As one of the four members of Nancy's critique group, I echo her praise for this valuable tool. Read on to learn the importance of finding the RIGHT critique group for you:
Critique Groups Provide First-Aid for Writers
By Nancy K. Allen
Since many students will soon be on a holiday break, I’m going to write about tips for writers in a series of three blogs that focus on critique groups.
You’ve pounded the keyboard day after day, week after week, creating your story. You’ve spit-shined the revisions, rearranged the sentences, and typed the last word. Now you’re ready to kiss your manuscript good-bye and ship it off to strangers, AKA editors.Not so fast! Mailing you’re manuscript at this time may be a little premature. Consider joining a critique group. Not only will group members view your work with new perspectives, they will also provide feedback, positive and negative. The critique group will hone in on areas of quality writing, praising your efforts, and will offer examples for improvement in areas that need revision.
I’ve been writing for publication for twenty years and have had thirteen picture books and one chapter book published. During that time, I completed revision after revision, relying on my skills, alone.
A couple of years ago I joined, via the Internet, a critique group composed of four children’s writers. In that short period, my critique group has provided professional input into picture and chapter book manuscripts, making each work stronger. This group completes line-by-line, in-depth critiques, rather than general overview critiques. For me, the more specific the evaluation, the better.
Next week, Nancy provides specific detail as to how our group functions.
Monday, December 21, 2009
Friday, December 11, 2009
R-E-J-E-C-T-I-O-N
R is for the relief of getting my query letter and first three chapters submitted.
E is for the expectation of making it out of the ‘slush’ pile.
J is for jealous-my first reaction to someone else signing a book deal.
E is for the effort it takes to be happy for someone else signing a book deal.
C is for caffeine and chocolate--a writer’s two best friends.
T is for time – seconds, minutes, hours, days, months, but a year before I hear?
I is for inbox-“maybe today is the day I’ll get an email saying my story is accepted!”
O is for the ONE right submission reaching the ONE right publisher.
N is for ‘NO’.
Put them all together and what do you get? The reason I have a day job.
E is for the expectation of making it out of the ‘slush’ pile.
J is for jealous-my first reaction to someone else signing a book deal.
E is for the effort it takes to be happy for someone else signing a book deal.
C is for caffeine and chocolate--a writer’s two best friends.
T is for time – seconds, minutes, hours, days, months, but a year before I hear?
I is for inbox-“maybe today is the day I’ll get an email saying my story is accepted!”
O is for the ONE right submission reaching the ONE right publisher.
N is for ‘NO’.
Put them all together and what do you get? The reason I have a day job.
Friday, December 4, 2009
Rejection --a different perspective
REJECTION: I've learned something about rejection letters. Somebody is, at least, giving acknowledgement to my writing. At least they are saying, "I received a manuscript from this writer. I can't use it, but at least I DID receive it." I know this is a tiny step up from no answer at all, but it is a step-up. In some cases, an EDITOR is actually reading my writing--they might not accept it, might even hate it--but sometimes it's being read by an actual, by-gosh EDITOR, (junior, though it may be.) That means, I'm a writer. I'm different from people who do not write. I'm in a class of fellow writers whose brains are overflowing with words that demand to have a voice. I'm special.
And in some cases, I really believe my rejections are due to bad-timing, wrong 'house', duplicate story, or some other mundane reason that had nothing at all to do with my writing ability. I almost never feel 'rejected' anymore--just 're-directed'.
In summary, create a workspace, work on your craft every day, set goals and focus a part of every week to reaching that pinnacle of being a published author. Even the smallest acknowledgement on your part will do wonders for your self-esteem. Example: I recently created a web-site, and I've been struggling trying to get the word out. Recently, an old friend contacted me for the first time in 15 years. I gave him my web address and suggested he 'check it out'. He responded to the 'contact me' section by saying, "I DIDN'T KNOW YOU WERE A WRITER!"
My head swelled. My shoulders squared. Yes, by gosh...I AM A WRITER!
And in some cases, I really believe my rejections are due to bad-timing, wrong 'house', duplicate story, or some other mundane reason that had nothing at all to do with my writing ability. I almost never feel 'rejected' anymore--just 're-directed'.
In summary, create a workspace, work on your craft every day, set goals and focus a part of every week to reaching that pinnacle of being a published author. Even the smallest acknowledgement on your part will do wonders for your self-esteem. Example: I recently created a web-site, and I've been struggling trying to get the word out. Recently, an old friend contacted me for the first time in 15 years. I gave him my web address and suggested he 'check it out'. He responded to the 'contact me' section by saying, "I DIDN'T KNOW YOU WERE A WRITER!"
My head swelled. My shoulders squared. Yes, by gosh...I AM A WRITER!
Tuesday, December 1, 2009
More writing tips to beat the slump...
This week, I pick up where I left off on some more helpful hints that might jump-start your writing slump. By incorporating these hints, I was able to set a goal and keep my BIC.
1. Get serious about documenting and tracking: I'd be lost without my Exel spreadsheet for submissions and tracking. I keep a simple file with the following headers:
Title/ Sent to/ Date/ Method/ Follow Up/ Response
This has served me well as I've been able to stop myself from 'double dipping' on any one agent/editor. I know at a glance exactly when I sent something out and exactly when I should either give up or follow up. Which brings me to # 2:
2. SUBMIT, SUBMIT, SUBMIT!: I'm a fan of goals. Lord knows, I set long-term goals, short-term goals, weekly goals, daily goals, and hourly goals.
If you don't believe that, you should see my daytimer. Sometimes, I can't get anything done for checking up on my goals.
I read somewhere one should keep at least 12 things submitted at all times! Sometimes I go a little over, but most often, I fall way short.
What, you don't submit on a regular basis? Shame on you! I know Lana Turner got discovered when she least expected it, but I doubt if an editor will ever ring my phone and ask me if I'd like to write them a story. I gave up on that happening long ago. Now I CONTACT THEM!
I prefer email queries and we're seeing more and more of that type, but I try to submit something every week, either by email or snail mail. Believe it or not, once you set that goal and follow up for a couple of weeks, submitting is not the difficult job it's cracked up to be. Words I have taped on my home office wall:
IF I DON'T SUBMIT ANYTHING THIS WEEK, I'M GUARANTEED TO FAIL.
Next time: REJECTIONS--you gotta love 'em.
1. Get serious about documenting and tracking: I'd be lost without my Exel spreadsheet for submissions and tracking. I keep a simple file with the following headers:
Title/ Sent to/ Date/ Method/ Follow Up/ Response
This has served me well as I've been able to stop myself from 'double dipping' on any one agent/editor. I know at a glance exactly when I sent something out and exactly when I should either give up or follow up. Which brings me to # 2:
2. SUBMIT, SUBMIT, SUBMIT!: I'm a fan of goals. Lord knows, I set long-term goals, short-term goals, weekly goals, daily goals, and hourly goals.
If you don't believe that, you should see my daytimer. Sometimes, I can't get anything done for checking up on my goals.
I read somewhere one should keep at least 12 things submitted at all times! Sometimes I go a little over, but most often, I fall way short.
What, you don't submit on a regular basis? Shame on you! I know Lana Turner got discovered when she least expected it, but I doubt if an editor will ever ring my phone and ask me if I'd like to write them a story. I gave up on that happening long ago. Now I CONTACT THEM!
I prefer email queries and we're seeing more and more of that type, but I try to submit something every week, either by email or snail mail. Believe it or not, once you set that goal and follow up for a couple of weeks, submitting is not the difficult job it's cracked up to be. Words I have taped on my home office wall:
IF I DON'T SUBMIT ANYTHING THIS WEEK, I'M GUARANTEED TO FAIL.
Next time: REJECTIONS--you gotta love 'em.
Monday, November 23, 2009
Getting Started on Your Writing Career...
JUST GET IT DONE!
I have struggled a long time with 'focus' and 'stick-to-it-ness'. I've given it some serious thought and come up with a plan. So far, it's working for me...but the first step is the hardest!
1.Set up your workspace: If you're lucky enough to have a complete room designated as an office, this should be a breeze. Some of us aren't that lucky. Oh now, I have a separate office, but I started writing when my boys were little and my 'office' consisted of the space located inside my piano bench. Try keeping several stories, poems and notes in some sort of order when shuffled to one side while the other side is crammed with song books, piano lesson and smiley faces, (yes, I gave piano lessons, too!)
2.Stacks and Stores: Designate some time each week to work on cleaning up your 'stacks and stores'. This is an on-going job for me and one that can overflow and conquor, if not consistently addressed. In my case, I currently devote an hour every Tuesday and Thursday evening to this task. Books pulled out, mail that needs shredding, notes that must be filed--all fit this category. Without paying special attention to this chore, my 'office/project room' would be a disaster.
3. File, File, File: This one was the hardest to set up and required more preliminary work than the others. Not until I finally got serious about my writing projects and took them out of my head and into a paper file did they become 'real' to me. I've lost more ideas by scribbling them on a note pad and promptly forgetting them. Finally, I invested in some hanging file folders. I label each one with a working title when the idea pops into my head. I started out devoting a couple of hours on Saturday to this project, but find it works better as each new idea/story is born. I always keep extra blank folders in place and when the new story is born, I jot it down or type a rough outline--whichever works--and file it in the waiting file, pop the little plastic sleeve out and write a working title on it and position the label. For me, I've given the new idea the importance it deserves. A new story is added to my cache.
As the story develops, a new page is added to the file. Normally at some point, the paper trail gives way to the electronic file as I have
simultaneously set up a file in 'my documents' that matches the one in my office drawer. Each 'folder' bears the name of the working title and I save each 'new edition' with the current date. (JUST REMEMBER TO BACK-UP YOUR ELECTRONIC FILES!)
My method might not work for you, or it might seem redudant; the point is, develop what works for you and stick to it! No great novel was ever sold that didn't find its way to paper. By starting out hard copy, I finally can grow the story to the credibility it deserves. The paper file works especially well for non-fiction articles and stories that require research.
Stay tuned...more hints next week!
I have struggled a long time with 'focus' and 'stick-to-it-ness'. I've given it some serious thought and come up with a plan. So far, it's working for me...but the first step is the hardest!
1.Set up your workspace: If you're lucky enough to have a complete room designated as an office, this should be a breeze. Some of us aren't that lucky. Oh now, I have a separate office, but I started writing when my boys were little and my 'office' consisted of the space located inside my piano bench. Try keeping several stories, poems and notes in some sort of order when shuffled to one side while the other side is crammed with song books, piano lesson and smiley faces, (yes, I gave piano lessons, too!)
2.Stacks and Stores: Designate some time each week to work on cleaning up your 'stacks and stores'. This is an on-going job for me and one that can overflow and conquor, if not consistently addressed. In my case, I currently devote an hour every Tuesday and Thursday evening to this task. Books pulled out, mail that needs shredding, notes that must be filed--all fit this category. Without paying special attention to this chore, my 'office/project room' would be a disaster.
3. File, File, File: This one was the hardest to set up and required more preliminary work than the others. Not until I finally got serious about my writing projects and took them out of my head and into a paper file did they become 'real' to me. I've lost more ideas by scribbling them on a note pad and promptly forgetting them. Finally, I invested in some hanging file folders. I label each one with a working title when the idea pops into my head. I started out devoting a couple of hours on Saturday to this project, but find it works better as each new idea/story is born. I always keep extra blank folders in place and when the new story is born, I jot it down or type a rough outline--whichever works--and file it in the waiting file, pop the little plastic sleeve out and write a working title on it and position the label. For me, I've given the new idea the importance it deserves. A new story is added to my cache.
As the story develops, a new page is added to the file. Normally at some point, the paper trail gives way to the electronic file as I have
simultaneously set up a file in 'my documents' that matches the one in my office drawer. Each 'folder' bears the name of the working title and I save each 'new edition' with the current date. (JUST REMEMBER TO BACK-UP YOUR ELECTRONIC FILES!)
My method might not work for you, or it might seem redudant; the point is, develop what works for you and stick to it! No great novel was ever sold that didn't find its way to paper. By starting out hard copy, I finally can grow the story to the credibility it deserves. The paper file works especially well for non-fiction articles and stories that require research.
Stay tuned...more hints next week!
Wednesday, November 11, 2009
Interview with children's author, writing consultant, conference speaker Nancy Kelly Allen...
Today, I am interviewing Kentucky children's author Nancy Kelly Allen on 'voice'--a critical part of every story. Visit Nancy's website to learn more: www.nancykellyallen.com
or follow her blogs at www.nancykellyallen.blogspot.com
It seems that editors are always looking for manuscripts with a distinctive voice. What is voice? Do you think kids notice it?
NKA: Voice is that indefinable quality of writing that is different for every writer so I guess that’s why editors say they don’t know what they’re looking for but they know when they read it. It’s the writer’s individual style. Sometimes we pick up a book and recognize an author’s style immediately because the words and phrasing reflects the writer’s authentic voice. Word choice, narrative, dialog, and even tone contribute to a writer’s voice. Some writers use short snappy sentences; others prefer long descriptions. Some write chatty dialog while others create lyrical prose. Some dish out humor; others are more serious. Over time, a style develops. That doesn’t mean a style is permanent, but certain characteristic threads will likely weave through most of the writing, and those characteristic threads are the writer’s voice.
Actually, I don’t worry about voice when I’m writing picture books. My primary goal is to tell the story. When I have the plot and characters figured out and the story from beginning to end on paper, I revise with the goal of injecting voice into the story. When I wrote, The Munched-Up Flower Garden, I followed this model. In the first draft, I wrote, “James ran.” During the revision I changed the words to “James sure can make the dust fly as he picks them up and puts them down.” The revision of voice doesn’t change the plot but the story now tickles the ears with a poetic tingle. And that’s what voice is to me: a stringing together of words so they fall on the ear like music. We each have a distinctive manner of speaking so our characters should reflect real life in that respect. A character that grew up in the South would probably not use the same words as a character that grew up in New York City. A doctor would use the different words to describe a particular ailment than those of a six-year-old child. Voice should reflect the character and the world and situation in which the character exists.
Children definitely notice the voice of characters. Liz is the main character in The Munched-Up Flower Garden. She is feisty, but loveable, and has distinctive voice. She’s loud. She gets frustrated easily, and she is funny. The use of voice makes a character come to life. I want a character to leap off the pages of the book and become almost real to the reader or listener. Voice in dialog and thoughts make the character unique.
I think voice is the part of the literary process that emerges as an author becomes more comfortable or confident in his/her writing. Voice develops over time. Writing a particular character does not come naturally to me. I have spent a career around children. As a former teacher and librarian, I had access to kids and books on a daily basis. As a writer this is fertile ground. I not only listened to what kids said but how they said it. Listening to how people talk is a productive way to create voice for a character. Everyone has a friend or relative who has a charming or disgruntled or funny way of speaking. Tune in to those unusual phrases and recapture them in a character. If you hear a particular phrase that you think would work for a character, write it down. If not, you’ll probably forget before you get around to tapping the keyboard. Experiment with writing to see what type of voice works best for a particular character.
Nothing is truly unique in writing. Instead of trying to capture something no one has ever done before, try capturing a realistic voice that rings true for the character throughout the story. Stay consistent.
One of the best ways to discover voice is to read a variety of books by different authors. Read the book the first time to enjoy it. Read it the second time to pinpoint how the author strung words together to create the voices of different characters. Most of all, write, write, write and read, read, read. Have fun with words and you will discover your own voice as a writer.
or follow her blogs at www.nancykellyallen.blogspot.com
It seems that editors are always looking for manuscripts with a distinctive voice. What is voice? Do you think kids notice it?
NKA: Voice is that indefinable quality of writing that is different for every writer so I guess that’s why editors say they don’t know what they’re looking for but they know when they read it. It’s the writer’s individual style. Sometimes we pick up a book and recognize an author’s style immediately because the words and phrasing reflects the writer’s authentic voice. Word choice, narrative, dialog, and even tone contribute to a writer’s voice. Some writers use short snappy sentences; others prefer long descriptions. Some write chatty dialog while others create lyrical prose. Some dish out humor; others are more serious. Over time, a style develops. That doesn’t mean a style is permanent, but certain characteristic threads will likely weave through most of the writing, and those characteristic threads are the writer’s voice.
Actually, I don’t worry about voice when I’m writing picture books. My primary goal is to tell the story. When I have the plot and characters figured out and the story from beginning to end on paper, I revise with the goal of injecting voice into the story. When I wrote, The Munched-Up Flower Garden, I followed this model. In the first draft, I wrote, “James ran.” During the revision I changed the words to “James sure can make the dust fly as he picks them up and puts them down.” The revision of voice doesn’t change the plot but the story now tickles the ears with a poetic tingle. And that’s what voice is to me: a stringing together of words so they fall on the ear like music. We each have a distinctive manner of speaking so our characters should reflect real life in that respect. A character that grew up in the South would probably not use the same words as a character that grew up in New York City. A doctor would use the different words to describe a particular ailment than those of a six-year-old child. Voice should reflect the character and the world and situation in which the character exists.
Children definitely notice the voice of characters. Liz is the main character in The Munched-Up Flower Garden. She is feisty, but loveable, and has distinctive voice. She’s loud. She gets frustrated easily, and she is funny. The use of voice makes a character come to life. I want a character to leap off the pages of the book and become almost real to the reader or listener. Voice in dialog and thoughts make the character unique.
I think voice is the part of the literary process that emerges as an author becomes more comfortable or confident in his/her writing. Voice develops over time. Writing a particular character does not come naturally to me. I have spent a career around children. As a former teacher and librarian, I had access to kids and books on a daily basis. As a writer this is fertile ground. I not only listened to what kids said but how they said it. Listening to how people talk is a productive way to create voice for a character. Everyone has a friend or relative who has a charming or disgruntled or funny way of speaking. Tune in to those unusual phrases and recapture them in a character. If you hear a particular phrase that you think would work for a character, write it down. If not, you’ll probably forget before you get around to tapping the keyboard. Experiment with writing to see what type of voice works best for a particular character.
Nothing is truly unique in writing. Instead of trying to capture something no one has ever done before, try capturing a realistic voice that rings true for the character throughout the story. Stay consistent.
One of the best ways to discover voice is to read a variety of books by different authors. Read the book the first time to enjoy it. Read it the second time to pinpoint how the author strung words together to create the voices of different characters. Most of all, write, write, write and read, read, read. Have fun with words and you will discover your own voice as a writer.
Friday, November 6, 2009
When Does 'Much' Become Too Much? Or 'Information-ed Out'
We are truly in the 'information age', but when does it become TMI? I can remember when I got my first cell phone--and it wasn't that long ago, folks. Remember the 'brick' that flipped open from the bottom to reveal those big dialing numbers? I thought I had finally arrived! Now, I 'fat-finger' almost every function I perform on my tiny, credit card-sized, 3.0 pixel picture-taking cell. And did I mention I can email, text, listen to music, download hundreds of options AND play games?
Add to this little jewel the fact I'm on Facebook, Twitter, and the world-wide web. Then layer on my personal email, work email and blogs I follow. When does it all end? Or better yet, when does life begin? Remember walks in the park? Visiting friends? Writing a note? Heck, remember reading a good book--the kind you hold in your hands?
Now I hate changes as much as the next person. However, I've already benefited from my small amount of exposure to having a website. I'm learning a writer needs to be 'available' should an agent/editor 'come calling'. So I've proudly stepped up to the challenge of putting myself 'out there'. This week alone, I've read not one, but two blogs/interviews from editors who stated they checked out an author prior to accepting their submission. One editor said she wasn't interested in the bells & whistles of her website, only trying to determine if said author had a 'presence' and was willing to 'network' for marketing purposes.
In one month, I've gone from the silent majority to the connected minority. There are many websites that offer big bang for your buck-I think mine costs only $4.95/year and it's very user-friendly (more like 'hold your hand every step of the way' friendly).
I am content knowing I can be 'found' every second of the day. A generation past worried about 'BIG BROTHER', but I'm drawing 'them' a map. Again, TMI???
Now if only I had time to write...
Add to this little jewel the fact I'm on Facebook, Twitter, and the world-wide web. Then layer on my personal email, work email and blogs I follow. When does it all end? Or better yet, when does life begin? Remember walks in the park? Visiting friends? Writing a note? Heck, remember reading a good book--the kind you hold in your hands?
Now I hate changes as much as the next person. However, I've already benefited from my small amount of exposure to having a website. I'm learning a writer needs to be 'available' should an agent/editor 'come calling'. So I've proudly stepped up to the challenge of putting myself 'out there'. This week alone, I've read not one, but two blogs/interviews from editors who stated they checked out an author prior to accepting their submission. One editor said she wasn't interested in the bells & whistles of her website, only trying to determine if said author had a 'presence' and was willing to 'network' for marketing purposes.
In one month, I've gone from the silent majority to the connected minority. There are many websites that offer big bang for your buck-I think mine costs only $4.95/year and it's very user-friendly (more like 'hold your hand every step of the way' friendly).
I am content knowing I can be 'found' every second of the day. A generation past worried about 'BIG BROTHER', but I'm drawing 'them' a map. Again, TMI???
Now if only I had time to write...
Wednesday, October 28, 2009
Love Your Character...to death, if needed!
I just finished reading a good strong fiction novel-one in a series-with a strong Main Character (MC). The author has successfully done what every writer should aim for: develop a MC with pizazz!
The MC became my friend. I got involved in his daily life. I hurt when he hurt (which was often), I laughed at his jokes, and I schemed right along beside him when the chips were down. We could all learn from this author--develop a strong character, put him/her in the middle of the ocean, and bring on the sharks!
I admit, my early writing attempts fell short of this plan. To be honest, I wouldn't even read those stories now. I've seen the light. I get it.
The challenge to write an attention-grabber begins on the first page; heck, it begins in the opening paragraph. Writers do not have the luxury of building the story, setting the scene and painting the picture before the MC falls off a cliff. The MC should fall off the cliff, or at least dangle from it, from the very beginning. Only then will the reader be drawn in and want to know more. Example:
The firey Thunderbird zoomed down the mountain road. Long dark tresses blowing in the wind, Andrea lit a cigarette. She looked away from the winding road for only a few seconds. That's all it took.
I want to read more. This story begins when the action does. I don't need to know Andrea ran away to Italy. I don't need to know she left her honeymoon because she caught her new husband with her maid of honor. I don't even need to know her husband took out an insurance policy on her life. Those things will come. Right now, I need to know if I'm going to read this book.
I just finished reading a good strong fiction novel-one in a series-with a strong Main Character (MC). The author has successfully done what every writer should aim for: develop a MC with pizazz!
The MC became my friend. I got involved in his daily life. I hurt when he hurt (which was often), I laughed at his jokes, and I schemed right along beside him when the chips were down. We could all learn from this author--develop a strong character, put him/her in the middle of the ocean, and bring on the sharks!
I admit, my early writing attempts fell short of this plan. To be honest, I wouldn't even read those stories now. I've seen the light. I get it.
The challenge to write an attention-grabber begins on the first page; heck, it begins in the opening paragraph. Writers do not have the luxury of building the story, setting the scene and painting the picture before the MC falls off a cliff. The MC should fall off the cliff, or at least dangle from it, from the very beginning. Only then will the reader be drawn in and want to know more. Example:
The firey Thunderbird zoomed down the mountain road. Long dark tresses blowing in the wind, Andrea lit a cigarette. She looked away from the winding road for only a few seconds. That's all it took.
I want to read more. This story begins when the action does. I don't need to know Andrea ran away to Italy. I don't need to know she left her honeymoon because she caught her new husband with her maid of honor. I don't even need to know her husband took out an insurance policy on her life. Those things will come. Right now, I need to know if I'm going to read this book.
Wednesday, October 21, 2009
Where have I been for the last year? Apparently NOT blogging! Let me just say I haven't been overly successful in my endeavor to stay current. Hope to do better. I will begin by saying I just had my first e-book published on www.ipulpfiction.com
It's in the series DON'T READ THIS IN THE DARK and my book is THE SPELL OF THE AFRICAN AMULET. To view my book, it's currently on the top shelf. To download, you need to create a free account-upper right corner-and create a PayPal account, if you don't already have one. I have been told this is the safest way to purchase ANYTHING on the 'net, so why don't you take a few minutes and set yours up? It's not that hard--if I can do it, YOU can do it.
The experience of publishing an e-book was very painless. I saw the call for submissions in a monthly newsletter and just happened to have a story that fit the bill.
My contract is for one-year, after which I retain all rights. The pay is royalty-based, with no money 'up front'. This means if someone downloads my book for $.50, I get a percentage. Not expecting to 'get rich quick', but it's a credit that will go on my resume.
I felt the editor did a great job editing my manuscript. They suggested several proofing edits and only one writing change, which we were able to work through.
For my generation, holding an actual book and reading is far better than going on-line and downloading, but I have grandchildren for whom on-line networking is a way of life. They have pets they feed, walk and groom on-line. They even watch TV on-line. Reading can only be the next step.
It's in the series DON'T READ THIS IN THE DARK and my book is THE SPELL OF THE AFRICAN AMULET. To view my book, it's currently on the top shelf. To download, you need to create a free account-upper right corner-and create a PayPal account, if you don't already have one. I have been told this is the safest way to purchase ANYTHING on the 'net, so why don't you take a few minutes and set yours up? It's not that hard--if I can do it, YOU can do it.
The experience of publishing an e-book was very painless. I saw the call for submissions in a monthly newsletter and just happened to have a story that fit the bill.
My contract is for one-year, after which I retain all rights. The pay is royalty-based, with no money 'up front'. This means if someone downloads my book for $.50, I get a percentage. Not expecting to 'get rich quick', but it's a credit that will go on my resume.
I felt the editor did a great job editing my manuscript. They suggested several proofing edits and only one writing change, which we were able to work through.
For my generation, holding an actual book and reading is far better than going on-line and downloading, but I have grandchildren for whom on-line networking is a way of life. They have pets they feed, walk and groom on-line. They even watch TV on-line. Reading can only be the next step.
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