I treat it like a job, because it is a job. I retain control of content, cover, blurb, and marketing. I am happier for it. I bring a healthy income into our household after years outside of the workforce. I actually found a career where walking the towns of Ireland and seeing the interior of a pub is in my job description.
One of a potential reader’s biggest “sell” points is your book description. Sadly, it’s also one of the things that I most often see get mangled by authors. But fear no more! I’m going to give you a quick rundown on the elements you need for great cover copy.
A character in a story is an action figure . . . a fun, functional component necessary to a story. Just like literal toys, characters have pieces and joints, edges and options, a fixed appearance and range of motion that begs to be played with
When I’m asked why on earth I write gay and bi protagonists, the answer’s really very simple. I’m bi, I grew up around a lot of LGBT+ people, and the majority of my close circle are LGBT+, so I’m doing what writers are told to do again and again—I’m writing what I know.
Dialogue is hard to write and don’t let anyone tell you otherwise. Getting characters to have individual voices has caused more sleepless nights than too much coffee late in the day. Once the dialogue sounds right and reads right on the page, there is the problem of attributives.
In Episode 98, Mark Lefebvre interviews bestselling Australian thriller author Rachel Amphlett, who came to Kobo HQ during her international author tour. Rachel, her husband Nick, and Mark sat down to talk about how she finds inspiration, never giving up, sticking to a schedule, and more
Clichés can be a writer’s worst enemy, and the reader usually doesn’t like clichés much either. Writers from Jonathan Swift to George Orwell have ranted against the cliché like it was the Devil tempting an innocent seminary student.
Mark Lefebvre interviews James Alan Gardner and Spider Robinson, co-editors of the Tesseracts Twenty: Compostela anthology. The stories in this anthology in their own way tell the tale of futuristic travelers who journey into the dark outer (or inner) reaches of space, searching for their own connections to the past, present and future relics of their time.
It’s no wonder that people are confused about apostrophes, because new uses were introduced in the 1600s and again in the 1700s, and it wasn’t until the mid-1800s that people even tried to set down firm rules.
You’re down to the wire. The deadline for NaNoWriMo (or another writing project) looms on the horizon. But you’re behind. You’re afraid you’re not going to make it. You simply don’t have enough time to write the requisite number of words at your typical writing pace. Or the words just won’t come. Or both. What’s a writer to do?
When it comes to acknowledging what hurts us, the old saying, Deny, deny, deny! comes to mind. It’s no different with our characters, and in both cases, refusing to deal with wounding events carries a steep price.