Revision List

 I’m behind. Again. We’re talking about revision. I believe I’ve mentioned it before, but revision is my favorite part of writing. I think I’ve also mentioned that how I come at revision is in the word itself. Re-vision. Once a draft is done, the revision process is my opportunity (and obligation) to look at the story with new eyes.

As I finish a draft, I keep a revision list. Once I type The End, I pack the WIP up, and I put it away for at least two weeks. I, too, am an intuitive writer. I feel my way through a story. Most of the time, that works really well, and revision is a minor affair. Most stories simply need a little tidy up. Most of my revision job is working through my list, tightening, calling myself out on my own BS – repeated words, gestures, over describing or over staging. I ensure that character arcs are fully realized. I make sure the plot holds together and drives from one end of the story to the other. Most of the time, my revision process is mostly about pruning to expose the trunk of the plot to air and light.

Then there are stories that need more. I’m working on a manuscript right now. This story needed to sit for years. I love the story. My beta readers like the story, too, and remember it even after all the time it needed to sit. It had to sit because all of us agreed that the story was flawed. Jeffe kindly read the story for me to help me identify the issues and she couldn’t finish the book. That confirmed for me that I had a major structural problem that I couldn’t diagnose. So, I shelved that story. I needed time and space before I tried to understand the issues.

It paid off. At least, I think it did. When I came back to the story and read it again, my story sense went off, immediately. The main character had no arc. She wasn’t driving the latter half of her story. That’s a pretty major issue. It required a serious rewrite of the second half of the book. That’s still in progress as a wrestle with the climax of the story and layer in ALL THE THINGS. This is the part of the book I really want to get right so it’s taking a frustrating amount of time while I obsess over it. I hope it pays off.

The biggest issue for me is that every story needs something different from a revision standpoint. I mean, the initial prerequisite is a finished draft. After that, though, each story dictates how I approach ripping and tearing at the guts. Some surgeries are less involved than others. Some are great big Frankenstein’s monster stitch jobs. And even then, I prefer revision to drafting. I probably need to be medicated for that.

Revising

Typing The End on a first draft is a thrill like no other. I hope every time you reach that point you celebrate! I like to unwind with my husband and a glass of wine. 

And then it’s time for revisions.

I write beginning to end, no moving ahead three spaces for me. And as I write I keep a notebook to jot down any inconsistencies, anything I change character/scenery/or plot wise, and any layering ideas that I know I’ll need to go back in and add. 

I revise the same way: beginning to end as I work through my notebook’s notes. I cross out the notes I complete. Add in new ones for things to change as I go. And attempt to catch the grammar issues. 

The last stage of my revision process, funny enough it’s the same as Jeffe and KAK, I listen to my book. I prefer to have the computer read it to me, even though it’s very robotic because I use the free options. I have read it out loud myself, but I catch things better if it’s being read to me. If you’ve never tried this I highly recommend it. The first time I listened to a manuscript I was shocked at how strong the typos and word choice changes stood out. 

Then my book goes off to someone else. And the revision process starts over again. The trick is knowing when is when. 

I haven't written a double digit number of books yet. I hope that once I have I'll be able to give stats like Jeffe: x number of months for first draft then x number of weeks for revisions before poof = finished product. My manuscript spreadsheets have oodles of data I'll be able to play with over the coming years. 

If you're revising this coming weekend, happy editing! 

Read, Revise, Read Again

 This Week's Topic: My Revision Process

Though Jeffe and I have different methods of drafting, my revision process is pretty much the same as hers (which you can read here). 

Since beginnings are the hardest part of the book for me, I have a lot to clean up in the first arc after I've completed the first draft. That includes ensuring I have concise statements of initial GMC and evolving milestone GMC as the story progresses. I cut info dumps back to the minimum the reader needs to know to progress to the next scene. As Jeffe mentioned, there's also the matter of ensuring proper seeding and foreshadowing.

As part of the character development review, I focus on whether I have sufficiently conveyed what the character(s) is feeling since that's a consistent weakness my editor has called out over the course of eight books. I love writing action scenes but I tend to gloss over the emotional risk, cost, and consequences during drafting. Thus, during revisions I have to make sure I've answered those big Emo questions for each transformative scene. 

For the final readthrough, I have the computer read the book back to me instead of reading it aloud myself because my brain will autofill stuff that's not there and autocorrect words that need to be corrected on the page. It's the low-stress last step of edits/revisions for me. I kick back in my recliner, click "Read Aloud," and close my eyes...and then open them at the first wince. It's funny and a little tragic how many glitches still survive what I deemed the (almost) publishable version.

Pantsing Doesn't Mean Lots of Revising

 This week at the SFF Seven, we're talking about our revision process. 

I'm running behind, as I seem to eternally be doing these days, and posting this a day late, but I feel it's important to talk about my revision process to dispel a huge myth about intuitive writers. I feel strongly enough about making this case that I'm using the term "Pantsing," which I almost never use.

(As an aside, the reason I don't like that term is that it comes from "to fly by the seat of your pants," which implies a lack of control that I think comes from the pre-plotting end of the spectrum. Writing without outlining beforehand does not mean having no control of the story. It also doesn't mean that intuitive writers don't plot. All writers plot; otherwise there wouldn't be a story. The difference lies in whether we determine the plot before writing or during it.)

A consistent message I hear from those espousing pre-plotting is that writing a book without creating an outline first leads to many blind alleys, cutting huge chunks of prose, and spending even longer on revision. While this can be true of some writers - which is fine! Figure out what your process is and own it, I always say - this is not true of me.

Intuitive writers like myself have often internalized story structure. We know how to write the novel without resorting to external guideposts like an outline. I also think that I draft faster by writing intuitively, by submersing myself in the creative flow of the subconscious. It takes me typically 55-60 working days to draft a novel of 90-100K words. Then I spend about 14 working days revising. I typically cut 1-2K words in revision and add ~10K. 

Explaining everything I do in revision would take longer than I have in this blog post, but in essence, my process is this:

1. Write the story beginning to end, skipping nothing, never jumping ahead.
2. Revise from the beginning. This involves:
   1. layering in foreshadowing and other clues for stuff I figured out along the way and about the ending.
   2. smoothing character arcs
   3. removing extraneous information, red herrings, doorways to routes I didn't follow, tweaking word choices.
3. When done, I read out loud one more time to catch any consistency errors or clunky wording.

 

And that's all she (I) wrote!

To the Bitter End

Since I have yet to actually complete a series, my experience has been that a series ends because a publisher declines further stories in said series. As a reader, though, I've read my way through many a series that never really got old. Then there were the ones that I got part way into, poked my head up, looked around, and said, "Y'know, life's too short for this nonsense." and that was the end of that series. I suspect we all have benchmarks past which we're unwilling to read. Even if you're too young to have seen the shark jumping scene on TV - you KNOW what it means when someone says a series has jumped the shark. Book series can do the same thing - an author tries too hard to keep upping the anty in each subsequent book until they stomp across the reader's willing suspension of disbelief line. That, to me as a reader, is how I know a series has peaked. 

Now how to I learn something from it as a writer? I'd like to think I've learned that no series of mine should ever have an open-ended number of books. Never, never, never. To my eye, that way lies far too many dangers. Planning a series arc is the only sure way to keep from venturing into shark infested plot waters. Each of my series to date is a limited run with a specific beginning point and ending point. I'd like, someday, to get to finish a series. . . I swear one is within sight. 

I want to acknowledge, however, that just because I will DNF a series that exceeds my muttered 'oh come on' limit - it doesn't mean there aren't other readers out there in the world feasting on that entire series. It pays to remember that when a publisher tells you they won't keep publishing your series - if your story isn't done and, like me, you really want to complete the arc of the series, you don't have to listen to the voices that tell you to just let it go. You can write your complete series arc, tuck it away, and then, when your rights revert, presto. Series. It helps if you know you have readers who are waiting for the rest of the story, but you're also allowed to write it just for your own satisfaction. Who knows. Maybe it will be a case of if you write it readers will come. Either way. Not everything in life has to have a return on investment. 

Still. The only thing I know is that I really don't want to write a series that jumps the shark. But it may be necessary. Just so I know where that darned shark is lurking.

Series: Is It Done Yet?

 This Week's Topic: Series--How Do I Know When One Has Played Out?

To know when a series has gone stale, it helps to understand what makes a series compelling in the first place. Writing a series that readers want to stay with comes down to two things: a) knowing the series's story arc--which is different from the individual book arcs--before penning the first book, and b) how many books it'll take to tell the series's story. Yes, the author should know from the get-go how many wedges they're trying to carve out of one pie complete tale. Each book serves as a plot point of the series. The series plot often runs as the secondary plot of the book; for the sake of pacing and focus, it never dominates the main plot of the book. The series is done once the overarching story is complete.

For example: A classic story structure is three Acts in one book. Trilogies are three Acts told over three books. One could argue a trilogy is a nine-Act story where the pinch-points are the equivalent of the climaxes of the first two books.

Yes, yes there are popular series for which there is no series story arc. Those series are--for all intents and purposes--stand-alone books (self-contained stories) with a repeating protagonist. There is minimal character and world development from book to book, which allows a reader to jump into the series at any point. 

Now, to the question of the week: How to know when a series has played out? The most obvious one is when the series story is complete...yet it won't end. Instead of writing a new series, the same cast appears on a wholly different quest. This can work quite well--as long as it's clear in the branding-- until the majority of the cast has developed into OPs (Overpowered Players), the stakes have risen beyond the fantastical, and the plots have no place else to go but into the absurd. 

Rattling off TV shows that Jumped the Shark is arguably easier than naming shows that were canceled too soon (aka before the series story was resolved). 

Another way to tell when a series is played out is when books within the series are long tangents that do not support the series story--it's being milked. When done a handful of times (or less) as clearly labeled side-stories, the readers understand those books are fan service (stories written purely for the appreciation of the fans {fan services is often smuttier than the original, too brow waggle}). The readers typically love it as long as the side-stories don't delay the conclusion of the initial series storyline, which is why these stories are best released after the conclusion of the series or as a seasonal/holiday bonus. But when the author tries to trick the reader into buying books unrelated to the series plot, then what an author gets is pissed off fans. 

Series that run-on too long tend to happen because of fear. Fear from the author that they won't be able to reproduce the "magic" that made that series successful. Fear from the publisher (who may also be the author) that their sales will plummet, thus their revenue will plummet, once the series ends. Nobody wants to end a good thing, but even the best cake rots when kept too long. 

Where I've Been and Tools of the Trade

 I bet you thought I'd forgotten the blog again today. Or blown it off. It's been an intense two weeks. Let me show you what I've been up to (via some pixelated, crappy cell phone photos.)

I've been on the road for the past two weeks to Austin, Texas and back again to chase the eclipse. It was epic. The trip back was fraught with seriously rough weather, slow slogs in the freeways in rain so heavy you couldn't see, and constant emergency alerts firing on the cell phones for flood alerts and tornado warnings (three were verified on the ground.) We got to see an amazing celestial event and lived to tell the tale. 

As to what I use to write: Almost exclusively MS Word - it's familiar, it's versatile, and it's so easily converted to different file types. In the cracks of the caveat I supplied, I turn to simple little low-feature drafting tools from time to time like Omm Writer, Dark Room, or 4theWords. Those are for the days I want no distractions - they're about shutting out the rest of the computer screen and silencing notifications. They're for fast drafting when you don't want to let editor mind engage. There's rudimentary spell checking if there's anything at all.

They all import plain text into Word in a hyper-ugly font but that's fine because there's zilch formatting and Word happily goes about putting squiggly red and blue lines under everything I've mistyped or misspelled or grammatically hacked up. I like to think of Word as the program for the professional author and the other programs for the little kid artist who's trying out bits of story.

Back to the eclipse: We joined a Sky and Telescope Magazine group in the Austin area that had arranged hotel, meals, and the viewing location (private! with security!) We were in the company of 230 astronomy geeks, scientists, astrophysicists, and on eclipse day, one astronaut. We were surrounded by telescopes and massive cameras. All we had were viewing glasses and our cell phones (also with filters applied to them). We really lucked out with the weather.

If you're interested in catching your own eclipse experience, the next one is in Spain (through Sky and Telescope) in 2026. After that, Egypt in 2027, then Australia in 2028. Totality for this eclipse lasted just over 4 minutes. It was the shortest 4 minutes of my life.

Brain Space

 

This week we’re talking about tips for our favorite writing tools. I’d planned to give my best Scrivener tip, but I’m on vacation! 

My time away from home is good for my other favorite writing tool, my brain. Relaxing is good on so many levels. I like to think I’m improving my brain space by watching palm branches away in the breeze. Maybe tomorrow I’ll watch the ant highway again. 

May your week be filled with words and even more, I hope you’re able to give your brain the space it needs to daydream.

Writing Apps: Keeping It Classic

 This Week's Topic: Top Tricks in my Writing Program: What Features Do I Use the Most?

Like Jeffe, I'm a die-hard Microsoft Word user. I blame my time in corporate. Once the office manager (yep, that's who dealt with IT before IT became so complicated it needed a whole department) decided WordPerfect would be replaced by Word, I've been a Word user.  I miss the early versions of white text on a blue screen because it was much easier on my eyes, but I don't miss launching the software by using the DOS Run command. (Yes, I'm old. GET OFF MY LAWN!)

These days, beyond the requisite customized Book Template format and spellcheck, the feature I use a lot is Read Aloud for editing. It's the best way for me to catch missed and repetitious words. It's also great for exposing those sentences I thought were brilliant prose but read as a chunk of WUT??? I'm not particularly in love with their Editor feature because I'm not writing a book report, I'm writing fiction and the grammar AI doesn't grasp the difference. Now, if Microsoft uses a customer-unique AI in Word to grock my writing style--especially if I can train it using my old books--then things could get useful. BUT, but, but, I want that KAK-trained AI to be available only to me, like my customized dictionary is only available to me (see Jeff'es post about the super usefulness of the customized dictionary).

The other advantage of Word is that .docx is the file type both my professional editors use, so we're not wasting time and effort with conversion problems.

Ayup, ayup ayup, nuttin' fancy here. I'm keeping it classy classic.

Jeffe's Top Trick for Fantasy Writing

This week at the SFF Seven, we're talking about the top tricks in our given writing programs.

I don't use a fancy "writing program." I use Word, which I begrudgingly moved to when WordPerfect was murdered. It works great for me. No bells and whistles. I write linearly from beginning to end and don't need extra functions to annotate or move scenes around. Cut and paste works great for this simple gal. I do modify Word to show me the ongoing word count in the lower left corner, but otherwise, I don't have a lot of tricks.

EXCEPT...

This is my top #protip for using Word. It's been the best discovery ever and has saved me loads of time and headaches. Ready?

Use the in-program dictionary to autocorrect your weird fantasy words.

Seriously, smartest thing I ever did. 

For example, in my Twelve Kingdoms world, there is the sailing ship named the Hákyrling. I can never remember how I spelled it (major fantasy-writer peril), nor where I put the stupid accent mark. (WHY DID I USE AN ACCENT MARK??? It's not necessary. It just makes everything more difficult. Anyway...) So, I added Hákyrling to the dictionary - which is easy, right click on the word and choose "Add to Dictionary" - and then I went into the autocorrect options and added that if I type "kyr" Word autocorrects it to Hákyrling. With italicized formatting. Boom. Done. That easy. 

I have done this for many of my more complex/obscure fantasy names and words. The trick is to pick a shortcut that 1) you can easily remember, and 2) you don't otherwise type. 

Go forth and use this trick, young fantasy writers!

 

Anthology Cover Reveal!

Beyond the Veil Anthology - Pre-order now!

If I may paraphrase Lord Alfred Tennyson: In the spring an author's fancy lightly turns to anthology publications! I'm excited to be a part of Carnal Imprint's fall anthology, Beyond the Veil. This steamy fae romance collection of 9 stories has a theme very close to my heart - feathers and wings! My story is the second in my series of bird-shifter romantasy set in a version of medieval Andalusia. 

The Cover Reveal is today, so that is why I've thrown over the Worst Return on ROI topic. However, I think anthology participation can be hit or miss--worst returns are when the anthology and/or author group explodes, while the positive intangible returns (as Jeffe put it in her post earlier this week) of joining a group of like-minded authors and sharing the experience--and time and money--of a published work can be very high. I've participated in a couple of really wonderful experiences like this, but I also have at least one negative experience. Don't get me started on that one.

Last year, I joined the Bound in Magic anthology with a gorgeous group of up-and-coming fantasy romance authors. What a treat! I had too many commitments to contribute to this year's follow-up, but I've already secured my (pre-ordered) copy. I'm going to take it on my spring mini-holiday next month so I can savour it.

What anthologies have you read lately? Tell us in the comments!

The ABC's of Writing

ROI: Return On Investment

This week we’re talking about our worst ROI’s. Don’t think you’ve invested anything yet? You’re a writer, so at any stage of the game you’ve already invested your time. Hopefully it’s been well spent, though it could be argued that the hours sucked into various socials is a terrible ROI if it’s keept you from writing. 

But what's my worst ROI? I’m not too far into my writing career and so I haven't had many opportunities to be wise or unwise. No cases of books hiding under the bed. Though by the time I have a book available in print I'm going to be so excited I expect it'll be hard to stop myself from ordering them! 

So far I've invested in a few different things. The editing dollars I put into The Mars Strain before my turn in date to Recorded Books was well worth it. I count every conference I’ve attended as wise investmenets because at each one I’ve connected with new writers—and we all know that writer friends can be lifelines. And I spend money on my website…but I don’t think I can call that a bad decision because it’s a landing page for people looking me up. I view it as one of those business requirements. 

When I look at what I’ve put into my writing career the number one investment is my time. I’ve poured hours and hours into writing, thinking about writing, blogging about writing, and reading about writing. A day doesn’t go by where I’m putting words to screen or thinking about the words that I will string together the next time I sit down to type. 

As an example I’ll share the hours I put into two of my first drafts. 

Dark Queen’s Daughter (fantasy complete at approx. 83,000 words) = 329.75 hours

Fisyk (sci-fi thriller at approx. 65,000 words) = 230.9 hours

I’ve kept word count spreadsheets for the last three manuscripts I’ve written, but only the last two had a column for hours per day. It’s a column I’ve decided to keep in my future trackers. I like being able to see how many hours per day were spent creating and then correlate them to time of day and word count total. But again, it’s all total time invested no matter how many words are being put down.

And on that note I bring you a blast from the past, April of 2022, and the image that surfaces in my mind whenever I catch myself wasting precious writing time: 

James A. Moore’s words of wisdom will endure even though he has passed from this world. So if you need the nudge, get that ass back in the chair and write. 

James's friend, Christopher Golden has organized a fund raiser to help offset Memorial Expenses and to support James's widow. It is still live if you wish to give.

ROI Ouch

This Week's Topic:  Worst ROI Ever 

The list of low/bad Returns on Investment (ROI) in which I've engaged is long. Whether the returns I'm measuring are cash or brand awareness, there have been some painfully wasteful lessons learned. In some instances, the investment of time far exceeded the returns (hello, social media, looking at you). In others, the hundreds of dollars in cash investment earned less than $5 of return. Those instances can be split between CPC Ads and email-blast companies. 

ROI on ads is a struggle for anyone selling anything, from indies to MNCs, so I don't weep over those losses. Curse? Yes. Sadz? No. I expect losses there; I even budget for them. 

Email-blast companies, on the other hand, I expect more from since bumping up my sales is their core business. The leader in the space, BookBub, is worth the investment for free or $0.99 books in my genres. Higher than that, and my ROI becomes a loss. There are other, smaller blast companies whom I've paid and received nothing. Not one sale, not sales page hit, not one website hit. Not even crickets were aware of the promotion. Sometimes I've had to go eight clicks deep into a blast company's site before getting to a sales link for my purchased placement. Ooof. Yeah, yeah, the blame's on me for not investigating that better before purchasing. Because I'm generous, I'll share my mistakes to save you some $$ and heartburn.

Before buying placement in an email blast, do a bit of due diligence. Check for reports of:

• Crappy Creative
• Are they using your book's cover? Are they using the image with proper ratio/sizing (or is it cropped, stretched, blurred, etc.)? What about the accompanying text? Is there any? Who is writing it? Who approves it? 
• Inflated subscriber numbers
• They're not outright lying about how many accounts have subscribed (though unscrupulous businesses could be), but they're not including how many accounts are bots or how many unsubscribes they have.
• Email open-rate is lower than the industry average
• Few blast companies report their open-rates under the protection of proprietary info.  Anecdotal information should give you a clue.
• Expanded inventory w/o notification and cancellation options
• This is a problem because it lowers the value of the purchased placement--aka instead of placement as 1 of 5 promotions in the email, the placement is 1 of 25 promotions.
• Misleading Marketing Messaging
• They promote themselves as an email-blast company, but the fine print on their website never explicitly states that your book and its buy link will be in that email. Instead, your book's info is lumped under a larger promotion (e.g. This Week's Fantasy Discounts) and buried more than 1 click off the email.  
• They upsell additional placements within their brand (social media pages, website, genre-bundles, etc.) with the classic "increase visibility up to XX%." That "up to" is a deliberate vaguery meant to disguise that what you're buying isn't worth bupkiss.
• Non-Consent Backblast
• The absolute worst sitch is buying placement with a blast company whose email list is built on harvested and/or non-opt-in addresses. Not only do you lose money, but you also lose reputation. This can happen with startups and companies under new management, so triple check before buying.

Admittedly,  I have eagerly supported the underdog/new businesses competing against the big guys and lost money (but not reputation).  Yes, I knew the risk I was taking equated to my purchase being on par with a charity donation. However, those risks were ones I could afford to make. 

As always, adhere to the golden rule of marketing and investments: 

Never spend more than you can afford to lose. 

Calculating ROI - and Accounting for the Intangible

Our topic at the SFF Seven this week is our worst ROI ever. So many to choose from!

ROI is industry shorthand for Return on Investment. It's basically a calculation for financial health of a business. I looked up the origin and found out that Donaldson Brown created the term.

As the Assistant Treasurer [of DuPont] in 1914, Brown developed a formula for monitoring business performance that combined earnings, working capital, and investments in plants and property into a single measure that he termed “return on investment.” It later became known in academic and financial circles as the DuPont Method (or Model) for Return on Investment. The measure was widely taught in business schools and adopted by many companies as a means of benchmarking the financial health of their products and businesses.

That's interesting, because I wondered if it was an old model. Turns out it's over a century old!

Also, the term comprises much more than I think most writers mean when they use it. When I hear writers talk about ROI, it's always whether a particular effort - a conference, buying an ad, buying into an anthology - will be more expensive than the sales it generates. Many reduced it to the simplest math: "If I spend this much attending a con, will I earn more than that on sales of my books?" Often husbands are cited as putting forth this equation, usually as justification for wives not attending cons.

When asked for my opinion there (and sometimes even when NOT asked), I have always said that conferences of all types provide an intangible ROI. Networking and getting your books in front of people give long-term results that aren't always quantifiable. Since I was doing a bit of research, I looked up if anyone thinks the DuPont Model for ROI is antiquated. Turns out there's this:

We demonstrate that firms 'assets are becoming increasing more intangible, and the traditional DuPont Analysis omits this crucial piece of a firm's ability to generate profit.

Those folks are talking market equity, but it occurs to me that many authors looking at simple math and short-term sales are failing to account for the intangible value of building recognition for their work over the long term. 

But I digress. 

The topic today asks about my personal worst return on investment. Since I don't really do the calculations - see above - I don't know a precise metric. I can, however, share an investment regret. When my very first book came out, the essay collection Wyoming Trucks, True Love, and the Weather Channel, a friend of mine, Chuck, told me one of HIS great regrets was not buying a case of his first book. The first edition was worth a great deal and he was sorry not to have done that. So, I bought a case of my books!

Reader: I still have most of them.

See, my first book didn't sell tons of copies and I have not become an NYT bestseller with a TV miniseries based on my books, unlike Chuck. He meant well, and I adore him for thinking that I would have the same trajectory, but I'm not C.J. Box, alas! 

I suppose the key takeaway here is that there is no one size fits all advice. 

Also, that the ROI on cats is always solid.

 

Tik Tok Trends - use 'em or lose 'em?

 

Photo by Thought Catalog on Unsplash

Tik Tok doesn't come naturally to me, as our other SFF 7 authors have also noted for them. But in the last year or so I've been trying to connect with readers on the app--because there are millions of readers on BookTok looking for their next read.

Just as readers go to Amazon to buy books, so readers flock to TikTok to discuss books. They're talking about their latest read, showing off their TBR list, and sharing funny trends and memes that have bookish content. Who wouldn't want to join in on the fun?

Well, introverted authors, or authors using pen names, might not love having to show their faces. Also, it can be challenging for those of us who are over the age of 25 to keep up with the fast pace of the trends. And there are so many users generating content that it is not easy to go viral without devoting a great deal of time and effort into the app.

Some authors seek a formula for success: use these words in your caption, make a book-flip-only account, post x number of times a day. The algorithm has its own mind, though, and what works for one author won't work for you. Although there is no single way to succeed, there are many ways to engage readers on the app. Trends can be a fun way to do this. 

When I started, I found BookTok follow parties were a great way to find like-minded readers and grow your following. The BookTokers I follow use simple and elaborate posts--some take no time to create and others can take hours. I've tried some of the easy kinds of posts that many BookTokers do: Meet the BookToker, Book Challenges, book flips, and book stacks, for example. Most of them can be done with a stack of books or even a single book. Others need you to stand and point, or lip sync to a sound. It takes time, but some authors say this time can be worthwhile to gain a larger following. It's rewarding to make short-form content--so different from novels!--and this creative outlet can provide more immediate gratification than book-writing does.

I'll never be someone who sets a trend, but it can be fun to participate in the community. There are lots of BookTok sounds you can find if you search "booktook trends" that can provide you with ideas. I've only dabbled in using costumes for posts, but I would love to do this more. These are more involved and I don't have the time while I'm teaching. Summer would be a good opportunity to experiment.

Proper BookTokers have a lovely full wall of books, but this isn't a requirement for everyone. TikTok doesn't want everyone to look and be perfect, it prefers authenticity and informal or spontaneous posts (even though many influencers devote a great deal of time to their posts). This approach is appealing to me. Sometimes I feel too chaotic and messy for Instagram, so showing more of my real self on TikTok seems more natural. I'm still getting comfortable onscreen and I haven't found my niche yet, but I've learned to focus on having fun and making connections rather than trying to make the perfect viral post.

Hail the Traveler and Farewell

Today, we pause to wish fair winds and following seas to a friend and author who was a member of the SFF Brigade for a good long while. This week, James A. Moore passed away. 

James wrote over 50 grimdark fantasy and horror novels, games, and comic book scripts. He was a three-time nominee for the Bram Stoker Award. He, in conjunction with good friend Christopher Golden, won the Shirley Jackson Award for editing horror anthology The Twisted Book of Shadows. He delighted in supporting and mentoring other writers. 

Here on the blog, James was a kindhearted contributor who always had encouraging words for the rest of us. He challenged a few of us to write outside our comfort zones. He will be missed. 

Because authors in the United States do not always (or even usually) have anything approaching adequate health insurance, James's illness took an enormous toll on him and his family. As a result, James's friend, Christopher Golden has organized a fund raiser to help offset Memorial Expenses and to support James's widow. The family requests memorials there in lieu of other condolences. 

If you remember James, or even if his name and books are new to you, you can also support his surviving family by picking up his books. 

Striking Social Gold

Oh trends, what fickle things they are. 

If that sentence doesn’t tell you where I stand…then I guess I need to elaborate. This week we’re talking about TikTok. Technically we’re talking about Tick-Tock trends, Jeffe decided to keep the typo and I kinda like it. 

I also like what Jeffe said: only do the kind of social media you enjoy. I’m paraphrasing, so check out her post for the direct quote AND you’ll see some gorgeous book covers! But back to that author social media stuff. If you don’t enjoy it then you’re not going to do it well. Or often enough. Which means it’ll be difficult to reach readers through it. 

Videos aren’t my creative outlet, so TikTok doesn’t appeal to me. Yes, I get sucked into watching the feed on Instagram, who doesn't, but I limit the amount of time I spend on there. As for TikTok, I long ago decided if I’m not actively participating by posting my own content on a social, I’m not going to spend my time using. So this week’s topic got me curious about the positives that surround trends, specifically BookTok.

There have been a number of books that began as a concept or gainted a pre-pub following on BookTok take off successfully. One that I read and thoroughly enjoyed was Assistant to the Villain. There have been others I DNF’d. I didn't know Assistant to the Villain or the ones I DNF'd were BookTok books until after I'd read them and some because I looked up BookTok books to write this and found out their origin. Maybe I haven’t read enough BookTok-spurred stories, but I don’t feel they’re any better or worse than books I find in other ways. However, I acknowledge it’s a new avenue to reach publication and readers. 

It’s sort of like BookTok is the new Twitter-fest for books. #pitmad and #pitchwars were golden opportunities for savvy writers to craft 35 word hooks for their books. I know authors who landed publishing contracts that way. It was exciting and thrilling—the Twitter pitch-fests ushered in a new way to connect authors with agents online. It blew attending conferences in person for pitch sessions out of the water. Twitter provided authors a way to find publishing contracts and/or promote books from the comfort of their own homes—pantless! I'm sure there was a small percentage of people who were pantless. It seems to be a thing people crow about. 

What it really boils down to is our social media usage evolved and so did the way writers use it. And it’s not going to stop changing.

There will be another new social that people glom to and authors will find a way to sell their books and book ideas with it. And after that new shiny there’ll be another, and another. So it really goes back to: make sure you have fun with whichever social you choose. (if you read between the lines it says: don’t do them all, you’ll burn out) If you’re one of the lucky ones and you find an open door on a social—congrats! And I hope you remember what it was like when all you had were dreams and reach a hand back for someone else when you’re able. 

Trendy? Eh, no.

 This Week's Topic: Tik-Tok Trends: Have I Tried Any Reading or Writing Trends?

Oh, y'all, no. Not even when I was in middle school--when being fashionable was a social life or death necessity--was I trendy. These days, I'm vaguely aware of what's what, and even then only the hype in my genre. I'm aware of the Fourth Wing phenomenon and the rise of Romantasy as a marketing category (romantic fantasy and fantasy romance have always existed, it's just that Publishing didn't want to acknowledge it, because ewwww Romance cooties! {eyeroll})

As a reader, I'm interested in the on dit because big sales numbers means the gatekeepers will shepherd some really good books that were previously rejected because "there wasn't a market for that." Admittedly, I usually wait for the second or third wave of the trend, so I reap the benefit of the hidden gems finally getting their due.

As a writer, I pay attention to trends for the sake of my advertising but not for my creative process. I don't write fast enough to release to an ephemeral trend. Ah, if only!

As for using Tik-Tok itself, that'd be a hard nope. Ain't nobody needing to see the disastrophe on this side of the screen.

New Covers for Sorcerous Moons!

 Our topic at the SFF Seven this week is "Tick-Tock trends—have you tried any reading or writing trends?" 

I'm leaving in the misspelling, just so you get how clueless we are. ~ Shakes cane at kids on lawn ~

Regarding TikTok - lol! - a social media property that originated in China, no, I don't follow or attempt the trends. I sometimes feel like I should. I do have a TikTok account - https://www.tiktok.com/@jeffe_kennedy - and I even have over a thousand followers there, even though I almost never post anything. The followers are due to very kind and generous fellow authors who do the Tiks and Toks better than I do. (Shout out to Vela Roth and Lisette Marshall!)

So, I know that I really should post to TikTok, and I sometimes think about it, and even occasionally do it. But I also remind myself of advice I've been giving since the beginning of social media, which is that you "should" do only the kind you enjoy doing. Social media is social and if you're hating it and faking being social and happy and fun, it shows. 

Therefore, instead of discussing reader trends or writing trends or TikTok dances, I'm going to share these beautiful new covers for my complete, six-book Sorcerous Moons series!!! The spine design with all six together is so gorgeous even Taylor is gasping in admiration! The print editions can be ordered via my website store or the usual retailers. 

On my mind: reading older books

 

My To Be Read pile is on my mind. It’s gotten so big that I get choice paralysis when I’m trying to pick a book to read next. I decided to try to prioritize working in books that were published a multiple of ten years ago.

Why? As a reader, it’s easy to get caught up in the constant new release cycle. Physical bookstores have limited capacity, and they want to move books as fast as possible. The best way for them to do this is to stock new books as they come out (which I’m less likely to have bought already) and bestsellers. I often have difficulty finding a book that’s new-to-me on the shelves that’s more than a few years old at a bookstore that only sells new books. Additionally, marketing algorithms prioritize new books (again, because I’m less likely to have read them) when I’m browsing the web.

So I’m making an effort to find and read older books that I didn’t know about. I’m not much for nostalgia, but I am interested in what novels looked like ten, twenty, thirty years ago. I want to know what’s changed in writing conventions and what I can learn from that.

So far this year, I’ve read The Charmed Sphere (2004) by Catherine Asaro, and Undercity (2014), also by Asaro. They are very different books: different genre, different point-of-view, different issues tackled, and I’m glad I read both of them. Next up is Joan Vinge's World's End, published in 1984.

If anyone wants to join me in this activity but doesn't know where to start, ten-year-old books by authors on this blog include The Tears of the Rose by Jeffe Kennedy and Nightmare Ink by Marcella Burnard. 

OMM: Compressing Real-Life Politics into a Fantasy Timeline

This Week's Topic: On My Mind -- Compressing Real-Life Politics into a Believable Fantasy Timeline

Today's an election day here in Ohio. We're mostly voting for who will represent the party on the November ballot. As we spin in yet another face-off between tyranny and democracy, it's too easy to see the hellpit awaiting us. As a citizen, it's horrifying. As a writer, it's enlightening fodder. To have lived through 4 years of a massive and flagrant regression in morals, ethics, and basic compassion only to be threatened (again and again) with another 4 years of it, I'm trying to set aside my disappointment and fury so that I can distill the pivotal moments that enabled The Collapse to figure out where to start The Story. 

There are so many inciting moments in real life over the last fifty to seventy-five years that it's difficult to pick where our protagonist's inciting moment should happen. How do I show an audience the erasure of self-regulating concepts like shame and public censure that once held higher authorities in check? That's something that happened over a long stretch of time, but is there a single moment--or three key moments--that can be built up to convey the crumbling of an institutional pillar? How do I show it without screwing up the pacing? It's easy enough to show capitalistic corruption leading to the downfall, it's been done a lot. Showing the process of the extinction of compassion is harder for me, mostly because it's the reality that makes me the most furious. Putting current real-world events into a fantasy setting with a story that expresses the futile yet desperate fight to revive integrity and altruism has to happen in a compressed timeline yet unfold over a believable blip in time. The pivotal events have to be pushed forward by the actions of the protagonist, when the reality involves a confluence of powerful people over generations.

As I head off to the polls, that's what's On My Mind.

Author Websites

The first hurdle an author has to clear in terms of a website is the fear of being perceived. Don't laugh. It's a whole thing. We've lived most of our lives not being seen or attracting attention to ourselves. It's a bullshit cultural feature of patriarchy. It's pretty ingrained in most female presenting folks to NOT draw attention. Fortunately, an author website, hosted by a professional data center, offers you any number of layers for protecting yourself while promoting your writing. 

The second hurdle is getting past feeling like the website has to be utterly and completely perfect for ever and ever. Literally, the only thing your website needs to do is identify you and your books. It's a communication tool and a landing spot for anyone curious about what you write. The most likely scenario for someone visiting your website is that someone found one of your books and they want to look you up to see what else you have. You can make it as fancy and as involved as you like, but don't think you need fancy for your site to succeed. Your only goal is to create a welcoming place for readers to find out more about your writing and books.

DO:

• Design a site that reflects you. Not just your first book. Or your second. 
• List and describe all your books.
• Include multiple buy links.
• Keep the site up to date with new releases and buy links.

DON'T

• Offer any information that could be used to locate you physically.
• Think you have to build a site all by yourself. You can and should hire out the site unless you're trained or a total control freak. (And then, I'll ask if your time could be more profitably used by writing rather than coding a website.)
• Force yourself to add something to your website that makes you uncomfortable. You won't find a link to a newsletter on my website anymore because my god I hate sending newsletters. Hates it. So I stopped. And Mail Chimp fired me as a customer. So.  

Websites are necessary and help you welcome readers to your work. In a perfect world, the design of the website will reflect your writing persona to some extent. At the end of the day, though, there's no need to spend a ton of money. The fancier the website, the more expensive and time consuming it will be to maintain.  Keeping it Simple Silly has its benefits.

Author Website Checklist

This week we’re talking about one of the business sides to writing: the author website. 

Funny enough, my writing buddy and I were discussing this recently. She plans to turn her website back on since she’s going back in the query trenches and had been checking out a variety of author websites. She said the one thing that stood out the most was that each site she pulled up told her with a glance what genre the author wrote in. 

First impressions, like first lines, are important.

And you have about a second to capture that visiting reader's attention. Uff dah. The pressure! But what better time to do a little website spring cleaning than now! So, how about a checklist?

• The Headshot - do you have an updated headshot? I like Mary Robinette Kowal’s stance on author photos: do it more often than not so you’re recogniable to readers who may run into you IRL. Also, like Mary Robinette mentions here, your headshot is a selling tool. Don’t forget to use it.

• Your Bio - this is one of those necessary evils like a blurb and synopsis. Though hopefully less painful. It may be helpful to have a short bio (100-300 words written in third person) as certain publications have limited space, and also a longer bio, also written in third person, to give people a deeper glimpse into the wizard behind the curtain. Again, this is another selling tool. Drop your hobbies in there and whatever makes you unique as a person. Everyone has something, what’s yours?

• Awards/Publications - If you’ve won awards or your work has been nominated, list it! If you’ve been published in a magazine, print or online, or really any where else your non-novel writing has been published, list it! If a reader is on your website because they loved somethin you read you definately want to make it easy for them to find more. 

• Your Books - this is the given, but there’s a lot of information you’ll want to be sure to include. List the links of your books at all the major online retailors and also your local haunts. The book’s back cover copy, this is usually 200-300 words. The book’s cover in the highest resolution you’ve got. And all the metadata that goes along with a book. If it’s a series don’t forget to say which number!

• Links to your Socials & Platforms - Readers that take the time to check out your website are looking for a conneciton. Let them know where you hang out: your socials. Let them know if you offer subscription access to you: Patreon, Substack, etc. And let them know if you’ll make any in person appearances in the coming year. 

• Contact - Think about this one. If you’re comfortable with anyone having your email, feel free to list it. Or you can use a contact form to help you filter messages. Or if you have a publicist or agent that can happily handle messages, list their email instead of yours! List a contact option that you’re comfortable with. 

There are countless other options you can add to your website. But the most important is to remember it’s a selling tool and you’ll want to convey your genre in the first glimpse. Start simple and add on as you grow as a writer. And don’t forget to update your author headshot here and there or run the risk of showing up at a convention only to be unrecognizable. 

That’s all the wisdom I have for you this week. Happy writing and reading!