How to botch a book cover

I happened upon an article published on CreateSpace (in their current newsletter, actually), which described the six rules for designing a book cover.  I was intrigued, and after reading the article, decided to measure my cover design for the proof copy of LEVERAGE.  Let's see how I did...

  1. Make the subject matter clear -- let's see, LEVERAGE is a corporate thriller, and I used a stock picture of a running track for the photo.  And I used the wrong fonts as well.  FAIL.
  2. Communicate one big idea -- Yes, I think I did that, though that idea might be "here is a book about track".  PASS.
  3. Emphasize who the book is targeted toward -- I think the back-cover description, and the subtitle of "A Corporate Thriller" help here.  PASS - barely.
  4. Entice the browser to click/look -- I wouldn't pick it up if I found it on the shelf myself.  tragic FAIL.
  5. Convince the potential reader the book will enhance their life -- only by entertaining them, and I don't think I do that well with the cover design/photo.  FAIL.
  6. Sell the book -- Okay, this one is a throw away.  If you did the other things, then this would work.  If not, then the cover won't help sell the novel.  NO GRADE.

In summary, I failed 3 out of 5, and one of the passes was borderline.

Sounds like I need a new cover design, and another proof copy!

Editing, Editing, Editing...

I've read other authors who stated (and I'm paraphrasing here) "writing is editing".

As I've previously confessed -- I love the creative process, particularly banging out a first draft.  But editing...well, not so much.  I recognize it as essential to having a quality piece of work, but I find it...tedious.

So right now I find myself in the midst of a sea of editing --

INCENTIVIZE is with my editor Eric Dalen, who is doing amazing work improving anovel I was already calling "finished".

DELIVERABLES is in the third draft, and needs a lot of work on the second half.  And the document is clearly already too long at 104,000 words.  It will only get longer as I fill out the second half, and major cuts are needed.  I see another review with an outside editor in my future.

HEIR APPARENT needs its first editing pass.  I really enjoyed creating the first draft of this story, but am almost afraid of what I will find when I do the read-through.

LESSONS LEARNED THE HARD WAY is with a friend whom I hope is at least fact checking it.  I still have no idea what I'm doing with this manuscript.

And yet I have the basic outline for yet another novel, which I am dying to complete a first draft on.  I'll continue to hold onto it as a reward for completing all the editing work standing before me.  Hopefully I'll find the motivation to plow through it and move on to something new and exciting.

 

A Proof Copy

In each of the last two years, I've submitted an entry into the Amazon Breakthrough Writer's contest (LEVERAGE, last year and INCENTIVIZE, this year).  While neither of them progressed to the finals, it was a good experience just making sure the manuscripts were in what I considered good enough shape to be reviewed as a part of the contest.

Just before I left on my trip to Ethiopia, I received a note from CreateSpace, an Amazon company that is rapidly growing in stature in the self-publishing world.  As a reward for simply entering the contest, CreateSpace would provide me a free proof copy of any of my manuscripts.

At first I didn't know what to do with the offer -- after all, I'm represented by an agent, and still hope my path to publication will be the traditional route through one of the big publishers.  But one morning this week, in a fit of insomnia, I decided to prep LEVERAGE and get my free proof.

I almost stopped, once I realized I'd need to re-format my Word file, but a latched onto a template available on the CreateSpace site, and used it put the novel into the correct condition.  I learned a bit about how margins in a bound book are prepared, spent some time on the artwork (I used a stock photo and a general purpose cover design) and created the author bio and back cover copy.

I received the free proof yesterday, and it is awesome.  Not that it couldn't be better, but there is nothing quite like seeing an actual printed and bound version of one's work.  And despite the hurried selection of cover art and design, it doesn't look half bad.  This one was free, but I could have ordered copies for about $10 apiece.

So, from now on, as I feel I'm finishing up a project, I'll invest $10 in a proof copy from CreateSpace, rather than investing $25 at post and package to print a copy!

This one isn't so good

Maybe I'm improving my eye for quality work, or maybe the work product on DELIVERABLES isn't up to the standard of my other novels.  For whatever reason, after completing the initial readthrough of draft 2 this week, I'm finding quite a few more faults with this novel than I initially did with either LEVARAGE or INCENTIVIZE.

The biggest flaw seems to be uneven pacing.  The novel is written in first person, from the perspective of two different characters (a bit of an experiment).  When reading one of the characters, the plot seems to plod along -- and unfortunately, the character followed in the first half of the novel.  When reading the other character, the story seems hurried.  I've got some major rebalancing to do during the third draft.

This novel is the one I completed during the National Novel Writing Month project -- for those who are unfamiliar, the idea is to do the first draft work for an entire novel during the thirty days of November.  That means writing between three and four thousand words a day -- not a trivial exercise.  The need for speed might be the reason the novel now seems so uneven.

I am, however, still happy with the plot line, and feel when finally whipped into shape, it should make for an entertaining novel.

Insights

I Received feedback from my editor on the first five chapters of INCENTIVIZE, and it's nearly a complete re-write.  It never ceases to amaze me  how difficult it is to see the flaws in my own work.

Funny, when I was reading it and reviewing it myself, it seemed fairly tight, and I thought it moved along nicely.  When he began to point out the big picture weaknesses, however, I could see them -- the biggest ones being the story starts too slow, the interesting plot elements seem unconnected to the main flow, and the physical descriptions were lacking.

Truth be told, I suspected the action was developing a little slowly -- and had considered plunging into the story a little further on in the plot, but felt it would require way too much backstory revelation later.  My instincts were correct in this respect, but I think I'd underestimated the magnitude of the problem.  And it wasn't a wholesale relocation of of the starting point that was required, but just a quicker path to the main thread.

The second problem was wanting to squeeze too much of what I know about Ethiopia into the tale.  I was looking for a way to put in intesting elements like the coffee ceremony, or the war with Eritrea, or the danakil salt caravans.  They were interesting to me, but didn't necessarily relate directly to the plot.  I painfully cut most of this material out.

And I worked on building more memorable physical descriptions of the places -- particularly the highlands and the cities and villages.

Overall, I wacked meetings and discussions, irrelevant but interesting cultural elements, and started the story from a slightly different plot point.  The first five chapters are now twenty-five percent shorter, and much more connected to the plot.

Now I'll be waiting patiently for another round of feedback.

Are You a Writer or an Editor?

This question has been bopping around in my head the past few weeks.  I see my writing work as involving three elements -- design, creation and editing.  If I put then in order of my enjoyment, it would look something like this:

Creation

Design (plot)

Editing

Design (characters)

 

I definitely enjoy the creative process the most -- musing each day about how I will craft the next scene in the story I've already designed.  That's when I come up with those clever pieces of dialog, or those brief descriptions telling as much in their omissions as they do in their revelations, or the sequences of actions as they play out in my mind.

I've always enjoyed plotting as well, and think I'm pretty good at taking the big picture down to the details.  Plot development is where I think through the sequence of scenes, the how it happens (for example:  The character needs to be involved in a stock trade that will later look like insider trading, but in reality he will be innocent -- how do I make it work).  It is also the time for developing misdirection and red herrings -- the elements that make the outcome of the story a surprise, or at least a partial surprise.

Editing is a bit tougher.  It involves reading and correcting everything from broad strokes (move that scene from the night club to a museum, combine characters A and B) to fixing grammar and punctuation.  The problem I run into here is what I call story fatigue:  by the third or fourth editing pass, I'm sick of the story, and just want it to be finished.  I combat this by leaving projects to ferment for at least a month between editing passes, but it only helps a little.

Designing the characters, and specifically writing character profiles, is something I just plain don't like much.  It's okay for three or four main characters, but when I get to the secondary characters, it just becomes a slog.  I have to force myself to stay on task using close in milestones and little rewards.  Fortunately, it is probably the least time consuming task in the process (at least the way I do it!).

If I thought about where the time is spent, however, it looks more like this:

Editing

Creation

Design

 

No doubt editing work takes at least three or four times the amount of time the original  creation work did.  I don't know of anyone has any tips to make the editing process more interesting or to stave off story fatigue, but if you do -- please post them as comments here!

I thought I was finished...

Back in December I wrote the third (and what I hoped would be final) draft of INCENTIVIZE.  Unfortunately, my agent pointed out a number of issues in just the first couple of chapters, so it looks like I've got yet another round of edits ahead of me on the novel.

So I've again engaged the editor who worked with me on LEVERAGE, Eric Dalen, to help me make improvements to INCENTIVIZE.  Eric just published a book on Amazon called THE FEAR OF THE DARK, which you can buy yourself by using this handy link I've provided.

As I await Eric's expert editing advice, I'll be starting to do my own editing pass on DELIVERABLES -- the third on that novel.  I just finished up work on LESSONS -- second draft last night, and it's time for it to have some reviews by people who were there and saw what I experienced.  Since LESSONS relies heavily on my own memories, I want to make sure it is as accurate as possible.  I'm still not sure LESSONS will ever be seen in print (and certainly, the undisguised version never will be), but I've enjoyed working on the project tremendously.

One thing I struggled with in LESSONS during this draft is when to say no.  The book is 107,000 words (not counting the lessons summary and the organization charts), and I keep thinking of other experiences that could be added as chapters of the book.  I've got three in mind right now, two of which are comical, and one of which is rather tragic -- I'd like to include them, but, really -- another fifteen thousand words??

Working in Other Orbits

I noticed today that I haven't updated my writing blog for a while.  In the interim, I've been hard at work editing LESSONS LEARNED THE HARD WAY, and writing a series of posts on my trip to Ethiopia (on my personal blog -- career transition -- reachable though this link).  At this point, I'm a little more than half way through draft #2 on LESSONS... The work is going well, but it is taking a while.  I've been distracted by a few things -- spring tasks, a trip out of the country, a small business venture I've become involved in, etc.

But I'm in the groove on LESSONS, and expect to have the draft done in about a week or so.  Then I can start to think about what comes next -- third draft of DELIVERABLES or ....

Sick, but still kicking

I finished the design work for EMPOWERMENT today, despite having a nasty cold which I appear to have brought back with me from Ethiopia last week.  I'm pleased with the design, but also a bit concerned -- EMPOWERMENT will be written in first person, and will focus heavily on the internal debate going on inside the protagonist.  My other novels have focused much more on external action, and pulling off this "mental thriller" may be a little more difficult.

I also note that when writing the scene sequence, I came up with a scant 83,000 words for the length of the novel.  This is a little skimpy compared to my other works, where I've been aiming for 90-100K.  While the story needs to be the right length to tell the tale, and shorter may be better in this case, I'll have to resist the urge during the writing to add fluff to build out the length.

Now back to my other ongoing task -- editing the first draft of LESSONS LEARNED THE HARD WAY.  This will undoubtedly be a tedious task, and I've been avoiding it a bit, but now it is front and center -- the only thing currently on my plate.  So the time for putting it off is over.  Onward and upward!

New Inspiration, Old Projects

I spent the last ten days on a trip to Ethiopia, traveling with doma International to see the village of Bora and work at a medical clinic there.  While I took the last eight chapters of LESSONS with me, and managed to finish my read-through of the first draft, I've not done anything with it since returning home.

My progress with EMPOWERMENT has been similarly stunted.  While I finished the primary character profiles before I left, and now have defined the necessary secondary characters (eight of them), I haven't been motivated to put together the additional profiles.  Nor am I satisfied with the novel's long synopsis -- it appears to lack something which I can't put my finger on yet, and I don't want to move forward into scene development until I figure out exactly what it is.  Maybe it's too little conflict?  Or perhaps a feeling I've already explored some of the subject matter before?  I'm not sure.

On the other hand, the trip to Ethiopia was inspiring.  Never have a met a kinder and gentler group of people than those in the remote village of Bora.  The had so little, yet willingly offered to share all they had with ferengi (foreigner) outsiders such as myself and the doma team.  While my second novel, INCENTIVIZE, is partially set in Ethiopia, it doesn't capture the essence and nature of the remote villages.  I came to know and love then over my short stay.  Somehow I will have to find a way to integrate them into the story of one of my future projects.  For now, Bora must stay in my heap of unutilized but intriquing story elements -- left for some future project.

Rate of Production Continues to Slide

I've been distracted recently.  A lot.

As a result, progress on my writing projects has slowed.  As of today, I'm still working on revisions to LESSONS LEARNED THE HARD WAY, and still finishing up design work on EMPOWERED.

There are two forces at work here, ones that are slowing my progress simultaneously.

1.  I'm having a tough time getting excited about either current project.  LESSONS is non-fiction, and exercises my imagination much less than my fictional work.  After this second draft, it may be a long time before I can gather enough enthusiasm to take it to a third (and final?) draft.

2.  I'm still stuck in character development for EMPOWERED.  While I recognize the step as necessary, I still find it tedious.  I've finished the profiles on the seven main characters, but haven't touched the secondary characters yet, and while a full profile isn't necessary for the secondary characters, I still am procrastinating.

The last factor is environmental -- its getting warmer outside, spring work around the house abounds (paint, put the boat in the lake, landscaping, the list goes on and on).  When the motivation on the above items is weak, it's easy to let the distractions eat up one's time.

Lesson Learned...through practice

I've been working my way through the first thirty percent of LESSONS LEARNED THE HARD WAY this week, and I have to say, I've been pleasantly surprised.  This non-fiction manuscript was pieced together over an extended period of time, and I was concerned it would read like three or four different people had written it -- it didn't.  I was also concerned about long digressions, or overly complicated explanations, but I'm finding little of this so far.

LESSONS is a bit different from anything I've tried to write before -- it is a collection of different experiences taken from a ten year period in my career.  And while there are connections between the various chapters, each one needs to more or less stand alone.  That means I can't necessarily expect the reader to have already consumed the description of a particular product or market when reading deeper in the manuscript.  The descriptions need to be short, to the point, and not in the degree of depth I might otherwise like, in order to prevent the work becomes overly long and repetitive.

This aspect of editing has been somewhat challenging, and because I lived these experiences, I'll be looking for someone who didn't to eventually read it and see if it makes sense without being boring.

The only other major problem I'm finding so far, is the excessive number of characters -- around fifty so far, with another twenty-five or more still to be introduced in later chapters.  I think some will have to simply be written out, even though it changes certain aspects of the tales from fact to fiction.  In a few cases I may be able to refer to characters by their job titles, particularly if they make one or two short appearances in the book.

So onward to the balance of LESSONS, even as I also work on Step 6 in the design process for EMPOWERED.

Spring Cleaning

I managed to complete most of my spring cleaning projects this week, and now should be able to get back to writing.

I'm working on step 5 (of 9) in the design process for EMPOWERED.  I know it sounds like I'm fairly far along, but each step in the process takes longer than the last one.  Typically, I have a tough time getting through step 7, although step 8 has never been as difficult for me as I know the actual writing will start soon after.  I actually skip step 9, and use the book proposal as my final step.

For design work, I follow a method made popular by Randy Ingermansson called the Snowflake method.  I purchased a software package from him a year ago called Snowflake Pro, although the method can easily be used without it.  The concept is to develop both plot and characters in parallel from high level to details.  In the end, you have a book proposal, in depth character profiles for the main and secondary characters, and a scene by scene flow for the plot.  I do make some changes as I actually write the novel, but they are relatively small in the big scheme of things.  The steps are as follows:

Step 1 -- a one sentence summary of the novel.

Step 2 -- a one paragraph summary in the form of an intro, three disasters and a resolution.

Step 3 -- define the main characters -- their goals, ambitions, and a summary of their story arc.

Step 4 -- a five paragraph summary of the plot.

Step 5 -- a detailed character synopsis, in free form.  I like to write it in the character's voice as if they were talking about themselves.

Step 6 -- a full four page synposis of the plot, which covers each element of the action.

Step 7 -- character charts for all main and secondary characters giving details about their lives, likes and goals.

Step 8 -- Scene summaries, developed directly from the full synopsis.

Step 9 -- Scene notes (I normally skip this step) which allow the author to capture any particular scene elements already imagined.

Proposal -- Complete book proposal.  This was much harder on the first novel, and easier on subsequent works as much of the material carries over.

For anyone interested in the Snowflake Method, which works great for me, but probably isn't every writer's cup of tea, just google Snowflake Method and link to Randy's Advanced Fiction Writing site.

 

Distractions

Plenty of distractions have prevented me from making much progress on either of my current writing projects.

LESSONS LEARNED THE HARD WAY -- I need to print a copy of this book prior to getting started  with editing work.  I planned to do that Monday, but forgot to bring the memory stick with me.  Duh.  This work was completed over an extended period of time, and the Chapters are semi stand-alone.  I'm anticipating a lot of editing work to get the manuscript into a consistent voice and to whack out unnecessary background and description.  And there is a disguise element also -- I'll have a huge number of faux names to invent and insert in the story.  All in all, a lot of work.

EMPOWERED -- I don't really have a good excuse for my lack of progress on this project.  I'm stuck in the stage with the first set of character descriptions, a task I don't enjoy as much.  I have been thinking about the plot, and already have a couple of twists I think will be fun for readers, but I need to get other "around the house" distractions out of the way so I can knuckle down and get deeper into the design.

Ah, spring and all it's home ownership priorities.

Plodding Plotting

I'm off to work (distracted by a few personal events, however) on a new project.  I've tentatively named the novel EMPOWERED, but am also considering EMPOWERMENT as it is the more commonly overused business buzz-word.  EMPOWERED, however, fits the story better.

I don't know if I've previously mentioned my thoughts on novel naming -- so far all my Corporate Thrillers have a name that is my jeer at business jargon.  One day I simply sat down for an hour and made a list of the many words I used to hear on a daily basis -- word that made me cringe.  Probably first and foremost of these was the un-word "Incentivize".  I managed to work that one in as the name of my second novel.

Anyway, EMPOWERED is little more than a broad concept currently.  I know the themes I want to bring out.  I have a basic idea about the plot line.  I know I want to write story in first person, for two reasons.  The first one is first person is just easier for me -- I can put myself in the main character's head and see the world through his eyes.  The second reason is this story will focus on the conversion of a good man to a bad one, in the broad sense, and I want to bring out the rationalizations he goes through making the decisions that take him down that slippery slope.

This part of a novel is hard, but very satisfying.  I use Randy Ingermanson's Snowflake method (See links in the right column for more information), which is a great fit with my natural left brain dominant way of doing things.  Somewhere along the lines as this project is progressing, I will also be doing the first editing pass on LESSONS LEARNED THE HARD WAY, my non-fiction book.  But first I need to scrape together enough time to print a copy of the first draft.  Well, maybe next week.

Another First Draft Crosses the Finish Line

Today I finished the first draft of Heir Apparent, my fourth novel, and the second one featuring Joel Smith, retired CIA field operative, as the hero.  Everytime I finish a new draft, I have a huge sense of accomplishment, and this time is no different.

I do sometimes have doubts about the quality of the work after weeks in the drafting process.  There are a number of defects and issues I already know will need to be address with this work.  And I'm sure a detailed read-through will reveal even more.  Many more.

But that situation is not at all unusual.  I started this particular draft on January 6th, and even discounting the nine days I was away in Ethiopia, that still means I spent 70 days piecing this relatively complex story together.

So I'm going to do what I usually do, and give Heir Apparent a rest for a minimum of a month while I move on to some other projects.  I feel confident that after a few weeks worth of fermentation, it will read fairly well, and the editing task will seem less daunting.

Do You Love or Hate Your Current Novel?

I've become substantially more knowledgable about writing and the writing process over the last year, and one thing I keep reading really sounds odd to me.  Let me paraphrase:

"At some stage in almost every novel-length work, the author feels like the work product is crap."

Really?  I'm currently working on the first draft of my fourth novel, and I can honestly say, I've never had that reaction.  And I wonder if the observation is even true -- if you hate the work at some stage, then certainly you'd have a tough time ever finishing it.  Yet there are tens of thousands of novels "finished" every year (here I'm using the author's own definition of finished, which in most cases would not be a publisher's definition).

Here is my typical emotional arc in the story process.

I get an idea I'm enthusiastic about, and in my mind plot the broad strokes and think about the underlying theme.  I'm usually pretty excited with the project at this stage.  I've got a project right here right now -- bubbling in the back of my mind, and I can't wait to get after it.

I do detailed plotting and character development.  I love the plot development part, and character development is okay, but a little tedious (do I really care what a secondary character's favorite song is?).  This work takes some time, but by the end, when I'm laying out the scenes, I'm anxious to get this segment of the project done and move on to the writing.  By then I've usually got the opening of the novel in mind, and although I know of a few plot issues, I'll fix them as I go.

Then I take a thirty, sixty or ninety day break and work on something else.

Next it's the first draft -- my absolute favorite part of writing.  During this part, all kinds of ideas occur to me and are incorporated into the bigger picture.  I write witty dialog, I make a character have a tragic past, I alter the plot to include a surprise co-conspirator.  All of these little innovations keep me excited as I write.  But...

By the time I finish the first draft, sometimes I worry that it's a bit rough, and might take A LOT of editing to whip into shape.  And by the end, I usually recognize a number of problems in the body of the work -- a loose end that needs to be tied off, inadequate descriptions of places (I hate slowing down plot development to describe a setting or a person in flowery detail), maybe a motivation that just doesn't seem reasonable for the character.  If I could ever be said to have doubts about the work, it is at this stage.  So...

I take another thirty, sixty or ninety day break and work on something else.

Then comes my second favorite activity in the writing process.  I do a fast end-to-end read through of the manuscript, keep big picture notes on a yellow pad.  I try to read the work like a reader would, and note the things that just seem wrong, or lack clarity.  So far, I've always been surprised with how well the first draft ACTUALLY reads!  It's a wonderful feeling to know I didn't just invest all that time in developing crap!

Then I do a detailed edit, starting with page one, and fix as many of the grammatical, usage errors, and the like as I can find, as well as correcting those big picture items.  It usually takes me a few weeks to plow my way through the manuscript.

Then another break.

Then I repeat the editing process again.  At least once.  Sometimes more.

Now I'm ready to show the work to some readers.  I let them work their way through the document, just as if they had bought if from Amazon.  I take their advice and consider it -- but don't always make all the corrections or changes they recommend.

Usually, by this time, I consider the novel "done".  Not that there won't be any further changes to it, but I'm at least happy with it in the form in which it currently exists.

With my first novel, I hired a professional editor to then take a pass, and I hand corrected everything he found, keeping ninety percent of the recommended changes (and there were a lot of them).  That was a very valuable process, and I learned about a number of my blind spots -- everything from making my female characters sound too male, to massively overusing the word "that".  Will I need an editor on my other novels?  Yes, I'll use one if I self-publish or if my agent recommends I do so.

But during the process, I never hate or even mildly dislike the project.  In fact, the worst feeling are a bit of impatience to be finished, or a little doubt about how big an editing task I might have.

So what causes an author to hate their project?  I haven't a clue.

Self-Published -- New Horizon or Crap Depository

I first started to investigate the potential for self-publishing at the same time I began looking for an agent -- about a year ago.  At that time, electronic publishing was taking off, and many of the self-publishing options were inheritors of the vanity publishers of a couple decades ago, where an author had to pay big bucks to get their book into print, and then had no way to distribute in the critical bricks and mortar bookstores.

Things have changed dramatically in a year, and they hint at where it will go ultimately, but there are still some chapters yet to be written in this story.

So here's where we stand currently...

ebooks were 10% of all book sales last year.  After the christmas success of eReaders, I would expect this year to be more like 20%.  Amazon dominates ebook sales as well as the online sales of conventional books.  online sales appear to be growing as well.

Bricks and motar bookstores are losing market share, and the overall market has been shrinking somewhat.  Blame the recession and the rise of alternative forms of entertainment (including reading blogs).  I would expect to see some slight growth in booksales this year, but continuing decline in the traditional store channels.  Borders is already in bankruptcy, and I would expect most bricks and mortar stores to feel increasing financial pressure.

Publishers are the gatekeepers to the traditional bookstores.  If you don't sell your novel to a publisher, then you won't be in Barnes & Noble (with a few exceptions).  But publishers extract a big price for that access -- authors receive only 17.5% royalty on book sales, give up their ebook rights, give up much creative control of the product, and then wait years to get their work into circulation.

There are a million manuscripts out there chasing the ten thousand publishing slots each year.  Arguably, they screen out the junk material, and assure consumers of quality when they purchase a book (as readers, you can be the judge).

In the midst of this, Amazon did a couple of very interesting things -- first, they purchased a self-publishing company named Createspace.  Createspace offers writers all the ancillary services provided by traditional publishers, such as:  editing services, book layout, cover design, print on demand production, etc.  The only thing they don't do is distribute and market (although the marketing by publishers of new or midlist authors is limited, at best).  Second, they increased the author's share of revenue to 70% for the lower price ranges.

What Amazon appears to be up to is classic channel disruption.  I have some ideas as to why they are headed this direction, and if I'm right, they're being very clever.

So what does all this mean?

Remember that million manuscripts?  Many of them will likely end up self-published on Amazon as ebooks and perhaps as print-on-demand books.  Most will be priced low -- $0.99 to $9.99 per copy.  Readers will have more choices than ever, although many (particularly those devoted to the publishing industry) say much of it will be of low quality (or crap).  The successful authors will be as good at marketing as they are at writing.  Good works will be overlooked, while mediocre material will succeed merely because it generates a buzz.  I'm not sure this is much different than traditional publishing, where a hot cover or strong presale promotion could turn a mediocre book into a big seller, but it might be more extreme with self/epublished works.

My own, admittedly unscientific, sampling of self published work hasn't resulted in the discovery of any diamonds in the rough, and I would say the average quality has been below traditionally published works.  However, the books have been substantially less expensive, and they are often still entertaining.

Where is it going?

This is the big question -- will self/epublished work develop a reputation as a crap repository to be avoided like the plague?  Or will rating and evaluation services of some sort emerge to sift the wheat from the chaff?  I think the later.  Will ebooks continue to displace print books -- I think we can count on it -- just like records were displaced by CDs and ultimately computer downloads.  Will Amazon and B&N be able to keep control of their content and prevent it being ripped (off) by consumers at will?  Hard to say at this point.  I think if a novel sells for $2.99, the temptation to steal it drops, but who really knows...

How about traditional publishers?  As brick and mortar stores become less and less relevant, so do the publishers.  They seem to be retrenching now, focusing on their stables of established bestselling authors, and taking fewer and fewer risks with new writers.  That may be smart in the short term, but may ultimately hasten decline as more an more hot new authors are "discovered" on Amazon.  Amazon appears to be employing something called "Judo Strategy", using the biggest asset of their competitors (the tie in to expensive printed material and the expensive distribution channel) against them.  At the least, publishers will probably have to reduce prices on ebooks, and their share of profits, to prevent established authors from seeing self-publishing as an attractive alternative.

Bricks and mortar bookstores will probably persist for quite a while -- longer if they can escape their dependence on traditional publishers and offer a broader range of product.  Print books aren't going away -- while much fiction is easily read in ebook format, non-fiction often is better conveyed in print/paper.  Book sellers who focus on convenience may very well be the best positioned to survive and thrive in the future.  I would much rather be an airport bookseller than a stand-alone Borders right now.

I continue to struggle with what a new author should do in this shifting environment.  Traditional publishing still has a certain cache.  And I'm not excited about taking on marketing responsibility for my work -- I am writing, after all, because I like to write, not because I want to market the materials.  So my uncertainty continues as I watch the changes unfold...

Never Say Never

Just a few weeks ago, I opined that I never had trouble dashing off my targeted writing volume for the day.

I should have knocked on wood after making the comment, as I've been more or less stuck in neutral for the past couple of weeks, with no respite on the horizon.

I think the root of my poor writing productivity is my life again becoming complicated.  I've gotten involved in a business venture, and while it doesn't require full time attention (currently at two days a week, and I hope to eventually reduce that to one day), it is occupying a lot of mental bandwidth.  Add to that the preparations for the first of two adoption trips to Ethiopia -- yes, we are adopting another child from Ethiopia, this time a boy named Feyissa Thomas Spears -- and you have the prescription for a lot of distraction.

But there might be some issues with the novel as well.  In most of my previous work, I've had patches where the story seems to stall.  I'll occassionally feel like I don't really like the characters, or the plot is dragging.  I think this is pretty common for authors of novels, and in the past I've just blown through the rough spots, figuring I'll correct them in later revisions.  To my credit, when I read the draft later, after a period of fermentation, I usually find it was better than I thought at the time I was writing it, thus vidicating my methodology.

This time, the feel is worse.  It might be caused by my doing a poorer job on this first draft.  Or perhaps it's caused by the more complex storyline.  Maybe it's the fact that production is dragging, leaving me hanging with the feeling for a longer time.  Or perhaps it's my distraction by my other big non-writing projects.

Whatever the reason, I'm not in a good place right now, and hope to pull myself out shortly.