Successful Self-Publishing by Joanna Penn

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When I self-published my first book, I didn’t know exactly how to do it. But I figured that the Amazon self-publishing platform was fairly intuitive, and that if I got horribly stuck I could google the answer. Besides, if I really screwed it up, I could always go back and fix it later. On the internet, there are endless do-overs. So I gleefully jumped in without much instruction and started publishing my own novels.

I soon found out that not everyone shares this attitude. I’ve met many first-time authors who are terrified. They don’t know the first thing about formatting and uploading their own books and rather than give it a try, they become stuck and do nothing. Or worse, they pay thousands of dollars to scam vanity publishing companies to do what they could do themselves for free.

Enter Penn and SUCCESSFUL SELF-PUBLISHING. This is the book that beginners need. It’s not about the why, it’s about the how. Penn assumes authors have a polished, professionally edited and well-covered book, but simply need a basic primer to go from there. This is self-publishing 101, and it covers everything authors need to know to get a manuscript from their computers to online stores.

Authors could find all this information out online by going from website to website, chasing pieces of it all over the internet, or they can get SUCCESSFUL SELF-PUBLISHING and have it all in one place. Penn covers the nuts and bolts of indie publishing, including how to format a book, how to get a cover, whether you should stick with just Amazon or sell at all retailers, and how to price your book.

Penn also has a breakdown of the costs of publishing. Editing, formatting, and cover design will all cost the author something, but putting your book on sale at retailers is free. (Retailers take a cut of each sale.) It’s important for authors to understand what to spend money on and what not to, so they don’t get scammed.

The second half of SUCCESSFUL SELF-PUBLISHING covers marketing—another thing that scares new authors. Authors can spend money on advertising, spend time doing content marketing (blogging, guest blogging, etc.) or both. Penn is realistic about how and when marketing efforts can help an author, and when it would be better to just write more books.

The self-publishing boom is still in its first decade, and things change all the time. Some of Penn’s specific advice might become dated, but the underlying principals she teaches won’t. Her advice boils down to, “Do what you can, hire out what you can’t do yourself, and don’t get scammed.”

And then, step by step, she tells you exactly how to do it.

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Successful Self-Publishing can be found here. (The ebook is currently free)

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Rating: 4 stars

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This book is best for: beginning authors

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I recommend this book

 

 

 

 

Write Your Book in a Flash by Dan Janal

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WRITE YOUR BOOK IN A FLASH is a how-to book for nonfiction writers, mainly businesspeople who want to write a book. Janal starts with the assumption that his audience has never written a book before and probably never will again. They aren’t writers, they just need a book as a credential, a calling card, or an add-on to public speaking gigs. Therefore, Janal starts with the very basics of nonfiction book creation, taking a paint-by-numbers approach of starting with the outline and filling it in little by little.

Janal’s approach is solid. To a non-writer, attempting to write forty thousand words of prose is daunting. Organizing all that research can seem impossible. Where do the quotes go? How about the personal stories? What should I leave out? What structure do I use?

Janal also understands that nonfiction books aren’t literature. They are tools to help solve a problem. He wants his readers to get the words on the page in any way possible, let hired editors clean up the mess, and start using the book to help boost their businesses.

To that end, Janal recommends that you start with a 400 word executive summary, research the market to see where your book fits and then make a ten-chapter outline (introduction, eight chapters of content, conclusion). This isn’t new to anyone who has been writing awhile—or has other nonfiction books to use as models—but it’s still useful advice.

Janal also provides ample cheerleading, sensing that this is what his audience wants most, and he includes information on beta readers and what formatting to use once the book is complete. And if it all sounds just too difficult, Janal himself is ready to step in as the ghost writer or book coach you might need.

WRITE YOUR BOOK IN A FLASH is the non-writer’s how-to book. It’s the perfect guide if you’ve never written before, don’t like writing now, and will never write again.

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WRITE YOUR BOOK IN A FLASH can be found here.

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Rating: 3 stars

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This book is best for: beginning writers

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I recommend this book or Everybody Writes by Ann Handley or Help for Writers by Roy Peter Clark 

Writing Without Rules by Jeff Somers

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WRITING WITHOUT RULES might be the most annoying book I’ve ever read. Somers contradicts himself in almost every chapter, gives shockingly bad advice, and generally comes across as a dude-bro with the maturity of a teenager.

The book is divided into two sections: writing and selling what you write. Some of Somers’ advice is good, some isn’t. The problem is, the good advice can be found in other, better books and the bad advice is so out-there that following it will actually hold writers back. That is, if writers can actually wade through the numerous inconsistencies to figure out what Somers is trying to say. For example, he claims that he never uses beta readers. However his wife and his best friend always read and critique his manuscripts before he sends them out. Does Somers not know that they are his betas? The entire book is like this. Whatever Somers says on one page, you can be sure he will say its opposite a few pages later.

The footnotes in WRITING WITHOUT RULES sometimes cover half the page and bleed onto the next. Most of the footnotes are to make a bad joke, explain the joke, or ask you to please laugh at the joke. It’s clear that Somers finds himself delightful and thinks the rest of the world does too. But in reality, he’s just another entitled guy who assumes he can do his job half-assed and still succeed, as long as he does it with a nudge and a wink.

Somers revels in his mediocrity. He goes on at length about how he went to college because he thought it would be easy and never studied while he was there. He found both his agent and his publisher through such an improbable series of coincidences that the only true advice he can offer is something along the lines of, “Be lucky, like me.” Even writing a how-to book was something he did on a whim, not out of a desire to help writers, but because his agent thought it would be good for his brand.

His only saving grace seems to be that he writes nearly nonstop. If Somers is to be believed (and this isn’t a given) he’s extremely prolific. He’s able to do almost everything wrong and still achieve a little bit of success because he’s selling a tiny fraction of his seemingly endless output.

The friend who lent me this book said, “I almost feel bad for Somers. Like he could be so much more successful if he stopped following his own advice.”

I believe we’ve reached a new low on the Writing Slices blog. I’ve found a book that not only will hurt aspiring writers if they read it, but probably hurt the person who wrote it.

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Rating: 1 star

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I recommend Writing the Novel From Plot to Print to Pixel by Lawrence Block or Writing Fiction for all You’re Worth by James Scott Bell instead of this book.

 

The Procrastination Equation by Piers Steel

 

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According to Steel, there are three reasons people procrastinate. We’re bored with the task, we expect to fail, or the results are just too abstract. Of these three, it’s the third one that’s really the problem. There are real consequences in the present, while there are only theoretical ones in the future.

The longer it takes to reach our goal, the more we procrastinate. People usually don’t have trouble writing five hundred words due tomorrow. But they have a harder time with five thousand words due in a month, or fifty thousand words due in a year. For writers not under contract, with no deadline, the problem is especially acute. A fuzzy, abstract thing that we want to achieve at some unknown date in the future might as well be called a wish or a dream, rather than a goal.

Even worse, our brains are hard-wired to be impulsive, to make ourselves happy right now rather than working toward an abstract future. Modern life with television, internet, and shopping makes it worse.

Steel has devoted his life to studying procrastination, so THE PROCRASTINATION EQUATION is focused on explaining why we do the things we do. It’s a little bit lighter when it comes to solutions. There are no step-by-step things to try. But understanding how our brains are wired makes the solution to procrastination easier to come by.

The easiest thing to do is to artificially shorten the deadline. Rather than saying a novel will be done by a certain date, set goals for finishing each chapter. Writers also have to stay on task while writing, since flow is so important and interruptions are deadly. It’s horrible that we work and play on the same computers, and those bastards in Silicon Valley have set up social networking to be so addictive. Internet blockers are good. So are time limits and schedules. Anything we can do to take choice out of it is helpful, since our impulsive brains will always choose checking Twitter over working on a difficult scene.

Steel also has advice for setting goals. He thinks the much-used acronym S.M.A.R.T. is stupid. S.M.A.R.T. stands for Specific, Measurable, (which are the same thing) Attainable, Realistic, (also the same thing) and Time-Anchored. Steel suggests four alternate attributes for goals. He says they should be meaningful, challenging, with multiple sub-goals on a modest but regular schedule.

THE PROCRASTINATION EQUATION isn’t truly a how-to book. Steel is more interested in telling us why we procrastinate than how to stop doing it. Even so, I found lots of useful information in its pages—information I can use right now.

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THE PROCRASTINATION EQUATION can be found here.

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Rating: 4 stars

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I recommend this book.

 

Creating Your Author Brand by Kristine Kathryn Rusch

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Branding isn’t something novelists think about much. It seems like something the head honchos at Pepsi and Google should worry about, not the business of an author. And the book marketing gurus always tell us “the author is the brand.” Or is it the series? If the author’s name is big enough on the cover and all the covers in the series look alike, the author is branded, right? Rusch tackles these—and many other—myths, starting with the book’s title. Creating is a verb, and it underscores that an author’s brand doesn’t just happen. A writer has an active role to play, whether she realizes it or not.

Rusch originally started writing CREATING YOUR AUTHOR BRAND on her blog, but questions from her readers poured in and as she started addressing them, she realized she had a book. Rusch has experience in every aspect of the field, from author (traditional and indie) to magazine editor to book publisher, so branding is something she’s thought about from more than one angle and her expertise shows through.

Rusch divides her book into the early and intermediate stages of an author’s career. She breaks down the difference between brand identity (what an author thinks her brand is) and brand image (what the public thinks the brand is). She teaches writers how to identify the target audience and how to inspire brand loyalty. She also has different advice for growing an audience depending on the author’s goals and how many books she has out.

Rusch also does something I’ve never seen another marketing expert do: she cautions against fast growth. Most marketers promise huge sales and bestseller status if you’ll only follow their simple steps. Rusch knows how foolhardy that is. She’s seen firsthand how careers spike and then crash due to over-marketing. Readers are individuals, after all, and you can only grow an audience one reader at a time.

My only quibble is that a few chapters were overly long. Sometimes Rusch takes a little while to get to the main point. I get the sense that she’s thinking out loud (or through her fingers) and a few of her insights were discovered as she wrote them. She could have gone back and tightened those chapters. But sometimes, knowing how the author came to her conclusions is the whole point, so this might not be a concern for some readers.

I like that CREATING YOUR AUTHOR BRAND is conceptual, not prescriptive. Rusch is here to teach the deep principles of branding, not a one-time formula to follow. The latter might be simple, but it will probably only work in the short term. Rusch respects her readers and knows that when we understand the underlying concepts, we can apply them to our own work to keep our branding healthy for the long term.

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CREATING YOUR AUTHOR BRAND can be found here.

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Rating: 5 stars

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This book is best for: intermediate writers

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I recommend this book.

The Author Blog: Easy Blogging for Busy Authors by Anne R Allen

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There are lots of books, websites, and courses about blogging, but most of them are about business blogs. An author blog is a completely different thing. Authors—especially fiction authors—don’t want to monetize our blogs. We just want to talk to our fans.

THE AUTHOR BLOG approaches blogging from that standpoint. Allen shows that authors don’t have to appeal to a wide audience, just our target readership. We shouldn’t even try to sell our own books on our blogs. Not directly, anyway. Blogs are simply a platform to communicate with readers. They provide an outlet for our nonfiction writing and a chance to share our view of the world. They also help a writer stick to a writing/publishing schedule, learn 21st century writing skills, and help a writer establish her brand.

Allen begins by convincing authors to start blogs. She explains how it can help your career, why blogging is different (and in some ways better) than social media, and why starting a blog now is better than waiting until your agent, editor, and fans start asking why you don’t have one.

The middle part of THE AUTHOR BLOG covers the basics of starting a blog: how to sign up with Blogger or WordPress, what your blog should look like, how to write your author bio and most importantly, what to write about. Allen goes into great detail about what a writer should share on the blog, and what she should keep to herself.

The final part covers things more experienced bloggers might want to try, such as guest blogging, blog hops, and using things like hashtags and SEO to get more traffic. But Allen never wants you to use gimmicks to build traffic or use things like pop-ups or spam comments. Good content delivered on a consistent schedule is better than any tricks the business blogs might dream up.

I loved how Allen reminded authors that our primary job is writing books, not blogs. She keeps blogs where they belong—as a sideline, not a priority. Allen is an advocate of slow blogging, and thinks once a week is a dandy schedule. She’s also much more interested in cultivating a few engaged fans than speaking to the whole world. Her common-sense approach is exactly what authors need.

Blogging isn’t going to change your life. It’s probably not going to change your career, either. But Allen’s sensible, realistic view of the blogging world might just change your mind.

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THE AUTHOR BLOG is available here.

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Rating: 5 stars

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This book is best for: beginning to intermediate authors

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I recommend this book.

 

Deep Work by Cal Newport

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I used to scoff at people who needed an internet blocker while writing. If they were getting distracted by social media, maybe they simply didn’t love writing enough. Not anymore! Nowadays, I’m testing programs like Freedom and Cold Turkey and asking my friends which blocker works best.

Distractions are everywhere. Even worse, they are affecting our brains. The more we let ourselves get distracted, the more our brain trains us to be distractible. Computers and social media are so enticing (maybe even addictive) it’s no wonder we can’t concentrate anymore. Uninterrupted time is rare and becoming rarer. But concentrating deeply, being in “the zone,” is exactly what writers need to do. DEEP WORK has some excellent advice for writers who need to slow down, concentrate, and produce more books.

DEEP WORK is divided into two parts: theory and practice. In part one, Newport lays out why deep work is rare, valuable, and meaningful. He distinguishes between “shallow work” (things like email and meetings) and “deep work” (things like writing, computer coding, and inventing). Shallow work will make you look—and feel—busy, but only deep work truly matters. After all, nobody gets a promotion because they are great at email.

But a persuasive argument for deep work is no good without an action plan. Newport has advice for scheduling deep work, banishing distractions, and cutting out as much shallow work as possible. I found Newport’s suggestions extremely practical and not at all hard.

Newport also suggests cutting out all social media. This last one is probably not realistic for a writer, since social media is our main source of networking and fans expect to interact with us online. However, we certainly can all limit our use of social media, especially during prime writing time.

As much as I loved this book, I do think Newport has a blind spot. He cites numerous examples of men doing deep work, from Carl Jung to Nate Silver, but he quotes few women, and ignores gendered expectations. Women, especially married women, are expected by our society to take up domestic and childcare work, as well as emotional labor such as daily scheduling and managing the social life of the couple. Men are rewarded for ignoring all that and retreating into work in a way that women are not. You can’t do deep work when you’re interrupted all the time and women are most often the ones being interrupted.

DEEP WORK is not for everyone. I can’t imagine a nurse or a waiter or an electrician getting much out of this book, since their jobs are fast-paced and extremely interactive. Newport’s advice is for a certain kind of worker: a knowledge worker who works alone. In short, writers are the ideal audience.

Spending lots of time “in the zone” is crucial for writers, especially new writers without a book contract, who have to rely on their own willpower to get a book written. Without deep work, writers can drift from shallow task to shallow task, looking “busy” the whole time but never getting any of their books written.

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DEEP WORK is available here.

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Rating: 4 stars

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This book is best for: beginning to intermediate writers

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I recommend this book.