Tag Archive: Books

About Books

Apr 07

Who Likes ‘em Big?

 

 

I’m curious about something…

There are a lot of readers, myself included, who like big books. And yes, I’ve seen the video…made me glad that I’m deaf.

Anyway…

How do the readers of erotica romance feel about that?

Do you like short stories, say under about 25,000 words? This would be around 90 pages, tops.

Maybe you like something a little longer, in the novella range of around 50,000 words. This would be about 180 pages.

Do you prefer the low-end of the novel range at maybe 100,000 to 130,000 words? Call these between 360 and 470 pages.

Or do you really like something in the long novel area at 180,000 or more words? These puppies are 650 or more pages long.

(Roughly speaking, on average, a trade paperback will have around 275 words per page. Obviously a lot of things can impact the exact number.)

Now remember…we’re talking about an erotica romance novel here. No matter how you slice it, that’s a lot of fucking between the pages.

Under some of my pen names in the non-erotica romance genres, I write those biggies. I think my longest came in at 275,000 words and just over 1,000 pages. Yeah, it sold like hotcakes.

But do readers of erotica romance like such books?

Keep Loving!

Melodee

 

 

Permanent link to this article: http://melodeeaaron.com/blog/2013/04/07/who-likes-em-big/

Jan 21

Rules for Authors — Number Thirteen

What follows is one of my Rules for Authors.

These rules are things that all real authors should make a part of their mentality and are words to live by. Trust me…

After more than twenty-five years in this crazy business, I have learned these things well and they do make a difference!

No. 13 – Your great new title is already taken.

Titles are a problem for all authors. You want a title that will say something about the story and catch the potential buyer’s attention. Sometimes, that’s hard to do, and most of us struggle as much with the title as we do with the story itself.

But it seems that when you come up with a great title, someone else has already used it. Usually a fast search on Google will confirm this for you.

But on the other hand, so what?

Titles can’t be copyrighted. You can use any title you want, and no one can legally do anything about it. Obviously, you really don’t want to use something that was used before recently. Having two relatively new books on the shelf with the same title could confuse the readers. I try to avoid that.

But what if I wanted to use the title of, let’s say, The Old Man and the Sea for my new book? Odds are, no matter the bookstore, me and Hemingway are not going to be in the same place in the store. Papa’s books will be in the Classics section. Mine will be in the Romance section…maybe in the Smut section. There is little chance of confusion here.

But the rule is to check out the title. Has it been used before? If so, when? In what genre?

Finding that your first choice is taken might be a blessing in disguise. That forces you to brainstorm on a new title, and you may come up with something even better.

Don’t get discouraged…make it happen!

Keep Loving!

 

Permanent link to this article: http://melodeeaaron.com/blog/2013/01/21/rules-for-authors-number-thirteen/

Jan 14

Rules for Authors — Number Twelve

What follows is one of my Rules for Authors.

These rules are things that all real authors should make a part of their mentality and are words to live by. Trust me…

After more than twenty-five years in this crazy business, I have learned these things well and they do make a difference!

No. 12 – As soon as a book is released, you will find 100+ editing errors.

Murphy’s Law: If anything can go wrong, it will.

O’Toole’s Corollary: Murphy was an optimist.

Yes, Murphy is alive and well, and he’s in the publishing business.

Just a couple of my own experiences in this area…

I once released a hard science fiction novel through one of the major print houses. It had been through not only the normal editing process that all authors are familiar with, but also through extensive editing by real professional scientists due to the extreme technical content. This included physicists, biologists, chemists, and other more esoteric disciplines of science. Finally, release day came. That was on Monday. By Wednesday afternoon, I had more than 1,000 E-Mails from readers that one of the planets in the story was turning backwards or that it was in an impossible orbit. Guess what? The readers were right. Me and all of the scientists had simply missed the fact that there was an error in the math, and that let planet have an impossible orbit. Oops. We fixed that in the second edition.

I wrote a semi-historical novel once that was set in the 1490s, and I used a word that wasn’t in common usage until the late 1880s. Yeah, the editors and I both missed that one, but the readers didn’t. Oh…we never fixed that one, just added a disclaimer to the second edition in the forward.

And this ignores the normal spelling and grammatical errors that have fallen through the cracks. At a guess, I would suspect the number is somewhere in excess of a million over the last 25 years.

This kind of stuff happens. Don’t worry about it. Readers do—by and larger—understand that we and the editors are human. They will laugh it up for a while, and then finish the book anyway.

There are two genres where you can really piss off the readers when you make mistakes, though…historical and hard science fiction. The readers in these genres are absolute fanatics about attention to detail. And they will shred you if you mess it up.

For the most part, this is all petty stuff.

And remember, don’t sweat the petty stuff.

Oh, and don’t pet the sweaty stuff.

Keep Loving!

 

Permanent link to this article: http://melodeeaaron.com/blog/2013/01/14/rules-for-authors-number-twelve/

Jan 07

Rules for Authors — Number Eleven

What follows is one of my Rules for Authors.

These rules are things that all real authors should make a part of their mentality and are words to live by. Trust me…

After more than twenty-five years in this crazy business, I have learned these things well and they do make a difference!

No. 11 – Most promo companies only promote themselves.

This is not aimed at all promotional companies…just most of them. It is also not aimed at any particular company or companies…just general observations and comments.

What is it that most of the promotional companies do? In a nutshell, they send out notices about your book…most of them just shotgun a message about your book to the many Yahoo (and Google) groups on a periodic basis. A few will post to the several social media systems like FaceBook and Twitter. The exact details vary, but not by very much. This is basically all the services do, and they only do that for one particular book at a time from a client. Some offer package deals that cover several books.

There are a several problems with this…

First of all, they do nothing that you, the author, can’t do. And you, the author, can do it better.

Second, they focus only on one book. See Rule Number 7. There is a ton of money just sitting there on your backlist.

And thirdly, all of the promo companies work on a fee-based system.

Now that we have the three main problems identified, let’s talk about them. Because the problems are all interrelated, I’m going to just move forward. As we go, you will see the problems crop up and how we can better deal with them.

I know you have seen the messages on Yahoo groups from the promo services. They are always from something like, “Billy Bob Promotions”. Yeah, everyone else sees that, too. The subject may be something like, “Read Mary’s New Book!” A brief survey of the members of two of the largest Romance/Erotica Romance Yahoo groups found that just over 86% of the readers either have E-Mail filters set up to move messages from the promo companies directly to the trash bin or they just delete theses messages without reading them. In other words, of the people you want to see these messages, only about 15% of them even bother. The same thing applies on the social media networks…most readers don’t even bother to read the posts, let alone follow any links in them.

The real problem here is that the readers see the posts from the promo company as spam. I can understand that, because it is indeed spam. So, how do we get the readers to actually read the posts? Simple…the posts should come from the author of the book.

There are two ways to make this happen…

First, the author can send out the posts. Most all E-Mail programs will allow you to send an E-Mail at a later date and time you select, either built in or as an add-on helper application. The same thing applies for the social media networks…TweetDeck, HootSuite, and others allow you to schedule posts. The author picks a day and sets aside time on that day to write and schedule posts as appropriate. When the posts are sent, they are coming from the author, and readers tend to actually read those kinds of posts.

The other option is—in my opinion—better…the promo services should be posting as the author. This of course means that the promo company needs access to the author’s E-Mail and social media accounts. This entails a good deal of trust and some sort of assurance from the promotional service that the access will not be abused. This way of doing things lets the author focus on writing while the promo company does the promotion, just as things should be.

Next, the promo services should promote the author, not just one book. This is very similar to the idea of agents versus representatives as discussed in Rule Number 5. Just as you need a representative who will represent you as a whole, you need a promotional service who will promote you as a whole. Single title representation or promotion is a waste of time and money. By promoting the author, you make sales on the current title as well as on the backlist.

And now we come to the money shot…all of the promo companies work on a fee-based system. That is to say, you pay $x and they promote your book for a certain amount of time. The promo company has no skin in the game under this program and fee schedule. They get paid no matter what happens.

In the real world, advertising agencies are paid a combination of a flat fee plus a commission on sales. Why not in the world of publishing? Well, to be fair, that is the way it works in the print world, but the author is more or less out of that loop…the publishers will hire an advertising firm to do a campaign, and that deal will include a cut of sales to the ad agency. It doesn’t work that way in the E-Book arena, though. Why not?

Without a performance-based pay scale, the promotional company has no vested interest in making the ad campaign work. They are simply accountable to do the number of posts to the places they say they will make them to, and nothing more. There is no method in place to make sure that the campaign will actually work. This leads to cookie-cutter campaigns where they all look alike with only the names changed. There is no innovation or encouragement to make the campaign better.

What would fix this is a commission schedule. The promo company gets a flat fee for the up-front work of preparing the campaign, and then they get a percentage of the sales made during the campaign. This puts some of their skin in the game, and their income is now based on their performance.

Next, we need to talk about the difference between E-Publishers and Print Publishers. Very few E-Pubs do any promotion at all beyond generic advertising featuring all of their releases in a given time frame. A few go beyond that and will post group or social media messages for specific books, but not too many do that. On the other hand, print publishers often take out full-page ads in magazines and major newspapers to promote single titles. In general, E-Pubs do almost no promotion while the print houses might spend hundreds of thousands of dollars.

Lastly, let’s tie this all back to Rule Number 5…

The real representatives out there provide not only the normal services of traditional agents, and the editing services to get a manuscript ready to pitch to a publisher, but they also provide promotional services. Some of these representatives offer this as part of their standard package and others offer it as an add-on at additional percentage points, but almost all do offer it.

Most of these representatives do this promotion acting as the author…that is they post from the author’s E-Mail and from the author’s social media accounts. They know that readers pay far more attention to the author “talking” than to some promotional company spamming. Also, since most of the representatives are working on a percentage of royalty commission, the better the ad campaign is, the more money they make. In other words, they have skin in the game.

With all of the above said, there is no doubt that most authors need someone to help them with promotion. An author’s time is better spent writing their books rather than running amok posting messages and updates to promote their books.

The thing is, where do you get the most bang for the buck?

Look at the promotional companies carefully and assess what they can do for you and if their services are actually going to help you.

Keep Loving!

 

Permanent link to this article: http://melodeeaaron.com/blog/2013/01/07/rules-for-authors-number-eleven/

Nov 28

How Social Media Works for Authors

 

 

I’m on FaceBook, Twitter, Google+, and yes, even MySpace. Honestly, I spend most of my social media time on Twitter, with FaceBook coming in a close second.

On Twitter, I maintain a number of “lists” where I can group people I follow into categories that make sense. The lists let me read the tweets in a more organized way…for example, I have a list named “Best Bets” that are people I am friends with (really friends, not just casual follows) and tweeps who I find particularly interesting for some reason. This is a small list of only about ten people, so it’s easy to keep track of and read each and every post they make.

I have lists for writers/authors, musicians, poets, racecar drivers, and more. While some of the lists are fairly large, the groupings still let me focus on a particular topic as I read the tweets.

The vast majority of the 4,000+ tweeps I follow are in one or more lists.

On all of Twitter, there are exactly six tweeps I follow who don’t follow me back. Depending on your definition, none of them are “celebrities”. None are politicians, either. One of them is the Dali Lama. The Dali Lama has on the order of five-and-a-half million followers, and he doesn’t follow anyone. On the other hand, he’s very wise and I like what he has to say.

The real bottom line is that I follow very few people who don’t follow me, and the reason is very simple…

Odds are that someone who isn’t interested in what I have to say has nothing to say that is of any interest to me.

Call that arrogant if you like, but the fact is that the vast majority of Twitter users will not follow you if you don’t follow them. And most serious studies put the number in excess of 90%.

Every few days I will wade through my followers and those I follow. If someone has stopped following me, I stop following them. I also will stop following people who have not tweeted in the last 90 days, but I keep an eye on them…if they tweet again, I follow them again.

Along with this, I also purge my several Twitter lists…anyone I am not following gets removed from the lists. And it is this practice that got me thinking about something…

Churn Rate: (sometimes called attrition rate) In its broadest sense, is a measure of the number of individuals or items moving out of a collective over a specific period of time. (From Wikipedia)

In other words, what is the rate of tweeps who unfollow people?

I am primarily concerned with the churn rate for authors and writers. I have three lists that relate to this field: Writers, Writers2, and Writing Helpers. The first two lists are self explanatory and there are two lists due to the limits of how many tweeps can be in one list. Writing Helpers is primarily publishers, cover artists, reviewers, and similar “support” services for writers. In a typical month, the churn rate in these three lists is about 2%.

Now…I also have a list called Music that is mostly musicians and bands. There are a small handful of music production services in there, but just tiny fraction. The churn rate for the music list members is much smaller…over a month, perhaps 0.04%.

For all of the other lists, a typical monthly churn is about 0.09%.

What does all of this mean?

Sorry folks, but it means that authors are, by and large, totally clueless about how social media promotion works.

Remember when I mentioned MySpace above? Some of you may sneer, and maybe you should. MySpace is, frankly, dead and doesn’t know it yet, but MySpace was also the first of the social media sites. In the early days, music professionals and bands swarmed to MySpace to promote themselves, and they did a good job with it. More to the point, they learned a lot…

The key thing they learned is that if they didn’t show an interest in—and a respect for—people who followed them on MySpace, those people would stop following them.

And those people are their fans, the ones who buy their product. In other words, they pay the musician’s salary.

Sadly, writers don’t seem to understand this.

Some of that has to do with the flood of new writers in the various “self publishing” venues. Like all new writers, they want to change the world and have the attitude that sales don’t matter.

Sure they don’t. Keep telling yourself that while you slowly starve to death…or keep working at that job you claim to hate so much.

Some is connected to the idea that a reader will never stop reading your books no matter what you do. Right…let me know how that works out for you. Oh, that’s right…you can’t afford Internet access now and the library’s free access is all full up with other starving writers.

The real deal here is that writers need to learn the lessons that the musicians did long ago, and that is to avoid unfollowing people on Twitter. And the other social media sites, too. Create lists or groups or circles, or what-have-you to organize things so you can manage the data flow.

In other words, wake up and smell the money.

Keep Loving!

 

 

Permanent link to this article: http://melodeeaaron.com/blog/2012/11/28/how-social-media-works-for-authors/

Nov 20

Book Review – Windswept by Diana MacArthur

 

This time around we’re doing something just a little different…

Here I’m reviewing Windswept by Diana MacArthur, and the difference is that Windswept was just released on November 14, 2012 and Diana will be here to Guest Blog on November 22, 2012. Yes, on Thanksgiving Day!

Before we get into the review, I think I should mention a short caveat…Diana and I both write for Siren/BookStrand. Yes, I’m not above being a little biased in favor of Siren, but that’s with good reason: Siren is a top-shelf publisher, and they release quality books. By “Quality”, I mean that unlike so many of the e-publishers out there, Siren puts the same work and effort into their books as do the big names in the print world. Trust me…the edits alone are vicious! With all of that said, I have tried to keep my positive bias for Siren/BookStrand under control, but I make no promises.

Now, let’s talk about Windswept

 

 
First Impression – 5 Stars

Windswept is a short book checking in at just under 25,000 words. Let me just say for now that this is MUCH shorter than I would have liked. My first reading took only about twenty minutes, and I would have LOVED to stay in the world Diana created for a lot longer.

Anyway…

The first thing that grabbed me was the cover. Siren/BookStrand has a slew of great cover artists, and Ms. Kirchoff did a great job on Windswept.

After that, there is the overall professional appearance of the book in the reader. Nice layout and easy to read. More on this later.

The final thing is that we find out on the very first page that Cadence has got 99 problems, and not all of them have anything to do with music.

I knew at once that I was going to love this story.

Story and Plot – 5 Stars

Let me remind you that I’m deaf. As in “Deaf As A Post” deaf. I do love music, but that comes in a way that most hearing people can’t even begin to understand. I can’t, obviously, hear music like you do, but I can feel it. I can pick up the vibrations and follow the music well enough to sing along and dance.

The bottom line is that many of the things in Windswept about music are completely outside of my experience, and to a point are totally lost on me. But even though I don’t understand those things—and I have no way of ever understanding them—the little musical tidbits weren’t a distraction for me. In other words, the story is strong even without that aspect.

And that, my friends, is the sign of a well written story…when you take out a good deal of the back-story, can the book still stand? Well, rest assured, Windswept passes that test.

I’m a character freak. I like detailed, well-developed characters. Without strong characters, a story just simply falls flat on its face. Let me tell you about the three main characters in Windswept

I mentioned Cadence briefly above, and she is, of course, our heroine. Pretty, bright, and a technically accomplished musician, Cadence Bennett looks like she’s on her way to stardom. Wrong…Cadence has so focused on the mechanics of music that she has completely lost sight of the emotion of music. Along with that, she has built a wall around her own emotions and has become cold and distant. I was reminded of an old episode of the M*A*S*H TV show when Charles told a young soldier who was a concert pianist but had now lost function in one of his hands that, “…I can play the notes, but I cannot play the music. You capture the heart and soul of the music in the notes you play.” Cadence knows this, but she doesn’t know how to fix it. She needs help.

Chris Clements…other than “damn it”, what else could I add? I could tell you about how wonderfully delicious he looks, or how his passion flows through his music and spills over into his work-a-day life and words, but I could never come close to telling you how strong and intelligent Chris is. Let me just add that Chris has an entire menagerie of great things about him…some are even above his waist!

Ryan Matias is at least as amazing as Chris, but there are subtle differences, and those differences make the two men compliment each other. Given a choice between them, I’d take both.

Just like Cadence.

Continuity – 4.5 Stars

Windswept flowed very well, and the internal consistency was great. There were no loose ends left hanging that distracted me from the story, and in general Diana did a wonderful job with the tale.

The only issue I had with this area goes back to the cover…while Ms. Kirchoff created a great cover, I felt that the piano on the cover was a bit out of place. The group that Cadence, Chris, and Ryan form is wind instrument group, and I would have liked something more directly related than the piano.

Editing and Mechanics – 5 Stars

One of the things that Siren/BookStrand does best is the editing process, and Windswept is no exception. In my half a dozen or so reads of the story, I found no errors that are even worth mentioning. They did not detract from the book at all.

Overall Rating – 4.9 Stars

If you have read any of the above, you know by now that I loved Windswept. In case you missed that fact, take a look at my overall rating. I’m the first to admit that I’m tough on reviews…maybe too tough. An author—and the story itself—has to work very hard to get an overall rating of 4 Stars from me.

I gave Windswept 4.9 Stars, and that is an honest number.

Unlike some books I have reviewed over the years where I felt that the number was too high or too low due to the simple math of the equation, Windswept earned this number, and I feel good about it.

My only complaint is the one I mentioned at the start of this review…I would like to have seen the story longer so I could spend more time with Cadence, Chris, and Ryan. The world Diana created is a wonderful place to enjoy an escape from life, and the trio provides a veritable explosion of passion, desire, love, and carnal excitement.

I highly recommend that you drop by Siren/BookStrand today and pick up a copy of this wonderful first book from Diana MacArthur. You won’t be disappointed.

Keep Loving!

 

 

Permanent link to this article: http://melodeeaaron.com/blog/2012/11/20/book-review-windswept-by-diana-macarthur/

Nov 19

Rules for Authors — Number Four

What follows is one of my Rules for Authors.

These rules are things that all real authors should make a part of their mentality and are words to live by. Trust me…

After more than twenty-five years in this crazy business, I have learned these things well and they do make a difference!

No. 4 – If your “publisher” wants money, they are a printer, not a publisher.

See also Rules 1, 2, and 3 as they are closely related to this Rule.

This Rule summarizes the previous three rather nicely.

Honestly, this is just common sense, and needs very little in the way of expansion. But that has never stopped me from doing it anyway.

Look closely at your publisher. Do they want money to edit your story? Do they want you to pay for or provide cover art? Do they want to charge you a fee to read your story? Does your publisher charge you to have your story listed for sale in their catalog?

In other words, are you, as the writer, going to have to pay the publisher any money at all? What about paying for things that are a part of the publisher’s costs of doing business?

If so, you are not dealing with a publisher…you are dealing with a printer.

If you are dealing with a printer, that’s just fine as long as your goal is to be a printed writer. But let me give you a little tip here…save some money and go down to The UPS Store or maybe the FedEx/Kinko’s and just have them print your story. They can do a nice book-like layout and even put a cover on it (if you provide the art) and make you as many copies as you like.

Yes, it really is just that simple.

Here are seven things that are common to real publishers:

(1) They do not charge for editing.

(2) They do not charge for cover art.

(3) They do not charge to read your story.

(4) They do not charge to have your story in their catalog.

(5) They pay royalties. (The printers do this, too.)

(6) They pay an advance. (All decent print houses, anyway.)

(7) After you are established—and if you’re any good at all—they will contact you (or your agent) asking for new stories.

Again, if the operation you are dealing with doesn’t do all of these things, you are—at best—dealing with a printer. At worst, you are being conned.

Keep Loving!

 

Permanent link to this article: http://melodeeaaron.com/blog/2012/11/19/rules-for-authors-number-four/

Nov 12

Rules for Authors – Number Three

What follows is one of my Rules for Authors.

These rules are things that all real authors should make a part of their mentality and are words to live by. Trust me…

After more than twenty-five years in this crazy business, I have learned these things well and they do make a difference!

No. 3 – Never pay for cover art.

See also Rules 1, 2, and 4 as they are closely related to this Rule.

As outlined in Rule Number 1, cover art is a part of the cost of doing business, but that cost belongs to the publisher, NOT the author. Just like with editing as detailed in Rule Number 2, the biggest reason is Rule Number 1 itself, that money flows TO the author, but there are other more subtle reasons.

I know a few authors who do their own cover art, and I envy them to a large degree. I’m horrible at anything even hinting at graphic arts. PhotoShop is an absolute mystery to me. I just can’t do it. I need an artist who can make all of this work.

The exact same arguments for using the publisher’s editors apply to cover artists, but to an even larger degree…I would estimate that 90% or more of the advertising for a book is directly from the cover art. Think about it…

A potential buyer is strolling through the bookstore (brick-and-mortar or online, it doesn’t matter). Before they read the blurbs or thumb through the book to get an idea of the story, they see the cover. Does the art make them pick up the book to read the blurbs or thumb through the content? If not, a sale just passed you by.

Just like with editors, it all has to do with motivation.

A contracted artist will create a cover that the writer likes. Yes, that’s important, but it’s only number two on the list of priorities, and that’s being generous. The writer is not the person we need to sell the book to…not even close.

An artist working for the publisher will create a cover designed to market the book to the public. In other words, something that will make the aforementioned shopper pick up the book and look deeper.

Once again, the motivation is money, but the difference is where the money comes from.

Contracted artists make their money by pleasing the writer.

Publisher’s artists make their money by selling books.

Keep Loving!

 

Permanent link to this article: http://melodeeaaron.com/blog/2012/11/12/rules-for-authors-number-three/

Nov 07

Wednesday’s Excerpt – For the Love of Payne

 

This week’s excerpt is from For the Love of Payne, book 1 in the Ike Payne Adventure series.

 

 

The setting for this snippet is a dinner party hosted by the Emperor and his wives for Ambassador Eeto to which Ike was invited as well. Ike ends up sitting between Empress Marilyn and Princess Charlotte…

 
“Are you going out with anyone these days, Ike?” Charlotte seemed to abandon flirting for the moment.

“Just Sean, but you know how that goes.”

“Is he really hung like the scuttlebutt says?”

Marilyn gasped. “Char!”

Ike grinned. “Yeah, he is. But he’s dumb as a bag of hammers.”

Marilyn’s face moved from a silly grin to serious several times. She lost the battle to stay prim and proper. “Damn it! Who cares about his mind?”

Charlotte choked on a bit of lettuce and got another look from her father. She smiled and waved. Her father went back to his discussion with Eeto “And you say I’m bad, Mom!”

Marilyn ignored the bait. “Ike, you should really go shopping with us sometime. We could get you some killer outfits.”

“No, thank you. I’m a Marine, not a debutante.”

“Suit yourself, but I think mom and I could really make you a knockout.” Charlotte had another piece of cabbage and waited for the Captain to look her way again.

Marilyn reached in front of Ike and grabbed the cabbage from Charlotte’s hand. “Excuse me.”

The Emperor caught the motion from the corner of his eye and looked again. “Ike, do I need to separate you three?”

Ike had a giggle way down inside that slowly crawled its way up her throat. “No, Sir.”

His smile broadened. “That’s good.” He again turned his attention back to Eeto and Zach.

“You two are going to get me busted to Private!”

“Nope. Daddy’s a pushover. All Mom needs to do is bat her eyes at him, and all’s well.” Charlotte looked for another bit of cabbage.

Marilyn sighed. “You get him ticked off here, and I’ll have to bat my eyes while I’m looking up from my knees.”

 

You can learn more about For the Love of Payne here.

 

Keep Loving!

 

 

 

Permanent link to this article: http://melodeeaaron.com/blog/2012/11/07/wednesdays-excerpt-for-the-love-of-payne/

Nov 05

Rules for Authors – Number Two

 

What follows is one of my Rules for Authors.

These rules are things that all real authors should make a part of their mentality and are words to live by. Trust me…

After more than twenty-five years in this crazy business, I have learned these things well and they do make a difference!

No. 2 – Never pay to have your book edited.

See also Rules 1, 3, and 4 as they are closely related to this Rule.

As outlined in Rule Number 1, editing is a part of the cost of doing business, but that cost belongs to the publisher, NOT the author. The biggest reason is Rule Number 1 itself, that money flows TO the author, but there are other more subtle reasons.

The biggest of these has to do with the attitude and approach to the editing task.

A contracted editor working for (and being paid by) the writer makes their money by getting writers to come to them to edit their work. A huge percentage of that income is from repeat business where a writer keeps coming back to have books edited. There is also the word-of-mouth advertising where a writer tells their friends how great John Doe edits their books. This all means that the editor has a vested interest in getting the writers to like them.

As a group, writers have pretty big and fragile egos. We sweat blood, laugh, cry, pull our hair out in clumps, fall in love with our characters, learn to hate some other characters, and in general see our stories as our children. Just like a momma bear, we will defend our stories to the death. If someone attacks our story, we will come to hate that person. In business, we will look for someone who treats us—and our stories—better and likes them just the way we write them.

See the problem here?

The contracted editor will tend to tell us what we want to hear. This may or may not be intentional, but the tendency is to say what the writer wants to hear so we like the editor and will come back to them and tell our friends how great they are.

In other words, for a contracted editor, they have no interest in if the book sells or not. Their income is based on how much the writer likes them. The contracted editor must have the writers like them in order to make a living.

Now let’s look at an editor that works for the publisher…

The publisher’s editors are paid by the publisher. They might be paid on salary (or hourly), or they might be paid per book that they edit. Some publishers even pay a royalty to their editors. It varies, but the bottom line is that the publisher pays the editor, not the writer.

This boils down to the fact that the editor (and publisher) doesn’t care if the writer likes the editor or not. The editor’s job is to massage the story into something that will sell. If they fail to do so, they won’t work for the publisher for very long.

Both of these editors are motivated by money, but the source of the money is the difference…

Contracted editors only make money if the writers like them.

Publisher’s editors only make money if the story sells.

See the difference?

Keep Loving!

 

Permanent link to this article: http://melodeeaaron.com/blog/2012/11/05/rules-for-authors-number-two/

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