Writing – Page 4 – Mystery, fantasy and romance at the dangerous ends of the earth

Book Blog Tours and Review Sites with Adrian Phoenix

By Karen Abrahamson | July 24, 2011

The few last weeks I’ve written about building a social network and its use in marketing. It was interesting that Joshua Graham couldn’t directly relate his Facebook and twitter followers to his writing, but that John Locke, could. Hard on the heels of writing those posts I attended a Publisher’s Workshop on the Oregon Coast where we discussed marketing strategies for e-books. One of the items clearly not at the top of the facilitators list of marketing tools was social marketing a la Facebook and twitter.

Following on that workshop I was referred to a an article on the Science Fiction Writers of America website regarding the author’s 100 day Social Media Blackout and the results of that experiment regarding social media and marketing. The author basically removed herself from social media for 100 days and talks about what she learned from this experience. Basically, her view of the value of social media shifted from a belief that social media connected her with readers and industry professionals as well as connecting her with family and friends, to one of social media’s value being its ability to connect her with community.

Not marketing. Community building. She goes so far as to point out that having a person as a follower (something that takes only the click of a mouse), does not necessarily mean they are going to take the time to buy and read your books.

So how do you build a fan base? Urban Fantasy Author and friend, Adrian Phoenix, has done extremely well at building a fan base over three years of publishing her Maker’s Song and Hoodoo novels. She kindly agreed to an interview about how book blog tours have contributed to her following.

1. For those of us just starting down this road, can you please explain what a guest blog is?

Adrian: You bet! A guest blog is a post you write for another person’s blog, usually by invitation, on any number of topics. I’ve written on topics ranging from vampire dating tips, my first crush, writing from the male POV, on the nature of ghosts, my love of paranormal, the top ten shows on my DVR, etc. Anything that readers might find interesting. I try to gear it toward the blog that I’ll be guesting on—paranormal, urban fantasy, paranormal romance, etc. But I’ve found that most blogs are happy with any interesting, reader-hooking subject. And humor seems to be really appreciated.

Here’s the links to a few examples.

On Paranormal Haven, I did a guest post on the nature of ghosts.

On the Strange Candy blogsite, I did I guest post on vampire dating tips.

On All Things Urban Fantasy, my post was about the top ten shows on my DVR. (Including pictures for each show, plus who I thought was the hottest character.)

On the Vampire Book Club, my post was on writing from the male POV.

2. How do you get invited to provide a guest blog?

Adrian: I usually get invited by bloggers who’ve either read my books or have received copies from my publisher. So it never hurts to check the blogs reviewing books in your genre and offering to do a giveaway or offer to send them a copy to review. Sometimes they are overloaded with books to review, so my advice at this point would be to contact them about doing a guest blog or interview along with a giveaway.

Once you’ve been a guest on a blog site, keep in touch about your next release. You should get an invitation to come back. If you don’t (and they do have a ton of authors to deal with), politely let them know—in advance— that you have a new release coming out and schedule a giveaway and guest blog or interview. Always be polite and friendly. Most bloggers will be happy to work with you and promote your books if you treat them with warm professionalism and courtesy.

3. You have conducted guest blogs as both yourself and your characters. Why have you done this and how is blogging as a character different from regular blogging? Why do it?

Adrian: I really enjoy letting the characters do guest blogs and/or giving interviews. I can play and have fun and don’t need to worry about how I’m perceived. Readers in general and fans of a series absolutely love interacting with the characters they read about, the characters that feel so real to them. Some even get to flirt. Sometimes I’ll offer to do a character gig just for a change of pace, but more often, the bloggers will ask for one—especially if they are fans of the books themselves.

Every time I’ve done a character interview or post, I always see a comment along the lines of “I haven’t read these books yet, but I loved this interview and the way the characters chatted that I’m going to get the first book right now.”

That alone makes it worthwhile. It gives new readers a taste of the books through getting to know the characters, and it gives fans a chance to play with them. And my turnouts for character posts and interviews are often better attended than my own interviews. I’m okay with that. After so many interviews, there isn’t much new to say that your readers don’t already know from previous interviews. Another reason for guest blogs—myriad subject possibilities beyond yourself and your writing techniques. LOL.

Here’s a couple of examples of character post and interviews.

On Paranormal Haven, the Maker’s Song gang posted likes and dislikes dossiers, including their thoughts on Twilight.

On Paranormal Romance Addict, Dante and Heather did an interview together.

And on WereVampsRomance, Dante discusses sex, lies, and the mofos who tell them.

4. Personally, the thought of being interviewed in a blog makes me nervous. How do you make sure you haven’t made a fool of yourself in the blog or that your characters don’t make a comment that could impact readership in the future?

Adrian: Interview questions aren’t all that difficult, really. The readers want to know more about you—do you have pets, children? What do you like to read? Who do you like to read? What is your writing routine? If you avoid religion and politics, you’ll be fine. Readers want to know the person behind the book. That’s all.

As for the characters, I let them say whatever they would normally say and don’t censor them. Fans want them to be themselves and, trust me, Dante doesn’t hold back. They love him all the more for it. And he’s gained me new readers as well. I don’t think you need to worry and your characters chasing away readers. If anything, they will win them over.

5. What kind of time commitment is involved in guest blogging?

Adrian: Unfortunately, it can be a lot. It depends on how long your guest blog is (and shorter is generally better) and how much you interact with the readers after it is posted. It’s a good idea to read the comments, leave comments of your own thanking them for joining you, for their support, and answering any follow-up questions.

On my previous release, I did a huge blog tour. I had so many requests and I wanted to do them all and I did. I’ll be more careful with this next release, spread them out more. Not only do you use up too much writing time, but you run the risk of people seeing too much of you. Spread it out. Instead of a guest blog or interview every time, offer to do a straight giveaway instead. I’ve never had a blogger say no to that.

7. On a topic other than blogging, do you have a promotions/marketing plan beyond whatever your publisher identifies? I also note that you have a posse of fans who do a lot of promotion of your books. How did that come about and what do they do for you? How did you go about promoting your book as an author once you had your book deal?

Adrian: I don’t have a specific promotions/marketing plan other than getting the word out via blogsites, giveaways, sample chapters, etc. Having an active website is part of that. That’s a necessity so readers, new and continuing, can find you, learn more about your books (where to find them, for one thing) and contact you.

Through my website, people can also join the street team, request free book plates, or go to the forum (or my official Yahoo fan club) to chat with other fans about my books. I also have chats with characters on the forum.

I have a street team of 160 people worldwide right now (that number keeps going up) and two street team managers (both who are fans that I got to know and who volunteered for the job) who handle the details. The street team receive bookmarks to hand out to book stores, libraries, and to other readers. They post about my releases and events on Twitter, Facebook, Goodreads, MySpace and spread the word about my books in a ton of different ways (including my titles and website link in their email signatures). Quite a few make sure their local bookstore keeps my books on the shelves and chat the books up in book clubs and reading groups.

I give signed copies of each release to the top 25-30 people on the team and every few months, award prizes to members with the highest points. (Points are earned in a number of different ways.) I also make sure they know I want it to be fun and that they are not obligated to do anything.

As for promoting my books after landing each of my contracts, I don’t do much—aside from putting info and news up on my website. Not until it gets closer to the book’s release date. A couple of months prior, I start contacting blogs about doing appearances and giveaways. And I always have something happening on my website.

Thanks so much to Adrian for her time and her insight. (Her most recent book, Black Heart Loa is receiving stellar reviews.) Blog tours sound like work, but they also sound like a lot of fun —but then so does most of social marketing when you focus on the social aspect. The one caution I would add to Adrian’s information after a follow-up discussion with her, is remember that social marketing and guest blogging should not take over your writing time. If it does, then you have a problem.

Social Media, Pulling Teeth and Getting Started

By Karen Abrahamson | July 3, 2011

I remember it well—the day my writing mentor said I had to be on Twitter. First came the panic.

‘No’, I said. ‘No way. E-mail eats enough time as it is.”

Another kindly pair of friends took me aside and explained that really, Twitter wasn’t so bad, and you needed it to market you books (no mention of how). So they helped me get an account and TweetDeck, and set me loose in the Twitter world.

And I never used it.

The few times I logged on, it was like going to the dentist and I HATED the fact that my darn computer dinged and disturbed my train of thought every time a new tweet came through. Now I know I could turn my speakers down, but I needed the volume to tell me when business e-mails came through. The trouble was twitter kept dinging and dinging. So this post is about Twitter and Facebook and social media in general and how to make it manageable for you. Next post will be on how to make it WORK for you.

The thing with Twitter and Facebook is that you have to understand that they have tremendous potential, but you also have to understand that there are downsides:

Social media can be frustrating as heck until you understand them and how they work.
Social media can feel like floundering in deep water until you decide the parameters of how you are going to participate.
Twitter and Facebook can become veritable time sinks.
Social media can begin to take over your social life.

DSC_0038 - revised la saucet river — Winter river near La Saucet, France (2005) Photo (c) Karen Abrahamson

Like anything new, understanding Twitter and Facebook requires purposeful learning. Yes, it is possible to simply open an account and begin tweeting or sending messages, but why, and what do you send messages about? One reason may be to simply keep in touch with existing friends. Once you’ve connected with your friends, it’s easy to fulfill this purpose. You can use Facebook and Twitter to send out urls for blogs, which is also useful, and if that is all you want, then the social media is working for you.

So to make social media work for you, this is a first decision point: what do you want from Twitter or Facebook?

If you want to leverage social media to help with marketing your books, this requires you to become more involved in the social media family. It requires you to become more comfortable with working with social media. A good place to pick up pointers is through Lynda.com, which contains video tutorials on the basics, but also sessions on marketing.

Marketing your book requires building your connections to others in the Twitterverse, or Facebook Universe. This involves building connections to friends, which means that you need to do more than marketing. You need to give people something of yourself and your interests, something that both you and other people find of value. This involves reaching out to others to become their friends, either by identifying common interests, or through their connections to people you friend or follow. This is easy enough to do, by simply clicking on a person’s profile and friending or following them. Hopefully they will reciprocate and follow you, too. But the trouble is this can become an obsession. You can spend hours identifying friends and follows, and you have to ask yourself what is most important—this social media work, or time spent writing (and time having a life).

This is a second decision point: Are you a writer first and a social media savant second, or is it the other way around? If you are a writer, then you may need to set parameters around your time spent on social media. For an example, I try to put in thirty minutes to an hour in the morning and the same in the evening.

Street scene, Montmartre, Paris (2005) Photo (c) Karen Abrahamson

But at the same time you need to understand that social media is social. This means that even if your original intention in joining the Twitterverse and Facebook was to market your book, you need to do more than that. You need to have something to add to the Twitterverse. This was initially where I stalled. I didn’t know what I could add to all the comments out there. Well we all have things to add, whether it be book recommendations, reporting on your latest accomplishments, or links to blogs that you found important, these are the things that will build your followers and your social connections, and when you get your first message from a follower it starts to feel fun that you are building connections to people—people who might eventually become your friends.

And not your dentist.

Branding Your Books: Having a ‘Look’

By Karen Abrahamson | June 18, 2011

Angelina Jolie has her Bardot lips, while Jennifer Aniston has her girl-next-door appeal. You pick up a James Patterson novel and you can tell it’s a thriller, while Urban Fantasy has a leather-clad woman on the cover. Each of these are examples of having a look, or a trademark, whether of a person, a novelist or a genre. For indie publishers, you need to consider what is the ‘look’ of your books.

Part of your look will depend on what type of book you are publishing, because each genre seems to have style conventions. I mentioned the urban fantasy trope of the leather clad woman, and the cliché for romance is the bare-chested hero rescuing the damsel in distress (thankfully this isn’t the case anymore), but establishing a look for your books is more than the cover art.

Why is this important? Because readers come to recognize books with a similar look and if they liked the last one they read, they are more likely to pick up the next. While readers often don’t pay attention to who the publisher is, they know when the books have a similar look. They also come to expect certain authors to have a certain look to their books. As a result, when a Publisher goes through a rebranding of an author, there is often confusion for readers about which book of that author they have read. How many times have I picked up a book thinking it was a new title by a favored author, only to find it was one I’d read, but released in a different cover. Readers remember covers and are attracted to them. Thus we need to use covers to convey who we (the book and the author) are.

To talk about Branding I thought it might be best to look at some examples of books recently put out by indie publishing authors:

Spirit Dance is an award winning fantasy from Canadian Author Douglas Smith. He has been published through Lucky Bat Books, an independent e-publisher. Smith’s Books have been packaged with a similar look that any reader would recognize. Each of them have the Author’s name in large print at the bottom of the cover, with the title in relatively small print in a narrow black strip across the waist of the cover. This strip acts either as a division between two related images, or as a division in the one main picture. Alternatively the covers have a very simple, single image that conveys a feeling about the books’ content. Most of the covers also use photographs rather than illustrations and all have an other-worldly feel about them, which is good given that Smith is known for his fantasy writing. This use of the specific graphic elements – the title band, the faded-towards-transparent author name, and the same placement of any award notifications on the covers all provide a combination of easily recognizable cues that this is a ‘Smith book’.

Eternally Grounded is a fantasy story from Camden Park Press. Camden Park publishes across a number of genres including fantasy and science fiction, but all of the books have something in common, namely the italicized logo, Camden Park Press, somewhere on the cover, so you always know you are getting a book from that publisher. In the best of worlds, there would be consistency of placement of the logo as well, but design sometimes requires this type of thing be moved. Structurally, within the Camden Park family of books, those by Elizabeth Ann Pierce also have a commonality of the author’s name being set off in a neutral band at the bottom. If used in all the Pierce books that can become an easily recognizable standard for this author.

Downhill Rush is one title in a line of books from Fiero Press. Terri Darling is one of the authors who specializes in romance. If you look at the cover, the publisher has passed on a logo, but has used layout and color to show a common line of books. In this instance most of the Terri Darling books have a valentine-red border at the top with the author’s name and the tag line “Where the action is hot and the romance is hotter”, in a consistent, easy to read font that puts the author front and center . Does the tag line sound a little sexy and a lot hot? Does it tell a reader what they’ve got? With this memorable little tag line and the familiar look of these books, it won’t be a surprise if these books sell well once the author is established.

The Nara Effect is a Science Fiction book from Matthew Lieber Buchman. Matt has a line of books that cross genres, but there is a similar look to most of them, so you know you have a Buchman book. Across the books, the covers have a consistent upper and lower border with a consistent placement of the Author’s name and title. The central cover art section of the cover often uses a montage of images out of the book and the blurb usually is placed right at the top. Again the reader is going to know they have a Buchman book, and just to be certain of that, on the back of each novel Buchman has placed a knife, a Samurai Sword or some other sharp-bladed object diagonally across the back cover blurb. This is unique and memorable and I can see people describing them as ‘the knife book brand’.

The last of the books I’m examining comes from best-selling e-book Thriller author, Joshua Graham. His cover for Beyond Justice follows the tropes of many thrillers. It has the emphasis on name of a ‘big name’, best-selling author. It has the black band at the top for the author’s name to stand out in and the cover image is clean and simple with this cover focused on the primary character. This similar layout is present in many of his other publications, but the focus here is on NAME. He has made himself a brand, just as Clive Cussler, and James Patterson have made themselves brands, though not at their level yet.

So the look or brand is layout and font and logo and feel. This means that in establishing your brand it’s helpful to:

Chose something that you can present consistently on the cover of your books. This could be a logo, a tag line or even the name of the Author.
Consider whether your approach is to have a collage of images or a single strong image. This can be used consistently across all your books so that your Brand either has complex or minimalist covers, both of which are used in ‘traditional’ publishing.
Be consistent in format. If you are using bands of text, use the same type of band across all your books. If you use a specific font for your books and a brand is important, use that font consistently. If you are going to include a tag line or logo, position them consistently on the cover.
Think about whether color can be used to show consistent branding.
Think about how you are trying to position yourself or your books and your genre. If you are writing/publishing big thrillers, then use a thriller format for the covers. If you are writing/publishing epic fantasy, it will be something totally different, than if you are writing/publishing sweet romance. So go study the covers in your genre and see what you can come up with as cues for readers regarding your brand.

So creating a brand can include combinations of graphic elements that build a ‘look’. When you are creating your brand, try out various combinations to see what works best.

I’d be interested in seeing or hearing about what others are doing to establish their brand of books. Now I’d better go do some branding of my own.

Prepping for the Market

By Karen Abrahamson | June 5, 2011

This post is on preparing your novel/story for the e-market. I’m not talking about the formatting required to put a novel on Amazon or Smashwords, I’m talking about what you need to do after you complete the manuscript, but before you begin the Smashwords or Amazon process. To make this of the most value to the most people, I encourage readers to please share what you’ve found worked for you.

Editing –

Of course you edit. We all learned to do this before we sent a manuscript to the traditional publishing world, but the stakes are a little different in the indie-e-publishing world. In the traditional publishing model, writers sent the best manuscript they could manage to an editor and it was that editor’s task to make sure that the book was the best it could be before it went out into the world for readers to see.

In this new world of indie publishing, the writer is selling directly to the reader, and thus ensuring the book is ‘the best it can be’ is now the writer’s job. Sure, we all say our manuscripts are the best they can be, but if you talk to writers who have been through traditional publishing they will tell you things like ‘the editor didn’t just pick up on things I’d missed, they saw the possibilities I had failed to explore’.

Editors are the ones who suggest to writers that their manuscript would be better if they shifted points of view. Editors are the ones who point out, for a second book in a series, that you’ve changed from writing a romantic thriller to just writing a mystery. Why is this important? Because the readers who loved the first book in a series are going to be expecting the thriller in the second book.

So editors are our friend and we writers becoming indie publishers need to find a way to overcome the lack of an editor. This means that writers have to develop new skills and resources.

Not only must the writer complete their usual editing process, but they must also go one step further to ensure their book is ready for the reader. This means that the writer must cultivate first and second readers for their books. These readers need to have the skills to not only read for proofing, they need to read for things like (and this isn’t a complete list):

Opening hook,
logic,
plot,
character arc and consistency,
consistency (e.g. character with blue eyes on page one, must have blue eyes on page 300), and
whether the book fulfills its promise and the promise of the series.

Sometimes this can be accomplished through a critique group, but in my experience most critique groups are not at a level to critique a book in this way unless they are professional writers. If you do have access to a reader like this, whether they be a librarian/spouse, or a writer friend, cultivate them and listen to them like they’re gold and treat them very well. If it’s another writer, trade reading/editing with them. We can all use a friend with those skills.

If this option isn’t available, then an alternative is to pay an editor. No, I don’t mean going to one of the author service agencies I mentioned here, because they often expect to sell you a package of other services along with the editing. Nor am I talking about the services of a book doctor who might keep you revising your manuscript for years.

But there are other services out there. For example, Lucky Bat Books offers complete editorial and other services based on what the writer is looking for. Or check within your local writing community for writers who also provide editing services on a fee-for-service basis. Fee for Service means that you agree on the task and a price before the ‘editor’ provides the services and they DO NOT receive any royalties from your work. This is important as it could be a nightmare for the indie publisher to have to provide royalty payments and statements to an editor.

While this service will cost you, it pays in the long run. You’ll provide a professionally edited product to your readers, rather than alienating them due to numerous errors in the manuscript. Finally, even though your editor will provide you with a proofed copy and editorial comment, this doesn’t mean that you don’t still have to provide the manuscript one more read-through to make sure the manuscript is clean. Even after having one of my manuscripts well-edited, I found a continuity error no one else had picked up on.

Covers –

Lady of Ashuelot — Lady of Aushuelot (2010) Twisted Root Publishing

The bane of my existence and very important, because covers are (unless you are a known author) one of the most important ways to draw potential readers’ attention. I’ll discuss what makes a good cover in a future blog, but here I wanted to mention the importance of this and that you need to take the time to put a cover together. For e-publications, the easiest program for this is PowerPoint. You can change the slide size to 6-9 and then create a cover using photographs found on line and graphics provided by the program.

PowerPoint created all of my existing e-book covers using photographs either I had taken or that were available royalty free or free on the internet. If you are going to create your cover yourself, consider what you’ve written and what are strong images contained in your book. Go to bookstores or on line and check out the covers of the books that are in your genre. Often there are style conventions (some might say clichés) for the covers. For instance, Urban Fantasy often has the main female character in black leather standing before something indicative of the story setting. When you are designing covers, start well before you want to publish so that you can try different cover possibilities and get friend’s reactions. I had a cover designed for me and was pleased with it, but when a friend’s daughter saw it (and she was my target demographic) she just shrugged and said it ‘looked like a photo’. Back to the drawing board.

The alternative to creating covers yourself is seeking a cover artist. To find such a beast you can look at covers you admire and try contacting the artist, but this can cost many hundreds (or thousands) of dollars. The alternative is to look for graphic artists who are just starting out. This can be through your local art school or college and can give you the opportunity to work closely with the artist to sort out your vision. Like with editorial services, you want to conduct business on a fee for service basis so that the artist isn’t expecting ongoing royalties for the cover. Definitely set this out in writing.

If you are going with a graphic designer, make sure you give yourself enough lead time before your planned publication. Often preparing a cover can take an artist at least a few weeks, so while you’re doing your editorial reviews, get busy with the cover, too..

So like I said, creating a cover isn’t something you should do last minute. You spent a long time writing a book. You want it to sell. Spend the time to make sure your cover helps.

Blurb –

The blurb is what, in traditional publishing, you would find on the back of the book. In e-publishing, this is the description you’ll read on Amazon or Smashwords or Barnes and Noble that tells you what the book is about.

Let me emphasize that: It tells you what the book is about.

It should be short. It should be snappy and it should catch readers attention and make them go: “I’ve GOT to read this.”

It should not give you a detailed look at the plot or the back story. I’ll talk more about blurbs in a future post, but suffice it to say that if you are starting to think about Indie publishing, start seriously reading the backs of books now. Start to get a sense of how blurbs hook you and try out those techniques for your book.

So what do you do to get ready to publish? How do you make sure your book is edited properly and what have you learned about producing a book cover or blurb, that might help the rest of us?

Holding a Book in Your Hand: Print on Demand

By Karen Abrahamson | May 29, 2011

The chance to hold your book in your hand in published, bound format is a treat each would-be author dreams of. I know published authors, with reputable e-publishers, who struggle to accept themselves as published authors because the book isn’t available in hard copy. For those authors who are either venturing into publication on their own, or who have started their own publishing company, there are avenues to satisfy this craving. They are known as Print on Demand (POD).

POD generally comes in two forms, one which I am going to call Traditional POD and the other I’ll call True POD. In Traditional POD, the author works with a printer and orders a print run of so many hundred or thousand copies of the book. The printer prints the books (at a cost to the author) and then either warehouses the books (also at a cost to the author) or ships the books to the author so that the author can warehouse them. Downsides of this model are the high, upfront, printing costs, and the ongoing cost of warehousing and shipping books when (if) they are ordered. Also a downside is the fact that, unless the author has a means (a platform) to sell these books, the author might end up holding onto them forever. So downsides of traditional POD include high up front costs, ongoing costs and/or the storage space the author must pay for.

On the other hand, I know of motivational speakers with platform who have used this printing method with complete satisfaction. They know when they are going to give a series of lectures, can have the right number of books printed to meet their expected demand, and store the books for a short period of time while they sell them at their lectures. It works for them.

For the rest of us, however, having to either store or pay for the storage of books, and the upfront costs make this rather prohibitive.

Enter True POD. In a nutshell, this model of self publishing allows you to have the book ready for sale through a distributor and, when someone wants to purchase the book, that individual book is printed. It does away with the need for storage, but allows quality books to be printed.

There are three main companies for True POD:

1. Lightning Source

2. Lulu

3. Createspace

Lightning Source differs from the other two because it is basically a printing company, while the other two could be called ‘author service companies’ with mostly-free options. Lightning Source focuses on providing printing services, and printing services alone. They expects you to know how to format your book both inside and the cover. The company does provide templates and instructions, but does not expect to deal with author/publishers who don’t know their business.

To Lightning Source’s credit, it offers extensive book formats, including hard cover and full color. The company also has the most extensive distribution in both the US and UK and allows the author to control discounts to distribution points (stores).

Costs, however, are higher, with Lightning Source charging between $117 and $150 per title, depending on whether you are doing hard or soft cover. Other downsides include the requirement that you have your own ISBNs and that their website is not the most easy to use. I’m told, however, that once you figure it out, it’s no more difficult to use than the two author service companies.

Lulu – The first of the author service companies presented here, Lulu offers a full range of services including author packages like “The best selling publishing package”. While this package comes at a charge of $629.00, it doesn’t offer anymore than an author/self publisher can do themselves. Lulu offers pre-publishing, marketing and publicity packages, but again, the author can do most of this themselves.

On the plus side, Lulu publishes in the US and UK and offers many more trim sizes including everything from pocket books to hard covers with dust jackets, similar to Lightning Source. Distribution through Lulu on a free basis is through Lulu.com, and, if you choose Lulu as publisher, through Amazon. If you want yourself listed as publisher it will cost you $99.00. Lulu also offers a good template for cover creation.

Createspace (my current choice) also offers author publishing packages, but the author creation of a book on Createspace is relatively intuitive. Packages include the $758.00 Total Design Freedom Standard that has ‘professionals’ work with you to get your book ready to publish. Again, you don’t need this unless you have money to throw at the project.

Createspace basically has two ‘plans’ for publication, basic and pro-plan. The basic plan allows your book to sell at the Createspace e-store and Amazon for only a share of the royalties, while the pro-plan (at a charge of $39.00) makes you eligible for the Expanded Distribution Channels that can get your book into libraries and bookstores (theoretically). In the pro-plan, you also pay less per copy when you order your own book. Royalty rates are also higher in the Pro-plan in comparison to Lulu.

So for my money, Createspace seems to win as a low-cost option for POD.

While these three companies seem to be the front runners for POD, there are any number of other author service companies who will, for a price, provide book formatting, editorial services, cover production, and marketing advice and services. Let me emphasize this: FOR A PRICE.

These companies aren’t cheap and for the most part any author can learn to produce reasonable POD books on their own or through finding freelance services, or friends (to trade services with).

That said, however, there is a significant learning curve required for POD. Assuming your cover design is reasonable enough to be used in POD, there is still the matter of being able to write suitable back cover copy, and to format an entire cover (front, back and spine). You also have to be able to produce a print ready interior of the book. This requires the author to develop other skills in self-publishing, and to learn new programs like Adobe Photoshop and In Design, or Microsoft Publisher—something that took a lot of hours for me to accomplish. But if you are determined to have a print copy of your book, and if you are prepared to do the work, there is nothing like the mailman delivering your first proof.

Electronic Market Options for the New Writer/Publisher

By Karen Abrahamson | May 22, 2011

I recently self-published a short story called The Wife’s Tail. Like with a novel, the first decision I had to make once the story was completed was what to do with the manuscript to get it out into the world. While this isn’t marketing to readers, it will determine some of the marketing steps you take afterwards.

In the old days (like a two years ago), the first choice (for me) would have always to been to send the manuscript to traditional New York publishing houses appropriate for a short Fantasy story. Now, however, the world has changed—not the 2012 Mayan calendar change, but just about. Over the last twelve months the world seems to have shifted and more long-time published authors are saying that self publishing may be the way to go.

Why?

Primarily for financial reasons and the personal control a self-publishing author retains. For example, for novels a writer can earn a higher percentage royalty for self publishing, retain all copyright, and can maintain the book (or short story) in print far longer than a manuscript published through New York. (For more information on the e-book revolution see Here and Here, and for information on the current massive changes in publishing see Here.) Self publishing allows authors to get books into print without going through the convoluted games of agents and publishers. So if you have a good product, and if you are prepared to work with your manuscript beyond packaging it up and mailing it, self publishing may be the option for you.

Having made the decision to self-publish there are basically two options to consider:

1. Electronic (e-book) format, and

2. Print of demand (POD).

A third option of audio books is also out there, but for this post I am going to focus on electronic publication options.

With the overwhelming acceptance of e-readers as an alternative to hardcopy books, we are truly entering the heyday of self-publishing. Amazon Kindle, the Nook, the i-Pad, and a profusion of mobile reading platforms have all contributed to this revolution, and all provide the author with avenues for self-publishing and marketing. A March 2011 article in FutureBook quoted Bertelsmann’s executives as saying that e-book sales were up 250% and that, for some US titles published by their New York branch, as much as 50% of the first two week sales are in e-book format. Other on-line resources state that E-book readership is expected to top 30 million globally by 2013. That’s a lot of potential readers.

For the self publisher to take advantage of this phenomena, there are self-publishing platforms available, most notably:

1. Amazon KDP

2. Pubit (Barnes and Noble), and

3. Smashwords.

Amazon KDP is the Amazon Kindle Direct Publishing, and allows you to easily upload a formatted manuscript to be sold to Kindle users on Amazon.com. Preparing a manuscript for KDP publishing is relatively painless (less than an hour), but involves removing typical manuscript formatting like headers and page numbers and any tabs, and changing underlined words to italics, etc. so your manuscript is formatted for electronic publication. Table of contents are also added so that readers have a chance to return to places in the manuscript. Amazon provides instructions on formatting on their website. Along with the manuscript formatting, you will also need a cover for the book or story. I’ll talk more about covers in a later post.

The fortunate thing about Kindle is that this publishing avenue is available to writers all over the world. As a writer from outside the US, it allows me to get paid for novel sales into the US market as long as I have sorted out the Income Tax issues with US Internal Revenue Service. Canadian and other english readers can access the books through their Kindle and now, with the advent of Kindle UK and Kindle DE, readers in the United Kingdom and Germany can also access these books.

Amazon Kindle Direct Publishing pays the writer either 35% or 70% royalties (depending on the book price) which is a far cry above the standard 25% offered by New York publishing for e-rights.

Pubit is the in-house program for Barnes and Noble and apparently is an excellent publishing option. It pays 65% royalties on Pubit purchases, which again is far better than the traditional publishing option. The one problem with the program is that it is only user friendly for authors having addresses in the United States. Frankly, their website is misleading as, when they first opened, they contacted me to offer publication, but then threw up enough road blocks I haven’t used them to this day.

First it was the requirement for a US bank account. Then, after I had obtained the bank account, they required a mailing address in the United States. While it would have been possible for me to accomplish this by renting a mailbox, from a business perspective, the potential revenue wasn’t worth the outlay and the only advantage to me would have been slightly faster payment. A last negative comment on Pubit is that they required more personal information than any of the other e-publishing sites. As a result, I have reached Pubit readers through Smashwords.

Smashwords offers another entry point for e-books, but unlike Kindle and Pubit, it is not limited to one digital platform. Smashwords-published books can be read on a variety of devices including, Kindle, Sony Reader, Nook, Kobo, and IPad, and are also available as HTML, RTF and PDF. Smashwords pays between 38% and 85% royalty depending upon the book price, whether Smashwords or an affiliate (Kobo, Sony etc.) sold the book, and what currency the book was purchased in (and taxes in the Purchaser’s country). Again, this rate is significantly higher than New York publishing’s.

While initially self-publishing on Smashwords seemed daunting because of the fairly rigorous formatting requirements, Smashwords provides a complete instruction manual that, when followed, usually leads to a successful upload. Instructions include such details as requirements for front-matter (copyright statements) and instructions about adding in table of contents. Having completed preparation of a manuscript for one digital platform (whether you do Amazon Kindle or Smashwords first), it really takes very little time to prepare the manuscript for the other platform.

I’m sure you’re asking, then why bother with Kindle and Pubit at all, if Smashwords publication will reach those platforms, too. The answer is in the royalty rates. Selling on Kindle or Pubit directly will usually reap you the 65% or 70% for a novel. Selling via a Smashwords affiliate will reap you less, depending on where the novel is purchased. So if you have decided to sell your e-book on Smashwords and Kindle/Pubit, it is important for the self-published writer to TURN OFF the Smashwords sales to those two channels.

To do this, the writer/self-publisher should go to their Smashwords ‘Dashboard’ and click on Distribution Channel Manager in the left hand column. Then you should scroll down to the specific novel/story title and check ‘opt out’ for the Kindle or Pubit channel. Again, this should only be done for books you have already published on the other platform and is done to avoid having two listings on Amazon and Pubit that pay you different royalty rates.

And that is all it takes. Be prepared for some frustrations the first time through, but for the next book you’ll know what to do and the time commitment will be shorter.

Next post I’ll talk about POD, because let’s face it: e-books might be nice, but we authors like to hold something physical with a cover.

Marketing: What I Learned From Peruvian Markets

By Karen Abrahamson | May 15, 2011

Traveling in Peru, I visited many local markets, from the large mercados of Miraflores and Cusco, to tourist markets of Pisac, to the small village markets of Chivay and Ollantaytambo. I love the sights and smells and how they tell you a lot about the culture you are travelling in. But now that I’m home and starting to focus on the business of writing, I realized that there are marketing lessons for writers and indie publishers to be learned from the markets of Peru.

Before I list the five general lessons, I just want to comment on writers versus independent publishers. It used to be that independent publishers, were exactly that – small publishing houses as differentiated from the large houses of New York. Today, however, though the traditional independent publishers still exist (thank goodness), the self-publishing writer has a choice: they can either publish as authors, or they can create independent presses that publish their work. Either way, it’s the writer doing the work, but there are benefits to having a publishing house, that self-publishing as a writer doesn’t have – namely that an indie publishing house can get its books into bookstores more easily than a writer can.

The following five lessons apply to both independent publishing houses and writers publishing on their own.

1) Product must get to market – In Peru’s cities trucks unload crates of fruit and vegetables. In Chivay, the produce comes to town wrapped in colorful mantas (blankets) on women’s backs. They brought in everything from tomatoes, apples, and animal fodder. Sheep were tied upside down to the back of a moto-taxi on the way to market. So however, they did it, the bottom line was that items for sale had to get to market.

Papas (potatoes) on their way to market (2011) photo (c) Karen Abrahamson

For the writer/indie publisher, this is perhaps the largest issue. Yes, writers have the traditional methods of getting manuscripts to traditional publishers, but now they have the choice of whether to publish into the electronic market or POD – both of which are now extremely acceptable ways of selling.

2) You must have a regular place to sell – In Peru I purchased my snack food – oranges, apples or bananas – at the local markets. When I can get them, died fruit and nuts are a staple. When I found a merchant that sold produce I liked, I always went back to them. Thankfully, mercado and street vendors have ‘their’ spots so you can always find the same apple vendor in the same spot.

Women with their 'spot' picked out. Ollantaytambo (2011) Photo (c) Karen Abrahamson

For writers this means having a website – or two. At the very least you should have an author’s website (or possibly more than one if you are writing under more than one pseudonym) that includes in it a list of your books with links to where they can be purchased.

If you are serious about indie publishing, you should also have a website for your publishing house that includes all of your books (see examples, here and here and here), and presents all the books by all your writing personas. This allows people to find you and your books.

Shaman's stall, Cusco market (2011) Photo (c) Karen Abrahamson

3) You must have product – The markets of Peru are filled with produce. There are fruit and vegetables, meat, breads and cakes, fresh cheese, nuts, dried fruit, jugos (fresh mixed juice that is the most sublime treat – ever), shaman supplies, clothing, tourist weavings and so on. Most markets provide a wonderful place for browsing.

For the writer, this means that although self-publishing a single short story or novel is fine, to be serious about indie publishing you must have more product. Dean Wesley Smith talks about having a minimum ten novels. What this means for the writer, is that the focus HAS to be on writing more product, so that you aren’t dependent on just selling oranges in a world where oranges might fall out of favor.

4) Product must look good – I couldn’t tell you how many vendors I walked past looking for the perfect orange or apple. Imagine how much time I spent in front of the kiosk where the vendor had avocados the size of green footballs. Good looking fruit is a lot more likely to sell than produce that looks like it’s had a hard ride on a bucking donkey.

Fruit display, Miraflores market (2011) Photo (c) Karen Abrahamson

For the writer this means that your produce needs to both look good and BE good – or at least as good as you can make it. As a writer you are responsible for the quality of your work both in terms of story and editing. Covers are the responsibility of the writer/indie publisher and are your calling card. Good covers, as Joe Konrath frequently talks abouton his blog (here), are critical to sales.

5) Product must be positioned – Peruvian vendors always took advantage of their location to show their wares. Some, near the doors, laid out attractive displays to catch the sunlight. Independent vendors crowded around the main doors to get attention. Others located themselves by side doors where they might not get as much traffic, but they might get more attention from those who DID pass through the doors.

Positioned for the light, Cusco maket (2011) Photo (c) Karen Abrahamson

As a self-publishing writer, or an indie publisher, you also need to make choices about how to get the attention of booksellers and readers. This can be either as simple or as complex as you want to make it. Examples of means to get attention for product include:

• Social marketing on twitter, facebook, etc.

• Social marketing on reader and writer groups

• Providing free fiction as loss leaders

• Advertising at conferences

• Advertising to booksellers

Choosing the methods that are right for you is the trick.

Given marketing is as foreign as a Peruvian market to me, I’ve planned a series of blogs that will explore marketing and provide information from authors who have gone farther down this road. So don’t consider me an expert, but look at this as a place to pull together ideas. Over the coming weeks I’ll explore each area in more depth and include interviews and examples. And please, if you have experiences in marketing as an author or indie publisher, share them here. After all, the last lesson I learned in Peruvian markets is that vendors help each other.

Working together to sell pork rinds outside Cusco mercado (2011) Photo (c) Karen Abrahamson

Peruvian time

By Karen Abrahamson | May 7, 2011

Women in the moment of Cusco Parade(2011) Photo (c) Karen Abrahamson

Coming home from another continent affords lots of time to sit in airports and to reflect (as you cross time zones) on the nature of time, and timing, and how we experience it. Coming from North America we are so driven by the clock – to be punctual, to punch the clock, and to resent those who don’t bow to the ticking moments in the same way the rest of us do. I speak from experience. I lost a very good friend because she refused to honor my time as I honored hers. She always kept me waiting for at least an hour every time I was to meet her for a social engagement and when I pressed her on the issue she decided my friendship wasn’t worth trying to change her time sense. So we parted ways.

In Peru I ran into a similar phenomena. There I was, sitting in the train station at Aguas Caliente, going home from Machu Picchu, and the train before mine arrived. They called the train’s arrival. They called boarding and the foreign tourists crowded around to load. They called last call and a few Peruvians came running. They called last call again (I guess they didn’t mean it the first time). More Peruvians came running. They called last call again and an entire tour group (Peruvian) came trotting up. They closed the gate and announced the train was leaving.

Time worn ripples in the stone of Sacsaywaman (2011) Photo (c) Karen Abrahamson

About 5 minutes later another entire Peruvian tour group arrived and were a tad put out that the train had left without them.

I watched this and put the phenomena down to this being a tourist train and Peruvian tourists, but then I had to catch a plane to get from Cusco to Lima. There, I was, sitting in the departure lounge as LAN airlines boarded a flight. They announce last call. A couple of people come running. They announce last call again, and a few more people come. They announce that they were closing the gate and a western tourist who had been guarding the belongings of a Peruvian friend, finally tossed the friend’s belongings to the gate crew and boarded. His friend eventually showed up and was choked that the plane wasn’t waiting for her. They announced last call again and at that point – after Airport staff had been walking around for at least ten minutes paging missing passengers (by name) – someone pointed out to a group of businessmen in the waiting area that they were supposed to be on that plane. They dashed off, madly. So after about 4 last calls, personal pages and various and sundry announcements the gate was finally locked and the plane took off, but the whole thing got me thinking.

Village near Ollantaytambo (2011) Photo (c) Karen Abrahamson

What was it about Peruvians? Did they just not pay attention? Was the whole world to wait for them? Did they just not care that they were holding up an entire airport? Was there something called ‘Peruvian time’?

While waiting for another flight (this time in Canada), I had the chance to chat with a Peruvian woman who has lived in North America a long time. I ran my story past her and she laughed and said that the Peruvian psyche is not so Machiavellian. Instead the reason those passengers missed their trains and almost their planes was more likely because Peruvians are more ‘in the moment’. When they engage with friends they are totally ‘present’, and so they miss little things like the announcement for a train or last call for a plane. She told me that when friends get together for dinner they had best plan for people to arrive two hours late.

Which is interesting for a writer, because, from personal experience, our sense of timing is such a rich source of conflict.

Peruvian mountain woman (2011) Photo (c) Karen Abrahamson

And now I’ve come home to Canada to find my mother in the hospital from a stroke and my family playing a waiting game. No longer is our focus on punctuality. Now we live in the moment and keep hoping for a few moments more – Peruvian time. Let the world pass us by for a long, long time.

The masses at the ancient ruins of Machu Picchu (2011) Photo (c) Karen Abrahamson

Puno: Leaving Things Unfinished

By Karen Abrahamson | April 8, 2011

I wasn’t sure what I was going to write this blog about because I saw so little of the Lake Titicaca area, but perhaps that’s the point. Sometimes things get in the way of best intentions and we either can’t or just don’t get the job finished for whatever reason. This certainly happens in writing, when health or other life issues get in the way. So I guess this is my turn. Just in case anyone was worried, I seem to be fine. The high blood pressure meds seem to have done the trick and I am going to get checked out before the Machu Picchu climb. But that’s all fodder for a next post.

A village of the Isla Uros, Puno, Peru (2011) Photo (c) Karen Abrahamson

Let me tell you about Puno.

Puno sits on the shore of Lake Titicaca, running up the sides of a number of hills that roll down to the great northwestern bay of the lake. My bus arrived in the night, so we crammed three of us (from the bus) into a shared taxi to get to our various hotels. All well and good, until we left the bus terminal and headed into the streets. Think narrow enough two cars can’t pass. Think congested with cars, trucks, motorcycle-taxis that they call ‘chilos’, as well as bicycle rickshaws. And pedestrians. Don’t forget the pedestrians. Masses of them, blithely passing between the vehicles. In the night everything smelled like car exhaust , and the air was glossy with mist off the lake. And pollution. OK, I thought: this seems rather Dante-esque, but it was night and I was tired and so I let it pass, because I’d seen worse in other countries.

The next day, the day I finally saw the doctor, I went out for a walk. Grotty was about the best I could describe it. Now maybe it was me – I was unstable enough on my feet I actually got lost twice – and I rarely get lost, but the city seemed in a perpetual state of being unfinished. Everywhere you looked there were brick buildings with iron poles sticking out of the roof awaiting the next story. Even my guest house, which was up-scale on the scale of guest houses I’ve been staying in, had its courtyard dug up and the front entrance perpetually stuck in a heap of dirt-cum-mud.

FishingSailboat on Lake Titicaca, (2011) Photo (c) Karen Abrahamson

Not impressive, to say the least. Not a place you’d want to spend any more time than you had to, even though the streets were filled with delightful ladies in traditional bowler hats and absolutely everyone I had contact with was wonderful. My plans for Puno had been to use it as a base to do research farther afield. I had planned to go out to one of the islands in the lake and live there a few days, but given how I was feeling it seemed like a particularly stupid idea to put myself that far from a doctor.

One of the knitting old men of Isla Tranquile, Lake Titicaca, Peru (2011) Photo (c) Karen Abrahamson

So instead I did what I never do: I booked into a – dare I say it – a tour. A one day tour out to Isla Tranquile. I figured there was no way they were going to stress me out, and I could at least see something of the lake.

Of course I was wrong.

A wonderful day – brisk wind, blue skies and the scent of wet mud you get from a marsh as we first visited the floating islands of Lake Titicaca. These are islands built of a layer of matted root and then heaped on top with reeds. Whole towns exist on these islands. And if you don’t like your neighbor, you just pull up your ten anchors and float away to Bolivia. Think about how easy ending a marriage would be!

From there we headed to Tranquile. I’m picturing a landing, a light walk and lunch. The real picture relates to the fact that Tranquile is basically a mountain. So we land, and I’m looking at an uphill climb. Way uphill. We have to reach the top for our lunch. And of course I’m carrying about 35 pounds of camera equipment that I will not leave unchaperoned on the boat.

Looking back own the flank of Isla Tanquile (2011) Photo (c) Karen Abrahamson

At 14,000 feet this was not an easy hike, but the panting was worth it. Isla Tranquile sits in glacier-blue waters, its steep sides terraced with green, and laced with gold flowers. The sounds of birds and the call of children fill the air. The old men sit knitting (Tranquile is a UNESCO site for its fine fabric weaving and knitting) and its women constantly spin a weaving bobbin. You see them everywhere and they produce absolutely beautiful knit wear. The island is also famous for its gender roles. Men gain their worth by having a wife gift them with many handmade purses. The women cut their hair and weave it into a belt for their future husband. They also cut their hair to produce long falls that the men wear in ancient, Andean ceremonies. When you look at these faces, they have the same high cheek bones and hawk nose of the Incans and some say that Lake Titicaca is where The Inca – the first Inca – came from.

Which brings me back to Puno. I felt bad to leave the city without exploring it better. I climbed on the bus this morning feeling something of a failure, because I don’t like to leave things unfinished. Which is perhaps why Puno’s appearance that the whole place was under construction or reconstruction left me so unsettled.

But I learned from the guide on the bus that my perception was correct. Apparently the government of this department (state) only requires citizens to pay taxes on a finished house….

So I’m holding to that: Like the homeowners of Puno, sometimes in writing and travel it pays to leave things undone.

On the rooftop on the way to Isla Tanquile (2011)

Wiggle Room – the Chinese army and finding the time for a creative life

By Karen Abrahamson | March 7, 2011

I’ve heard it said that if you want something done, ask the busiest person you know and they will accomplish it. Somehow these people have the ability to stretch a little more out of a minute or hour to get the conference planned, or the new report written. These people amaze me. Actually, I think they intimidate the heck out of me, because I am constantly finding myself scrambling trying to get things done and regretting my inability to say ‘no’ to new work. Of course, too much work impacts my ability to find time for my writing.

How do these people do it? Do they really have the magical ability to expand time?

Yak at Qinghai Lake (1998) Photo (c) Karen Abrahamson

Of course the answer is ‘no’ (at least I don’t think too many of us have Hermoine’s magic watch), but these people have tricks that help them get things done. I figure I must have a few as well as I am frequently being asked where I find the time to write, or travel , or blog.

The first thing one must do is decide if writing or travel is something you really want to do. For me, there were years of frustration about finding the time to write and the time to market my writing until a friend and mentor made the suggestion that I treat myself as a one of my clients. You see, I work for myself as a consultant and I schedule my time based on the work a client has asked me to do. The suggestion was helpful to me because it did two things:

1. It got me to schedule time;

2. It legitimized my writing and got me to take it as seriously as I take my paying work.

The first of these points speaks to organization, a key point if you are trying to fit writing into your life. Along with organizing your life to allow writing time, you must obtain the buy-in from significant others like spouses and friends – otherwise expect writing time to be a constant source of relationship friction.

The second of these points is probably the most important. Taking my writing seriously gave me permission to make it a priority to write. I can’t tell you how many people I know who say they want to write a book or are working on a book and yet they never sit down to write. The first job of a writer is to write – not to talk about it. Not even to blog about it. But to write. Bum in chair folks, and no matter what else is going on in my life, I always find time to be there.

You have to decide the writing/travel/whatever is a priority because it will hurt you more not to do the activity, than to do it.

I’ve also had people tell me that part of their trouble is the challenge of moving from creative to mundane (e.g. work) projects and back again. This is an issue of multitasking. So how do people manage this shift from project to project?

I know people who work on two or three novel projects at the same time. I admire them greatly, but I don’t think I can do it. These folk can literally be writing one manuscript in the morning and another at night. For some it’s a matter of compartmentalizing their writing, so writing a certain type of book is associated with a certain time of day. I suppose I do something similar when I get up early in the morning and write creatively, and then turn to my work computer at eight a.m.

Having separate computers can help, as well. Having one computer for work and one that is strictly for creative endeavors allows your brain to associate a certain place with a certain type of thinking. Keeping your creative space separate from the internet has also helped some writers, and definitely removing all games from the creative computer. For me, I have to keep my photography on a separate computer because that is a time sink I frequently get stuck in, because it also feeds my creativity.

Other issues fledgling writers run into include knowing what to write and just getting started. I’ve talked previously about inspiration, but sometimes it’s just the fear of getting started. There are wonderful books out there that can help. I fondly recall Natalie Goldberg’s Wildmind, and the wonderful book The Artist’s Way by Julia Cameron. Both helped me explore my voice and passions and taught me that my voice was valid. Books can teach you how to deal with the anxiety of starting through cleansing breaths, or meditation . Each writer has to find their own way to deal with the critics in their heads.

I’m reminded of a mantra Kris Rusch and Dean Smith put up at every workshop: DARE TO BE BAD. What this means is that all creativity (and travel, and just plain living, for that matter) is about taking a risk. We have to throw ourselves out there and only by taking those chances will something wonderful arise.

I’m reminded of one of my adventures: In China my travel companion and I decided to visit a remote area called Qinghai Lake. This is a wind-blown steppe in the mountains that has a huge lake that supports the massive migrations of waterfowl from Siberia to South Asia. So we hopped a local bus and travelled up into the mountains and were dumped off in a small group of buildings that were reminiscent of an old west town except there were no horses around, only yaks and monks.

Monks at Qinghai Lake (1998) Photo (c) Karen Abrahamson

So we ventured out to the lake on foot (not an easy hike, because the lake was distant and the wind was high and scoured us constantly with dust). We were met by Tibetan women bringing their children to see Westerners. (I scared the children because I have blue eyes and apparently that’s not a good thing.) We saw massive stone cairns, strings of prayer flags, and wonderful kids who showed off by riding yaks to guard their herds and, in the distance, blue Qinghai Lake. I ended up going back to our room alone and was just washing the dust out of my pores when someone pounded on the door.

Soldiers.

They barged in on me as I stood there dripping. I was shocked, to say the least, and my first reaction was to shoo them right out of the room again and bar the door. It worked. I stood there, heart pounding. Through the door I heard them whispering and laughing. And they went away.

Which proved to me, that if I could deal with the Chinese Army, I could deal with most anything – including anything that dares get in the way of my writing.