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How to make money writing

I met an acquaintance for lunch. He works for a book review company, and we were speaking about writers. He went on to say that independent writers are just terrible.

I asked him why he held that opinion, and he enumerated his reasons; the story is sloppy, the plot meanders, the pacing has issues, the characters and dialogue feel contrived, and overall, they just don’t seem to understand how to write.

Playing devil’s advocate, I asked him what made mainstream writing superior, and he replied that mainstream writing doesn’t suffer from the same pitfalls.

I then asked if that meant that every book he reviewed by a mainstream writer was perfect.

He said no. There were several books by mainstream writers that he read that were quite bad.

I asked if they suffered from any of the same downfalls he had enumerated regarding independent writers, and he admitted that that was the case.

I pointed out that mainstream writers have editors, and before I finished, he interrupted, saying that that was a problem for independent writers. They don’t use editors. They just write a story and think it’s ready for publication.

I went on to finish my thought; mainstream editors must not be that great if mainstream books suffer from the same pitfalls as independent writers. He frowned and didn’t know what to say.

I then pointed out that independent writers do in fact hire editors to clean up their manuscripts, but they don’t know that the editors they’ve hired are crackpots. How can they know? Who is there to tell them?

He nodded, but added that there are plenty of competent editors out there who not only work for publishers, they also do freelance work.

Yes. I agreed. I told him the real problem isn’t independent writing, or writers. The real problem is the independent publishing system. It’s too easy, too accessible.

I can sit down and pound out one page of crap in 2 minutes. I can have it published to the whole world, even major book distributors, in 5 minutes.

He said that was indeed the problem. Someone needs to sit down with these independent writers and explain to them what they should do after they write a story and before they publish it, but that all that information was available.

Indeed it is, but no one is forcing these writers to access that information.

In the world of major publishing, it’s very difficult to have a story published. There are numerous checkpoints along the way.

Let’s assume a new writer has just completed their manuscript, and they want to achieve major publication. The first step is to query an agent. If the agent likes the query, they’ll want to see the manuscript. If they like the manuscript, they then want to know how large the writer’s fan base is. Which awards have they won? What other publications do they have? Is their story marketable to a wide enough audience for the publisher to make a profit?

Then, if everything looks good, the agent goes off to query publishers. When a publisher finds an interesting manuscript, they provide the writer a contract. The publisher then has its own checkpoints.

They design a cover. They pick the title. Their marketing department designs the blurb and marketing strategy. Editors clean up the manuscript for a broader audience. Every effort is made to provide that book with the highest possible chance for success.

Who is doing any of this for independent writers? Who teaches them how to write a proper query? Who is teaching them which agent is best? How do they win awards or build a fan base if they’ve never published before?

Who is teaching them how to find an editor? Who is teaching them which is editor is best? Who is teaching them how to design a cover, pick a title, or write a proper blurb? Who is paying for services rendered? Who is then selling their book?

I pointed out to my acquaintance that there’s nothing wrong with independent writers or their writing. They’re just working blindly, alone through an enigmatic system that isn’t designed to help them succeed. It’s only designed to allow them accessibility.

He agreed.

I added that the mainstream publishers have made it even more difficult for great writers to succeed, and that the ones who are succeeding aren’t doing so because of their superior writing; they’re succeeding because they have a better understanding of the publishing system.

There are also hundreds of independent writers who have done so well on their own that major publishing houses approach them in order to sell them a contract. He agreed again.

The truth is that there are innumerable, amazing writers out there. They are so creative and imaginative, and they have these phenomenal tales to tell, but they are just clueless when it comes to presenting those stories, and they are clueless on how to distribute those stories. They are also very, very impulsive; they get their great idea, they think they can pound it out in a month during NaNoWriMo, and then run off and publish it for the world to see.

No. No. No.

All of these writers need to slow down, like, way, way down.

These writers then think they need to join these contrived writer groups who promise to make their stories available to hundreds of thousands of readers.

Now, I’m not talking about peer editing groups, or groups of writers who work together to share their knowledge. I’m talking about those groups, which act like distributors; the groups that accept books. That’s really what they’re doing; they’re signing up new books, not new writers, and they promise to sell those books to consumers, but they don’t actually do that. They just try to engage those writers in joining blog tours, giveaways, and review exchanges, but none of those things are effective because there are no consumers there. No one is going to those groups looking for a new book to buy.

What a writer needs to do is slow down.

Write that story. Get it all down. Fill it with absolutely everything. Then, step back. Stay away from that story. Forget all about it. After months, go back and read it as a reader.

The writer will then notice redundancies, plot holes, pacing issues, and an overall sense of confusion because the story is no longer fresh in their mind. That’s the time for the rewrite.

Some chapters will be too long and boring. Some will be too short and feel rushed. The contrived dialogue must be rewritten to sound like organic conversation. Some passages will have to be restructured and organized. There can be found better and more clear and concise ways to provide information. All the extra fluff–the stuff that doesn’t add anything to the story–will have to be cut.

Once the rewrite is complete, that writer will then need to make that story available to a very small, niche audience. To do this, one simply asks for beta-readers. Beta-readers come in all shapes and sizes, though, and some of them will skim over a 100,000 word book in a day or two, and their feedback cannot be productive.

Did you read Harry Potter in a day? Did you read it only once? You have to read a book slowly, numerous times to get all there is to get from it.

The good beta-readers will take their time to figure out what they like about a story. They take their time to figure what they didn’t like. They will explain why it was good or bad, and what they would like to see change.

It’s that writer’s duty to take all that constructive criticism and apply it if they believe it will enhance their book. However, enhancing that book doesn’t mean making it better in the eyes of the writer. It means making it a better experience for the reader, and that’s another problem.

No one is teaching this simple concept: Write for you. Publish for your audience.

The version of Harry Potter that you read and loved is not the version that Rowling wrote. It’s the version the editors cleaned. It’s the version the publisher approved.

Now, during the time it takes to secure beta-readers and receive feedback, the writer should be experimenting with different covers, titles, and blurbs. They should also be shopping for editors.

After the second rewrite is accomplished with the help received from beta-readers, the writer needs to hire an editor. A real editor will spend at least a few weeks carefully reading the book. Their job is to take that sequential account of events and transform it into a story that readers will enjoy experiencing.

While the editor is doing this, and hopefully communicating their thoughts with that writer, the writer should be talking about their story with an audience. Otherwise, who will be buying the book once it’s published?

Eventually, the writer will receive feedback from their editor. A good editor’s advice should be taken to heart, and their changes should be made, not for the writer’s sake, but for the readers’. Once those changes are employed, the writer needs again to step back, and forget all about their story. After a few months, they need to go back and read it again as a reader, but they also need to consider what kind of publishing is best for them.

If they want major publication, they need to consider all those concepts provided earlier; finding the right agent, proper querying, and perhaps even hiring a review agency, which reviews arcs, so they can prove their story will be appealing to a large public.

Most of these services will be expensive, and a lot of people don’t want to spend money, but an independent writer can’t even hope to compete against major publishing all on their own. The big houses have endless resources. Being an independent writer doesn’t mean doing everything alone; it just means being responsible for everything.

My acquaintance and I discussed all these concepts at length. We both agreed that if such a methodology was employed by all writers, it would no longer matter if a book was published by a major house or self published. Of course, the number of sales can vary greatly since the big houses include marketing and advertising departments. In the case of independently published writers, they will then need to spend more money to purchase book release services, but here’s the thing; major publication forces a writer to spend a ton of money anyway, more than you might imagine.

Let’s assume this writer does go the mainstream route. The contract is signed. The book is perfected and released. The big house offers a $2,000 advance. That’s an advance, a promise that the book will recoup that $2,000 within the first six months to a year of publication. If it doesn’t, that writer might lose their contract and their edited version of the book, title, cover, and blurb because the company owns all those rights.

Now, if the book is successful, at least $2,000 must be earned by the publisher before any royalties are paid to the writer. In order increase the chances of this occurring, the publisher will instruct the writer to purchase 5,000 copies of their own book. This automatically places that book on The New York Times Best Seller list, so everyone can say, “Hey, it’s a best seller, so you should buy it, too!”

5,000 copies of a book at cost is still very expensive, probably about $25,000. Then, that writer, who is under contract to do all this is, is instructed to parade around the country and sell their book in person, on their own dime. The company books the events, but the writer has to cover their own expenses, so a year of touring adds another $25,000 to that writer’s expenses.

Suddenly, that $2,000 advance doesn’t seem so great, and this is precisely why most writers have day jobs. Of course, if they survive their first year, they ‘re in a great spot; they can easily secure publication of any book they write after that first one, but it still won’t guarantee that the royalties will outweigh the cost of touring the second book.

It takes quite a few books and many, nerve-wracking years to achieve financial independence. That’s why you get writers like Ursula K. Leguin, who have been published by major houses for years, who go out and set up GoFundMe accounts, asking consumers to cover all these costs.

In the end, it doesn’t matter if a writer is independent or mainstream. There are millions of mainstream writers you’ve never heard of, who have day jobs. It is very difficult to become a wage-earning writer, and there should be no rush in trying to achieve that.

Another offer made by mainstream houses is a chance to option movie rights. The best selling writers’ books are always movies. More people read Harry Potter after the movie came out. What writer doesn’t want their book turned into a movie?

Movie options can be obtained by independent writers as well. It isn’t easy. It might cost a pretty penny, and a writer might have to hire a lawyer in order make certain they aren’t being cheated out of royalties from products like action figures, video games, or apparel.

This enigmatic process bypasses millions of writers. That’s why I’ve used my own experiences to outline a strategy that will lead every writer to success.

I don’t promise millions of dollars in revenue, but I do guarantee that any writer who takes their time and studies my strategy can make a profit from their writing. For just 99 cents, I offer you the following:

How to Become a Successful Writer Secrets the Mainstream Publishers Don’t Want You to Know by Aaron Dennis

This manual brings to your fingertips all the practical knowledge required to build your long term writing career. Any writer of any level will benefit from the material within this comprehensive guide. From the neophyte to the professional, anyone who reads this book will learn everything from formulating an idea for a story, to practicing the art of the short story, to writing proper fanfiction, and writing an original novel.

This book not only teaches how to write, but also how to market, edit, publish, and all with exercises and even free resources. From start to finish, the ideas presented are done so in an easy to understand and entertaining fashion. By the end of this manual, you will not only know how to write, edit, publish, and market your book, but you’ll know what kind of publishing is right for you.

Why don’t publishing companies want you to know these secrets? Publishers run an exclusive good ole’ boy club, and in doing so, they choose who they help to succeed, and who they help to fail, but when you learn these secrets, you’ll know that no writer needs a publisher in today’s internet age. Bypassing a publishing company not only allows you to maintain control and earn the bulk of your income, but it relegates the old, dinosaur, publishing companies to obscurity.

Buy How to Become a Successful Writer from Barnes and Noble

For just 99 cents, you will learn at least one thing that will help you to earn more money from your writing. You know 99 cents is worth making just a few more sales every month, but if you’re still not convinced, that’s okay. I provide everyone with numerous free resources. Just check out my Editing Services and Free Resources tab. You can enjoy numerous articles regarding all aspect of writing and publishing.

Thanks for reading this post. I wish you success throughout your writing journey.

How to Become a Successful Writer by Aaron Dennis

So you want to be a writer part 7

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It’s important to consider the types of publishing platforms before releasing your novel. Rather than diving right into the different kinds, I’m going to tell you a story; the story of my writing career, or rather how it began.

I initially tried my hand at writing a novel many years ago. I was about 18, in college, and still playing Dungeons and Dragons on the weekends with a great group of guys. I enjoyed it so much that I wanted to write a story based on some of our adventures.

I set about the task, and three pages in, I hit a wall. I wanted my story to be true to the game, and I didn’t have all the manuals, and I certainly didn’t own all the novels, and since I was 18, that meant that the year was 2001, which is before the internet really blew up; I mean, there were certainly millions of people on the internet even back then, but I don’t think Wikipedia (shouldn’t it be Wikipaedia?) existed at the time, and I have no clue if WoC or TSR or whoever ran DnD at the time had a website, but it didn’t matter; I didn’t even have a dial-up connection; there wasn’t a need for it (this was the golden age of e-mail subscriber lists, though).

I talked to my buddies about the idea, but the more we talked, the more it seemed it was a useless endeavor. I didn’t really care too much about it either; I just thought it was going to be cool to write a book, but the fact of the matter was that my passion didn’t outweigh the obstacles, so I just let it go.

Ten years later, I had such an idea for a story I decided I was just going to go ahead and write it, or try to. I sat down and simply described the series of events, which became my very first short story: Eudora.

At that time, I had no idea how to use punctuation. I knew grammar well enough, and I’ve always maintained an abundant repertoire of words, and have always been a decent raconteur, so in the end, all I tried to do was chronicle the events of the story, and it worked. I had no plans, though, but Hell, I knew that since I completed one story, I was certainly capable of completing another; publishing stories, however, was the farthest thing from my mind.

I wrote four stories over the course of two or three months just for fun, and then I showed some friends and family, but I claimed that I had found the stories online and just thought they were neat. No one really seemed to care, until I wrote one more story. I called it: Shadowman.

There was an older gentleman I knew by the name of Jarrett Slavin (sorry if I misspelled it, Coach), who upon learning of my newfound passion, he asked to read the stories, and he really enjoyed Eudora and Shadowman, and he suggested I find a way to get published. Had it not been for him, all of my other titles would not even exist…what might have been….

Nevertheless, I was then left the daunting task of achieving publication, so I got on the internets, Googled “publishing”, found the addresses of a few publishers, and sent out my stories, of course they were all short stories, and no publisher wants those, but I found other methods of publication. I found Xlibris, a print on demand (POD) company, and of course, no sooner had I e-mailed them that I received a call, and man, oh, man was I pumped. I really thought I had just made it big league. (Big league, not bigly.)

All POD companies want is your money. They’ll take anything, and you’re responsible for your content, for your quality, but they’ll certainly charge you for reviews, trailers, covers, promotional packages, you name it; they’ll charge you, and honestly, if you have the world’s greatest book, they may actually be helpful because they can certainly help you get your book in the right hands, but my book, my four, short stories called Shadowman, were far from good, far from quality writing.

Regardless, as I spent more and more money, and then ran out of money, I kept writing, and when I finished my first, full length novel, Lokians, I started my search for publication all over again, but I knew POD was not for me. I needed someone else to do all the legwork for me, but I didn’t think it was fair that I had to pay for the legwork. I just wanted to write, so I set about the task of mailing and e-mailing traditional publishers, and even smaller presses like Edge, and no one was interested, so I did more research on what was required to achieve publication, and learned about literary agents, but when I contacted them, they never replied.

Fortunately, or unfortunately, depending on your outlook on life, I found a press, which labeled itself an independent press, Eternal Press. For all intents and purposes, everything looked good. Their books were available on Amazon and Barnes and Noble, so I figured that it was a good start. By then, I knew that mainstream publishers were purposefully keeping writers out until those writers made a name for themselves, so I knew I just needed to work hard and make a name for myself through a small, independent press.

Well, initially, I submitted my manuscript, and the acquisitions editor was kind enough to tell me that while my story seemed interesting, there was a great deal of information dumped onto the reader right at the very beginning, so I went through a round of what I thought was editing, and figured out that rather than telling the reader everything I thought they should know before the story started, it might be better to allow the world to unfold throughout the story. Then, I resubmitted, and they accepted it, and man, oh, man did I think I had hit it big. An actual publisher with editors, and marketers, and everything was going to polish my book and sell it, and all I had to do was sit back and write.

Well, when the contracts came, everything seemed legit. All they had asked was that I also made an effort to market and sell the book, and I thought that was only fair; it was my book after all, and I certainly wanted to talk about it, so I made social media accounts and started telling no one (because I had not built a fan base) that my book was coming out.

Next, I had to write a blurb, and I didn’t know what that was, nor had I comprehended its importance, so I just wrote about what the story was. No one made an effort to correct me, so I thought I had nailed it. Then, I had to come up with a cover, and I am not really an artist; I’m not even a visual person, so I came up with some weird concept with a bunch of aliens and space ships, and they told me to try again because it was too flashy, too busy. Later, I realized the truth was that they didn’t actually employ artists, and I’ll get back to that later.

We settled on a cover, which I didn’t really like, but I was just so excited and so ready to start selling, I accepted. Then, we moved on to editing. The “editor” made very few comments, adjustments, and suggestions, and so again, I thought I had nailed it. I mean, if an editor doesn’t have much to say or change then the story must be near perfect, right? Well…not so much.

Finally, the release date came, and the book was finalized. I was invited to join some Yahoo groups and even participate in a live chat where I was to discuss my book with potential readers. It turned out that there were no readers, only other authors writing for the same press. That was a little disappointing, but I didn’t think anything of it because I knew the publisher was certainly going to sell my book. Selling books is their job, and if they don’t sell, they can’t stay in business, right?

Wrong again; they made their money by enticing their writers to purchase copies of their own books, just like a POD company, and then it became my job to go out and find places to set up and sell to people, but no one let me do such a thing. Barnes and Noble didn’t allow it. Books-a-Million didn’t allow it. There are no local bookstores where I live, so my best bet was a friend’s comic book store, which felt really awkward because his customers where there to buy comic books, and out of the hundred copies of my terribly written book, I sold three on my first attempt, and none on my second attempt.

In the meantime, my e-books were priced at nearly seven dollars. Who is going to spend seven dollars on an unheard of book by an unknown author when they can spend nine or ten dollars on Harry Potter? The answer? No one. In the three years that I was published through Eternal Press, and with the four books that I released through them, I may have earned as much as forty dollars. That meant that Eternal Press also earned about forty dollars off my sales, and about five hundred dollars off my purchasing my own, print copies. That meant that if every writer, and there were hundreds of us, each bought five hundred dollars worth of books each year, Eternal Press made some decent money, but the writers only ever spent money.

Consider that if I had sold all of my print copies at twenty dollars that’s only $2,000, and that sounds great, but then you have to subtract the $500 spent on purchasing the copies, and I think it was more than that, but we’ll keep the numbers round. That leaves a $1,500 profit, which is still nice, but then you have to factor in time, travel, gas, food, the posters I had made up, the business cards, and in the end, had I sold all of my copies, all one hundred in one day, I may have cleared $800. That’s still not terrible, but without the fan base to be able to move all hundred copies over the course of a day, a week, or even a month, that $800 not only dwindles from continuously traveling and setting up, but it starts looking worse and worse. Had I sold all hundred copies over the course of a year, which I didn’t, that’s still $800, and probably less, over the course of a year, hardly a success story, and as I stated, I didn’t sell more than three copies.

I kicked, I cried, I screamed, I complained, I begged; I wanted my prices lowered, so that the e-books would sell. I wanted to submit updated versions of my books, too, versions that didn’t have common errors and formatting errors; yeah, formatting errors. How retarded was Eternal Press? They weren’t even capable enough to format their books properly, and in the end, there was nothing to be done. The product was what the product was, and I had the option of peddling my crap and disappointing readers, or sitting idly by until the contracts expired; I mean, Eternal Press wasn’t selling anything.

During that time, I wrote a great deal more for two reasons. For one, I just really enjoyed it, and two, I felt a need to vindicate myself, or perhaps apologize to readers for having released dreck. Then, of course, I had to figure out what kind of publication I was going to try next; I certainly wasn’t going to go through Eternal Press again.

I spoke to a few, other, smaller presses, but I didn’t like what they had to say; they wanted money up front, they didn’t want to make the books available through Amazon, Barnes and Noble, iBooks, or anywhere apart from their site, or they wanted to keep too much off the top, so I went back through my old, short stories, cleaned ‘em up, and published free to Smashwords, entered those stories into their premium catalog, and bang! Those stories made it onto Barnes and Noble…and iBooks…and Kobo…and Nook, and you name it.

I also wrote fanfiction and published it to FanFiction.net, and with my newly released short stories, which were free, I started to build a fan base, but my titles with Eternal Press just rotted away, and I could not, in good faith, promote those titles because they were not the best of me. Finally, I hired a few editors for my new, full-length titles.

One editor, after paying for services, told me to re-write my book, and then resubmit, for another fee, of course. I did not hire them again. The second editor just re-wrote my whole book from start to finish in their own voice with their own views. I mean, it was a totally different book with different characters and different interactions at that point. I did not keep any of those changes. Then, I hired a real editor, Chuck Sambuchino, and he taught me how to edit my story for readers.

That book was released under the title The Dragon of Time, Gods and Dragons, and it has gone on to do quite well. Through CreateSpace, I made print copies available, and they are much cheaper to sell, and purchase for my own uses, than the print copies released by Eternal Press or Xlibris. I also e-published, for free, to Amazon, which I then pulled for reasons that are not yet pertinent, and since I had hired my own cover artist for five dollars through Fiverr.com, I had a banging cover, a cover that blew the covers made by Eternal Press to dust.

I also uploaded the book to Smashwords, which meant it made it to all, online retailers, and get this, I got to keep almost all of the money earned from sales, and other people can also sell my book via an affiliate link, so we all make money. I must admit, though, that I did try to use Gods and Dragons to land an agent and achieve major publication, and while numerous agents replied, and with admiration, no one felt it was “marketable”, but that isn’t accurate; the truth is that they didn’t think I had enough fans, which meant the mainstream publishers wouldn’t touch it because, remember, they want your fans, not the other way around.

This is precisely why I want you to build a fan base before writing your debut novel. Then, you can prove to the agent that you’re the real deal!

At any rate, Eternal Press wound up being purchased by another company and became Caliburn Press. No one told me for the longest time, but then an old friend from Eternal Press happened to ask me how I liked the new owners, so I went and found out that my books weren’t even available on Caliburn’s website, but they were still available through Amazon and Barnes and Noble, so I got in touch with Caliburn over the discrepancy to learn that my contracts had been “lost in transition”. After some arguing, I simply stated that if that was the case, and there were no copies of my contracts, then the rights were mine, and I demanded all my titles pulled.

At this stage, while writing this very post, I have gone back and recreated all four of those books. Three are part of the Lokians series, and the fourth book was Shadowman, which has been totally overhauled, and is now titled: Otherside. I mention this to show that it has been nothing short of a long and arduous journey, and I am discussing it because I am trying to show you all the possible pitfalls of publishing. The short of this: go big or go home.

What I mean is; either do not stop trying to achieve major publication, or just go the self published route. You might get lucky with an actual, independent press like Edge Publishing, Rocking Horse Publishing, or Baen, but you had better be careful. Do your research. Look at their books on their site, on Amazon, on Barnes and Noble, on iBooks. Look at their prices, if there’s an option, look inside and read some of the titles. Don’t be shy; go and track down the authors, too, and ask them how they like being published through that press.

Now, the nitty-gritty:

If you have a fan base, if you have a bangin’ title, cover, and blurb, and if your book is expertly polished, self publishing is a fantastic way to go. Not only do you have complete control—Hell, even King self publishes some titles—but you get to keep almost all of your money, except the money Amazon will steal from you. I’m not even kidding, they will steal from you ten and twelve cents at a time, and they will often not pay you for Kindle pages read through KOLL, or KULL, or KENP, or whatever the Hell it is now. That’s why I pulled my e-titles from Amazon, but Smashwords has been a paragon of self publishing.

If your book isn’t up to snuff, though, self publishing can kill your career before it begins. Basically, the thing to note is that your book must be near perfect to land a literary agent or be taken seriously by a real, indie press, and if your book is that good and well written, you can use it to just make a name for yourself by self publishing, but self publishing requires so much friggin’ work because all of the responsibility falls on you, but then if you’ve built your fan base by following the advice from these posts, and your book is stellar, and you do self publish, and you do sell, you will be approached by agents or even publishers. Of course, if you’re already successful, for what do you need them?

That’s up to you. You may need them to help you get movie options, or you may just want them to sell for you. It’s your call, but you need to consider everything before writing your novel.

Stay away from POD companies like Friesen Press or Xlibris; everything they do, you can do, or you can hire someone to do it for you, and for a much lower price than they charge. Yes, you will have to spend some money and do some serious legwork, but even if you decide to self publish you can hire someone to turn your book into a movie, you can hire artists to turn your book into a graphic novel, you might even find some indie, game developers and sweet talk them into turning your book into a game; the possibilities are there.

Avoid hybrid presses. Some of them are obvious; they charge you upfront, or they’re really just a crowdfunding platform that charges you to use their services in the hopes that enough people will pay to publish your book; utter nonsense. While I’m against crowdfunding to publish a book, you can do it on your own without using a hybrid press. There’s also a ton of information out there on how to crowdfund successfully.

It’s just my personal opinion that charging people to publish your book is wrong since you can publish for free. You’ll only need money for a cover ($6 now on Fiverr, so it should be Sixerr) and to hire an editor, but if you shop for editors, you can probably get away with spending less than $1,000, so…crowdfund if you want to; no one is putting a gun to peoples’ head and forcing them to donate, so if you’re comfortable crowdfunding, asking people to give you money so you can produce content for which you charge…go for it.

Then, there are other, hybrid presses, like Eternal Press, Caliburn, or whatever they call themselves now. They are a bit more surreptitious in their behavior. They act like a small, independent press, but their staff is crap; their artists can’t make decent covers short of Photoshopping, they know nothing of blurbs, marketing, or selling books, they won’t help you get reviews, they want you to buy your books, so they can profit, and they won’t even edit your book properly.

I even had an argument with the previous owner about how to sell books, and she told me she had a business management degree and didn’t need my opinion. Well, I’m not stupid or uneducated. I know what a business management degree is, and it has nothing to do with economics, marketing, branding, or selling, and is obviously why she ended up selling the failing business.

So, if you stay away from hybrid presses and PODs, that only leaves major publication, really. It’s just as hard to get picked up by the real, independent presses as the major houses, so you’re better off trying to land an agent, which means learning how to query, how to write a synopsis, and knowing that you need to already be successful in order to be taken seriously by an agent…so, again, you might as well go self published for your debut novel, but don’t feel pressured to, either.

It’s up to you; go big or go home. Mainstream presses will certainly do their utmost to sell your book. There is no doubt about that, but that doesn’t mean that your book will sell. It doesn’t mean that your book will be expertly polished, either; I have written extensively about how terrible mainstream editors are nowadays, but hey, even crap sells, am I right? Not to mention that you can still hire a freelance editor —and will probably have to in order to be taken seriously by an agent.

The thing to consider when going mainstream is their modus operandi. Yes, if you get picked up, they may give you a small advance; debut advances are generally $2,000, but you will not earn a dime in royalties until said press earns back their $2,000, and you generally have only six months to achieve this, and if you don’t, they’ll release your contract, and not only are you back at step one, but you’ll need a new cover, a new editor (the press will still own the cover and their rewritten version of your book), and you’ll never get another shot at mainstream publication.

On the other hand, you may sell quite well, and then they will tell you to go ahead and buy 5,000 copies of your own book in order to fake your way onto the New York Time’s Best Seller list. Yup, not even kidding, so forget that $2,000 you earned; you’re about spend ten-plus grand, and then, they’ll want you to go out gallivanting from store to store across the country, and sell your books on your dime, and you may sell…you may not sell, so it really boils down to what kind of life you want.

Perhaps, you have always dreamed of traveling the country, visiting book stores, selling and signing copies, performing readings in front of adoring fans. There’s nothing wrong with that. If that’s your dream, follow it, do absolutely everything required to achieve mainstream publication. Avoid absolutely everything that doesn’t lead you to mainstream publication. Do understand that it may take years, and years, and years after completing your novel for you to find an agent and actually get published, so again, there’s no reason not to self publish your first title, prove you can sell, and then reach for mainstream publication with your second title.

Here’s why. Assume you finish your novel today, and it’s perfect, and edited, and whatever else. You contact an agent, and since you are not supposed to contact multiple agents at once, you wait, and you wait, and you wait, but you never get a reply, so after three months, you figure you can query another agent…but they don’t reply, so you wait another three month, query another agent, and a month later, they are kind enough to tell they are not interested. It’s a hassle, so you figure you’ll send your manuscript to Baen Books, but you are not supposed to query more than one publisher at a time, so you wait, and you wait, and you wait, and a whole year goes by, and they don’t reply, so you figure it’s safe to query Rocking Horse, and after eight months, they are kind enough to let you know that they are not interested…. It’s a lot of wasted time, right? You can certainly keep writing in the meantime, and should keep writing, but if you released your debut novel on your own, during your two or three year wait period, you could be making some sales, enjoying your life as a writer, and making a name for yourself. Of course this means self publishing the first book, and writing the second book with the goal of achieving mainstream publication.

Now, do you remember the first few posts where it was stated that success means something different to different people? Do you remember where it was stated that being a successful writer is a lifestyle? Some people don’t want to parade across the country, selling books; some people just want to sit at home and write, and self publishing is great for that, but really, there is no reason to avoid trying one or the other.

If you can achieve major publication, that’s a surefire way to build a fan base, and then you can release whatever you want on your own, and keep all the money, but beware, there are some instances in some contracts where this is not allowed, so it may better to start off self publishing, and then trying the mainstream route.

Whatever you do; learn to write, build a fan base, hire an editor, and then do your research. For more information visit my Quora blogs, or check out my Editing Services Tab. You can also flip through numerous posts right here, which will help you outline a strategy for achieving long term success through the consistent release of quality content. Thanks, I’ve been great.

So you want to be a writer part 6

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Part 6 – Writing your novel

The long awaited post…dun, dun, duuun…!

You followed my advice. You thought about an idea and found one you liked so much you wrote it down. Then, you wrote a few short stories, and all the while, you engaged people on social media. You talked about the latest action flick. You talked about what a buzzkill the latest book was. You praised the newest video game, and you told people you’re writing.

People came and peaked at your short stories. Some downloaded them. A few commented, for better or worse. You blogged, you connected, you even wrote a whole fanfiction novel. Maybe, you hired an editor or found some beta-readers. Maybe, you didn’t, but some people know you now, and some like you. Others don’t, but hey, you haven’t written that novel yet, so it’s no big deal. You even went back, and edited your earlier work, and re-released it. Maybe, you even hired a good cover artist.

Of late, all that swims through your mind is that story, that novel. You’ve even tried to get away from it, writing other, short stories, just wondering if you’re ready. You’ve asked yourself, can I do it? What is it gonna’ take? What if I can’t figure it out? What if people don’t like it?

Take a big breath and relax. Now, you are ready to write your novel. You have a feel for the process. You know you can do it because you did write, and you did release short stories. You even wrote an entire fanfiction, so yeah, you know you can do it.

You have the idea. You’ve thought about your novel so much, you can see the characters, hear the pitch of their voices. You know their mannerisms, and how they act in the world, react to the world, and interact with one another. You know the plot. You know the problems. You know the solution. Take a big breath, and start writing.

Writing is the easy part after all. Writing is just the process of transferring thoughts to paper (screen?). At this point, you know that you don’t have to worry about the fact that your beginning is shaky. You don’t need to worry that there’s no middle. You don’t need to worry that you have two or three different ideas for the ending.

At this point, you know that the only thing that matters is transferring your thoughts to paper. Write what you have. Don’t stop. Don’t fret. If you need to, go back, and read what you wrote to make certain you’re still on the same train of thought, but if you run into a roadblock, take a detour.

You have your introduction, but your dialogue is sketchy. Maybe, your dialogue is great, but you have a tough time writing action scenes; whatever the troubles are…well, they aren’t really a problem. Just write what you have, and if you need to, skip ahead. Your book is not etched in stone. It is not a published novel out for sale. Just write. Just keep writing.

Treat every chapter like a mini short story, and maybe, by the time you get to the middle, you see a different ending, but the beginning has to be changed. No biggie; you’re just writing. This is just a draft, and no one has even seen it yet.

Maybe, you can tell there isn’t much to say about the actual writing process. Contrary to what so many people believe, writing a novel is the easiest thing in the world. Nothing really matters; it’s just a draft, so draft away.

There are no rules in writing. None. There are certainly some very important rules when it comes to editing a story, but there are no rules involved in writing that story down. Did you know that you don’t even need to break a novel down into chapters? Nope, at least not until the editing process. You can just write, and write, and write until you have everything you want.

It’s a draft. It isn’t etched in stone. It isn’t a published product released to the public.

Write down absolutely everything you want to write. It doesn’t make any difference if it’s senseless, useless, crazy, boring, or even out of sequence. Just get as much down as you can. This is your time. This is the process you should be enjoying the most. While you’re writing the story, you are writing for you. You are writing something you want to read. You are unburdening your creative mind grapes and writing down all the things about your story that you want to experience.

This is certainly going to be a long process, and you will change almost everything you write by the time you’re ready to publish, so just don’t stress. Don’t worry about a routine. Nothing kills creativity like routine. Don’t turn writing your story into a job or a chore; enjoy the process. You want to write? Write! You don’t feel like writing one day? Don’t write!

Don’t ever worry about hitting a certain word goal every day. Don’t waste your time with writing exercises; they only help you do better at the exercise. That’s why you practice exercises before you write your novel. When it’s time to write your story, you just write the damned story down!

Go back. Read it. Read it again and again. You’ll see plot holes. You’ll find inconsistencies. You’ll laugh, cry, cringe, and cheer. Add everything you want to the story. Cut everything you don’t like. If it comes up short, it comes up short. If it comes out long, and it drags ass, cut the fluff out.

I’m telling you, writing the novel is the easiest part of the whole successful writer thing. All you gotta’ do is jot down what you’re thinking.

There will be times wherein you’re going to come across sections where you feel stuck. You’ll have point A and point C, but won’t know what point B is. So? Who cares? Nobody but you knows this. Just write down what you have and move on.

This is like the whole can’t see the forest for the trees thing, or maybe I have it backwards. It doesn’t matter. The point is that you cannot possibly know everything about your story until you’ve written it down.

Maybe, that sounds crazy or backwards, but I’m telling you, if you go into this process believing that you must know every, single, little, tiny detail, you’re out of your mind. You’re fooling yourself. This is precisely why people fail, or they succumb to fear; they think they must know every word, sentence, action, event, scene, whatever before writing the story.

Wrong.

Just get as much of your story down as possible, and when you get stuck, read what you have, and spend some more time thinking about the world, the characters; let the story tell itself. What you think your story is going to be is not what your story will choose for itself. If nothing comes to mind, jump ahead! Write the end then go back and re-read from the very beginning. So, you get stuck for a day, a week, a month, no big deal; go busy yourself with something else. That worked for Einstein.

I know it sounds crazy, but I’m telling you; just write. It’s that easy. It really, truly, is that simple. Anyone who writes an entire novel from start to finish in a month, two months, three, four, and then releases it is releasing crap. Now, that crap might sell. There are certainly people out there who like crap, but writing, releasing, and selling crap won’t lead to long term success.

Anyone who becomes a peddler of crap may be successful, very successful, at the onset of their career, but if they don’t begin releasing quality content, they won’t get very far, and at this point, if you’ve followed the advice in these posts, you’ve already set yourself up to sell your book, so you don’t want to release crap, and that means taking the time to write a great novel, but writing a great novel doesn’t entail doing it perfectly on your first attempt.

Again, just write what you have, what you know. Skip ahead if you must then, when you see more of your story developing, you can go back, and fill in the blanks; you can restructure, or you can even re-write the whole thing. It’s what the guy who wrote Jaws had to do. All that matters at this stage is that you have fun.

When The Godfather was submitted to the production company, the screen editors and directors thought the book was atrocious. The reviews on the Rambo books, you know the Rambo movies are based on books, right? Those reviews are pretty bad, because the books are terrible, so crap does sell, but it usually only sells after it gets turned into an awesome movie, and if it doesn’t become an awesome movie, who will buy it? What saving grace will there be?

As usual, in the end, it doesn’t really matter. You aren’t staking your entire life on one novel, but it is important to make your first novel great, not because it’s the only way to become successful, but because you want to start off the right way and save yourself the torment. You also care about your fans because they are paying you, and they are selling for you, so give them something they can enjoy.

Now, editing your novel is a totally different story, but you can’t edit or get feedback until the whole book is written, right? So get it all down then take a break because the hard part is about come up and blindside you.

Yup, before you know it, you’ve actually written down your whole novel. Yes, some parts are shaky. Yes, some transitions aren’t that great. Some of your chapters feel short and rushed. Other chapters feel long, and they tend to get boring before reaching the end. No big deal. Now, you will do one of the most important things you will ever do for your novel. You will leave it alone.

Get away from your novel. Forget all about it. Dive into something else. Write another short story. Play a new video game. Go back to playing DnD with your friends. Whatever you do, do your best to forget as much of your novel as you can. Spend at least two months away from your novel.

This is a great time to get back to everything you were doing before you wrote your novel. Get back on Google+ and Goodreads, and discuss other topics with your reader groups. Download some more short stories from Smashwords, and give ‘em a read through. Give your fans, the ones who dropped by your blog to read reviews, something new to read; a new review of a game, book, or movie.

Here’s why; you’ve been thinking, eating, breathing, living your novel for months, maybe even years. You know everything about it, all its intricacies, and you’ve done the best job you can to lay it bare for an audience, but an audience is not in your head, and there may be some thoughts, actions, or correlations that seem self evident and truthful to you, but to an audience, to a reader who has never been in your head, all of those ideas which seem logical and self evident may very well seem muddled and confusing.

This is the perfect time to do one or all three of the following:

One, post your whole book to your blogs one or two thousand words at a time two or three times a week, thus giving your fan base a chance to read it without a great commitment. Naturally, they’ll also be able to comment and discuss it. (You will eventually delete these posts before releasing the book.)

Two, kindly let people know that you are looking for beta-readers, people who are interested in reading a draft for the specific purpose of helping you better connect with your intended audience. (Assuming you are not releasing the entirety of your book to your blog. You may also do this after having released your book to your blog, gotten some feedback, edited, and then deleted those old posts.) Beta-readers are usually readers, though some are also writers, but the great thing about beta-readers is that they love rough drafts. There’s just something so much more personal, more intimate, about a draft; it’s bare; it’s the soul of the writer, but no one wants to spend money on a first draft, so do not release an unedited book to the public!

Three, hire an editor.

The first two suggestions are great, simple, easy, and free. Do not pay anyone for beta-reading. At this point, I also do not suggest peer editing with other writers anymore. This isn’t a matter of fearing intellectual theft; this is a matter of building your own, distinct voice. Teaming up with other writers is great before you write your first novel. After you’ve written it, it becomes imperative to distance yourself from other writers, so you’re better off with beta-readers, some of which will be other authors, but some are just readers and bloggers who love raw, indie work.

A lot of writers fail at this point in their careers. They’re so excited they’ve finished writing a book, and they show it to all their author buddies, and of course, being nice, supportive people, the author buddies praise the book. After all, they know the difficulty in finishing a novel, so they say it’s great, and then, the debut author releases an unedited, debut novel, and it tanks. Perhaps even worse, the book sells extremely well for two months, and then the scathing reviews come in, all of which point out the horrible typographical, grammatical, and punctuation errors—the slogging pace, the redundant information, the info dumps, the stale characters, etc. etc. Hire an editor before you release that book.

Another occurrence at this stage of the game involves the excited, debut novelist who turns to their author, support groups. Then, they get stuck trading reviews of each others’ books. That’s all well and good, but none of them are reaching readers. They’re all only reaching one another, tweeting, retweeting, or auto-tweeting, to one another. They are only promoting their books to other writers.

There are no readers in those groups. No readers, people actually looking for a new book to buy and read, have ever heard of any of those groups like ASMSG or IAN. Hundreds of thousands of indie writers have banded together, and that’s a great concept before writing your first novel, but these naïve folks have done this in an effort to find readers, but they are only finding each other. Some actually think that they can each bring a few hundred new readers to those groups, believing that if each person brings in a hundred new readers, there will be millions of people all buying the books; this is precisely what the mainstream publishers count on, but the mainstream publishers each have specific presses with specific authors with specific voices for specific genres, so yes, Penguin Random House counts on the authors published by Bantam to entice Bantam fans into buying Bantam books by other Bantam authors, but the indie, support groups aren’t following this business model. The indie groups have all kinds of writers of all qualities, genres, and voices.

It doesn’t work, not the way they’re doing it. First of all, so many of the members have no fans because they are either aspiring writers with no published books, or they are debut writers with one or two books out, and no sells or fans; they have not begun their career correctly. Second, some members write romance, others paranormal, some steam punk, so none of the steam punk readers are going to go searching for a group like ASMSG in the hopes of finding an indie, romance writer. So what happens? The group members just trade books with one another for reviews in the hopes of selling books via Amazon by way of a review bombardment. Lastly, what happens is they try to sell books to each other.

Think about it, though: if one author buys one of each book written by each author, and even if every other author does the same, in the end no money trades hands, right? If I buy all of your books, and then you buy all of mine, no money has been earned. No new fans have been found, so what do these groups do? They say stuff like: give an indie author a good review. Reviews sell books, and authors gotta’ eat, too. Well, that’s a dishonest practice.

Give a good review if the book is good. Give a bad review if the book is bad. Why? Because the review is not for the author. The review is not there to trick a reader into a buying a book. The reviews should only be given by a reader for readers. As a matter of fact, once you become a published author, you may want to stop reviewing books completely. Why? Because at that point, you’ll find yourself reviewing as a writer rather than a reader.

You know what happens then? An indie author begins racking up numerous, glowing reviews, and then a reader will buy the book only to find faults with it, and the problem then is that the skewed reviews anger the reader. They feel tricked, and so they feel compelled to provide a scathing review in order to exact vengeance, and here’s the thing; if those good reviews sell books, and the readers end up feeling shilled because of the skewed reviews, they are going to tell everyone to stay away from that book, and a book that will have started off selling well, suddenly starts losing sales, and then the writer begins to build notoriety for releasing terrible content. They lose credibility. It’s why “writers” like Gary Lindberg go around making fun of readers for posting bad reviews.

Fortunately, these posts have been designed to help you prevent such a thing. As a matter of fact, these posts are here for two reasons.

One, I personally love reading and writing so much that I want everyone with even an inkling of an idea to feel comfortable writing their idea down, and subsequently release a great book.

Two, I love readers so much that I want them to know that there is an alternative to the dreck spewed by the mainstream presses, but to that effect, what the indie writers release must not be dreck, and so it becomes imperative to teach indie writers the importance of editing, of hiring an editor, a competent editor, but indie writers must take it a step farther and start their careers off properly in order to counter act the fluff released by the mainstream press, and the fluff released by other, indie writers.

I want indie writers, or even new writers who want to go the mainstream route, to be successful, and not just sell well, but sell quality content often. It’s what the readers deserve. Are we not writing for them? Perhaps, it is more appropriate to say that we are trying to release quality content for them.

Please, please, please, even if you decide not to distance yourself from other writers, you must hire a competent editor because you are not writing and selling your books for the other writers, you are publishing for readers, and if you reach even one reader, and you turn them into a fan, they will tell others about your book, so if you’re going to find an editor, and you really do need to find one, do some work and find a competent editor, one who willingly explains and shows the editing process on a regular basis.

They are few and far between, and you might get burned once or twice, but do not let that frighten you. You need an editor, someone who understands how to read a book as a reader, someone who will look for plot holes, suspension of belief, inconsistencies, discrepancies, lack of character development, pacing issues, all kinds of stuff, and will help you to understand what those issues are and how to resolve them.

In the end, you might end up hiring a crappy editor. It happens to all writers who take the time and make the effort to hire an editor, but even a crappy editor can be helpful. If nothing else, they are a fresh pair of eyes, and when they edit your manuscript, they will pass on to you their new perspective; use it. Take what you like, and discard the rest. Then, go back, and re-read your book, and I promise, you’ll find all kinds of stuff that requires more attention.

You’ll find normal mistakes that your mind missed because it was reading what it was expecting; the mind does that; it formulates that which it already expects. You’ll find some sentences which will make you wonder just what it was that you were meaning to convey. You’ll find redundancies you hadn’t noticed before. You’ll notice that some sentences work better in a different order within the paragraph. You’ll find all kinds of stuff.

It’s very important to get away from your novel. It’s almost like making your eyes the fresh pair of eyes, and you will have to get away from your novel over and over. There should be no rush, though. As proud and excited as you are, and you should be, you must keep yourself in check. Do not release a crummy product to your audience like I did (four crummy products) because it will really hold you back.

Everything I’m telling you, no matter how crazy, I’m telling you for a reason. I absolutely want you to release a perfect product to your audience, so that they will start off loving your work. It is important to me that you are successful for a number of reasons, and you will come to understand those reasons more deeply as we progress, so you may need to step away from your novel a number of times, and you may need numerous beta-readers, and you may need to hire two or three different editors, and you may need to get away from your writer buddies, and you may well spend an arm and a leg throughout the process, but it will pay off.

Try to keep your end goal in mind. If you are striving to achieve major publication then you need to land a literary agent. To do that, you need to write a perfect query letter, and synopsis, and you can’t rush through those either; they are as important as your title, cover, and blurb. Then, if your presentation is accepted, the agent will want a part of, or the whole, manuscript. Then, if it’s up to snuff, and they think it’s marketable, they’ll help you to land a publisher. Just keep in mind that not all agents are cut from the same cloth.

If you intend to go the indie route, and you want someone like Baen or Rocking Horse Publishing to publish your work, you do not need an agent, but you still have to present your book in a professional manner. Regardless, these two avenues require a great deal of sitting, waiting around, and just going bonkers. They do not want you to submit your book to multiple publishers or agents, and they may never reply, or they may take a year to reply, and just to say, “Nah, we’re good, bruh.”

If you intend to self publish, and there are numerous reasons to do so, it’s up to you and you alone to produce a product of the highest quality. This does not mean that you cannot work with others—cover artists, proof readers, beta-readers, and editors—it just means that you are in charge of everything. The reason self publishing gets such a bad rap is because most self published authors don’t hire editors, or they hire crummy editors, and the number one complaint by readers is that the book read like a first draft.

No one wants to pay for a first draft.

This says nothing of the creativity, beauty, or complexity of the story, but you must come to understand something that’s been pointed out numerous times: if the mainstream publishers employ teams of editors to clean the works of King, Martin, and Rowling, doesn’t it stand to reason that you should also hire an editor?

Thanks for reading. I had said this was going to be the last post of this series, but I’m actually going to release one more, so stay tuned, and don’t forget to check out my Editing Services Tab.

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How to Become a Successful Writer by Aaron Dennis

So you want to be a writer part 7

So you want to be a writer part 6