First Draft

Posted By Mary on August 6, 2010

I watched a different kind of episode of celebrity chef Anthony Bourdain’s Travel Channel show, “No Reservations” yesterday. It was a re-run, but since I’m not a regular watcher, I hadn’t seen it before. And it was really interesting.

Why? Because it was less about food and Bourdain’s chefdom than it was about his career as a professional writer. If you’ve lived under a rock for several years, or are simply  not a foodie, you may not be aware that Bourdain is an accomplished author as well as a successful restaurateur. His debut work, a half-memoir, half-exposé titled Kitchen Confidential: Adventures in the Culinary Underbelly, was a surprise success, both to the author and the book industry. He’s had an admirable string of successful books since then.

It’s not my point here to review or describe these books, but to bring up a point that every writer should be hyper-aware of: Voice matters. Bourdain says he believes he’s a better chef than a writer, so I’d love to taste his food, because my God, this guy can write.

You know he writes his own TV scripts, because they are so evocative of his own personality: incisive, witty, detail-oriented observations of whatever locale he’s visiting, the people he meets, the cuisines he experiences. And “experiences” is the operative word here, because that’s what makes Bourdain, Bourdain. He fully engages all senses in every single thing he does. And the very able writer in him shares these experiences with engaging, compelling prose packed with his singular descriptive, appreciative and often caustic narrative.

True to full-on Chef Mode, he’s got an ego the size of Montana, for which he doesn’t apologize. But his writing, whether TV script, book or magazine article, keeps this from becoming tedious because his narrative is often self-deprecating. He’s not averse to making himself the butt of the joke, often citing some foible or perceived character flaw in himself. This device also has the effect of bringing him down to our level, the “just an average joe” who’s doing the best he can despite himself. You get the feeling he’s just ever-so-slightly uncomfortable with all the accolades and attention, yet all the time fully aware of how lucky  he is to have these things.

On camera, Bourdain is the jokester, the preternatural pre-teen always testing the boundaries of good taste with potty humor and sexual references. If you watch closely, you can see just the wee-est little bit of shyness and discomfort in front of the camera. He can’t hide his constant underlying surprise that people are so interested in what he has to say about food and people the world over. Beneath the tough, New York City veneer, you can see an awestruck kid who made lots of bad choices growing up and still came out on top, but expects each minute that it will be his last as a star. It’s as though he knows this whole celebrity thing is just a house of cards, one puff away from collapsing and leaving him back in the kitchen to his own devices. The effect is both enlightening and endearing. But it’s the voice-overs that give the show — and his books — their real impact.

His commentary lifts the edge of his ego so we can peep inside at the soul of an essentially decent, compassionate man with a curious mind and an artist’s soul. It works because Bourdain writes exactly the way he speaks. Sure, he might don the chef’s coat for appearances, but he doesn’t gussy up his words with more syllables than he’d ever use in real life. He doesn’t affect a new author vocabulary. All the bodily function references and gross-out visual descriptions he clearly uses so frequently keep him honest, grounded in his reality, offering the viewer/reader his absolute here-I-am-love-me-or-leave-me attitude and worldview.

Whenever I watch his show, I bounce back and forth between “God, this guy is full of himself!” to “God, this guy can write!” And the telling thing is that I always come back for more.

Bourdain admitted in yesterday’s episode that he never “agonizes over craft” in writing. He doesn’t need to. He’s not reaching for literary immortality. But his use of voice and language is so uniquely his own, I posit that his writing is at least as exciting and evocative as that of many classic novels.

I will likely never read Bourdain’s foodie or travel books. But he’s got a novel out and a nonfiction docu-drama about Typhoid Mary. I may just have to pick those up, because ego or not (and let’s face it — what author doesn’t have one?), this guy is a refreshing, entertaining and accomplished writer whose voice another writer could learn a lot from.

Category: Books, General Writing | No Comments »
Tags: Anthony Bourdain, Travel Channel, voice

Posted By Mary on August 4, 2010

Just had to share this post from Janet Fitch’s “Jacket Copy” author blog for the Los Angeles Times. Janet wrote “White Oleander” and other bestsellers, and teaches writing at USC, so she knows of which she speaks. Here, she gives her version of Ten Rules That Can Help Any Writer. I know I learned something, and hope you do, too.

Category: General Writing | No Comments »
Tags: janet fitch, LA Times, rules for writing

Posted By Mary on August 4, 2010

I had a question yesterday from a writing colleague, whom I met at last year’s annual conference for ASJA (American Society for Journalists and Authors — if you’re not a member, I encourage you to look into joining. My ASJA network alone is worth the cost of dues).

Anyway, this friend is about to embark on a proposal about a lesser-known historical figure. There isn’t a lot written about him, and she’s having difficulty locating much reference to this figure in her research. There are no heirs to his estate that she could contact for further elucidating material, though she has  contacted some well-known archives whose staffs should be familiar with him.

Now, this author is an experienced, skilled, detailed nonfiction writer. This story she’s considering writing has plenty of Important and Exciting Plot Points. It’s mundane details of the subject’s day-to-day life that she doesn’t know about–other than the time period in which the story takes place.

Bottom line, she’s overwhelmed with the thought that, although what she’s already learned has been exciting and she’s sure there’s a salable book in it, she may not be able to find enough actual reference material to be able to fill in the gaps in her knowledge about this figure. But she really wants to treat this as nonfiction.

Her question was blunt: Do I make it up?

She’s an ethical writer and is well aware that nonfiction means FACT-based, not made up, so she was not being serious. What is serious is her desire to write a historically accurate account of this fascinating figure. She’s wondering if perhaps she should do most of it as nonfiction, but write a fictionalized version of the story to fill in the missing parts.

What my friend is struggling with is something historical writers have always come up against: How to remain true to historical fact while still painting a complete word picture of a specific time, place and subject, even when there is simply no extant material to verify the smaller details. Enter “creative” or narrative nonfiction.

This type of writing has been with us for some years now, and allows such complete storytelling to take place. Here’s Wikipedia’s explanation of the format, which of course has been decried by many purists as simple fraud. Essentially, narrative nonfiction uses fictional techniques to make a story come alive. Sometimes this must include the author’s conjecture on what happened in a given situation, because the people who actually experienced the situation are either no longer with us to bear witness, or simply don’t want to talk about the traumatic situation.

Sebastian Junger opened that door with his book The Perfect Storm, when he gave us his idea of what it must have been like as Capt. Billy and his crew went down with the Andrea Gail. No one who was there lived to tell about it, so he HAD to make it up. But it was a very small part of the story, and he made very clear in his notes that it was only his conjecture. And readers accepted it. The publisher took a chance with this maverick move, and it paid off — not just for them and for Junger, but it opened up a whole new world of possibilities that had heretofore gone unrealized for writers of historical nonfiction.

So now it’s acceptable in this format, if you have enough fact-based stuff, to fill in a few details based on conjecture and logic, as long as the vast majority — like 99% or more — of your story is provably accurate. And you must also explain in an Author’s Note that you have done so. Otherwise you MUST list the book as fiction.

I did this in my book, “Devastation on the Delaware: Stories and Images of the Deadly Flood of 1955.” Because so many of the story’s subjects had either perished in the flood or were no longer with us when I was writing the book 50 years later, I needed to be able to take some license if I were to write it in a readable, engaging style.

And so I simply let my readers know that if dialogue appeared in quotation marks, it actually came out of the subject’s mouth that way, witnessed by someone verifiable; and if the dialogue appeared in italics without quote marks, it was something I conjectured might have been said. I was clear in my note that I only took license with relatively minor passages, and based my conjecture on what would seem reasonable to most folks to have happened in the given situation.

And you know what? People LIKE this. They’ve actually said things to me about this particular practice, all positive remarks. Now, no one has ever said anything to me about other techniques I use. But they have said things like, “I really like the format. Your book reads like a thriller. I couldn’t put it down!”

When I ask specifically what they liked, they note three things:

1. The dialogue sounds like real people talking, not stilted, perfect prose. I use sentence fragments and contractions, because people are lazy and want to get their ideas out quickly.
2. That I did try to imagine what dialogue might have taken place when I didn’t know for sure. As long as they’re aware of which is which, no one feels duped.
3. I use tactics of good fiction writing: varying story pace, jumping back and forth between characters and scenes to set up easy-to-follow chronological order, giving enough background info to interest readers in characters and make them care what happens to them, and ending each chapter on a cliff-hanger that makes them want to keep reading to find out what happens.

If you’re interested in learning how to write using the narrative nonfiction format, I highly recommend Junger’s book and mine. I can also recommend three others that just happen to also be weather-related, because that’s what I read, as excellent examples of this type of format:

• Erik Larson, Isaac’s Storm
• David Laskin, The Children’s Blizzard
• R. A. Scotti, Sudden Sea

As to whether you should or shouldn’t engage in narrative nonfiction writing, I really do think it’s a matter of how much you’re comfortable fictionalizing. If you’re a purist, don’t even try — it’s not worth the internal struggle you’ll continue to have with yourself. But if you’re open to new approaches, here’s an online link that should help you learn more:

The Reading Experience – Forget Fiction (July 26, 2010)

And here are some books on the subject, both by Peter Rubie.

The Elements of Narrative Nonfiction: How to Write and Sell the Novel of True Events

Telling the Story: How to Write and Sell Narrative Nonfiction

I hope you learn something that will pique your interest in tackling this flexible approach to historical nonfiction.

Category: Books, Genres | No Comments »
Tags: conjecture, creative nonfiction, historical accuracy, historical narrative, narrative nonfiction

Posted By Mary on August 3, 2010

I just read a most interesting post over at The Creative Penn blog about mind-mapping your novel scene by scene. I encourage you to visit this well-written and idea-filled blog, regardless your writing experience. None of us has ever been at it long enough that we can’t learn something of value from someone else.

You really need to check out this awesome writing blog.

For those of you not familiar with mind-mapping, it’s a cool idea. Not entirely sure where it originated, but I’m guessing it was a business thing. At any rate, mind maps are visual or graphic representations of concepts associated in one’s mind with a particular project or idea. By presenting ideas in a radial, graphical, non-linear manner, mind maps encourage a brainstorming approach to planning and organizational tasks. Here’s a more comprehensive definition from Wikipedia.

I suppose I’ve done “mind mapping” for my current novel, Lonely Cottage Road, though it was more linear than lateral. This format sprang not from a desire to prioritize scenes, but because I was struggling with development of timelines that all fit together logically and rationally. I’m writing a historical drama in which my fictional characters and their lives intertwine with actual historical events, and there are a few parts where the two meld — kind of starting with reality, then making up stuff to advance the plotline. I’ve read novels like this and I love it when I can barely tell the difference between what actually happened and what might have but who knows?

This linear map I made was actually a spontaneous thing. I wrote in v-e-r-y small letters with a purple pen on a long, narrow strip of left-over drawing paper that I couldn’t bring myself to throw away because it cost $8 a sheet. So the timeline runs in two layers on both sides of the sheet. It was not just a good exercise in scene clarification, it was a sensual pleasure because that paper was so soft and thick, it was just awesome to write on. And anyone who knows about me and my paper and pen obsession will understand this.

And here’s something I learned that may be helpful to other writers: Purple ink is NOT permanent. Though the pigments are beautiful, they are fugitive and will fade over time, even when not exposed to light. Trust me on this. Thank God I looked at them when I did, because over a few years, they’d already faded so badly that I had to go over them again so I wouldn’t lose all that info…this time in black ink!

So, have you ever done this kind of graphical interpretation of your plotline, or any other elements of your story? Share!

Category: Books | No Comments »
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Posted By Mary on August 3, 2010

Well, after a month-and-a-half of Book Production Hell, I finally sent the final files to the printer yesterday for the revised second edition of my book, Devastation on the Delaware: Stories and Images of the Deadly Flood of 1955. And all I can say is, “WHEW!”

Compared to the initial 3 years of research, interviewing and writing for the first edition, this was nothing. Yet 45 days with no break — no days off, no weekends — is an endurance slog no matter how you look at it. This was a rather small update — I added 40 pages of new material including new stories, maps and photos — to an existing 456-page book. That brings this puppy in at just under 500 pages now, a hefty tome you wouldn’t want to drop on your head from a high shelf, for sure. Not to mention the additional shipping weight and larger mailers it will require.

Still, I opted to keep the retail price at $19.95 — that magic number for all TV product offers, for those who pay attention to such things. But my reasons are that in this day of a contracting print book market and shrinking leisure time in which to read them, I wanted to keep my book attractively priced. That, and I’m aware that most of my primary readership — people who live in the Delaware River Valley — are just like me: middle-class Americans struggling to maintain a decent quality of life on shrinking incomes in a crappy economy. Yet another reason not to raise the price.

But that’s really a publishing issue, not so much that of an author. What I want to talk about here are the concerns any author might have when considering updating a nonfiction work. What do you think about when you want to update an existing book, and how do you decide when it’s the right time to do an updated edition?

For me, and this work in particular, it was kind of a no-brainer. Devastation is a documentary treatment of an historic weather disaster. I first published it in 2005, on the 50th anniversary of the event. The entire first printing of 2,500 copies sold out in 42 days — probably a reflection of the fact that it came out just a month after Hurricane Katrina decimated the Gulf Coast of the US, and hurricane-caused flooding was on everyone’s mind. That was a serendipitous stroke of timing I couldn’t have planned, and as tragic as it was for the Gulf, it was absolutely awesome for this book’s sales.

It went on to sell another 2,500 copies over the next five years, giving it a sales average of 1,000 copies a year. Given that most small press books sell less than 1,000 copies total, I am of course pleased and flattered that so many people find my work interesting enough to fork over $20 for. Initially, the book was supposed to have been published by another publisher, and the estimate was to sell that many in the first year. Had that happened, it would have officially qualified as a bestseller in small, independent press parlance.

However, short of having taken off work for that entire year (after having already taken so much time off to write it) to do nothing but promote it, I’m not sure I could have done anything more than I did to make that happen. I spent nearly every evening and almost all my weekends either sending out promo messages or making appearances on behalf of the book for the first year, about 75% of that effort the second year, and leveled off at about 50% of that effort in the remaining few years until now, mostly because I had another new book of my own and a couple of our other authors’ works to promote, as well (The danger of being both author and publisher).

During that time, as the book sold and awareness of it grew, I was contacted by more and morepeople with their own stories and pictures of the flood to share. Always, my first reaction would be (to myself, of course), “Where the heck were you when I was desperately seeking information about this in the first place?” But that kind of attitude is unhelpful, so I simply listened and followed up with gratitude for these people who felt that what I was doing with the book was of value, and who wanted to add to that value.

As I reached the four-year mark after the original publication, I realized it was time for an update. Enough folks had written in to correct me — usually gently, but sometimes not so much — on errors I had made in the original manuscript. Nothing hideous, mostly embarrassing things like geographical errors due to my less-than-stellar ability to read maps or names that were close but not exact. But it was enough all together to make the responsible historian in me wish to correct the errors in the interest of making the book as accurate an historical document as possible. Plus, there were some clarifications and enhancements of existing stories, and a few new stories whose addition I felt would add to the narrative.

As for timing, I realized that August 18 of this year would be the 55th anniversary of the ’55 flood — in essence, a Golden Anniversary. What better PR hook to hang all our promotion on? So I set that as our pub date, and backtracked the production schedule off of it.

So, for the past year I have been gathering all the new material, clarifying stories, getting photo permissions and doing a few new phone interviews. And in mid-June, as I returned from a ten-day road trip that served to both give me some time away from this office and to allow me the relaxation necessary to face the endurance race ahead of me, I started in on the actual work of updating the manuscript. We also launched a cover contest to allow the public to vote on three possible designs, which was a fun and very informative exercise that — happily — ended up confirming our own choice by an overwhelming margin.

Of course, if I had only been the author and not the publisher as well, this schedule would have been very different. Automatically add at least 6 months to a year to the whole process. Just another reason to be glad to be an indy publisher/author. And this time, we’re going the POD (print on demand) route. After all, I’ve already saturated my primary market of local and regional readers with the first edition. Few of them will pop for the second edition, too, so I’ll have to seek new readers. It took me five years to empty our warehouse of the original edition’s 5,000 copies, so it stands to reason I don’t want to be sitting on that much inventory again. The higher per-unit price will even out in my not having to pay to warehouse, ship and inventory that large run, not to mention carrying the large debt for its printing.

So now, with writing and production behind me, it’s on to the third and most critical step of the publishing process: promotion. Thanks to a fast, talented and affordable web developer — Caryn Newton of Lantern Glow Design — I’ve been able to streamline this process to include both traditional and online elements, and I get better at its implementation with every new book we do.

Just thought a window into one author’s updated edition process might be enlightening.

Category: Books | 1 Comment »
Tags: historical nonfiction, second editions, updating existing books

Posted By Mary on May 25, 2010

As a published author, I often am asked the same or similar questions, and many of those were recently rounded up in an interview I did with Sandra Carey Cody at her blog, “Birth of a Novel.” Thought it made sense to share it with you here.

Speaking of which, are you working on a novel? What’s it about? Struggling with anything? Share here, or over on our discussion forum. We’d love to talk with you about it.

Category: Books, General Writing | No Comments »
Tags: birth of a novel, book writing

Posted By Mary on April 25, 2010

A fellow author recently sent me a link to an interesting story from the L.A. Times about a recent do-it-yourself book tour by a husband-and-wife author team. The article details the many adventures and a few misadventures of a married writing couple who decided to take their promo show on the road.

Not only was it an entertaining read, it reminded me how vastly the landscape of the book publishing industry has changed since I first entered it 20 years ago.

All but gone are the multi-city author tours subsidized and heavily promoted by all but the largest of book publishers. It was never commonplace to see long lines of eager readers snaking out the door and wrapped around the outside of the bookstore building, but now the sight has become as rare as hen’s teeth. Between the actual costs of travel, food and lodging and the high cost of promotion, such tours are simply too expensive for most publishers to afford these days.

For many of us who write, this is but one facet of the excruciating death of long-held dreams of fame and fortune as a bestselling author. Or is it?

Fact is, there was never a brisk trade in in-person book tours for any but the most promising authors. Sure, a few no-names here and there managed to sweet-talk their editors and publicity departments into building a limited tour for them. Some enterprising souls at the bottom of the newbie author bucket — myself, included — were able to squeeze a few hundred bucks in gas money out of their small publishers in support of an exhausting, self-planned tour. But in general, the full-blown, fully supported book tour was reserved for those whose writing propelled them into the rarefied air breathed by those whose titles dwelled for extended periods on the NYT bestseller list. So, if we look at it with a less jaundiced eye, we’ll see that not much has changed in that way.

And yet.

What HAS changed is the fact that the very technology that is killing the traditional publishing model is also re-inventing the author tour in a positive way. Authors of any level can now do every bit of research needed to plan and execute their own efficient, effective book tours from the privacy and convenience of their own computers.

They can easily find the location and contact information for any kind of bookseller — big box or independent — and call the store’s event director or program manager to determine whether it’s a good fit for an in-person appearance. They can use Google Maps or some other similar tool to plot out the most logical, gas-saving route, and even choose to find good restaurants along the way. They can book their lodging ahead of time using discount sites such as Travelocity or Expedia. Some, like author Stephen Elliott, put their own twist on the traditional book tour, undoubtedly using these same kind of tools.

Best of all, authors can now choose to do a virtual tour that doesn’t even require them to leave home! Free services such as Skype allow authors to “appear” anywhere in the world using nothing more than their computers, a webcam and a decent microphone. Just ask author Barbara Techel and her sidekick, Frankie, the Walk ‘n Roll Dog!

Barb would be the first to tell you how easy Skype is to learn and to use, I’m sure. There’s even a Web-based service called LongPen that allows authors to sign books for their readers, almost as though they were meeting in person.

Traditional book tours, though long celebrated for their ability to cement star status and enjoyed by writers who seek the inimitable charge that comes from pressing the flesh with fans and readers, have never been a very efficient way to get the word out. And with each passing day, they become less environmentally friendly, when you add up all the emissions from cars, buses, trains and planes.

In fact, I’m one of those authors who enjoys getting away from the lonely keyboard once in a while, and I’m pretty sure I’ll always want to do the in-person thing in my home region. I’ll take advantage of the ability to do so in other places when I’m traveling anyway. But since we can’t stop the publishing world from changing, I’m also choosing to become the best darn virtual tour producer/promoter/star that I can be.

I invite other authors to join me in being good promoters of our books, as well as good promoters of environmentally responsible choices, when possible.

Category: Books, Promotion | No Comments »
Tags: author appearances, Barb Techel, book tours, Frankie the Walk 'n Roll Dog, LongPen, Skype, Stephen Elliott, virtual book tours

Posted By Mary on April 22, 2010

This morning I received a post from an old friend and colleague who lives in a rural area and is just starting out as a freelancer. She’s building her website and wanted to know whether I thought she should use first person or third person voice in her web copy.

It’s a great question, and one I hope you’re paying attention to, as well. Doesn’t matter whether you’re selling products (including books) or services (especially writing, and lots of authors make part of their living as freelance writers), you need to consciously decide the tone your Web copy needs to have. Here’s what I told Lisa:

It depends what I’m trying to do with the site. I use first person when I want to be more informal, friendly, approachable and personal. I use third person when it’s all business. I think it makes the business sound maybe bigger than just this little one-person shop. Which is true, because I do use subcontractors if a team approach is necessary, so often the effort behind any given project is a group one, not a just that of a single person.

I’d say that since you’re starting now, go with first person. The Net is getting way more personal in every way, and since at this point of the global economy we’re all something of a commodity, the only way we CAN stand out is to differentiate the personal experience. This includes customer service, of course, but in the beginning, it’s all about sounding approachable, talented and easy to work with.

There are all kinds of blogs and stuff that deal with this issue.

http://www.webmasterworld.com/forum44/197.htm

http://blog.braintraffic.com/2010/03/personal-pronouns-it%E2%80%99s-okay-to-own-your-web-copy/

http://webdesignledger.com/tips/10-tips-for-creating-compelling-web-copy

I tell my clients if you’re on Facebook, your presence can be personal or business or both, so write your profile copy and posts accordingly. I use FB for both. But my websites (I have quite a few now) each take a different approach based on the audience I’m trying to reach, which is how EVERY piece of marketing/promo in your kit should be. The key is to remain consistent in voice for each separate piece, i.e., don’t flip-flop back and forth between first and third person or present and past tense, etc.

The other thing is that, unlike past years, you should revisit your web copy at least once a year to make sure it’s still current and maybe freshen it up a bit. Net Years are fast and short, and things change quickly. Updates also boost your search engine rankings.

She also asked, in typically straightforward and humorous fashion, “And how much person do I really need? Not sure everyone needs to know I own a farmette and am a chicken freak!?” Here’s my reply:

I say: Include what’s germane to whatever it is you’re trying to promote and leave the rest out. Your Web copy has but ONE job: Get the prospect to call. So you have to get right down to business, because these are busy people and they don’t have time to indulge your personal stuff.

However, once you have them on the phone, if you pay attention when you’re talking with a new prospect, you can sometimes pick up on clues that they may be interested in some of the same things you’re passionate about. Grab those and run with them!

If you hear someone mention they’re interested in or enjoy farming or livestock, jump right in and tell them, “Oh, me too!” And enthuse a little bit about your chickens or whatever, then wait to see if they take that bait and chew it awhile about their own stuff.

THIS is exactly the kind of small but important thing you can bond over with a potential client, and — given that your skill set is what it needs to be to get the actual work done — can be the deciding factor in you being the person they choose to work with. After all, all else being equal, who wouldn’t choose to work with someone they enjoy outside the actual work, rather than just some old someone?

The caveat to this advice is that the bonding needs to happen over something real. Don’t be insincere and make stuff up just trying to find some common ground — that’s the oldest trick in the book in the Smarmy Salesman’s Guide. (No, it’s not a real book, but I’ll bet you’ve met someone who subscribes to its rules!) People can sense when they’re being lied to or jerked around. Besides, it’s bad karma, so just don’t do it. Find that bonding agent where you can and hope that your knowledge, skills and experience can dazzle them where you can’t find common ground outside the work.

Category: Books | No Comments »
Tags: first person web copy, importance of voice, informal copy, third person web copy

Posted By Mary on March 10, 2010

A fellow author sent me a link to an interesting story from the L.A. Times about a recent do-it-yourself book tour by a husband-and-wife author team. Though humorous concerning some of their adventures, the story was a rather sad commentary on the declining status of authors and reading itself in our contemporary culture.

The upshot of the story is that the two authors’ new books were released at the same time from their separate publishers. These small publishers didn’t have the funds to pay for a proper book tour, so the couple planned and saved for their own rather lengthy tour through almost 30 cities (a large tour by any standards). They discovered this time-honored promotional tool isn’t all it’s cracked up to be.

That’s actually been true forever — any author who’s ever done even a small tour knows it is unglamorous and exhausting, and can be anything but gratifying if the venue hasn’t properly promoted your appearance. There’s nothing more disheartening than sitting for several hours alone at a table with your books, knowing how pathetic you look. (Yep — been there, done that.) And yet, for many would-be or first-time authors, a book tour is the quintessential reward for all the blood, sweat and tears of writing the book and getting through the often trying publication process.

From the time of Dickens, through the 1950s-80s when American literacy was still growing and books were still wildly popular entertainment choices, the Author Book Tour was the sign that one had truly “arrived” as a writer of books. For a while, authors were treated as rock stars. The lofty few like Steven King and J.K. Rowling still are, but conditions for less-well-known book writers have deteriorated significantly in the last 25-30 years.

Book publishing is a spotty venture at best, where profitability is concerned. More than most businesses, it depends on the whims of the marketplace, which can change demand levels for any given book topic almost daily. Wholesalers and distributors — required to get access to the big chains — take enormous discounts off the top, leaving slim margins for profit.

Add to that the downward pricing pressure of eBooks and big retailer wars, and one poorly performing title can be enough to bring a small publisher down completely. Therefore, scant resources are allocated primarily to production and distribution, with promotion getting whatever’s left over — which usually isn’t much. Hence, the lack of support for most authors, and almost total lack of support for book tours, which become less and less commercially viable each year.

Though there are positive changes such as webinars, author blog carnivals and virtual book tours making the old-fashioned kind less necessary, for modern authors, it’s rather a sad loss of personal, one-on-one “face time” with readers. Just another reason for authors to step up the pace of their own creative promotional efforts to meet and greet their readers.

Category: Books, Promotion | No Comments »
Tags: authors, book promo, book tours, LA Times

Posted By Mary on March 6, 2010

Here’s something I think most of us heavy readers already knew: Reading reduces stress.

That’s right! Marie Claire UK reports that a University of Sussex study has shown stress levels decrease in people up to 68% while they read. Check out the article for more details, but I didn’t need a study to prove that to me. Just like petting a companion animal has been shown clinically to reduce stress — Duh!

Both of these activities are quiet and somewhat meditative. They take you into something of a Zen place (unless you’re reading something really disturbing or perhaps petting an animal who’s in pain).

But it’s nice to know that when we sit down to write something, we’re usually producing something that’s not only enjoyable, it’s therapeutic.

Now if we could just find a way to get the insurance companies to compensate us for being part of people’s stress reduction plan…

Category: Books, General Writing | No Comments »
Tags: stress reduction, therapeutic reading