I'm jumping back to my old blog

Hi, everyone!

Google kindly informed me that my old blog still exists, so I've moved all my posts from here to there. If you'd like to continue following me, you can check it out at: http://shevi.blogspot.com

I will be posting my thoughts on writing for kids and teens, humor, creativity, publishing, fantasy and science fiction, and geek culture. There will be news about book releases, and there's a contest with prizes in the works.

Hope to see you there!

Episode 2--"What's So Funny?"

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What's so funny? In a word: everything! Anything you can think of can be the setup for your humor. The only question is "What do you want humor to do for you?"

The truth about ebook sales

I've seen several writers quote Bowker's figures on ebook sales, which say they only account for the smallest fraction of books sold and money made. The problem with this is that Bowker can't track Amazon Kindle sales. Only Amazon can, and Amazon is not giving that information to Bowker. While Bowker can track sales based on ISBNs, Amazon ignores ISBNs in favor of it's own Amazon Standard Identification Number.

See this blog post by Steve Weber, author of Plug Your Book, for more information: http://www.weberbooks.com/2009/05/will-kindle-crash-nielsen-bookscan.html

Humor: Does It Have to Hurt?

I've been studying comedy since I was a little kid, collecting jokes I found on TV so I could tell them later and make my family and friends laugh. I've read many books on creative humor, and I've even taken a couple of courses in college on the subject. The teachers of the courses and most of the books say the same thing, and that is pain is a part of comedy. But is it really?

I was a political cartoonist for seven years, and in that time I came up with my own pain-free formula for creating humor, a formula that helped me write over 1,000 cartoons, and add humor to over 100 articles, 40 picture books, and seven novels. It's also helped me get jobs, make friends, get laughs when I had to speak as a member of a forum on humor, and deal better with stress. This formula is called the House of Funny, and this video is the first in a series I'm creating to explain what the House of Funny is and what it can do for you.      

I hope you enjoy it, and if you do I hope you'll subscribe to my YouTube channel, because I have a lot more fun planned.

Found a new Twitter chat for writers

It's called #storyappchat, and they're discussing everything about picture book apps. There's a lot of wisdom to be learned from those with experience in this area.

Why less description might be a good thing

“Psychologists have shown that over describing a character is a bad thing, because it doesn’t let readers fill in the blanks, which is necessary because it helps readers see themselves in the character’s shoes.” This is what an editor told me at an odd sort of writer’s conference . . . in a dream. Apparently I’m getting reassured at writers conferences in my dreams now, and this particular conference looked a lot like summer camp, except with adults wearing suits. The editor wore a funny hat, and she had the bunk bed under mine.Oddly, the advice still seems to make sense.

Response to a Traditionally Published Writer Regarding eBooks

Of course it differs from one writer to the next, and you certainly shouldn’t move to ePublishing only if you’re already traditionally published and earning a living from your traditionally published work. However, I have noticed there’s a reason why your ebooks aren’t selling as well as they could be, a reason that you’ve apparently overlooked and that can be easily remedied.

EPublishing is a great option for writers who haven’t been able to find a traditional publisher yet, as well as traditionally published writers whose books are out-of-print. For most of those who choose to epublish, the choice isn’t between self-publishing and traditionally publishing a particular book: it’s between self-publishing and not publishing that book at all.

It goes without saying that a game that allows anyone to play would have many players who don’t know what they’re doing, so of course the average self-published writer would earn less money than the average traditionally published writer. Traditional publishing has a vetting process that self-publishing doesn’t.

However, if you’ve been in this game as long as I have, you know the vetting process isn’t perfect. Christopher Moore—my favorite writer—supposedly sent out a hundred query letters to agents and received nothing but rejections. He only got an agent through a connection in show business. The writer of the Pulitzer Prize winning A Confederacy of Dunces committed suicide because he couldn’t get that book published while he was still alive. Great writers are looked over by agents and traditional publishers all the time. In fact, it’s the norm. And we’ve all seen terrible writers who have somehow managed to get their books traditionally published. (Of course, it doesn’t hurt to have your own reality TV show, like Snooki on Jersey Shore.) Luck plays a huge part in the traditional publishing game—more than talent, hard work, or anything else. In Self-publishing, however, luck only plays the smallest role. Success is determined by talent, writing the kind of book people want to read, marketing it well,  and learning from those who have successfully epubbed their own books, like Amanda Hocking, J.A. Konrath, and John Locke.

As for why you personally would have a 66% drop in earnings if you decided to only epublish your books, I checked out your books on Kindle and discovered that you’ve priced them out of the market. A book you sell on Kindle for $7.99 can also be bought on Amazon used in hardcover for $.01 plus $3.99 for shipping for a total of $4.00. It doesn’t take a genius to realize people aren’t going to pay twice as much for the Kindle edition as the hardcover. If you reprice your books on Kindle so that they’re less than $4.00 ($2.99 is the price recommended by both J.A. Konrath and Amazon), you should see a significant rise in your sale of books on Kindle. Keep in mind that you don’t earn a dime on the used copies of your physical books that Amazon is selling, but you could be making $2 for every Kindle edition priced at $2.99 that you've epublished yourself.

This sums up how I'm feeling about my decision to epublish my first novel. I'll be starting with Toren: The Teller's Tale.

Places to get cover art, book trailers and more

1. http://hubpages.com/hub/Using_Photos_On_Your_Website

2. Rob Siders, for ebook formatting: http://www.52novels.com/

3. Great illustrator who does covers: http://www.partzero.com/

4. Derek Mah's website for covers: http://www.attoboy.com/

5. Carl Graves (cover designer, reasonable rates) website: http://extendedimagery.blogspot.com/

6. Sharon Pavón: "My cousins make independent films and are open to doing book trailers. This is their website" http://www.roaringcreekfilms.com/

7. Premade ebook covers at great prices: http://mycoverart.wordpress.com/clearance/

8. Mia Castile says, http://www.sherylclarkproductions.net/ did my amazing cover :) (She does book trailers too.)

9. Huge collection of images, reasonable prices: http://www.bigstockphoto.com/search/category/abstract/

10. Another huge collection of images, as well as video and audio, at reasonable prices: http://www.istockphoto.com/

11. From Arthur Slade "This is the company that did a few of my book trailers": http://www.audioartcafe.com/

Useful blogs, articles and other info on epublishing

1.Blog of an ebook bestseller: http://amandahocking.blogspot.com/

2. Great advice on ebook publishing: http://jakonrath.blogspot.com/

3. Interview with Amanda Hocking: http://www.youtube.com/watch?v=1qWOy4p4MvM

4. Books for Kindle outselling all other formats--including paperbacks--sold by Amazon:
http://www.suite101.com/content/how-do-kindle-book-sales-compare-to-paperback-and-hardback-books-a339041#ixzz1FqvBzHWv

5. Published authors, like Arthur Slade, are self-publishing their out of print books as ebooks: http://catherinestine.blogspot.com/2011/03/gone-are-days-where-publishing-ones-own.html

6. E Is for Book is "a coalition of respected children’s trade book authors developing their books for electronic media." http://www.eisforbook.com/p/indie-links_02.html

7. Arthur Slade's blog where he writes about his ebook adventures: http://arthurslade.livejournal.com/61038.html

8. Up-to-the-minute information on ebooks: http://write2publish.blogspot.com/

9. Successful ebook self-publisher Terri Reid's blog: http://www.goodreads.com/author/show/4192570.Terri_Reid/blog

10. Bestselling author L.A. Bank's reasons for choosing to epub her own books and how she did it: http://liarsclubphilly.com/?p=1784

11. A How-To article from CNet on self-publishing ebooks: http://reviews.cnet.com/how-to-self-publish-an-e-book

12. How to make full-bleed (allowing pictures to reach the edges) picture books for the iPad: http://www.pigsgourdsandwikis.com/2011/02/fixed-layout-epubs-for-ipad-and-iphone.html

13. A couple of useful Yahoo! Groups, one for self-publishers and the other for self-publishers of children's books: http://finance.groups.yahoo.com/group/Self-Publishing/ and http://groups.yahoo.com/group/CBPublishing/

Links for writers interested in publishing their own ebooks

Getting started with Kindle: http://forums.kindledirectpublishing.com/kdpforums/index.jspa

Getting started with CreateSpace (for paper books sold through Amazon): https://www.amazon.com/gp/seller-account/mm-product-page.html?topic=200354160&ld=AZOnDemandMakeM

PubIt! for Barnes & Noble's Nook: http://pubit.barnesandnoble.com/pubit_app/bn?t=pi_reg_home

SmashWords: ebook publisher and distributor (takes 10%): http://www.smashwords.com/about/how_to_publish_on_smashwords

Book Baby: ebook publisher and distributor (costs $99): http://www.bookbaby.com/

Ebook conversion starting at $99.95: http://www.freeebookconversion.com/

What is the worst advice you've been given that set you back?

Someone posted this question recently in Amazon's Gold Box forum, and here is my answer.

I'm a writer. I've been banging my head on the wall trying to get my books traditionally published, which is what every agent, editor, and writer's organization tells you to do. I have an English degree, a Theater degree, and I've worked 12 years as a journalist. I was an arts-and-entertainment writer for a couple of years, reviewing comedy and children's entertainment, so I know what audiences like. I've even won third prize in a national novel-writing contest. And yet  no matter how hard I try, I just can't seem to get an agent. Last year, I got seven requests out of ten to see the full manuscript of one of my novels, and, except for one agent I never heard back from, all seven turned it down. The most common reason given as to why? "I enjoyed it very much, but I didn't feel passionately enough about it." There's nothing I can do with that.

People keep telling me to just keep writing, editing and submitting my work, and it'll happen. Right now that sounds as silly to me as, "Just click your heels, and all your wishes will come true." I've been writing, editing and submitting for nine years with seven different novels for kids and teens, and I'm getting nowhere.

So I'm starting to think that maybe what everyone is telling me isn't the best advice. Maybe I need to give up on going the traditional route and epublish my books instead.

Is this bad advice I've received, and has it set me back? It's not bad advice. It works for some writers. But for some it doesn't. It's like playing cards at a casino. Knowing the game and how to play it helps, but it's still no guaranty you'll win. I've been sitting at this table way too long. I've done nothing but lose. It's time for me to walk away.

I don't really know if this advice has set me back. I have to see how well my ebooks do. But at least that advice has pushed me to hone my craft, which might not have happened if I had never tried to publish traditionally. And maybe I had to go through all that so technology and the world could get to the point where I could epublish my own books successfully.

The tide in the publishing industry is just starting to turn. Will it carry me on this new adventure? I haven't charted the safest course, but before today the safest course has been so hard, and it's led me nowhere. It's time for me to see what else is out there. If I can't get an agent to believe in me and my work, at least I can believe in me.

And I'm not giving up on getting traditionally published. I'm going to epublish my first novel first, and I have six more to go through. Maybe all my wishes will come true in the end.

Why I am grateful for Twilight

Dear Stephenie Meyer,

Thank you. As a writer of novels for teens, I owe you a debt of gratitude. Thank you for showing the world that adults can enjoy books written for teens. Thank you for showing that YA literature can make it to the top of the bestseller lists. Thank you for showing publishers it's a good investment. Thank you for opening the doors of literary agencies to writers like me. So many agencies before Twilight didn't represent children's books at all, and now they are looking for YA novels, because they all want to represent the next Stephenie Meyer. Thanks to you, I and many other YA writers have a better chance of finding representation and getting our books published. Thank you.

Sincerely,

Shevi

Twitter chats for writers & illustrators

Debbie Ohi, otherwise known as InkyGirl, has put together a list of Twitter chats for writers and illustrators:
http://www.inkygirl.com/twitter-chats-for-writers/
There's a schedule at the end of the blog post.

#writechat: Sundays

Topic or topics are usually announced at the beginning of the chat.
Moderated by @WritingSpirit
EST: 3-6 PM

#scriptchat: Sundays
For seasoned and aspiring screenwriters as well as anyone who is curious about screenwriting. The goal: learning and sharing.
Moderator: @jeannevb
EST: 8 PM

#journchat: Mondays
EST: 8-11 PM

#writersroad  Mondays
formerly #ScribeChat, mostly for writers of MG/YA fiction
EST: 9-10 PM

#kidlitchat: Tuesdays
Craft & business of writing for young people, board books up through YA. Topic or topics announced at the beginning of the chat.
Moderators: @gregpincus, @bonnieadamson
EST: 9 PM

#poettues: Tuesdays
Discussion of poetry with @robertleebrewer
EST: 10AM

#FaithLitChat: Tuesdays
A weekly faith-based discussion of Christian books, writing & CBA market. Follow @FaithLitChat for more info.

EST: 9-10PM
#litchat: Monday, Wednesday, Friday
Mission is to connect readers with books and authors.
Moderator: @litchat.
Transcripts on blog.
EST: 4-5 PM

#WNW: Wednesdays
Wednesday Night Writer. Fantasy/Fiction discussion group on Twitter.
Moderator: @_decode_ .
EST: 8-11 pm

#YALitChat: Wednesdays
Young Adult (teen) books
Moderator:  @Georgia_McBride.
EST: 9 PM

#memoirchat: Wednesdays
Moderator: @alexisgrant
Writers of memoir
EST: 8 PM
#poetry: Thursdays
We talk poetry. Readers, writers, and all others encouraged to join. Moderator: @gregpincus.
EST: 9-10 PM

#kidlitart: Thursdays
Weekly chat for illustrators, pb authors & author/illustrators. Topics announced in advance via @kidlitart. Hosted by Bonnie Adamson and ( @BonnieAdamson) Wendy Martin (@lyonmartin).
EST: 9-10 PM

#dnchat: Thursdays
For those who write fiction for online publication. “DN stands for DigitalNovelists.com, which is the platform most of us in the group publish on, but all web fiction writers and fans of web novelists are welcome.”
EST: 11 pm-12 PM

#fridayflash: Every Friday.
Writers write/post flash fiction. Readers comment and RT.
Time?

#scifichat: Fridays
Moderated by: @DavidRozansky. Follow @scifichat for schedule changes and announcements.
EST: 2-4 pm

#platformchat: Fridays.
Moderator: @thewritermama
EST: 2-3 pm

#scifichat: Fridays
Hosted by: @WritersDigest. Collab fun.
Time?

#StoryFriday: Fridays
Moderated by: @DavidRozansky
EST: 2-4 pm

#followreader: Fridays

#FollowReader is a weekly discussion on Twitter for the bookish community, lightly moderated by @KatMeyer and @CharAbbott, who provide a new topic each week. Kat and Charlotte alternate moderating duties on Fridays from 4 – 5pm EDT, Kat is moderating from 4 – 5 pm on Fridays, but the #FollowReader hashtag is used all week long to bring excellent ideas and discussions to the table.
EST: 4-5 pm

#ThrillerChat: Saturdays. #thrillerchat is a Twitter chat for anyone interested in writing Thrillers, although you don’t have to be a writer to join in. 1-2 hours. Moderated by: @Selorian. More info here.
EST: 8 pm

#ScreenwritingSaturday: Saturdays
Moderator: @UncompletedWork.
Time: all day

The following are more motivational groups rather than scheduled Twitterchats, but are still a great way of meeting other writers on Twitter. They're open any day, any time:


#amwriting:  @johannaharness
#amwritingparty: @saramcclung.
#mommyswriting: @quirkywriter: It’s official. If you’re trying to balance raising kids and writing for them, meet us on #mommyswriting for support.
#writegoal: @annadestefano.

Other hashtags of interest to writers: #AgentPeeves, #allaboutagents, #askagent (at least every 2 wks, around 11 am EST Mondays or Tuesdays?), #authors, #cdnkidlit, #editing,#fictionfriday, #nanowrimo (during November), #pubtip, #RomChat (see info), #storystarters, #tuesbooktalk, #wip, #wordcount, #writetip, #novelists, #wordathon, #WriteRomance (see info), #writers, #writing, #writingparty, #agentsday #agentinternday. (I'm not sure of the times for most of these, but if someone can give me that information I would be happy to update it.)

The best way to follow a TwitterChat is with http://tweetchat.com/

I give you permission to...

So many times I've heard writers say, "You can't..."

You can't write a novel that crosses genres. For example, you can't write a fantasy novel that later turns out to be a science fiction novel. Gene Wolfe could do it in his Book of the New Sun because he's Gene Wolfe, but you aren't Gene Wolf.

You can't write in more than one genre. For example, you can't write realistic poetry and prose fantasy. Maybe Jane Yolen can write in more than one genre, but you aren't Jane Yolen.

You can't write for different age groups. For example, you can't write picture books and novels for teens. Neil Gaiman can do it because he's Neil Gaiman, but you aren't Neil Gaiman.

You can't have a novel with different points of view. Stephen King did it in The Stand, but you aren't Stephen King.

You can't. You can't. You can't.

But you can.

Gene Wolfe was a writer just like you before he wrote the Book of the New Sun. Jane Yolen had to start out in one genre before she tried another. Neil Gaiman used to write comic books for adults--and won awards for them--before he started winning awards for his children's books. Stephen King apparently never got the "You can't" memo. Either that, or he didn't listen. None of them did, and neither should you.

Don't listen to "You can't."

I give you permission to write a novel that goes across genres. I give you permission to write in more than one genre. I give you permission to write for different age groups. I give you permission to write stories with different points of view. I give you permission to use repetition. And incomplete sentences. I give you permission to break all the rules, to draw outside all the lines.

What I don't give you permission to do is to tell yourself, "You can't."

You'll never know what you can do until you try, so try. You have everything to gain, and nothing to lose.

Steps to getting a literary agent

Here's where I am on my search for a literary agent.

Steps already accomplished:
1. Wrote a dynamite outline and first few chapters of a novel
2. Got chapters critiqued by my critique group and revised accordingly
3. Took outline and chapters to conferences and got positive feedback from editors and agents
4. Submitted to a contest and won third place in the YA category--Yes!
5. Got one-on-one feedback and encouragement from an agent at a SCBWI NJ Mentoring Workshop (Those workshops are awesome!)
6. Finished writing the novel
7. Put it in the drawer for a month so I could edit it with fresh eyes one more time before sending it off (Also wrote the first draft of another dynamite book during NaNoWriMo!)
8. Gave it one last edit and made sure it's now ready to go out

Steps to accomplish now:
1. On AgentQuery.com, go through list of agents who are open to submissions and are interested in YA. Rate agents from 6-10 based on the following: how close a match their interests are to this manuscript, how open they are to other manuscripts I have, whether they've had good sales to good publishers recently (Add points to agents I like who I've met at conferences and elsewhere, as well as agents who work with writers I know.)
2. Select top 5-10 agents from my list (That's tricky with so many great agents to choose from.)
3. Write a dynamite query letter and get my critique group to help me polish it until it shines!
4. Adapt query letter for each agent on my list
5. Print up query letters, cover letters, synopses, chapters, full manuscripts--whatever each agent requests
6. Mail or email (according to each agent's guidelines) a personalized query letter or submission to each one
7. Pray!
8. Work on something else so I don't drive myself bonkers while waiting for replies
9. With each rejection letter (everyone gets rejection letters), submit to the next agent on my list and try not to sweat it
10. Don't jump on the first offer of representation. Make sure this is really the person I want to work with first
11. Read contract carefully and make sure I understand it
12. Sign contract
13. Give agent what he/she needs to get the right deal at the right house with the right editor

I'll get there one step at a time.

Wish me luck!

In response to a question about passive voice and "-ing" verb phrases

I think the "rules" can be useful in that they help you notice things you wouldn't otherwise notice.

Yes, passive verbs can reduce the power of actions. Yes, too many "-ing" verb phrases can become boring and repetitive. But I think eventually you'll get to a point in your writing when you instinctively know when using the passive or using an "-ing" verb phrase feels right.

I like to use repetition in my writing. I find it creates a rhythm, and that rhythm can be a poetic and powerful thing. But then I get critiques from less experienced writers who think I've made a mistake. Repetition as a style choice? That's not something they learned in the writing classes they took. Surely, repetition is redundant and should be avoided at all cost.

But I know better.

I know it works for what I'm trying to achieve, and so I know how to break the "rule."

So in the end, don't get rid of telling just because it's telling and the "rules" say you show. Don't get rid of passive words because the rules say they're bad. And don't get rid of "-ing" or "to be" phrases because someone told you should avoid them at all cost. Look at your story. Do these things work in your story? Do they help you achieve what you want to achieve? If they do, let the so-called "rules" be damned.

Shevi

The Top-Secret Guide to Creating Winning Titles!

If you're a writer, you might have heard that the title you give your work in progress doesn't matter. "Whatever title you come up with," people say, "the publishing house will choose something different."

While that may often be true, the title you put on your manuscript does matter.

I've heard editors say they sometimes throw out the first two chapters of a manuscript they're editing, because the story doesn't really start until chapter three. Does that mean it's okay to start your manuscript with two boring chapters? No. Chances are that--outside of a one-on-one critique with an editor at a writers' conference or workshop--the editor will never get to chapter three if the editor is bored by chapter one. In fact, most editors won't read past a boring first page. Sure this is something the editor can fix, but isn't it easier for the editor to just slip it into that SASE with a rejection slip?

Your job as a writer is to make it easier for the editor to accept your manuscript, rather than reject it. So start with a compelling first chapter--and a compelling first page! Polish that manuscript until it shines! And, for goodness sakes, give it a title that makes a person can't wait to start reading it!

We live in an age of soundbites and Twitter tweets. We're used to having our attention grabbed in just a few well chosen words. And that is what your title should be: a few well chosen words that grab the reader's attention, like someone grabbing you by the collar and staring you in the face.

So what are the secrets to writing a great title? Here are a few.

• Choose a familiar phrase. Playwright Neil Simon said that using familiar phrases, like All American Girl and The Odd Couple as the titles of his plays made people say, "I've heard of that. Must be a play people are talking about." One of my most successful manuscripts so far has the title Ride of Your Life, and I know the title has played a big part in its success. (Of course, these should be familiar phrases, and not familiar titles. You don't want the editor to say, "I've read that before.") You can also use a play on words based on a familiar phrase for the same result, for example, Twinkle, Twinkle, Little Starfish or Apple of His Sigh.

• Keep it short. Brevity is the soul of wit.

• Use words that excite. (Shh . . . I've got a secret. We all know what exciting words are. Secret. Passion. Escape. Wonder. Sin. Exciting words make us want to read further. Now you know. And, by the way, one of my works-in-progress is titled The Secret Life of Mira Levy. Please don't tell anyone. It's a secret.)

• Promise the reader something the reader wants. How to Write a Novel in 30 Days. Writing the Breakout Novel. If you want to do these things, what choice do you have but to read these books?

• Create sensory images in the reader's mind. The Golden Compass. The Sorcerer's Stone. Can you see them in your mind's eye? Can you feel them in your hand? Do you want to? If your title creates an image of something the reader will want to reach into your story and pull out, you've got a good title.

• Use a pleasureable action word. Scientists have discovered that action words touch the same parts of our brains as preforming these actions. When we read Dances with Wolves a part of our brains is actually dancing. Pretty cool, huh? Imagine the things your title could be making a part of the reader's brain do, things the reader would enjoy doing so much that he or she would feel compelled to read your story. Make pleasureable action words work for you.

• Make the reader wonder. Up the Down Staircase. What is a down staircase? Who is going up it and why? The reader will have to open the book to find the answers to these questions.

Use these tips individually or combined to help you create irresistable titles that will hook the reader and compel him or her to start reading your manuscript. After that, your story is on its own.

Shevi