The Practice of Creativity

Posts Tagged ‘publishing

January has started off well for my writing.

File this under the category: Believe in your work. As creators, I believe we have to pursue a variety of storytelling modes that are available to us. I’ve started to enter my published work into contests that help pitch the work and get it adapted for film and TV. Nussia, my novelette published in 2017 by Book Smugglers just made it to the quarter finals in the ScreenCraft Contest (Cinematic Short Story Competition)!

I love the cover that Book Smugglers had commissioned for Nussia.

They chose about 200 people from over 1,200 submissions. Here’s my logline: “In this sci-fi psychological dark/horror story, Lindsay, an African American girl “wins” an extraterrestrial in a national contest only to find her family’s life upended. It’s E.T. meets Fatal Attraction.” It’s set in NYC in the 1970s. Wouldn’t you want to see that story told? Please send me good vibes so that I advance to the next round. And, bookmark this contest for your future entries (they have contests for published and unpublished work, plays, etc.).

Screencraft Contests.

If interested, you can read Nussia for free here

I’ve had to sit on VERY GOOD NEWS for a few months, so I am happy to share my contract news and publishing story with you.

Many of you know that my sci-fi novella Reenu-You was published in 2017 by Book Smugglers Publishing, a very small press. What many of you don’t know is that in Nov 2018, BSP decided to get out of the publishing business. The two women who ran the press were wonderful and committed publishers, but they realized that after running it for almost six years, they would need to quit their full-time jobs to take the business to the next level.

This left me and all of their other authors without a publisher. Reenu-You became unavailable in any format by Dec 2018. You can imagine how I felt. I was definitely not expecting this turn of events. It had taken me so long to get that story into the world!

Here was my little novella doing well, garnering great reviews, finding its audience, making its way in the in the world and then BAM—it was GONE.

I have since discovered such is the life of tiny presses and the state of publishing. BSP told me that I should approach other local publishers that might be interested in acquiring it. They believed that it would find a good home. I was daunted by their advice, but I believed in the work.

Luckily, I reached out to the wonderful John Hartness, author and publisher of Falstaff Books to see if he was interested in acquiring the rights to Reenu-You. I had met him the year before at a local sci-fi con and when the local bookseller didn’t show, he did me a favor by selling copies of Reenu-You through his booth. In that intervening year, I also met many of his authors and knew that as a local publisher with a wide distribution network, he was actively recruiting speculative fiction authors who were with presses that had folded.

Last year we had a great meeting. He read the novella, liked it and asked me what I was working on. I had looked at his catalog before our meeting and saw that he didn’t have very much horror and so pitched him my idea—a horror novel that takes place in the Great Dismal Swamp. He loved it and said he would buy that and reissue Reenu-You!

I now have signed contracts and can make the official announcement. Reenu-You will re-emerge later this month and I will be delivering a horror manuscript to him in the summer.

Sometimes, life works out better than one can imagine. There’s so much we can’t control about publishing, but we can control or greatly influence things like building professional relationships, being persistent and believing in one’s work

I am incredibly thankful and honored to officially join the author family of Falstaff Books. Before joining, I knew some of the authors by their fantastic works including Samantha Bryant, Nicole Smith, Michael Williams, Alledria Hurt and Jason Gilbert. Now, I know how kind, supportive and generous they are as a community of writers who uplift and support each other.

If you like speculative fiction, please check out Falstaff’s catalog.

I, of course, will keep you updated as this new publishing journey unfolds.

I’m doing something I have never done before. I’m sharing a few paragraphs from my WIP for WITCHES, WARRIORS AND WISE WOMEN the Kickstarter funded anthology. The tentative title for my story is ‘Ditch Girl’ and is set in a post-apocalyptic world with a smidgen of urban fantasy. There are definitely witches in this story. This is a draft for your reading pleasure only.

BTW, we are 66% funded with only 3 days to go. I’d LOVE it if you would consider supporting this project and/or sharing the link. And, thanks to all of you who have already supported the project in various ways!

There are still VERY cool rewards and pledge levels available—help us fund this project and get some extra goodies for yourself. But hurry—the clock is ticking!

It will feature new fiction by me and Gail Martin, Paige Christie, Darin Kennedy, Alexandria Christian, Nicole Smith, JD Blackrose and many others.

Details here.

“Ditch Girl”

The cemetery never scared Welcome, even as a child.  Cutting through it to get home provided the quickest route and allowed unrivaled use of her imagination. She would make up stories about people, looking for the oldest headstones. Most days after school, before it got dark, she’d pick an interesting gravestone, settle in and strike up a conversation. She’d share things that didn’t sit right in her mind.

She might say, “Ana Sterling of 1950, if you were here, I’d show you around Thistleview. Not that there’s very much to see. In your day, I bet you use to go into that old city called Tulsa, not too far from here. It’s not there anymore now, Ana.”

Or, “One day the preacher’s wife slapped me for not wearing a slip. After service, she asked me to come in the back to talk to her and before I knew it she had her beefy hand on me.

The preacher’s wife said, “Welcome, can’t you see your breasts are falling out that dress? Do you want to end up like your mother?”

Mama never said I had to wear a slip, Ana. I don’t even have a slip. I stopped going to church after that. The preacher’s wife don’t bother me no more. She don’t even speak to me at all. She just looks right through me as if I’m some piece of old cobweb. Were slips big in your day, Ana? I bet they were. People had money back then from what I’ve read. They went places that needed slips.”

On this day Welcome made her way through the forested part of the cemetery, where the red cedars were thickest and some of the oldest headstones lay. She paused and sniffed, noticing the coolness in this part of the cemetery. She then heard words sung by a female voice:

My funny valentine
Sweet comic valentine
You make me smile with my heart

Goosebumps pebbled her pale skin and she hunched into her ragged coat. The phrases repeated and Welcome looked toward the nearest stand of trees. She darted behind one and then another thinking that she had been followed by some of her stupid classmates.

After a few minutes of frantic searching and finding no singers (she knew no one in town that sounded as good as that voice), with every vein straining in her face, she listened.

Another female voice rang out, this one heavier:

We’re trying to come throu…

Come to us!

The moment seared her like when she waited for the once a month afternoon train. Pricks of excitement and danger bit into her, making her hop from foot to foot. She couldn’t make herself stand still. Nothing she had heard so far in her life sounded as good as these voices. They made her feel as if her favorite butterscotch candies were melting on her tongue. No, it was as if she floated in warm butterscotch candy. She ran up and down the stretch of the cemetery. Welcome overturned rocks, peeked behind headstones, climbed a small tree and searched for the origin of those voices until she could barely see in front of her.

Exhausted, she remembered her responsibilities. Mama will wonder where dinner is.

“Please, whatever you are come to me,” she said at last, the frustration catching in her throat. On rest of the walk home as the sun sank, a feeling of utter sadness swept over Welcome. Maybe everyone in town is right. I’m going crazy, like Mama.

***

I hoped you enjoyed this snippet. I’m sure that my opening and entire story will go through several drafts before I’m happy with it and send it on. I look forward to working with Jason Graves, publisher of Prospective Press and editor of this anthology.

 

I’m so honored to have been asked by Jason Graves, founder of Prospective Press, to write a fantasy story for the debut volume of his new anthology series, Concrete Dreams, featuring ‘witches, warriors and wise women’. This is my first invite to participate in a themed anthology! The contributors are well-published speculative fiction authors including Gail Z. Martin, Jody Lynn Nye, Nicole Givens Kurtz, Darin Kennedy, Paige L. Christie and several more. My story is due at the end of the year and the volume is due out in June 2020.

Established in 2015, Prospective Press is a vigorous small press specializing in fantasy, horror, and other speculative fiction. It is an inclusive, pro-diversity, feminist-friendly, queer-welcoming, and #ownvoices-embracing publishing house.

This is a Kickstarter funded anthology, so I have a favor to ask:

Will you, dear blog reader, consider making a pledge to see this anthology funded?

There are fantastic rewards for all levels of pledges. Even if you don’t read much fantasy, your pledge will help usher this book into the world for other eager readers to enjoy. Your literary karma increases by ten-fold when you help get new worthwhile projects off the ground. Or, if you are unable to contribute, please consider sharing the Kickstarter page through social media as I bet someone you know would be interested. It takes a village to get an anthology published in the 21st century! Thanks in advance!

 

Here’s more details about the project, levels of pledge and the rewards.

 

 

Besides loving to write fiction, I also love writing nonfiction. Over several decades, I have read and benefited from what’s known as ‘self-help, inspirational and personal transformation’ kinds of books. And, truth be told, I’ve always wanted to write a book that falls in the area of inspiration/personal transformation, especially as it relates to creativity. And, I’ve had my eye on Hay House Publishing for a long time.

Hay House Publishing is known for publishing leading self-help, health and wellness, and personal transformation books and has a very successful thirty-year track record. Deepak Chopra, Wayne Dyer and Kris Carr are well-known Hay House authors and many Hay House authors end up on the New York Times bestseller list. Hay House is one of the top twenty major publishers in the U.S. The founder of Hay House was Louise Hay and she wrote You Can Heal Your Life, book that sold millions and was translated into many languages. She helped to create the modern ‘self-help’ genre. I read her book in my twenties, loved it and shared it with everyone I knew. She was at the forefront of making the argument that what we think (and think about) can affect our bodies, now known as the ‘mind-body’ connection.

The U.S. ‘self-improvement market’ is estimated at 9 billion dollars and close to 800 million dollars of that involves books!

Hay House provides an experience for aspiring authors that no other publishing company does. For the past twelve years they have hosted the ‘Hay House Writer’s Workshop’, an intimate in-person event. They share with you the insider information about the publishing process from start to finish (i.e. developing an idea to submitting proposal to building a platform) and you get to hear from some of their most popular authors. The idea is to give aspiring authors a jump-start and leg up. And, here is the truly remarkable thing—if you attend a live event, you are eligible to participate in their exclusive contest (for that event) and submit a book proposal six months later. From every event they pick three winning book proposals with a commitment to publish those books. The Grand Prize is $10,000. You can only enter the contest by attending. And each event is attended by about 250 people. Reid Tracy, the CEO of Hay House said that despite those good odds, they often only end up with 60-80 entries. I like those odds!

And, so for years I have wanted to attend the Hay House Writer’s Workshop. I decided this was the year to commit, so a few weeks ago, I headed to the Houston event. I went with few expectations and can truly say that the experience was phenomenal.

Some highlights:

The People:

For me, there’s few better ways to spend my time than with other writers. I met people from all over the globe who had made their way to Houston. A few nights before I left, I put a note out on the site’s Facebook page to see if people wanted to get together for dinner when we got in as I knew no one in Houston. People responded right away and this became the beginning of a great group of about eight of us. One of the folks I met is a writer in Greensboro, just 45 minutes from where I live—we even know a ton of the same writers. Small world!

I was fascinated by people’s backgrounds and what was motivating them to attend. There were medical doctors, integrative health practitioners, therapists, grandmothers, seasoned writers, entrepreneurs,healers, energy workers, and newbie writers all wanting to know more about Hay House and how to get their book into the world and change people’s lives. Close to 90% percent were interested in writing prescriptive non-fiction and/or a ‘teaching memoir’. I don’t usually get to meet so many people that were interested in personal transformation topics so that was a treat. They were kind, funny and generous. It was also a diverse group of writers which I was very thankful for. I left with a new community of wonderful writers.

The Workshop/Speakers: 

Hay House delivered on providing an excellent, inspiring and informative curriculum. Reid and Kelly Notaras were our informative co-hosts.They spent a lot of time explaining the publishing market and led with the fact that authors need a platform (or the ability to create one) and that out of 80,000 books published a year only about 300 of them sell 50,000 copies (which in publishing is seen as a type of benchmark). They also talked about the range of options for publishing besides the traditional route and in both cases explained how important it is to work with an editor, before you send your proposal or book out the door.

Reid Tracy welcoming us and talking about the power of Hay House books to change people’s lives.

Each presenter provided insight either about the writing process, how to stay inspired, or how they broke in. They were engaging, funny and inspiring.

Mike Dooley shared his story of how he started his ‘notes from the universe’ when he was in a down period and how serving people over time helped him create a major platform. He started with 36 email addresses and now has thousands and thousands of people around the world who are engaged with his message.

Nancy Levin spoke from the heart about how she came to write her own book after being the Hay House events manager for over a decade. I was impressed that she spoke without notes or a fancy Powerpoint. She also talked openly about the value of working with an editor and a ghostwriter. On Sun morning she also led a fantastic meditation workshop that included poetry, very unique.

Robert Holden (toward the right of center), author of Shift Happens started his talk off with us dancing on stage with him to Stevie Wonder! As we had been sitting almost all day, this was such a joy. His talk was about how to write through fear and anxiety. And, he stressed writing as a spiritual practice which resonated with me.

Super inspiring to hear Rebekah Borucki’s journey. She attended a HH Writer’s workshop a few years ago but didn’t submit a proposal. She then worked on the book proposal for ‘You Have 4 Minutes to Change Your Life’ and platform. She submitted her proposal to Hay House via the traditional route and it got acquired and it is now out. She talked about writing the book of your heart. I also appreciated that they showcased an up and coming author and one who identifies as bi-racial.

The Materials:

I’m not a newbie to writing or publishing. For about a ¼ of the participants the idea of writing a book was new and they didn’t know a lot about publishing platforms, finding a writer’s group, how to put together a proposal, etc. I came knowledgeable about the publishing process, but learned lots! There were two things that got everyone up to speed. One was the long Q&A sessions on Sat afternoon and Sunday where anyone could ask a question and they all got answered as best they could by Reid and Kelly. And, the second was this incredible manual that they gave us that contained a successful proposal of a book that was acquired by Hay House, plus information about publishers in the field besides Hay House that publish in the self-help field, resources for platform building and other tips about both traditional and indie publishing. It was a gold mine of resources and alone was worth the cost of the trip.

I’m glad I got myself to Houston (didn’t do as much sight-seeing as I would have liked) and I know have until April to write my book proposal for the contest and send it in. I’ll keep you posted!

I am excited to share my first experience co-hosting a podcast! I love the Writer’s Well: Conversations about writing from craft to wellness podcast with Rachael Herron and J. Thorn. Rachael Herron and J. Thorn are friends and full-time writers and they share observations about the challenges and joys of the writing life. Each person poses a question to the other; it’s an unscripted and fun process. I’ve been listening to them for about two years. I really enjoy how supportive they are of each other and their larger community. The advice they give is invaluable and their warmth and affection for each other is joyous.

I’m in their private, once a month Mastermind group along with author Amy Taksuda. I’ve been in the group three months and like I say on the show, it is the best thing I’ve done for my writing life this year. They coach us on our writing challenges and Amy and I also brainstorm with each other. Our group has got great synergy. We were honored that they asked each of us to co-host an episode, with Rachael, during September while J was traveling. I jumped at the opportunity as I love the show and enjoy speaking on podcasts when I have the opportunity.

Rachael posed the question to me: ‘How does physicality affect your writing?’ True to the show’s format, the question was fresh for me. We talked about yoga, writing routines, swimming, Zumba, staying healthy as a writer, outsmarting your inner critic and more.

Not having the question ahead of time and being spontaneous was a good practice for me. I often over prepare for most engagements and consequently can miss being present with what is actually happening. Don’t we all have control issues, lol? Of course, after the show I thought of all the additional things I wanted to say! But, you can tell from listening to our conversation that is was fresh, lively and surprising to each of us.

She made me feel so welcome. It was so fun and such an honor.

Check it out here when you have a moment!

 

Two conversations, in the past few months, has me thinking a lot about readers and the lengths they will go to for the authors they love. And, as writers, how do we put our attention even more squarely on creating an amazing reader experience.

This author has created very loyal and responsive fans

One of my colleagues recently shared a story with me about how completely determined she was to obtain the latest release of a Louise Penny novel. At the time, she was traveling in Michigan and the bookstore that she usually visits while there had already run out of LP’s novel. She was scheduled to take a plane home later that day. She was so determined to get this novel that she called several bookstores in the area and then wound up driving over 45 minutes to a bookstore that still had the novel in stock. * She almost missed her plane in search of this book. That’s devotion.

One of my dearest friends and I were recently discussing what we were reading. Since I knew that my friend was also a fan of LP, I mentioned that my colleague was looking forward to diving into the latest LP novel. My friend paused and said with intensity, “Louise Penny is the only author that I make sure I do a pre-order for, so that the day of her release, the book arrives at my door. And, then I drop everything for a few hours to read it.”

I was struck by both conversations. Also, on a recent episode of the fantastic ‘The Writer’s Well’ podcast with Rachael Herron and J. Thorn, Rachael mentioned that a writer she knew had fans who would call in sick on the day of a new release. That’s commitment!

Having fans that make it a priority to read your work is every writer’s dream. It made me think about the question posed in the blog post title: What Lengths Are Readers Willing to Go to Read Your Work?

The deeper question is: How do we craft stories that readers can’t put down? Stories that keep them coming back for more.

This, as you already know, is a million-dollar question and there is no magic answer. I do think a piece of the answer is consistently thinking about one’s ideal reader. Over the years, I made an important realization—I am ultimately writing for reader experience and engagement, not just my own personal pleasure. Twenty years ago, I really didn’t think much about reader satisfaction or engagement—it was all about MY MESSAGE. Or, it was all about HOW CLEVERLY I USED LANGUAGE. This sounds so dumb and pretentious as I write it here, but it is the truth. Now, for me, managing and heightening reader experience is where the gold is and is always in the forefront of my mind. The first draft of anything is still just for me, my flights of fancy and risk-taking. Each subsequent draft though, I try to hone the kinds of emotions I want the reader to feel in each scene and across the whole manuscript. I also pay much more attention to where I might lose the reader in a story.

While teaching at the Table Rock Writers Workshop a few weeks ago, I had the distinct pleasure of hearing a fantastic book talk by Emily Nunn, author of The Comfort Food Diaries: My Quest for the Perfect Dish to Mend a Broken Heart and former writer and inventor of the “Table for Two” column in The New Yorker.

She shared the grueling writing process she went through her after book proposal for a memoir (based on her experiences being in a psychiatric facility) was sold with relative ease. Her book is about the circumstances that got her into the facility and after leaving, how she healed by traveling to see friends and cooking together. She shared with us that she really wanted to include a chapter about her time in the psychiatric facility and someone on her team (I can’t remember if it was her agent or editor), said no and told her to take the chapter out. She was very upset with this advice. She had labored over that chapter and to her it represented the heart of the book. They, however, felt that the tone of the chapter was completely out of sync with the rest of the overall upbeat feel and transformational tone of the book. This same person said something along the lines of, “You don’t want to eject the reader from the book.” And, that chapter, in their opinion, though well-written would have created such incongruities for the reader, there was a potential of ejecting them out of the book. Thinking about what ejects the reader out of our work struck me as a useful bit of advice. We never want to eject the reader from our work! Ejecting the reader can look many different ways, right?

For example: Sloppy dialogue, a wandering plot, undeveloped characters, shoehorning one of our darlings into a book that just doesn’t fit (Nunn made it clear that the chapter she was being asked to cut was one of her favorites and she considered it important). Nunn added though that in retrospect, the advice was solid—the chapter didn’t fit in the current version of the book and could work instead as an excellent essay. Her team was thinking about the reader’s experience.

Many writers don’t read their reviews for a variety of reasons. I have found it helpful to look at the reviews of my work and pay attention to emails I receive or in person responses. What they like (or don’t like) are hints to their reader experience.

Sometimes when soliciting feedback on a draft, I will ask someone to mark in the text, exactly where they were able to out the book down. I go to that spot(s) and ask hard questions about what is either not working, or what is working but in a very uninteresting way.

No one starts out writing something that they know readers will devour; if you’re lucky you grow into a gifted storyteller over time. The writers who consistently create work that makes people stay up late, almost miss planes, and tell others about it have cracked something valuable about reader experience. The answers are out there in others’ work and our own, if we are brave enough to dig for them.

How do you understand the role of the reader’s experience? Are there questions you ask yourself when rewriting that focus on reader experience? I’d love to know!

*You may be wondering why she didn’t order it on Amazon—she doesn’t use Amazon and prefers to support independent bookstores.

Photo Credit-Louise Penny

Photo Credit-Emily Nunn


Michele Tracy Berger

Michele Tracy Berger

Author, Academic, Creativity Expert I'm an award winning writer.

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