Shades of Grey, and millions of people can't be wrong, can they?). In the indie world, and in the writing world in general, we are very loathe to diss another writer's writing, because everyone knows everyone, and our own writing is so very vulnerable if we do. So we are often supremely uncritical of each others' work, which makes the indie world a very supportive place, but perhaps not a place where our writing improves.

All right, enough said, my hope for 2016 is that I will start to understand better the appeal of certain books and have more balls in my own marketing material, which you know as a deprecating Canadian is a challenge. My family has pointed out that the tagline "you probably won't like it" that I attach to many of the dinners I serve (even though I think I'm a pretty darn good cook) probably wouldn't be that effective for my books...

Cate Pedersen

Cate Pedersen is a freelance writer, editor and social media manager. She recently published her first novel and is working on books two and three in the Sister Spirit Series. She is also a contributor in It’s Really 10 Months: Special Delivery, an anthology of birth stories (Special Xmas Sale NOW on Amazon) and an upcoming anthology: Adventures in Potty Training. Cate’s children are now almost grown, so Christmas is not quite as busy, but will always hold a magical place in her heart. Read her “12 Blogs of Christmas” post to find out why!


Facebook: Copycate Writing, Editing & Communications

 My Christmas Mystery Man

There is certain magic I experience right at midnight on Christmas Eve. The entire world seems to pause and the air is different somehow. I relax completely, despite the recent whirlwind of activity over the past few days and the maelstrom which is to come Christmas morning and continue until New Year. My spine tingles with anticipation as the hour and minute hands join; I almost want to cheer, “It’s here, it’s here!” I look forward to it every year. I cannot recall ever going to bed earlier than midnight on that auspicious night— especially as a child, waiting up for sounds of bells and scraping hooves on the roof.

When my son and daughter were young, it was the same performance each Christmas Eve; I knew my cues perfectly and waited until I heard regular breathing through my daughter’s bedroom door. She was always last to fall asleep. Her father had been the first. I collect the presents hidden under my bed, in closets, above bookcases and wedged between storage containers. I tiptoe towards the tree with an armful of brightly papered boxes with colour-coordinated bows (and extra tape) . . . then freeze as the ball of my foot puts pressure on that part of the floor that squeaks. I imagine the cracking of wood sending shudders through the hall, and under the beds of my sleeping children, jarring them awake . . . Read more

The 12 Blogs of Christmas: Blog Ten

Only three more days left in the 12 blogs of Christmas. Today we have Jordan Buchanan with a story about one of her Christmas pasts. I'm almost out of things that I hope will change in the indie world in 2016, but fear not good readers, I still have a few more :-).

Since I still don't make a huge amount of money from writing (although it is improving), I still work a day job, but I only have to work part-time. I am a consultant so I try to take small contracts that are about ten to fifteen hours a week so that I still have time to write, because writing takes time. Yes I know there are all sorts of writers who produce bestsellers while working eight hour a week day jobs, but I find it much easier to produce quality work when I have a chance to really focus on my writing for a few hours a day. I find that even though I tell my employers that I am a writer and am looking for the exact number of hours that they posted, that as soon as I start, they suddenly want me to work more hours a week, and then more, and more (I would like to think this is a hazard of me being good at my job, but it might be more a hazard of them being desperate). Even though I remind them often that I'm a writer, and that while the work I'm doing for them is important to me, I really want to write too, they don't seem to get it.

So here is hoping that in 2016, employers or clients will begin to embrace the fact that yes, some people really do just want to work part time, and they can love their job and be serious (very serious... no doing sneaky stints at the writing desk for me) about it, but that they also have something else that they love and take seriously. It used to be like this when I wanted to work part time because my kids were young, the clients would always just look mystified when I would remind them that no I really do want to be home with the kids half the time.

No clients, I really do want to be spinning tales about time travel, cats, and alien robots. Why can't you understand that? Okay, on to the post of the day by Jordan Buchanan.

Jordan Buchanan

Jordan Buchanan was born and spent most of her life in the Blue Ridge Mountains of Virginia. Now residing in northern Michigan, she misses the Shenandoah Valley but living in the home state of the mighty Detroit Red Wings helps ease the pain.

4Play, her debut publication, is a collection of erotic romance short stories. She is currently working on two novels -- For Love or Money and Xander's Garden.

When she’s not reading, writing, or watching hockey, she enjoys time spent with her charming husband and their three Lab mixes.



Blog excerpt

Happy holidays to all and a huge thank you to Martin Crosbie for inviting me to be part of the 12 Blogs of Christmas. It’s quite an honor for me, a fledgling author, to be included in such accomplished company, and I’m thrilled to have this opportunity to share a tale of my Christmas past.

 At an office holiday party a few years ago, I decided to forego the ubiquitous Santa hat and donned a fur-trimmed tiara instead. One of my co-workers dubbed me the “Queen of Christmas”, but I’m merely a pretender to the throne, a princess at best. The title was always owned by my mother who reigned over our family Christmas party like a benevolent dictator. She did all the decorating, the cooking, the cleaning—everything necessary for us to eat, drink and be merry. She provided the playground; we came to play. Read more here.

The 12 Blogs of Christmas: Blog Nine

Today on the blog we have poet Heather Haley with a fitting poem about the Virgin Mary. As we draw closer to Christmas, it's probably time that I start thinking about Christmas, not work and writing. I will start my shopping today, I swear... maybe after a little ski (it is a powder day after all).

One of the big challenges of being an indie writer (aside from resisting powder days) is all the busy work associated with updating one's front and back matter and files whenever a minor mistake is discovered or you have a new release. Buy-through is enhanced dramatically if you have links to and excerpts from your other books, so it's worth it to go back through and update all your back matter whenever you have a new release. This can be very time consuming though especially if you have a lot of works. Draft2Digital has created a new feature whereby apparently you can update your back matter in one place and it automatically is included in all of your novels and shorts.

For those of you who don't know what Draft2Digital is, it is an amalgamator, like Smashwords, whereby you can upload your pieces to one dashboard and have them appear on all the platforms, even Amazon. They take a 10 percent cut I think. It is, apparently, not as powerful as working with the platforms directly because you can't optimize categories and keywords. I don't use it for Amazon (because I need to be able to do that optimization), but I do use Draft2Digital for the other platforms because my sales on the other platforms are too low at this point to worry optimization.

I think this backmatter updater is an unbelievably great idea. I haven't tried it yet because I don't have a lot of books on the other platforms because of the power of KU. But if Amazon were to add a feature like that, it would dramatically reduce my workload and increase my writing time. So here's hoping that in 2016, Amazon creates a backmatter updater. End of today's wishful thinking and on to Heather :-) (and some powder... maybe).

Heather Haley

Trailblazing poet, author and media artist Heather Haley pushes boundaries by creatively integrating disciplines, genres and media. Her writing appears in numerous journals and anthologies including the Antigonish Review, Geist and The Verse Map of Vancouver. Haley was an editor for the LA Weekly and publisher of the Edgewise Cafe, one of Canada’s first electronic literary magazines. She is the author of poetry collections Sideways, Three Blocks West of Wonderland, and debut novel, The Town Slut’s Daughter. Haley’s videopoems are official selections at dozens of international film festivals and she’s toured Canada, the U.S. and Europe in support of two critically acclaimed AURAL Heather CDs of spoken word song.

Find Heather’s blog, One Life at:

First Came Mary

Before hate. In spite of war. A few years back I was fortunate to visit the Yucatan, now referred to as the Mayan Riviera. An anthropology buff, I was thrilled to tour the ruins of Tulum and Chichen Itza. It was Christmas and I was astonished by the degree of Maryolotry, the inspiration for this poem from my collection Three Blocks West of Wonderland.

It bears repeating, especially…more

The 12 Blogs of Christmas: Blog Eight

Today on the blog we have Laurie Boris with a heartwarming story about how Mrs. Claus got her groove back. I'm sitting here after just watching the new Star Wars, which was amazing, and I'm so excited about the movie that I can't think of anything that I want to change in the indie world, except maybe that I could write a story like Star Wars. Movies do that to me, especially action movies. I have to limit the number I watch or I would spend too much of my life too excited. I actually didn't sleep for two weeks after seeing The Phantom Menace (I know, I know, not as good as the originals) because I was so busy spinning new plot lines that could arise from it.

But given that it is Christmas, and the snow is amazing, I am not feeling the writing drive quite as much as I usually do, although I did write my thousand word quota for the pen name today (normally it would be two thousand words, but since most people are off enjoying the season, I decided I should too). For fun, I looked up getting your creative writing groove back and of course found this great advice from Chuck Wendig. Importantly he says (see number 11) that getting out of the house is good for you, and that vacations might be okay (see number 24). So I am going with that and am going to advocate that for 2016, Christmas become an official time for festing, getting out of the house, skiing and watching Star Wars for writers.

Laurie Boris

Laurie Boris is a freelance writer and copyeditor. At one time, she was a magician’s assistant, although she was very bad at it. She has been writing fiction for over twenty-five years and is the award-winning author of six novels including her latest, A Sudden Gust of Gravity. When not hanging out with the universe of imaginary people in her head, she enjoys baseball, reading, and avoiding housework.



How Mrs. Claus Got Her Groove Back

Emma Claus looked from the crackling log in the fireplace to the cheerful cards on the mantel and the string of twinkling lights she’d woven among them. But the yuletide trappings still left her cold. She’d tried everything to awaken her Christmas spirit: hitting the Black Friday sales online, reading letters from the children, baking tray after tray of cookies. Even the sappiest of holiday movies failed to lift her mood. Even the ones with Colin Firth.

Just to make sure she’d given Hollywood a fair shake, she clicked the remote to the Hallmark Channel, which was showing the same snowed-in romance brewing at the same over-decorated country inn. Emma merely clucked her tongue. “Fools,” she said. “Do those innkeepers ever sleep? All that work! Cooking and cleaning! Sweeping up pine needles, drizzling everything with tinsel just so, tending the fires in every room and dusting twice a day from all the ash…what kind of life is that?”

Read more here

The 12 Blogs of Christmas: Blog Six

Today on the blog is RJ Crayton with a post entitled "The Place for Humbug During the Holiday Season." This is a particularly apt post for me today as I must confess I was feeling a bit humbuggy. Yesterday was my birthday and I decided to drift through one of my favorite clothing stores in search of a new fleece for myself. It gets cold at the writing desk in the Klondike and so I wear a fleece and slippers, and the two fleeces I have are starting to look a bit bally, which means that I look rather a bit like a yak most of the time. In effort to look a bit more presentable, or at least like a presentable yak, I thought I might get a new fleece.

Alas, I happened to check the line of credit before going into the store. which brought me to an abrupt halt with respect to my potential fleece purchase. So I headed home fleeceless (or fleece free... Well, I was wearing my bally fleece). After a more detailed review of our finances, which I confess I had left in the hands of some other member of our household in favor of writing, I realized that I might actually have to give up writing... well I have at least had to take on more consulting contracts, which leaves me less time for writing. I am at the end of year two of that magic three years that someone (was it Hugh Howey?) claimed was how long it takes to make it in the indie world, and although the royalties are increasing, they still do not come close to replacing my income.

We all know writing is a tough gig to make it in. For centuries writers have worked away at their craft, apparently toiling away in chilly garrets (probably fleeceless, the poor souls), often with little financial reward. I knew that going in, so I'm not whining, but I really do hope that in 2016 there is a renaissance in reading and more writers will be able to make a decent living off their craft... otherwise we might all start to look like yaks.

Addendum: Wouldn't you know it, just as I finished writing this, the zipper on one of my fleeces broke. A sign from the writing gods perhaps?

The Place for Humbug During the Holiday Season

Bah, humbug!

There, I said it.

I know. It’s the Christmas season. Everything is warm and fuzzy like in greeting cards, sappy viral videos and TV movies. Only, it’s not all warm and fuzzy all the time, because greeting cards and video specials aren’t real life. Everyone feels like saying, “Bah, humbug,” at least once during the holiday season. And there’s nothing wrong with that.

It’s not that the season isn’t full of joy. It’s just that the season is also full of commitments — clashing office holiday parties, school parties, recitals, plays, church performances, family gatherings, and the list goes on and on. Sometimes you just want to shout, “Bah, humbug,” hop into bed, and huddle under the covers with a flashlight and your favorite book. (Those old enough to remember, may even want to hop into a tub, and shout, “Calgone, take me away.”*)

So, this is just a little post to remind you that you get to have a “Bah, humbug” moment or two this holiday season. Not everything will go the way you want it to. There’s someone you’ll want to see, who you can’t see. You’ll have family you don’t want to see, who you have to see.

… Read the rest of this article here.

RJ Crayton

RJ Crayton is a little young lady who writes fiction when she’s not parenting her two children or wifing her one husband. She writes about characters in peril, who sometimes find a moment for romance. Crayton is occasionally humorous, often right, and always curious. She loves the Christmas season and baking. Due to her severe cupcake addiction, Crayton tries to avoid baking cupcakes, except during the holidays. (As an aside, for the perfect mesh of holiday cheer and cupcakes, check out this recipe.) Crayton has published a three-book dystopian series (Life First), a book on self publishing and a short story collection about motherhood. She also is a contributor at Indies Unlimited, a site for independent publishers. In 2016, Crayton plans to release a novel about a deadly virus and a humorous book on motherhood. You can learn more about her at

The 12 Blogs of Christmas: Blog Five

Today on the blog we have fellow Canadian Gordon Long, who wrote a story about just how cold it gets in some parts of Canada at Christmas. I don't live in those parts, but for my writer friends in balmy Texas who like to joke that I live in the Klondike, it can get chilly sometimes. Just as writing is becoming more democratic as a result of the digital revolution (but still has room for improvement), where you need to live as a writer is also changing (and needs to change more).

The Centres of Publishing

I remember when I first started writing, e-books and digital publishing were just beginning to take off, and the industry was still very much about physical books and traditional publishers. My almost-Klondike location seemed like it was potentially a liability. I had heard from traditionally published writer friends in the know that if you didn't live in New York or Toronto, it was harder to get an agent or get published. I was also told that there was little point in getting an agent who wasn't based in New York because if they were not in New York, they simply did not have the access to or connections with the big publishers. But I was also told that New York agents didn't take writers from the Klondike. So I was in a catch 22 (or 23, or maybe even 27). In a world where even the slightest glitch in your resume or submission could result in rejection, I didn't know whether to query New York agents, hoping they would overlook my address, or agents in other parts of the country, hoping the publishers would overlook theirs. Even after you were published, a New York or Toronto address seemed important. A friend of mine, who is a very successful writer, indicated that she was very disadvantaged by not living in Toronto and being part of the writing scene there.

It was not only the cache of having a New York address, but also the networking and learning opportunities associated with living in a publishing hub. After all, that was the reason the publishing houses were originally clustered in New York, as it allowed them to network and draw on common talent pool. If I lived in New York or Toronto, I could attend major writing events and readings with big names. Not only would I have been able to learn from watching other more accomplished writers, but I might even have the chance to meet them, and meet editors and agents. (It seems almost hilarious now that I thought knowing big name writers could somehow help get me published). I thought that I might have to move for a time. Maybe not to New York or Toronto, but at least to Vancouver. I knew it wasn't strictly a necessity, but it seemed like it might be that edge one needed to rise out of the slush pile.

But then the digital revolution and indie publishing came along and changed that to some extent. It doesn't seem to matter as much where I live. I do have to deal with the fact that it costs twice as much for me to get books shipped to me and for me to send books to readers, but that is minor. Moving forward into 2016, I hope these boundaries of geography continue to be broken down and it won't matter at all where writers live. Cause you know, I kind of like the Klondike, and now you can read about Gordon Long's experiences living in the Great White North.

A Cold Canadian Christmas

My transportation for the Christmas of 1967 was Dad’s 1958 Mercury pickup. It was one of the first “full box” pickups, instead of the old “step sides,” and I thought it was pretty classy. Think of the picture above with a front bumper and a two-tone paint job: white above, teal below. I was home from university, and Dad was out of the bush because it was too cold to work, so I was pretty well free to drive it around. Loggers can’t work below about -30 because metal gets so brittle that equipment breaks. It’s rather hard on people, too.

Yes, the Christmas of 1967 was rather cold. I came home from visiting friends on Boxing Day, and the weather report said it was going to be -60F that night (That’s -51 for you Celsius types). I plugged in the block heater of the pickup and waited for that reassuring gurgle that told me it was working.

No gurgle.

Read More

Gordon Long

Brought up in a logging camp with no electricity, Gordon Long learned his storytelling in the traditional way: at his father’s knee. He spends his time editing, publishing, travelling, sailboat racing and writing fantasy and social commentary, although sometimes the boundaries blur.

Gordon lives in Tsawwassen, British Columbia, with his wife, Linda, and their Nova Scotia Duck Tolling Retriever, Josh. When he isn’t publishing, he works on projects with the Surrey Seniors’ Planning Table. He has published two books this Christmas:

“Mountains of Mischief” Book 3 in the World of Change series,

“Storm over Savournon” a novel of the French Revolution

The 12 Blogs of Christmas: Blog Four

Today on the 12 blogs of Christmas, we have Virginia Gray, a bestselling women's fiction novelist, and a writer whose background is remarkably similar to my own. I will keep my commentary short because work and children got away on me last night (and I had best go chase them), and I love Virginia's post.

Like Virginia, I too prayed that Middle Earth and Narnia existed. I think I even believed right up until four years ago. But a few years deep in the writing world cured me of believing, which is really unfortunate, and I have had pretty decent luck on my publishing path. Not enough to quit the day job, but enough. I still feel the magic in writing of course, but the magic of life less so. So perhaps this is less a goal for the writing world at large, but rather for myself. In 2016, want to recover that magic. So quick, either someone write a Narnia series for our times, or a book on finding the magic. Or suggest one below :-).

Virginia Gray

Virginia Gray is a bestselling women’s fiction novelist. A former university professor, she stepped away from academics to pursue a writing career. She is a great lover of humor, music, and all things food, and is best known for The Susan Wade Saga.

Yes, Virginia, there is a Santa Claus.

I wasn’t always so sure. Don’t get me wrong, I wanted to believe—very badly, in fact. I also wanted to believe in the stories I read. I wanted to know for sure that there had been a Middle Earth, where hobbits and wizards and dragons ran amuck. I prayed that Narnia existed, and that I might be lucky enough to discover one of its secret passages—they’re everywhere, you know.  I truly hoped there were wrinkles in time, and that I might be called upon to save our very universe. I wanted to believe in magic!  Read more here.


The 12 Blogs of Christmas: Blog Three

On today's blog, Keith R. Baker has shared a winter story that links into his Longshot series. You can read the story by following the link to the excerpt below.

In my continuing series of positive rants on things I hope will change in the book publishing world as we count down to Christmas, I am going to talk about the traditional publishing model, and specifically their approach to discovering and nurturing new writers and their relationship with indie writers. 

Discoverability in the Writing World

Many of us in the indie world took a shot at traditional publishing. Many of us sort of almost made it. I at one point had an agent, and one of my novels made it to the desks of big time editors for the big three publishing companies in Canada. Another one of my novels was considered somewhat seriously by a small press. But there are many flaws with the traditional discoverability model.

Writers can spend their whole lives submitting and resubmitting their work to various agents, small presses, literary magazines, and and publishers at the expense of writing and honing their craft, and never get anywhere. In a difficult market, big publishing houses are often focused on celebrities and writers who are already successful, making the opportunities for new and developing writers very slim. Furthermore, even if a publishing house takes a chance on a new writer, they often throw that writer to the wolves with little promotion or development, just hoping that the writer's work will resonate. If it does, great, the writer gets more support next time. If it doesn't and sales are low, that writer might be done.

These days, many writers, emboldened by the recent indie success stories, tire of the perpetual chase, submit, and hope cycle with traditional publishing, and put their own work out as indies.  Even if they experience some modest success as indies, but in going that route, they have closed many doors. Unless they are blockbusters like Hugh Howey, most traditional publishers will no longer touch them. It all seems like a somewhat punitive model for writers. There is nothing wrong with going the indie way of course, but at this point in time, indies do not have the physical book distribution model that traditional publishers do, and that can be limiting. It is a shame that trying one way seems to close so many doors for writers.

I hope that in the near future there will be different approaches to publishing whereby there will be more of a melding of the traditional and indie model. I read with interest Mike Elgan's article Why Book Publishing Needs the Silicon Valley Way on a very different approach to publishing whereby all authors self-publish first and agents become talent scouts and books and writers are developed over time just like software is with new release and updates of the same material. I suppose this is a bit like the Kindle Scout model. In the end, I would like to think that the goal of publishing is to build the best writers possible and I'm not sure that the current model completely accomplishes that. Here's hoping for new and awesome approaches in the New Year, or the year after that.

Now onto the blog of the day:

About Keith R. Baker

In addition to being an avid history and genealogy buff, Keith has been an avid outdoorsman his entire life. He has a variety of hats in the business world after completing two periods of duty with the US Navy.  His hobbies apart from reading and research include shooting, teaching others the basics of gun safety & handling. Until recently he took an active role in local and regional politics as a public speaker and campaign consultant.

Keith and his wife Leni have enjoyed living several places in the US, including Illinois, Wisconsin, Missouri and Montana.  They have two adult children, two adult foster children and nine grandchildren scattered around the country.

Fire in the Snow

The big man's boot carefully kicked aside a remaining hunk of what appeared to be a roof rafter.  Burnt nearly to ash, it had almost no weight to it.  Still, it was best to be careful.  Any of the smoldering pile of debris that had been their family home could yet be white-hot.  He didn't need a burnt foot; he had enough trouble already.

Rob Finn's young family had few enough possessions before the fire.  Now, it seemed, they had none.  Farming their tiny acreage had barely provided enough food in the good times.  Along with everything else they'd lost, even their supply of necessary food stuffs were gone.  What would they do? Read more:


Amazon Author Page

Read about Rob Finn and his family in the Longshot series, beginning with Longshot In Missouri, price reduced through Christmas, here.

The 12 Blogs of Christmas: Blog Two

Up second in the 12 blogs of Christmas is Sarah Lane, a writer from Vancouver. Sarah has provided us with a link to a reading from her novel. Check it out below.

The Need for Speed

And, inspired partially by Sarah who is working on her second novel, second in my list of things that I'm not grateful for in the writing world (or things I hope will change), is the speed at which indie writers are expected to produce books. I am going to blasphemously claim that indie writers are under too much pressure to produce too many books too fast (and please do not think for a second that this is linked to the fact that it's ski season and it snowed 20 cm last night... it's not I promise... okay maybe a little).

Photo Credit: Rick Doble

Photo Credit: Rick Doble

I'm all for speed, and one of the great things about being an indie writer is the opportunity to get as many books to market in a year as you want, unlike the traditionally published world where many writers are limited to one book every two years. In the indie world, we all know about the writers who produce a book a month, or every six weeks. And that's great... for them. I know Amazon algorithms rewards quick releases. I've tried it and seen the results.

I'm not suggesting that some of these authors are not producing great quality books and that going at a faster pace than traditional publishing is bad (I could not imagine being that slow). But I don't think that a book a month is a sustainable pace for a lot of writers, and I'm worried that to make it as a writer it is almost becoming a necessity and that readers are starting to expect it. Hats (and skis) off to those who can do it. I'm a reasonably fast writer and published four novels last year as well as two novelette length shorts and a novella. However I probably won't quite hit that mark this year. I have a job, a family, and other things to tend to occasionally, like making sure I still have friends. There is also the issue of burn out. Robert Bidinotto has a great article about this issue and Katharine Grubb has a fantastic blog regarding what to do if you do feel burned out as a writer. I have watched with interest Jennifer Foehner Wells's journey from publishing Fluency to great success in 2014, to the expectations that she would follow it up immediately with a sequel. But guess what? She's sticking to her guns about writing at her own pace, and enjoying it, and it isn't hurting her sales one bit.

So here's to hoping that just like the slow food movement, next year we will have a slow books movement. Okay, maybe not slow books. That would be boring. How about a "write quickly, but at a reasonable pace for you," movement :-).

About Sarah

Sarah Lane is the author of The God of My Art, the story of a young woman's journey to become an artist and a quarter finalist for the Amazon Breakthrough Novel Award. Lane's short fiction and poetry have also featured in a number of literary magazines, including The Antigonish Review, Roar Magazine, and Quills: Canadian Poetry Magazine.

Lane's upcoming young adult novel is a psychological read about a cerebral seventeen-year old who struggles to learn salsa dancing only to be shown up by her doppelgänger. (You can sign up on her website to be notified when it comes out).

Sarah's Reading

Sarah Lane hopes you will enjoy listening to this reading from her young adult crossover novel The God of My Art. This chapter is taken from near the end of the book, when Helene visits her mother over the winter holidays. Watch the video here.

Blog Post Permalink:

Author Sarah Lane.png

The 12 Blogs of Christmas - Blog One

And so the 12 Blogs of Christmas begins with Ellen Chauvet, a writer from Vancouver, who is currently participating in the Kindle Scout process with her first novel When Darkness Falls. Ellen blogged about something that has been a part of so many of our Christmases, the poem 'A Visit from St. Nick', which many of us know as ' 'Twas the night before Christmas' by Clement C. Moore.

I had originally suggested that I might be snarky when I discussed the things that I'm least grateful for in the writing world as we count down to Christmas via these blog posts. But after reading Ellen's great blog post, I can't muster a lot of snark. The lesson from Clement C. Moore's story is an important one.

Sometimes writers (and clearly academics) can take themselves too seriously. I spent a lot of years pretending I liked (and understood) dense and high-minded literary endeavors in the hopes of being accepted into the serious world of literary fiction. I did the same in academia. In the end, neither of them were a fit for me, but I still haven't lost some of the feelings of constraint and need to be highly regarded associated with both worlds. I wish we as writers could all relax a bit. Moore's story highlights the importance of riffing as a writer and is a great reminder that you never know what is going to go big. My goal in the New Year will be to riff and play more and worry less about what people think of me (famous last words). Follow Ellen's link below to read more about Moore.

'Twas the night before Christmas, when all through the house
Not a creature was stirring, not even a mouse;
The stockings were hung by the chimney with care,
In hopes that St. Nicholas soon would be there;
Composed by Clement C. Moore

When Martin Crosbie invited me to participate in the 12 blogs of Christmas I immediately said yes. I've always treasured Christmas and the opportunity to share my love of Clement Moore's 'A Visit from St. Nick' poem appealed to me. After several hours of research, the following is what I gleaned. Follow the link to read the rest of the post:

Ellen Chauvet lives in Vancouver, Canada, where long months of rain are particularly conducive to writing dark stories.




The 12 Writing Things I’m Grateful For

I’m once again participating in the 12 Blogs of Christmas with eleven other writers, organized by fantastic indie writer Martin Crosbie. As part of the event we are to write about—not surprisingly—Christmas. Many of the other eleven bloggers have written about fond or funny memories of Christmas. Last year, I wrote about my fraught relationship with Christmas—acknowledging the magic of Christmas but also the busy-ness, commercial aspects, and guilt associated with Christmas (we have so much, and so many people have so little). So I can’t do that again. Most of my stories about Christmas go something like… we got too much, ate too much, spent too much (even though we don’t spend that much), stressed about a turkey, and were really happy to be able to go skiing and eat leftovers on Boxing Day.

I exaggerate. I’m sure I’ve had some nice Christmases, but since I’m often up to my elbows in a turkey, and have not had any famous disasters, they are not the stuff of stories. Then again, my memory is famously poor (all that time living in another world). This year I’ll be sure to charbroil the turkey, so I have something to tell you about next year (Hmm, I’m getting a strong anti-turkey vibe here. It might be time to start serving Christmas steak).

To me, Christmas is really about gratitude and reflection on a year gone by. In an effort to dredge up some Christmas spirit (and not seem like cross between Eeyore and the Grinch—I promise I’m actually not—Christmas commercials make me cry), I decided to do a post on the 12 writing things I’m most grateful for this Christmas. That’s not to imply that there are not a lot of non-writing things I am grateful for (there are so many of those things), but this is a writing blog (and I think this sentence is a triple-negative) so… here they are (the 12 writing things I am grateful for):

1. The Changing Publishing World

Things have changed a lot in the last ten years in publishing. We’ve seen the rise of the Amanda Hockings and the Hugh Howeys, and the gatekeepers of traditional publishing have lost their stranglehold on the market. Some independent writers are making a go of it, the world of writing is becoming more democratic, and being an authopreneur is becoming a legitimate career choice. The fact that writers can now execute on their own vision for their writing and put it out to the market to decide whether it is successful or not, without being told by a publisher that it's not good enough, is not what they are looking for, won’t sell, or needs massive changes, is an amazing thing. I'm not knocking traditional publishers entirely. They have curated and published many wonderful books over the past century, and they still have a hugely important role in the publishing world. But they have had too much control, and writersthe people who are actually creating the arthave had too little. I’m so grateful that more writers might be making a living from their craft, that being an Indie is a possibility, that writers are actually beginning to have a voice in their own field, and that there is more diversity in the book landscape.

2. Amazon

The changing publishing world would not have been possible without the juggernaut of Amazon. Love it or hate it, you cannot deny that the ‘Zon, as we Indies like to call it, has changed the landscape of publishing forever by allowing Indie writers to participate on a mostly level playing field and popularizing ebooks and subscription-based reading. I know this may not be a popular sentiment, but I love my Kindle. I understand those who love physical books, and I also acknowledge that my Kindle has changed the way I read, but I still adore it. I love the ease of always having a bunch of books with me, getting a book I need immediately, being able to read in dark hotel rooms, and not having to find a place on my already crowded shelves for another book I did not care for. I also appreciate being able to purchase so many books for such a reasonable price, which has dramatically increased the number of books I purchase in a year. I know many writers hate Amazon, and I am concerned about the impact Amazon has had on local bookstores and the race to the bottom on book prices for writers, but I'm incredibly grateful that Amazon has given indies a chance.

3. Kindle Unlimited

Since more than half of my revenue is coming from Kindle Unlimited these days, it’s been a fantastic innovation for me. But in addition to the revenue (which is great), it's even better to actually be able to know that people are actually reading your books. While I always appreciate sales (and please by all means go buy my books, it will make my day), I know that not everyone who buys my books is going to read them. With Kindle Unlimited, you can almost literally watch the page turns in your books.

4. Reviewers and Reviews

Writers wouldn’t be anywhere without reviewers and reviews. They keep us going, help us to become better writers, make us reassess the direction we’ve taken with a particular work, keep us humble (although I have to tell you, there are generally not a lot of big egos around the indie writing water cooler), and give us those moments of absolute joy that someone understood, or liked, or even loved our work. And, like Kindle Unlimited, they let us know that people are actually reading our books. We drop our best writing efforts into the world, just hoping that someone will take the time to tell us what they thought of it (especially if they liked it), and I can’t say enough about reviewers (or people who rate books on Goodreads—you are great too). There are many times over the past year I have considered quitting (writing is one of the most incredibly difficult jobs I've ever done, but that's for another post), but good reviews have been what have made me keep going. Recently a reviewer compared me favorably to Paulo Coelho and another said that my story is the best thing they’ve read in a long time. For those reviews and others, I am eternally grateful.

5. New Ideas

As a writer, to run out of writing ideas is basically the end for your career. Sometimes I really don’t know where my ideas come from. I don’t deliberately spend time creating plots, or characters, or concepts. They just seem to arrive, right when I need them, like I dip into some magic pool of creativity or tap into the collective unconscious. I've never had writer’s block, and I get to experience the thrill of a new story (even the crazy ones).

6. Anthology Editors and Publishers

These past two years, I've been invited to participate in five anthologies by indie publishers and editors, David Gatewood, Samuel Peralta, and Chris Pourteau. Many of these anthologies include writers far more established than I, and have gone on to reach much wider audiences than I am yet reaching with my own writing, which has in turn generated interest in my solo works. Because they are generally topic or theme-driven, they have also forced me expand my thinking and create stories that might not have originally been in my repertoire, and as a result, I believe I’ve done some of my best work for these anthologies. Each of my stories has been a gift and a surprise, and I'm so thankful to be included in these anthologies.

7. My Family

I don’t always appreciate when my family leaves the house in a mess as they go off to enjoy the ski slopes while I sit down for yet another day in front of the computer (like today). But they believe in me, and they take my writing seriously, and that is worth more than a clean kitchen any day (I think…).

8. Traditionally Published Writers

Strange choice, right? The divide between indie and traditionally published writers is no secret. Any indie writer can share an experience about being snubbed by, simply ignored, openly dissed or made fun of by a traditionally published writer. Some traditionally published writers think they are better than indie writers. But you know what? Not all of them do. They are open enough to other models of publishing to acknowledge that indie writers are writers too, that some indie books are good, and that we are all sharing in this incredibly difficult journey chasing the same dream. Sometimes I think some of them are secretly envious of indie writers (but maybe I'm projecting there). I have many traditionally published friends who accept me as part of the community of writers, seem to admire my achievements, and understand that there is not just one path to building a career as a writer. There are many more boundaries that need to be broken down, and many more traditionally published writers who need to be convinced, but for these friends, I am grateful.

9. Indie Writers

Almost everyone in the indie world knows how generous most indie writers are. Have a question? Just email an indie writer. Most of them will respond and provide you with more information than you could have hoped for. Most of them will become your friend. It is a rich and diverse community of funny and kind people who gather around the virtual water cooler, support your career, celebrate your successes, and commiserate when things go wrong (most of the time). It is not perfect of course, but it is pretty damn good, and I am very thankful that I am part of it.

10. My Reading and Writing Community

I live in a community where people read and write. Some of them read my books and tell me in the street that they loved or really liked them (I call this a random act of book kindness). Many of them read lots of different kinds of books. I belong to a great bookclub and get to talk about different books each month (and they are reading my novel In the Shadows of the Mosquito Constellation in February). Our community has a great library and a great bookstore. We even have an event called Rossland Reads (like Canada Reads) where four debaters choose books and then duke it out for three weeks in front of an audience who then votes on which book should be eliminated (kind of like Survivor). We also have six published writers who live in a town of 3700 and many more who live in nearby towns. Although I love my virtual friends, I'm very lucky to live in such a reading and writing-oriented community.

11. Everything that I’ve Learned

Being an indie writer means that you have to do everything yourself, or at least manage your out-sourcing of it. Many of my traditionally published friends eschew this, saying that they wouldn’t be able to do this, or don’t want to have to. They just want to create. I understand their feelings, but doing it all yourself forces you to acquire new skills, many of which actually help your writing. Designing, or overseeing the design of, your own covers requires that you examine hundreds of covers, learn the principles of cover design and conventions for various genres, and think in different ways about your themes, plot, and pivotal scenes. Doing some of your own editing or proofreading forces you to look up and learn all of those things that it is so easy to just click “accept change” on when you have an editor. Recently I have been contracted to do some editing of other people’s work, and I was amazed by how much I’ve learned in the past two years, how many things are now just second nature (I even use the Oxford comma now… most of the time). Ditto for blogging, formatting, and working in my KDP dashboard. These things used to terrify me and I was certain I would screw them up. Now they are easy. Many of the things I’ve learned transfer to my consulting work. So even if my writing career never earns me a fortune, or enough to buy a new desperately needed vehicle, I’m grateful for everything that I have learned.

12. That I Can’t Count

I thought I had twelve things here, but there are, apparently, only eleven. But it is time for me to go skiing (as that really helps me to get into the Christmas spirit). So I’m grateful that I can’t count (at least the first time through), and I’m going to go hit the slopes.

Stay tuned for the next twelve days for the 12 Blogs of Christmas. I will be linking to the blogs and stories of the other writers who are participating. I will be prefacing my links with the twelve things I’m not grateful for in the writing world, or to put a positive spin on it, the twelve things that I think need to change. I might even be dishing a bit of snark, so stay tuned.

Things That Actually Sell Books

Given that I just finished a Bookbub promotion on A Pair of Docks and I’ve now been in the indie world for two years, I wanted to do a quick post on things that in my experience actually sell books, not that we’re all necessarily in the writing business just to sell books, but selling books is definitely better than not selling books. Just saying...

Before I get to that, I wanted to remind you that Tails of the Apocalypse, an anthology to which I contributed is now available for purchase on Amazon in Kindle and paperback formats. The Walking Dead meets The Incredible Journey in Tails of the Apocalypse, R.J. Pineiro, author of The Fall, calls the anthology “one of the most original and captivating collections of end-of-the-world ‘tails,’ shown through the eyes of an amazing cast of unforgettable furry and feathered characters.”

Super positive reviews are building on Amazon and Goodreads, and I’ve been completely touched by some of the comments regarding “The Poetry of Santiago,” my story in the collection. Through the end of 2015, Editor Chris Pourteau will donate $1.00 per book sold, regardless of format, to Pets for Vets, Inc., non-profit organization that matches shelter animals with military veterans. So if you are looking for a good cause, and a great collection, check it out.

So What Actually Sells Books?

After trying a bit of pretty much everything short of voodoo to sell my books, and I would probably try voodoo too if I thought it would work, I’ve developed the following list based on my experience. And remember, this is based on trying to sell a middle-grade fantasy series, some stand-alone dystopian and environmental fiction, and a spicier romance series under my pen name—so if you are trying to sell something completely different maybe my experiences aren’t relevant.

I've divided my list into things that work really well, things that work sort of well, and things that don’t seem to work at all for me.

Things that work really well

1) Bookbub Ads 

This is no surprise. For whatever reason, Bookbub ads, if you can get them, move books. In my experience, they move five to fifteen times the number books than other ads do, and usually pay for themselves, even at the lower 35% royalty that you get when your books are discounted. They also tend to result in a longer tail than other ads, whereby your sales don’t drop off immediately the day after the ad. With my most recent Bookbub ad, sales continued on for fifteen days following the ad.

2) Writing in a Series

Again nothing new here. My middle-grade books are in a series, and my pen name books are in a series. They outsell my stand-alone books by a wide margin. If you write in a series, and can hook people on the first book, you can much more easily sell them more books. But books in a series don’t just sell better because of the buy through sales on subsequent books in the series. In my experience, the first books in each series also sell better than stand alone books, which is a bit surprising, but perhaps people are just more attracted to books in a series.

3) Writing in a Hot Genre

I've already blogged about this, and I’ll say it again. You still have to have a good product, and you have more competition, but it's just an easier sell. I will report back on this more later because I don’t think I’ve fully explored the opportunities associated with my pen name yet (mostly because writing and marketing for two people is difficult).

4) Discounting all Books in a Series 

When I had my most recent Bookbub ad on A Pair of Docks, I discounted all three books in the series to 99 cents. I was then able to advertise a time limited offer on all three books which got some traction on social media (I used bit ly links to track the number of clicks from Twitter and Facebook). I'm pretty sure I moved way more books during my promotion (albeit at the painful 35% royalty) than I would have otherwise as people impulse bought all three—about a third of the people who bought A Pair of Docks purchased A Quill Ladder and A Grave Tree at the same time.

5) Selling Paperback Books in your Local Indie Book Store

Surprisingly, I’ve actually sold a decent number of books this way (about five percent of my total sales), enough to make it a worthwhile undertaking, and because the markup on books in Canada is fairly significant, I can make about two to three dollars a copy, depending on my shipping costs. Living in a small town and having lot of people who know me, and who are curious about what I do, helps on this front, as does some generally positive word of mouth about my writing (at least what I’ve heard is positive :-) ).

6) Rapid Releases

When I was first writing for the pen name, I released three novellas in one month—one every week and a half. During this time, my sales were as high as they've ever been. It was not a schedule I could maintain because of my other writing commitments, but it was interesting. As soon as I stopped releasing them as quickly and went to a once-a-month release schedule, my sales dropped off immediately and now only hover around a tenth or third of what they were during that initial period. You would think that releasing something once a month is rapid enough, but apparently it isn’t.

7) Kindle Unlimited

I know not everyone loves Kindle Unlimited (KU) for a variety of reasons, and I understand the desire not to be dependent on Amazon, but the Kindle Edition Normalized Pages (KENP) read do generate revenue… I guess not sales, but these days, my KENP revenue is generally at least a quarter of my sales revenue, and some months exceeds it. Even though the sales on my series from my Bookbub ad have trailed off, the KENP read have not yet dropped as significantly. So since I have yet to gain any traction on the other sales channels, not that I've given them as much of a try as I have KU, I am a pretty big KU fan, in the short term at least.

Things that work sort of well

1) Ads other than Bookbub

Ads other than Bookbub do move books. They just for whatever reason don’t move as many books—sometimes not enough to pay for the cost of the ad. There are better ad sites and worse ad sites—I have blogged about these before. I tend to use these other ads in conjunction with each other or in conjunction with a Bookbub ad. They are useful as part of an overall sales strategy but alone none of the ones I’ve ever used sell a tonne of books.

2) Twitter and Facebook

Surprisingly, and I know this goes against conventional wisdom, but I’ve moved books through Twitter and Facebook (and I'm not talking about ads), especially Twitter. I would not say a lot, but Twitter and Facebook are free, and by using hashtags regarding specific reading interests such as #timetravel or #paranormal and #kindleunlimited on Twitter, or posting (judiciously) in specific reading interest groups on Facebook, you can put your books in front of certain readers. Since pictures get more attention on both platforms, using attractive graphics or splashes of your book, with quotes or details of your sale can help too. But I think the targeting with hashtags and in groups is a key element of selling a few books this way.

3) Blogging Regularly

Okay I don’t actually know if blogging regularly sells books, but I definitely have seen a steady increase in website traffic over the last three years. So I can’t help but think that might help. Then again my pen name’s website gets zero traffic and those books still sell just as well as my regular books, so that could be utter crap.

4) Being Part of Anthologies

Again I can’t prove this, but I think that being part of some high profile anthologies, such as Synchronic, Tales of Tinfoil, and Tails of the Apocalypse has convinced some people to try out my longer works.

Things that I have found don't work at all

Facebook ads (I know this goes against the Mark Dawson wisdom and I’m going to give them another try), blog tours (although they’re good for getting some reviews), writing reviews of other people’s books for review sites (although that’s fun), free promotions (although again they generated some reviews), writing about the environment (cause apparently unfortunately nobody is interested), and making a novella unrelated to a series permafree. I wish these worked, but for me they haven't.

I have to say I am a bit leery of free promotions now, as for whatever reason, they've always had a damping effect on my sales, both during the promotion and after the promotion. If you do a free promotion, then your lowest price is on record as being free (and people can easily track what your lowest price was). That might make them less inclined to buy at anything other than free. I also find that sell through on a series on free promotions is around three percent, whereas on 99 cent promotions it is more like thirty percent. Of course this isn't surprising. People will grab free stuff, perhaps without any intent to read it. Still, it is something to consider in your overall strategy.

I have yet to try making the first book in a series permafree, but I expect that's next on my list.

What about you? What has been your experience?

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