Free Down Loads On Kindle
By Mike Long
Until recently I’ve steadfastly resisted giving any of my books away. Sure, I sent copies to folks for reviews (with mostly good results) and even donated a case to a US Army aviation unit in Afghanistan – but that’s not the same as listing a book as ‘Free’ on Kindle for several days. Why on earth would a sane person do that?
I’m not sure why sane folks do anything, but what pushed me to try a ‘free download’ promo was the fact that I just wasn’t selling many copies as E-books. I had my first novel (No Good Like It Is) and the sequel (Dog Soldier Moon) available on Kindle, Smashwords, Sony, Nook, etc., but was only moving maybe twenty or twenty-five on each per month.
I’d already gone through the Kindle pricing drill, starting at $9.99, then $5.99, then 99 cents and finally establishing my ‘sweet spot’ as $2.99 per. At that price or higher, the author gets 70% of each sale; below that, it’s only 35%.
And when Kindle offered their Kindle Owners Lending Library (KOLL), I was slow to join up (why loan books for free, rather than sell them?) – until I learned that the KOLL program actually pays a little to the participating authors. You do have to give Kindle an ‘exclusive’ on your books, but I’d never received a penny from Sony, Smashwords, Nook, etc. anyhow. Another no-brainer, once I studied it.
And all that led me to the free download promo. A friend explained that the folks who hold out for freebies on Kindle were probably never going to pay for one of my books – unless maybe they got the first one free and just had to have the sequel, especially if it didn’t cost much.
I ran my experiment Nov. 26-30 2012, after a good deal of mostly free advertising. I used Facebook (all my groups therein) and LinkedIn, and found more than a dozen sites that would blog or advertise my effort for little or nothing.
There were over 6500 free downloads during that five day promotion; most (6200) were in the first three days, so a two or three-day promo is probably enough. But what happened afterward is what has really surprised me.
In the nine days since I stopped the promotion, I’ve had over 220 paid downloads (purchases, KOLL Loans) of my first novel; the figures on the sequel aren’t in yet. Remember, I was only doing about 22 of each per month before. I don’t expect this pace to continue, but it’s sweet now.
And there are still 6500+ potential buyers for the sequel. Write On!
YOU WANT ME TO CRITIQUE YOU?
When I was fortunate enough to find the South Carolina Writer’s Workshop, be accepted as a member, and joined the Surfside chapter, I was of course thrilled. I remember discussing how the meetings work. You know, the usual stuff like dates to meet, how to submit my work, how to accept critiques of my work. And then the first meeting came. I remained thrilled and naturally went through all the normal emotions -- excitement, anticipation, nervousness -- all the feelings anyone might experience when they’re about to have their work looked at and yes, scrutinized.
I knew I needed to be open-minded about the critique. I knew not to take the feedback personally and to leave my ego at the door after all, I was in this to learn and to improve.
Then they told me I would also critique others in my group. Huh? Really? Didn’t they know I like to be liked? What would I say to others? I don’t have a PhD in English Lit. I screw up tenses and make the age old mistake with its versus it’s all the time.
Okay. I can do this and so can you. Remember, the person whose work you are reading wants feedback. They want to improve. They wanted to present their work and be scrutinized because it’s a tough, competitive world out there. They are like me. Tired of the family/friend who says, “This is good.” They can’t say why it’s good or bring themselves to point out weaknesses instead, they say, “No. It’s really good. I liked it.” You try to help them along with questions like, “Was the conflict believable? Did the story move along? What about how the protagonist fought the giant ants and then came face-to-face with Bambi’s mother? Did it make sense?” And they respond, “I liked it. It was all good.” Bull. Nothing is all good. Hence the need to find a writer’s group and seek feedback.
So you’re like me and want to be liked. Okay. Just critique the way you would like to be critiqued - honesty with encouragement and give examples of what you mean. Help to focus the writer on the main issues. There are two objectives to a critique. 1) To identify weaknesses; and, 2) Offer constructive advice. That doesn’t mean you have to destroy the author. Be objective and honor the writer’s voice but help them learn so it isn‘t a waste of their time or your own.
I checked out some web sites to assist me in the art of critiquing. I also tried to come up with a checklist to help me. The checklist isn’t all-inclusive but it’s a start that keeps me on track.
Before I give the list, I want to say that you should always let the author know if the type of story you’re asked to read isn’t really your thing. Let’s say it’s a fantasy about animalistic-like aliens who come to earth and take over dog mills so they can conquer the world. Well, fantasy might not be of interest to you so tell the author. But, that doesn’t mean you can’t offer feedback. You recognize a good story when you see one so provide comment on the areas that matter in any good story telling.
1. Opening - was it captivating? Did you find it interesting? Did it grab your attention?
2. Conflict - is there action? Struggle? Emotional conflict? Something that keeps your interest and makes you want to turn the page?
3. Setting - does the author paint a picture of where the story takes place? Is it consistent to the era? Is there too much detail that drags the story down? Two pages on how the hotel room looked right down to a complete description of bedbugs will probably not help the story plot or keep the reader’s interest.
4. Point of View - is that consistent? Through whose eyes are we seeing the story? Whose emotions are in play? Is there a lot of head hopping?
5. Show Versus Tell - how much is the author telling us and how much does the reader simply know because of how the story is shown? Is the POV consistent with the character? Does it represent how he/she would think, feel, react?
There are other elements as well to a critique. Pacing is important. Does the story move along or slow to a snail in parts? Does it flow well in a logical order? If the story involves flashbacks, is it confusing? Does the reader get lost in to much background information? Does the plot make sense or does it get lost along the way? Is too much time spent on details that get too technical while the main action is left flapping in the wind? Are the characters believable even if they are aliens who bark and quote Hemingway? Is the dialogue consistent to their personality? Can you sense who is speaking without being told? And finally, the mechanics of grammar, spelling, choice of words all play a part. Writer’s know what they want to say, what they intended to say, and when they read back their own words, that’s what they see…even if it isn’t there. I no of what I spoke.
As much as possible, give examples on how to fix the weakness. Offer suggestions without taking over the style and let the author come to their own conclusions on how to improve.
Above all else - praise. That is so important. Add positive comments on where the author did something really good. It might be a funny line or a description, or the story itself that has good potential, but there is always something good that can be found. "We all need to be told where we are very good as well as where we are very, very bad. We cannot grow, otherwise." - Pete Murphy.
For more resources check out: http://www.crayne.com. Also see: shortstorygroup.com; and suite101.com.
Hope to see you at the SCWW Conference October 19-21.
Linda Cookingham (aka. L. Thomas-Cook)
Writer, Photographer, Member of the BOD SCWW, Mother, Wife, Beach Walker, Dog Lover, and all around dreamer.
When I was fortunate enough to find the South Carolina Writer’s Workshop, be accepted as a member, and joined the Surfside chapter, I was of course thrilled. I remember discussing how the meetings work. You know, the usual stuff like dates to meet, how to submit my work, how to accept critiques of my work. And then the first meeting came. I remained thrilled and naturally went through all the normal emotions -- excitement, anticipation, nervousness -- all the feelings anyone might experience when they’re about to have their work looked at and yes, scrutinized.
I knew I needed to be open-minded about the critique. I knew not to take the feedback personally and to leave my ego at the door after all, I was in this to learn and to improve.
Then they told me I would also critique others in my group. Huh? Really? Didn’t they know I like to be liked? What would I say to others? I don’t have a PhD in English Lit. I screw up tenses and make the age old mistake with its versus it’s all the time.
Okay. I can do this and so can you. Remember, the person whose work you are reading wants feedback. They want to improve. They wanted to present their work and be scrutinized because it’s a tough, competitive world out there. They are like me. Tired of the family/friend who says, “This is good.” They can’t say why it’s good or bring themselves to point out weaknesses instead, they say, “No. It’s really good. I liked it.” You try to help them along with questions like, “Was the conflict believable? Did the story move along? What about how the protagonist fought the giant ants and then came face-to-face with Bambi’s mother? Did it make sense?” And they respond, “I liked it. It was all good.” Bull. Nothing is all good. Hence the need to find a writer’s group and seek feedback.
So you’re like me and want to be liked. Okay. Just critique the way you would like to be critiqued - honesty with encouragement and give examples of what you mean. Help to focus the writer on the main issues. There are two objectives to a critique. 1) To identify weaknesses; and, 2) Offer constructive advice. That doesn’t mean you have to destroy the author. Be objective and honor the writer’s voice but help them learn so it isn‘t a waste of their time or your own.
I checked out some web sites to assist me in the art of critiquing. I also tried to come up with a checklist to help me. The checklist isn’t all-inclusive but it’s a start that keeps me on track.
Before I give the list, I want to say that you should always let the author know if the type of story you’re asked to read isn’t really your thing. Let’s say it’s a fantasy about animalistic-like aliens who come to earth and take over dog mills so they can conquer the world. Well, fantasy might not be of interest to you so tell the author. But, that doesn’t mean you can’t offer feedback. You recognize a good story when you see one so provide comment on the areas that matter in any good story telling.
1. Opening - was it captivating? Did you find it interesting? Did it grab your attention?
2. Conflict - is there action? Struggle? Emotional conflict? Something that keeps your interest and makes you want to turn the page?
3. Setting - does the author paint a picture of where the story takes place? Is it consistent to the era? Is there too much detail that drags the story down? Two pages on how the hotel room looked right down to a complete description of bedbugs will probably not help the story plot or keep the reader’s interest.
4. Point of View - is that consistent? Through whose eyes are we seeing the story? Whose emotions are in play? Is there a lot of head hopping?
5. Show Versus Tell - how much is the author telling us and how much does the reader simply know because of how the story is shown? Is the POV consistent with the character? Does it represent how he/she would think, feel, react?
There are other elements as well to a critique. Pacing is important. Does the story move along or slow to a snail in parts? Does it flow well in a logical order? If the story involves flashbacks, is it confusing? Does the reader get lost in to much background information? Does the plot make sense or does it get lost along the way? Is too much time spent on details that get too technical while the main action is left flapping in the wind? Are the characters believable even if they are aliens who bark and quote Hemingway? Is the dialogue consistent to their personality? Can you sense who is speaking without being told? And finally, the mechanics of grammar, spelling, choice of words all play a part. Writer’s know what they want to say, what they intended to say, and when they read back their own words, that’s what they see…even if it isn’t there. I no of what I spoke.
As much as possible, give examples on how to fix the weakness. Offer suggestions without taking over the style and let the author come to their own conclusions on how to improve.
Above all else - praise. That is so important. Add positive comments on where the author did something really good. It might be a funny line or a description, or the story itself that has good potential, but there is always something good that can be found. "We all need to be told where we are very good as well as where we are very, very bad. We cannot grow, otherwise." - Pete Murphy.
For more resources check out: http://www.crayne.com. Also see: shortstorygroup.com; and suite101.com.
Hope to see you at the SCWW Conference October 19-21.
Linda Cookingham (aka. L. Thomas-Cook)
Writer, Photographer, Member of the BOD SCWW, Mother, Wife, Beach Walker, Dog Lover, and all around dreamer.
Writing Non-fiction with Panache
By Chris Mathews
Writing non-fiction does not have to be a dry,
pedestrian venture. In fact, in today’s internet world, original ways of
approaching real-life events can make the difference between prose that touches
people and prose that bores.
In the piece that follows, I tried to inject the
simple act of doing a project with my grandchild into a piece that captured the
frustration and joy of the experience.
Excavating
the Triceratops with Poppy and Granddaughter Sidney Grace
On
Saturday, August 18th, in Ridgeland ,
South Carolina South Carolina
Poppy and Gracie dug out a triceratops together,
using only a small blue, plastic spade and brush. Gracie did most of the brushing, Poppy
scraped with the spade. This joint expedition took place in the Mathews’ den
atop a glass coffee table.
The team of Poppy and Gracie unearthed this find
by extricating a clay egg enclosed in vacuum-sealed plastic labeled Dino World
Fossil Kit. Excavating instructions were listed on the back in both English and
Spanish:
1) While
over an easily cleanable surface or newspaper, remove the dino egg from its
wrapper. MarMar, grandma,
suggested the kitchen table as the perfect location for this expedition but
Poppy wanted a challenge, so he placed a poster sized “No Diving” sign on the
clear glass wood-rimmed table.
2) Make sure that the egg is firmly held in
place. Carefully, remove dirt using the excavating tools provided (the
previously mentioned spade and brush) Wanting results, Poppy left out the
“carefully”. After shaving slivers for a short time, he squeezed the clay to
smithereens. Gracie reveled in the clay, fragments cascading off the table and
onto the carpet, leaving her looking like a street urchin. Feeling the
exhilaration of risk-takers, the two opted not to “WEAR EYE PROTECTION” as posted
at the bottom of this step.
3) When done removing dirt, clean fossils using
the brush. It is very important to
remove all dirt from holes that are used to connect pieces to allow a more secure
fit.
Poppy discovered this important fact as Gracie brushed off the pieces and he
tried to force the tiny nubs into the dinosaur’s torso.
4) Never force the pieces together. If they are not fitting, check for dirt in
the holes. Poppy jammed the nubs of the legs into the tiny holes, but
only managed to reconstruct a three-legged Triceratops with tail and horned
head. Each time Poppy wedged the last
leg in its hole, another leg fell off. The plastic legs matched the light tan
carpet exactly so finding one that dropped was not easy. After twenty minutes of dropping, picking-up,
and twisting legs, Poppy had taken on the demeanor of a mad scientist. Sidney
Grace, however, did not lose confidence in Poppy. She just kept playing with the clay, spilling
a few crumbs on the carpet as MarMar gleamed with pride at the two with a look
of “I knew it wouldn’t stay on the table”.
Finally, after blowing profusely in the holes
and delicately washing and blow-drying these tiny orifices, Poppy assembled the
Triceratops on four legs. Sidney Grace was impressed, even though Poppy failed
to mount the two back legs in the two holes provided on the plastic stand shown
in the illustration, deeming the stand “for nincompoops”. After the two proudly gazed at their tiny monstrosity,
Marc, Sidney Grace’s dad and Poppy’s son, proclaimed “naptime” for the
smudged-face waif.
SCWW Conference Labor Day Special Offer
By Ginny Padgett
2012
SCWW Conference – October 19-21 – Myrtle
Beach
It’s
that time of year again. School is back in session, football returns to
fan-filled stadia and South Carolina Writers’ Workshop holds its annual
conference.
Here’s
the latest conference news. The early-bird
registration rate ended yesterday (September 1), but if you register by
September 15 and email me at ginnypadgett@sc.rr.com
and tell me you saw this blog, I will extend the $50.00 discount. Additionally,
I’ll extend the deadline for purchasing a manuscript critique to September 15.
Registration
remains open until October 17; however, you’ll pay full price and only pitch and query-letter critique appointments remain
for sale.
I hope you’ll join us for the conference. It’s an excellent opportunity to network with other
writers and industry professionals, hone your craft, expand your knowledge of
publishing trends…and who knows, come away with a book deal! It’s going to be a great weekend for writers in South Carolina
Take
a look at the weekend activities that will mark the 22nd SCWW Conference. (See http://columbiawritersworkshop.blogspot.com/search/label/Ginny%20Padgett) You can go to www.myscww.org/conference/ for all the information, including links to registering for
the conference and making your Hilton reservations.
Playing Tennis with the Net Down
By Bonnie Stanard
Robert Frost was quoted as saying,
“Writing in free verse is like playing tennis with the nets down.” I would ask,
If you’re playing tennis with the nets down, are you playing tennis?
Free verse is usually defined as verse
without meter or rhyme. Most poetry I read today is free verse, whether we
classify it by form as narrative, lyric, sonnet, etc.
Take a
look at the excerpt below from “Nightclub”, written by former poet laureate
Billy Collins and printed without its versification. Is this poetry or
prose?
You are so beautiful and I am a
fool to be in love with you is a theme that keeps coming up in songs and poems.
There seems to be no room for variation. I have never heard anyone sing I am so
beautiful and you are a fool to be in love with me, even though this notion has
surely crossed the minds of women and men alike.
Prose poems have enthusiastic
defenders. This is a poem that “appears as prose, but reads like poetry,”
according to www.poets.org. I’d like to know what reads like poetry means. Prose poems throw out meter and rhyme as
well as versification. What meaningful difference is there between prose poems
and flash fiction? For poets to stake a claim on prose can only mean the genre
is desperate for an audience.
Some poets are staking out territory in
music. Poetry on Record, a CD
collection, includes several poets reciting to music. I have to wonder when
some writer will come out with a CD collection of, not lyric poems, but “song
poems” with a trio knocking off a beat in the background.
Poetry slams, defined as performance
poetry, have emerged as competitive events. In this case, the success or
failure of a poem depends not so much on the merits of the writing as the
performer’s ability to entertain. Written representations of these poems convey
less in terms of drama or substance.
Fiction writers rehash characters and
plots that have been around since the first written words. They’re able to make
prose interesting for the contemporary reader without abandoning the devices
that serve the style, things like dialogue, foreshadowing, symbolism,
narration, point of view, etc.
In the 20th Century, rhyme morphed into
assonance/dissonance, and meter went from structured beat/lines such as iambic
pentameter to syllabic and blank verse. Innovation in poetry today seems to be
missing the mark. Why have we abandoned rhyme and meter rather than pioneer
revolutionary varieties? Surely there are more avenues to explore. Aren’t
there?
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