Friday, 1 August 2014

Reinventing Yourself: It's Never Too Late!

Claire Cook is a hybrid author: she's been published by legacy (mainstream) publishers and is also self-published. She is a member of a new and growing club among authors: she's given up her legacy publishing and is now thriving as an Indie author. Her current title - Never Too Late: Your Roadmap to Reinvention - is selling briskly on Amazon with 3.9/4 rating by reader reviewers.
Claire is the bestselling author of Must Love Dogs, which was turned into a movie starring Diane Lane and John Cusack. Claire was forty-five when she penned her first novel and fifty when she walked the Red Carpet at the movie premiere of her second. Talk about reinvention!
But, let's let her tell her story in her own words with an excerpt from Never Too Late:

ROLLER COASTER
I love happy endings, so nothing would give me more pleasure than to tell you that once you finally arrive at your reinvention destination, all your dreams will come true and you'll be living on easy street, set for life. Because that's where I am now, on the other side of that magical finish line. Boyohboy is my life perfect, and I can't wait for you to join me here in reinvention paradise. We'll have drinks! We'll chat about our stellar lives!
But I owe you the truth, and the truth is it doesn't work that way. There will always be challenges and, likely as not, they'll get even bigger. As the ancient Greek philosopher Heraclitus said, "The only thing constant is change." Just when you're getting comfortable, the destination you've happily arrived at can suddenly start shifting under your feet.
That's what happened to me. I was cruising along, represented by a powerful literary agent from a mighty agency that I both liked and respected, published by a series of big New York publishers that believed in my books and helped me make them better, and receiving advances for my novels that were substantial enough to live well on.
And then the publishing world began to get rocky, just like the music world and the newspaper world and so many others had before it.
I was one of the lucky authors. I had multi-book contracts and I was still being sent on book tour by my publisher and published in both hardcover and paperback, so I was able to put on my blinders and ignore the changes at first. Eventually, I couldn't help noticing my career stalling out, but I'm a glass half full kind of person, so I just shrugged it off and figured if I dug down deep and worked even harder than I was already working, I could make up for the shrinking energy and resources being put behind my books.
And then, after years of stability and support, it was jolting when a single one of my novels made the rounds through three separate editors, because the first two left the publishing house. I lost count of the in-house publicists disappearing through the revolving door—even their names began to blur. But the good news was that this was my final book under contract with this publisher, so I'd just find a better home for my books and me when I was free.
When the time came, my agent and I made the rounds, meeting with editors at the big publishing houses. I signed a two-book contract with the one who promised they'd put all their resources behind me to grow my readership and to get my career moving again in the right direction.
It didn't happen. I think they tried hard with the first book, but the things that used to work for traditional publishers trying to break out a book weren't working so well anymore. I wrote the second book I owed them. And then I found out that their entire plan for this book was to do all the things that hadn't worked for the first one. Even I couldn't find the glass half full in that. So I spoke up, verbally, and then in writing, and then in writing with lots of detail, even some bullet points.
Let's just say it didn't go over so well. A message was delivered to me via my literary agent that I should focus on writing the best book I could write and leave everything else to the professionals.
Oh, how I would have loved to.
Then my editor went off on a three-month maternity leave that would end just before my book came out, leaving her assistant, a very nice young woman a couple years out of college, responsible for the care of my novel, my baby. Less than a month before my publication date, I received an email from this very nice assistant telling me she was leaving publishing to start a takeout food business with a friend.
What a coincidence, I almost wrote back. I'm leaving publishing to start a takeout food business, too!
And now no one was in charge of my book.
It was such a low point. I was heartbroken, both for me and for the poor book I'd poured my heart and soul into. I'd spent thirteen years trying to be the hardest working author in the universe, and I felt excruciatingly let down by the institution that was literally feeding me. And paying my bills.
It gets worse. Around this time, I started receiving emails and calls from booksellers telling me they were having trouble ordering my backlist books that had been published by my last publisher. And then that last publisher went under and was bought out by another publisher who inherited all their titles. So in another huge bump in the road, these five backlist books went from being ignored to being part of a fire sale and were now owned by a new publisher that quickly demonstrated they had absolutely no interest in them.
One day right around this time it hit me: I simply can't do this again. I cannot let another publisher break my heart.
It gets better. Independent aka self-publishing had taken off and grown into a viable alternative. Authors in situations similar to mine were becoming hybrid authors—both traditionally and self-published. And in this new world, there was little of the cloak and dagger stuff I'd experienced in traditional publishing, where everything from money to marketing was kept secret. Indie authors were generously sharing everything they learned to help others on the same path. Via message boards and blogs and conferences, a great support system was bubbling up.
I'd already dipped a toe in this new pond, back when I first began to feel the changes. Ebooks were taking off like crazy and my readers were embracing them.  Since I owned the rights to Must Love Dogs, I reformatted it and uploaded the ebook on Amazon. I gave it away on Mother's Day to thank my readers for their support. No advertising, just an email blast, a post on Facebook and another one on Twitter. It had thirty-two thousand downloads in that one day and reached the number one spot on the Amazon free list, right next to Fifty Shades of Gray on the paid list. And now a whole bunch of people wanted to hear more from these characters. Amazing.
So the pieces of my new dream started to come together. I would find a way to get the rights to my backlist books reverted, and then I'd republish them with my own publishing company, which I'd call Marshbury Beach Books after the fictional town in my novels. Then I'd turn Must Love Dogs into a series—my readers wanted more, series were becoming more popular, and it would be fun to have a new kind of writing challenge since I'd never written a series. After that, I'd just keep writing, maybe even that nonfiction book about reinvention I'd wanted to write for years.
I hired a lawyer to help me begin the arduous process of getting the rights to my backlist reverted. But this time I did it the smart way. I reached out to a wonderful organization I belong to, Novelists, Inc., which has a legal fund for its members I could apply to for help subsidizing my efforts. NINC had a list of lawyers, and once I'd chosen one, they even made the initial contact for me.
I finished writing a draft of Book 2 of the new Must Love Dogs series. My agent not only read it, but also gave me helpful editorial advice. We seemed to be on the same page in terms of the steps I needed to take to get my career back on track. I'd already self-published Must Love Dogs and Multiple Choice with her full knowledge and support. It seemed to me that if I could get my career moving again, it would only benefit us both down the road.
And then one day on the phone, my agent informed me that in order to continue to be represented by this mighty agency, I would have to turn over fifteen percent of the proceeds of my about-to-be self-published book to said agency. Not only that, but I would have to publish it exclusively through Amazon, because the agency had a system in place with them where I could check a box and their fifteen percent would go straight to them, no muss, no fuss.
 There was no deal, no sale. There would be no self-publishing assistance, no special treatment from Amazon to give my books an extra push, no marketing. I would be paying fifteen percent of my profits—forever—simply for the privilege of being represented by a big name agency. And this might well turn out to be representation in name only, since it was made clear to me that the mighty agency's subagents could not be expected to devote time and energy to selling rights to works that were not traditionally published.
It was wrong, ethically and financially, and I just couldn't do it. I Googled and searched message boards and was introduced to the term revenue grabbing.
To say it rocked my world would be an understatement. I was stunned, in part because I had several author friends traveling the same road, friends whose agents were supporting their indie journeys to get their careers back on track in a big way, and only commissioning the sales of subrights like foreign and audio and film.
A lawyer at another organization I'm a member of looked over my breakup papers furnished by the agency, and told me to look on the bright side, they never would have bothered if they didn't smell money. I was hardly a big fish at this agency, so in my mind it was more about getting caught in the crossfire as agents and publishers alike try to reinvent themselves and stay relevant in these quickly changing times.
I cried. A lot. At one point, I remember Googling Elisabeth Kübler-Ross's five stages of grief and realizing that I was cycling through them all, from denial to anger to bargaining to depression to acceptance. And then, once I finished wallowing and being pathetic, I shook it off and got back to work, more determined than ever.
As much as this whole thing totally, totally sucked, as much as it felt like my entire support system had been pulled out from under me, I never once questioned that I would continue writing. That's the definition of passion. And I never once questioned that my readers would want to read my next book, no matter how it was published. That's the definition of awesome.
If you're having a bad day/month/year, I hope my story just made you feel better! I tell it not to point fingers or to badmouth anyone, but in the spirit of those indie authors who have so generously shared information to help others coming up behind them on the road.
 
ONWARD AND UPWARD
I loved having a savvy, formidable literary agent advocating for me, and a connected group of terrific subagents going after foreign and film rights. I loved working with publishing teams made up of smart people who knew how to help me make my books better and had the clout to get my books much wider distribution than I could ever get on my own.
All ten of my traditionally published novels were chosen as Indie Next picks, a monthly list voted on by independent booksellers all over the country of the upcoming books they're most excited about. That bookseller support has been a huge gift to my career. I've done my best to return that support, and some of these booksellers have become my friends. So one of the most painful parts of walking away from traditional publishing was that my books would not be as available to these booksellers as they were before, and not at the deep discounts publishers could offer. There's nothing I can do about that. Looking back, I think it's one of the reasons I took so long to jump.
If the right literary agent comes along, one who gets where I'm going and can support my new journey in a meaningful way, that would be great. But I'm in no rush, and it's been both good to take a break to think about what I'll need moving forward, as well as empowering to take control of my own career.
I consider myself a hybrid author, both traditionally and self-published. If the right traditional publishing offer comes along, especially one that would get my paper books into bookstores in a more widespread way than I can on my own, I'd absolutely work with a traditional publisher again. As Guy Kawasaki, the former chief evangelist of Apple, said about his own hybrid author career, "I'm not for sale, but I am absolutely for rent."
But the magic for me is that I don't need it anymore.
Jumping off the traditional publishing treadmill I'd been on since 2000 meant making some short-term sacrifices, the biggest of which was letting go of the money it provided. But my self-published checks come monthly, not twice a year, and I get much higher percentages of sales without sharing a percentage. The income gap is closing.
I now own seven of my twelve books, including this one. I control pricing and promotion, and I can balance my need to earn a living with making my books available to my loyal readers at the best price I can offer them. I can add fresh content and switch excerpts and change covers any time I want. By the time I have ten indie-published books, I think Marshbury Beach Books and I will be doing just fine.
But already I'm happy. Instead of waiting for the next thing to go wrong, instead of feeling like I can't get close enough to my own career to move it in the right direction, I wake up every day and get right to work. I'm ridiculously busy, but I'm learning so many new things about writing and publishing and connecting, and I spend all day (and often a chunk of the night) doing the work I was born to do.

Excerpted from Never Too Late: Your Roadmap to Reinvention (without getting lost along the way) © 2014 Claire Cook

Claire Cook wrote her first novel in her minivan when she was 45. At 50, she walked the red carpet at the Hollywood premiere of the adaptation of her second novel, Must Love Dogs, starring Diane Lane and John Cusack. She is now the USA Today bestselling author of 12 books and a sought after reinvention speaker. Find out more and download your free Never Too Late workbook at ClaireCook.com.


Monday, 14 July 2014

Make your dialogue deliver a one-two punch


For many writers, figuring out how to punch up their dialogue is a bit of a challenge. As one literary agent says, “good dialogue illuminates your characters, moves your plot forward and develops relationships.” She goes on to write, “If you find that your dialogue does need explanation, then frankly, something is wrong with your dialogue.”

Dialogue performs four functions:

  1. Reveals character
  2. Advances the plot
  3. Provides information
  4. Entertains
You want to aim for two minimum and aspire to incorporate all four in each line of dialogue.

There are some basic conventions that quickly identify the novice from the practiced.

Thursday, 10 April 2014

How to Write Dialogue - New Resource

In my freelance book editing world one of the most frequently encountered weaknesses is punchy dialogue that is properly punctuated. So, this week, we're visiting with Matt Posner, a novelist and teacher and author of How to Write Dialogue. 

What gave you the idea to pull together a ‘bullpen’ of authors to put together a book on writing dialogue?

Most fiction writing manuals have samples to be analyzed. But I'm not like a large publishing company that can draw upon its stable of authors, so I decided to go a different route by asking my peers to contribute instead. It's a chance for them to get their work in front of more readers, and a chance for me to get a wider variety of examples.

You make a clear distinction between literal speech patterns and crafted dialogue. What’s the difference?

Our daily speech is full of pauses, er and um sounds, and verbal stumbles. People speaking often make mistakes and restart, or make grammatical and vocabulary errors that are more annoying than revealing. These two reasons alone favor dialogue that is crafted, but entertainment value is the most essential reason for me to favor the use of craft. I write dialogue to be entertaining and satisfying on multiple levels. My book explains how to do that.