Am I Crazy or What? Or how social media and YOU can bring a book to life

Guest blogger and author Mary L. Tabor shares her book marketing techniques

By Mary L. Tabor
So you wanna get published, right? So you think only a big house can get you anywhere worth getting, right? So, you think you need an agent first thing, right?

I thought all these things and have the credentials to prove that I’ve been on a literary journey: English major, Phi Beta Kappa, teacher, professor, MFA degree, literary journal editor, literary prize winner. But no big house and no agent.

Instead, I did what some may think is crazy. I went with a product development company that dabbled in publishing. But my book got out. And I went to work. I have an active public Facebook page that is linked to my Twitter account, a website always under revision as new stuff happens and I write a blog where I try to post at least once a week.

Today’s post that you are reading would have been this essay. But this site begged for it and it’s theirs. But later you may see this post on my blog. Go check out this: How to buy a dress and end up with a book party.

I don’t tweet about my memoir (Re)Making Love: a sex after sixty story much, though some. I don’t blog about my book much, but some: actually, I blogged the book while I lived it—that’s the first crazy-some-say thing I did before the product development company found me—and that accounts for the banner of a blog that deals not with erotica but with literary thought, interviews and essays on writing and books.

Now you’d think a book with this sordid, unconventional history wouldn’t be doing very well, right? And, indeed, I’m not getting rich. But is that what we artists are really about? Okay, a girl could hope but that’s never been the goal: The work will out.

But get this: The small print in the visual for the book from Amazon says, #7 top rated in the Kindle store for Non-Fiction, Biographies & Memoirs, Arts &literature, Authors.

The week before it was #5 behind The Diary of Anne Frank and Steven King’s On Writing.
And guess what: The book party at Upstairs on 7^th (aka: “How to buy a dress and get a book party”) resulted in the promise of another book party by one of the women who came.

Then I went to dinner with a banker-friend I know and told him what happened. He called his wife and is planning another book party in another dress shop and he’ll be providing the wine.

Is there a moral? Ain’t no good here at morals. But I will say this: If you put your heart and soul into your book and you’ve edited it like crazy with a cool eye, had others eyeball it and critique it, then find a reputable publisher and work—yes that means you—to sell one book at a time. Because like the memoir I wrote, it’s all personal.

PS: Another piece of good news: A new and much more experienced indie publisher has taken my memoir. Be sure to check out the second edition (more edits and a prologue) now from Outer Banks Publishing Group.








(Re)MAKING LOVE: a sex after sixty story, second edition, is available on Amazon, the Kindle, Barnes & Noble, the Nook, iBook, Sony ereader, the Outer Banks Publishing Group Bookstore and in other electronic formats from Smashwords.com.

Reaching Out to Booksellers: A Publicist's Advice

By Paula Margulies

I was heartened today to see that Success Magazine has listed Elliott Bay Book Company in Seattle as one of its American Comeback success stories (www.successmagazine.com), especially since a number of my clients have appeared there over the years. One of the reasons for the Elliott Bay Book Company's success is that the managers there, like many other booksellers who are struggling to stay alive in the current economic climate, have realized that hosting author appearances is a great way to get people into their stores (and to sell books).

Although in recent years many booksellers (and even some of the larger libraries) would not consider shelving books by self-published authors, the changes in the industry have forced them to reconsider. This is good news for authors and their publicists: it's now much easier to place both traditionally published and self-published authors in stores for signings, especially if they have written books that appeal to niche audiences or have compelling and/or newsworthy platforms.

Because of the enthusiasm booksellers are beginning to showing for author events, and because there's a good chance that more brick-and-mortar stores will go by the wayside in the future, authors should seriously consider doing a book tour now. Bookstore appearances provide authors with a vital opportunity to network and connect with readers. They also give booksellers a chance to meet authors directly and learn about their books first-hand, so they can promote those books to store customers when the signing is over.

There are some changes in the way bookstores handle author signings that are worth noting. Many independent booksellers are beginning to charge admission fees for author events. Generally, these fees are nominal (usually in the $10 range) and can be applied toward the purchase of a book. And others require that publishers and/or authors pay co-op fees (typically between $100-$200), to help offset the store’s promotion costs, including designing and sending eblasts, printing posters, drafting releases for local media, staffing, and clean up. While some consider these requests controversial, the decision to agree with admission and coop fees is entirely up to the publisher or author and is something to be aware of when booking events.

For those authors considering appearing at bookstores (and, again, I encourage all authors to do so before more brick and mortar stores close), here are a few tips on how to best reach out to booksellers:

Start with a good publisher
Avoid known vanity presses and be sure that your publisher is able to provide your book through the distribution channels that booksellers use to buy books (these include distributors/wholesalers like Baker & Taylor or Ingram).

Be professional in your approach
Show that you respect a bookseller’s time by being professional and courteous when you call. When phoning a bookseller, try not to waste time with small talk (avoid empty phrases such as, “Hi, how're you doing?”). Instead, tell whoever answers that you are an author interested in appearing at the store and ask to speak with the person who handles events. When that person is available, introduce yourself, state the name of your book and the ISBN number, and tell him or her what you’re looking for (a reading, a formal talk, a general book signing, a meet and greet, etc.). If there are specific dates when you’ll be available, have those in front of you so you can provide the information quickly. Be ready to describe your niche/audience and how many people you think you can bring to your event. If you’re offered a date, follow-up with a confirmation email message, so that the manager has all of the relevant info about your event in writing.

Be flexible
Many booksellers can’t afford to pay for shipping on books that they know might be returned. Be willing to bring books if a bookseller doesn’t want to order from the distributor or publisher. Negotiate for a percentage of sales (I’m seeing many booksellers be very generous with their terms, with some even allowing the author to keep all proceeds and decide themselves what percentage to offer the store).

Also, be flexible about dates and times for appearances. The bookseller will know the best times for traffic in the store, so go with his/her recommendation for your signing.

Target cities where you know people
The idea is to bring a crowd to the store, so unless you’re a celebrity or a known author with a following, try to book in places where you have friends or family who can help build an audience for your event.

Help drive traffic to your event
Offer to provide promotional material (standing posters, bookmarks, giveaways, etc.) to those booksellers who are willing to set up a display in their stores. Also, be sure to offer to contact local media, including print, radio, and television, a few weeks prior to your event.

Be courteous and memorable
Show up on time and do your best to provide a well-thought out and rehearsed presentation. Be courteous to those who take the time to attend your event; even if only one or two show up, give them your best presentation –- you never know what connections those individuals might have that can help spread the word about you and your book. And always bring extra copies of your book in case you have a higher turnout than expected.http://www.blogger.com/img/blank.gif

Use the event as a marketing tool
Advertise your event on all your social media sites, including Facebook, Twitter,Goodreads,etc., and be sure to write about it afterwards. Take photos and post them on your web and blogsite.

Express gratitude
Be sure to take the time to thank the bookstore managers and staff for hosting your event. Collect business cards and/or take note of the names of all the staff members who help out at your signing, and be sure to mention them in your thank you note.
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Paula Margulies is a book publicity and promotions expert in San Diego, California. You can reach her at paula@paulamargulies.com, or visit her website at www.paulamargulies.com.

Writing the Ideal Heroine

By Christine Stewart

Pardon me while a get a bit gooey about writing for a moment. I've just returned from a trip to England where I went on a (sort of) Jane Austen pilgrimage. If you call visiting her writing desk at the British Library, her portrait at the National Portrait Gallery, her grave at Winchester Cathedral, the house where she died around the corner from the Cathedral, and her home at Chawton Cottage (that's it there) a pilgrimage. Okay, okay. Guilty.

I did also visit the Churchill War Rooms does that balance it out?

I'm still happy that I went and I encourage you to go on a pilgrimage to visit sites related to a writer you admire, or sites from a novel you love. It can be rather inspiring. I had a terrific novel idea while traveling and, though not related to Austen or the Regency period, I give her credit for the thought.

While I visited her house, I took a workshop called Writing the Ideal Heroine, which was taught by Rebecca Smith, a novelist, a former writer-in-residence at the Jane Austen House Museum (Chawton Cottage), and the great, great, great, great, great niece of Jane Austen. Pretty good credentials in my opinion.

There's another tip - if you can find a writing workshop wherever you're going, take it! How cool was it to sit in her garden doing writing exercises?

It's harder to write a sympathetic female lead character than a male one, I think. Sorry if that sounds like a double standard, but in my experience as a reader and writer, it's true. Most have certain expectations of female characters related to emotions, actions, desires. Whether you meet these expectations or subvert them and how you do so, will affect whether or not your readers (especially women, who often identify with the female character) like them or hate their guts and throw your book in the fire or out the window. Wait, that could be just me....

If you don't care if they like them, no need to read further! I'm a writer that believes in both likable and unlikable characters. I've written characters who were hard to like and I enjoy those characters too. But your reader must at least respect them and care about their conflict(s) and obstacles, enough to read through the entire book. If you make your character too unlikable and difficult, readers will toss your book aside.

We're talking about the likable ones here, so the best formula, I believe, is this: for every subversion, meet an expectation. For balance.

No one is perfect. We make exceptions for people we care for and they for us. Who am I kidding? We make exceptions for everyone, including coworkers for which we should receive an Oscar for our performance of a person who doesn't want to kill them. Again, maybe just me.

If your reader is introduced to a character they like, they are more willing to follow her, even when she does something stupid, mean, or inexplicable (the explanation will hopefully come by the end of the book). So start off with reasons to like them, then feel free to jerk that rug out from under the reader at your earliest convenience.

In the workshop, we talked about our favorite heroines (in books and films) and made a list of qualities they possessed. Here is the list - but remember that you only need to pick a handful of these! Whatever will make your heroine appealing.

-interesting backstory

-vulnerable

-a survivor

-solitary (even if in marriage, with kids, etc.)

-stands by convictions

-loyal

-mature (can be learned in the story)

-talented (in large or small way)/physically adept at something

-can hold her own in the world (can be learned in the story)

-makes mistakes but learns

-willing to fight/struggle/sacrifice

-feisty/witty

-gets involved/speaks up

-overturns stereotypes

-flawed

-doesn't need to be the center of attention

-determined

-can be headstrong

-must have capacity for change

-moves out of comfort zone

-has quirks (struggles with some - perhaps they make things worse?, proud of others - set her apart)

-examines emotions and actions (at some point), self-aware

-outsider

-inquisitive/curious

-unassuming

Here are some exercises we did that yielded pretty fabulous results from everyone. I'm a tough critic and I found something admirable in everything I heard, and there were many different styles and genres among the dozen of us there. I've tweaked the exercises a little because one or two I found rather bland.

I'll tell you why you should write them after you give them a try.

1) Introduce the character as we would first come upon/see her. If this is too broad and difficult, write about some aspect of your heroine's routine. How she starts or ends her day. How she arranges flowers, writes a letter, organizes her desk, (gosh these sound so soft and girly - okay, how she cleans and arranges her knives, in case she's a serial killer. Better?).

2) Write a scene where you draw out one of the above characteristics in your heroine via an argument with another character. One where she has to defend herself - for example, defend a belief, an action, a possession, a goal, a desire.

3) Write about your heroine's room or an object that is important to her. She can be straightening the room, packing or unpacking a suitcase before or after a trip, figuring out where to hide this object in her room from someone (make sure we know why), or better still - have another character be snooping in her room. The object and room should highlight one or two of the characteristics in the list.

4) One of the big ones in the list is 'must have the capacity for change.' Without it there's no story. Write a scene where a character has changed and learned something - the crisis/climactic moment or the moment of realization. A scene of self-examination.

I wrote quite a few fine scenes that really surprised me from these exercises. I learned a couple of things about my character that I hadn't known before.

I highly recommend doing separate writing exercises on your character, especially if you write in a linear fashion as I do. I write each scene one after the other. Writing scenes out of order is too chaotic for me. But it also means that, in the first draft, my main character can become rather suffocated. I don't see, and therefore dig into, her cracks as much as I could because we are both looking straight ahead. And the cracks are where it's at.

By looking at her from different angles via exercises, I look at her obliquely, and make inspiring discoveries that can make her fuller and richer in the book itself. It's called 'averted gaze' and it's how one looks at the stars in order to get a sense of their shape and see how brilliantly they shine.

If you're a Jane Austen fan and want to read more about my trip, I'm sorting through my pictures now (I took 1400 total. Too many?) and will be posting soon. Check out my blog at http://www.embarkingonacourseofstudy.com/.

Christine Stewart is program director for literary arts with the Maryland State Arts Council. She writes, teaches, and edits in Baltimore. Check out her Facebook page at http://www.facebook.com/ChrisStewartTheRealWriter.

How Publicists Choose Which Books to Represent

By Paula Margulies

Ever wonder how a publicist decides which books she’ll agree to promote? Here are a few items that factor into a publicist's decision when considering a new client:

1. Is the book good?
Believe it or not, having a well-written and professionally published book is the number-one criteria for taking on a client. If the book isn’t good (i.e., is poorly written, hasn’t been edited, is riddled with typos, has a cover clearly not designed by a professional, etc.), it will be difficult to find a publicist to represent it. This fact is sometimes hard to hear, especially for those authors whose work has been already been rejected by agents and editors. Chances are, if your book is not good enough to be traditionally published, you may want to look at improving it before asking a publicist to look at it. The business of publicity is all about generating word-of-mouth buzz about your book. But, a bad book will not generate buzz, no matter how much exposure a publicist is able to obtain for it.
But, you ask, what if my book was rejected by agents and editors, and I want to self-publish it? Will a publicist still be willing to take it on? The answer is oftentimes yes, but be sure your book is the best it can possibly be before the publicist sees it. A good publicist is going to agree to represent books that are well-written and marketable; even if your book is self-published, you’ll want to make sure it has been professionally edited, designed, and printed, and that it has proper distribution.

2. Does the author have a platform?
This is the second most important criteria for taking on a client. Having a platform means that you, the author, have some kind of background or experience that is marketable and newsworthy. Publicists will want to know what it is about you that is interesting or notable, and this background will be crucial to obtaining media interviews for you.
How do you develop a platform if you don’t have one? Take classes and go to workshops that will help educate you in your book’s subject area (this is true for both fiction and non-fiction authors). If you have expertise, develop speaking topics and give presentations and workshops. Create a website and a blog, and make sure that both are informative and educational. Become an expert in your subject area by blogging about your book’s content. Use social networking sites like Facebook and Twitter to develop a following. Write articles and publish essays on your content area. Enter contests and do as much as you can to become a known and sought-after entity in your subject area.

3. Is the book with a reputable publisher?
While it’s possible for a publicist to promote a self-published book, it can be a bit more difficult to do so if a book is not with a reputable press. There are a number of self-publishing entities out there that exist mainly to make money from writers. These entities are known in the industry as vanity presses, and some of them have unsavory reputations. Before you sign with a publisher, especially if you’re self-publishing, you’ll want to make sure that your publisher has a good reputation. Do background searches on the Internet and check with other writers and writers’ forums to see if the press you’re considering is a good one.
Also, be aware that most booksellers will not shelve books that are self-published. And even though booksellers are struggling and may soon become a thing of the past, there are still many independent and chain bookstores in existence that sell books to readers. If you want your book to be available through a bookseller, do all you can to have the book traditionally published. If your book is self-published, be sure it is available through distributors like Baker & Taylor or Ingram, or through independent distributors, if you want booksellers to stock it in their stores.

4. Is the book ready for distribution?
I get many calls from writers asking about publicity services months before their books are ready to be distributed. While it’s good to start early with publicity efforts, authors should take care to time their promotions so that their books are available when readers hear about them. I usually recommend that clients wait to start a publicity campaign until at least one or two months before their books are available through their distributors; otherwise, the booksellers I call cannot find the books in their listing services, or they’ll turn down opportunities for events because they see that the books are not yet available for ordering. If your publisher is producing advance review copies (ARCs), then we’ll be able to send copies to interested booksellers and media for review ahead of time. But if you don’t have review copies available, it’s best to wait until your book is listed with a distributor and very close to being available in print before starting your promotional efforts.

What if your book is only going to be available as an ebook? I hear from many authors who choose not to offer printed versions of their books. If that’s the case, then promotional efforts can begin as soon as the book is available for download. My only caution is to be sure that the book is ready to be read – publishing an ebook that is poorly written or has not yet been edited, can lead to weak reviews and no word-of-mouth buzz from readers. Make sure it’s truly ready for public consumption by having the copy professionally edited, the cover professionally designed, and obtaining back cover blurbs and endorsements from as many credited authors and readers as you can.

5. Does the author know what s/he wants in the way of publicity?
A publicist can recommend a game plan for promoting any book, but it helps to work with an author who knows what s/he wants in the way of publicity. Do you want a book signing tour, a blog tour, book reviews, media interviews, or all of the above? And what kind of budget do you have? Knowing the answers to these questions beforehand can help give a publicist some direction for the work she does, and will help ensure that you get what you want in terms of promotion for your book.

6. Is the author open to new ideas and possibilities?
I sometimes meet authors who want publicity for their books, but are not willing to do much to help make that happen. A publicist can set up signing engagements, book tours, and line up media interviews, but it is up to the author to fulfill these engagements. An author who limits what can be done for his book, will limit the amount of reach the book has with readers. Likewise, an author who does not want to speak publicly, is unwilling to travel, and/or refuses to pursue social networking for his book, is not likely to be successful. Good promotion requires spreading the word to readers, and that requires reaching out to them in as many ways as possible. A good publicist will urge her clients to think outside the box and expand their promotional reach as far as possible; clients who are unwilling to do so are not likely to be good candidates for a publicity campaign.

7. Is the timeframe reasonable?
One of my favorite characters, Varuca Salt, in Roald Dahl’s Willy Wonka and the Chocolate Factory, is famous for her demanding cry, “I want it now!” Many authors are excited once their books are finally published and, in their haste to get promotional programs moving, demand instantaneous results from their publicists. But publicity can be a painstaking and time-consuming business. Oftentimes, scheduling events and interviews for clients can take numerous phone calls, email messages, and meetings to bring the sought-after press to fruition. Authors should realize that it may take days and sometimes even weeks to get agreements for events or media articles and interviews. The wise author will allow his publicist the time s/he needs to pursue promotional opportunities and know that having patience generally pays off with a yes nod for coveted media spots.

8. Is the author willing to work hard at promoting?
It doesn’t matter how good your publicist is – whether your book makes it or breaks it will depend on how hard you, the author, are willing to work. A good publicist can open doors and set the stage for you to inform others about your work. But, ultimately, it is up to you to make the most of those opportunities. Whether it is giving a talk at a professional meeting, doing a book signing, speaking at a trade show, or giving a radio or TV interview, the energy and professionalism you put into your performance is the most important factor in influencing readers to buy your book. Likewise, your willingness to put long hours into developing a professional and engaging website, create an active blog, work the social networks, and get out there and meet readers, is crucial to your book’s success.
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Paula Margulies is a book publicity and promotions expert in San Diego, California. You can reach her at paula@paulamargulies.com, or visit her website at www.paulamargulies.com.

New Novelist's Advice: "Never give up" even after 40 years

Doug Roberts with one of his cats

By Anthony S. Policastro

When I read Doug Roberts' book, The Man Who Fooled SAVAK, it was one of those stories that completely engrossed me where I couldn't put it down until it was finished.

Inspired by true events in the early 1970s, The Man Who Fooled SAVAK captures what it is like to live in a dictatorship with secret police monitoring your every move – an atmosphere of fear that still pervades today in many countries in the Middle East.

What makes Doug's book so appealing is that what he wrote today about events 40 years ago is still going on today in many parts of the Middle East. And all of these events are carefully woven into a love story that will make you fall in love all over again.

Here is an interview with Doug about how he came about to write The Man Who Fooled SAVAK after 40 years.

Q. The release of your book coincides rather well with Arab Spring. When did you start writing it?

A. In the summer of 2008. A woman I’d met on line named Erica Murray was interested in Iran so I started writing to her about it. I started doing some very preliminary research into the history and politics of Iran in 1971 in order to refresh my memory of things I had experienced when I was in Iran during that time. The book was completely finished several months before the uprising in Tunisia.

Q. Even though that was 40 years ago, there are many common elements with what is happening across the Arab world.

A. Yes, especially the fear people experience when living under an autocratic regime is something I hope I have captured, and as the book proceeds, the breaking out of that fear. Perhaps it will give people hope. Just like in my book, the methods used by various dictatorial regimes to maintain control seem to be taken from a common playbook: trample a free and independent press, keep the people fooled, use an iron fist to silence dissent, eliminate fair trials, use torture to extract confessions - the list goes on and on.

Q. But when you wrote the book, you weren’t thinking about that.

A. (laughs) True! I don’t have a crystal ball and the Arab Spring was as big a surprise to me as the rest of the world.

Q. Can I ask you about one of the characters in your book? Was there really a Junior?

A. Yes there was. I think Junior made the story possible to write. We really did sell our liquor and cigarette rations to him. I recently learned from a fellow who served in ARMISH/MAAG just before I arrived that Junior mostly dealt with the domestic workers, the Iranian nationals who worked at the bachelor quarters where we lived.

Q. I’d like to ask you about another character, Mihan Jazani. She is a historical figure, the wife of the Bijan Jazani who founded one of Iran’s guerilla movements. It appears that she’s a friend of yours on Facebook.

The Man Who Fooled SAVAK

A. (Blushes) Um, well yes…so it would appear. (laughs) Actually, Mihan Jazani doesn’t like Facebook and never uses it. The Facebook account was set up for Mihan by her granddaughter, Aida. Aida and I exchange messages occasionally.

Q. How were you able to remember so much about what happened then? It was 40 years ago after all.

A. I was assisted in several ways. I had some writings I had done about Iran when I was in journalism school at Kent State in 1972. I had a large number of slides that I’d taken when I was there. Those were crucial in reviving old memories. A huge help was finding a 1977 map of Tehran on the (now defunct) Tehran American School website. I was able to use the exact names of places, even street names. The fellow I’d mentioned earlier who told me about Junior had sent me a copy of the ARMISH/MAAG directory, which was very useful. Finally, talking to people I worked with at that time was extremely important, namely Heidi Eftekhar and Barry Silver, who are characters in the story. I obviously couldn’t remember all events specifically, but I found I could generate them as needed by being very specific in my language. I would take seeds of ideas and extrapolate and grow them into full blown events. For example, a certain lecherous officer really did say to Heidi, “I think you’re a woman who needs a lot of loving.” I took that and ran with it. Last, but also important, the Internet was a valuable tool in researching the historical incidents in the book.

Q. So, where does the novel part come in?

A. Some of the human rights related events are novelized, but they’re very accurate in their portrayal of the times. I’ll leave historians to figure all that out. They will have their work cut out for them because I’ve spent a lot of effort weaving the story line into the history of those days.

Q. How close is your character Doug Roberts to the way you actually are?

A. That’s a really good question. (laughs) I had originally intended that Doug the character would be an extreme version of myself. But after having read my book now over and over, I’ve come to see that what’s extreme are the circumstances he’s in. Doug the character is a lot like I was back then: ok in the smarts department, and a little too cocky sometimes. He’s not very romantic or knowledgeable about women, but does all right in spite of himself. (laughs) There’s an element of male fantasy in the book I suppose. In the story, I have two charming female lunch companions in addition to Fari my Iranian girlfriend/fiancée.

Q. But you really were friends with Heidi Eftekhar your co-worker in the story.

A. I still am. Heidi and I communicate regularly by email and her input on the book was immensely helpful. Miss Farou is the fantasy. She actually didn’t like me all that much. (laughs).

Q. I get the impression you had a lot of fun writing your book.

A. It was pretty trippy for me at times. I would totally submerse myself in it. For example, I had written the scene describing how I spent New Year’s Eve in Iran just a couple of weeks after New Year’s Eve in real life. When someone asked me about how I’d spent my New Years, it shocked me as to how much effort I had to put into pulling up what I’d actually done versus what I’d just written. That was a little scary.

Q. What do you think people will get out of your book?

A. I’m sure everyone will get a little something different, but what I’d like for people to take from it is that, like in the story, life may present you with some extreme circumstances. When that happens, keep a level head and your wits about you. Try to see beyond what appears to be happening on the surface. There will always be some good things happening at any given moment. Try to focus on that. To get through your ordeal it’s a good idea to engage all your friends to help you and your faith if you have that. Most important of all: never give up.

The Man Who Fooled SAVAK is published by Outer Banks Publishing Group and is available as an ebook on Amazon Kindle and in various ereader formats from Smashwords.com

What Can I Do with $600?

By Paula Margulies

A self-published, first-time author recently contacted me about publicity for her YA novel. “I only have $600 to spend on promotion,” she told me. “What can I do with that?”

Well, there’s actually quite a bit of exposure that can be obtained with very little cash. I charge $50 per hour for my services, so $600 will buy 12 hours worth of work. There is much that can be accomplished in 12 hours – I can generally get a news release written and up on the news wires, book signing events for a few months out (depending on the author’s platform and willingness to travel), and possibly even squeeze in a little media work.

It’s most important that authors get out there and let readers know about the book. I tell writers that book promotion is like dropping a stone in a pond – the more they get out and talk about their book, the more readers who hear about it will tell others and the word will spread from there. Many authors put their books up on Amazon and create a website or blog and think their work is done. But without some face-time with readers, the books most likely won’t have the word-of-mouth ripple effect that comes from hearing other readers talk about it.

Despite the increasing dominance of the ebook market, authors can still sign at bookstores, and I urge all authors to do so now, while there are still some stores out there (they won’t be around in the future, if current market trends continue). Although most remaining Borders stores have embargoed book orders, there are independent bookstores and other chains, like Barnes & Noble, that are still hosting authors. Many libraries will host book signings for authors, and authors should consider appearances at non-traditional venues (schools, colleges and universities, stores, airports, professional organizations, literary and street fairs, etc.) where their book and subject matter have a fit.

Generally, when I take on any new client, the first thing I do is write a press release announcing the book’s publication and get that up on the newswires. Next, I like to book events, usually for six months out. Once the events are lined up, I will call media (usually about three weeks prior to each event date) to line up print, television, and radio spots. It’s best to have some events to promote, as well as the author and the book, when calling local media, so I find that having events scheduled is extremely important before lining up media gigs.

Having an online presence is important, too. I urge my clients to create active websites and blogs and set up accounts on social networking sites like Facebook and Twitter and reading/reviewing sites like Goodreads, Library Thing, AuthorsDen, and Shelfari.

Finally, I can’t stress enough how important it is to have written a good book. Even if an author were to spend $600 to do some event and media bookings, it’s all for naught if the book is poorly written or riddled with errors. If an author hasn’t had a professional editor work on it, I generally recommend that s/he spend the $600 on having the book professionally edited, rather than waste it on promotion for a poorly written book. Likewise, I recommend that authors hire professional designers to create their book covers and professional photographers to take their author photos. Having a book that is well-written and professionally designed will help make an author’s $600 publicity expenditure worthwhile.

You don't need to be a psychic

By Anthony S. Policastro

With all the buzz around the iPad, you don't need to be psychic to predict that Amazon would sooner or later develop a comparable color screen tablet device.


Well the sooner is here. Amazon is now accepting iPads and other devices as trade-ins for their new touch-screen color tablet at http://amzn.to/jbdaq2

Steve Windwalker reported in the blog Kindle Nation Daily that Amazon is well on the way to preparing to launch the device sometime this summer. Here's what he wrote about the trade-in program.

"It extended its relatively unknown Buyback program, previously associated mostly with textbooks, movies, and video games, to include a  wide range of electronics products including the iPad, the iPhone, the  Samsung Galaxy, the Motorola Xoom, and all kinds of other devices that  might — if you could trade them in for a decent sum — prepare the way  for you to buy a Kindle tablet, both in terms of the need to replace  functionality and the financial wherewithal to make the purchase."

They actually want you to own their new Kindle Color version knowing full well that owners of iPads and other color tablet like devices wouldn't buy the new Kindle after shelling out $500+ for their current iPad or similar device.

It's another marketing first for Amazon to grab the lion's share of the  spawning tablet market, and I'm sure it won't be their last.

You can also read Amazon's press release about the trade-in program on Steve's post on Kindle Nation Daily.

Seeing the Forest for the Trees

By Chris Stewart


This may seem beyond obvious, but a piece of writing, whatever it is, has a value system, the level to which the piece holds. The high value parts are the focus, they are what drives the story and why readers read it, the lower value parts get less page time; they are there to support the high value parts.

Another way to look at 'high value' parts is to think of them in terms of them being the spark that will get an editor's and reader's attention. That moment, when reading the book jacket, where your heart beats faster and you know you have to read it.

Unfortunately, all too often, I read work, both from clients and published writers, that focuses too much on the low value and skirts the high.

Why does this happen? Surely it's an easy black hole to avoid? It happens because writers write around the parts they are afraid or nervous to take on, or know they are not skilled enough to take on. Or perhaps are too lazy to take on. So they pay lip service to those parts, write just enough to get away with the basics, and focus on the unoriginal, low value that we can get anywhere to fill the rest of the story.

Poets know this better than fiction writers because it's easier to see in a poem. Anyone who has discovered (or been told) that the real poem is in stanza four, or the poem really starts with the last line, knows what I'm talking about. Poets have lots of practice at recognizing and correcting value issues.

Let me give you an example. A recent client wrote an essay on the history of crying in his family: the first time he could remember crying, who did and didn't show emotion in his family and how that affected him growing up, his relationships with women, etc. It was fairly medium to low value. That was the bar he'd set.

Suddenly, on page five of a seven page essay, he introduced the memory of his father leaving the family, being estranged for years, then how he moved in with his father to reconcile, it didn't work, he moved out again and that was a time when he cried--for the loss of his father a second time and the opportunity for them to be close.

All this in one paragraph. Then back to the regular essay.

Hello?! See the difference there? Once you hit this memory in the essay you don't give a crap about how he cried the day he went to kindergarten but his mother didn't. The dad memory IS the essay, and it's not about crying. High value. And it shouldn't come on page five of seven.

When I pointed this out he told me that he was keeping it as is, he thought it was a good random surprise, that this style of writing always worked for him. I have no idea who told him that, but that person was wrong. Once you've established the value level in a piece of writing, you can shift it, but once you do, the high value level is where it's at. You must shift at the right moment and write to that level. Otherwise you just look like a writer who doesn't know his/her own story.

I'll give you a published example. "Major Pettigrew's Last Stand" by Helen Simonson is a story about a stereotypical older English widower living in a quaint quirky village. I would say this is low to medium value, as the quaint, quirky village is hardly new, nor is it ever really original; by now the characters are rather stock, only the names are different. Anyone who watches PBS or BBC America can get plenty of that action. Or if you've read Austen, Christie, or Barbara Pym, for example.

The high value appears when you find out that Major Pettigrew becomes romantically involved with the local shopkeeper, a Pakistani widow. And this liaison is one of which the village doesn't approve. However, if you buy the book you get a maximum of about 40 pages of Major Pettigrew's and Mrs. Ali's romance, the other 300 or so pages are quirky, quaint village with meddlesome characters that are very recognizable and so rather boring.

The ending is absolutely insane, and not in a good way. It goes completely off the deep end into a serious shift in value at the last moment--lower, this time, which can also happen (there's a crazy auntie with a gun and a suicidal nephew standing on a cliff, it's really laughably bad). This shift is very much unearned and completely at odds with the tone of the book and the characters of the Major and Mrs. Ali.

(Disclaimer: I think Ms. Simonson is a good writer, but the book was poorly structured and had too many themes.)

The take away or moral of this lesson?

You can't toss us into the trenches for a minute, once in a while, then go back to the sandbox and leave us there for the bulk of the piece.

You must be able to catch yourself and see when you are drifting into the low value parts for most of your story, out of fear or nervousness (perhaps ambivalence or absentmindedness too), and STOP yourself.

The best way to do this is to have an outline or list of the significant, hard core high value moments and make sure they are the focus, that they show up at the appropriate time, and that the value doesn't drop too low for too long in between. If the value shifts higher, you must reevaluate and either rethink the piece with this new higher value as the focus, or leave it out. If the value shifts even lower - delete! The middle ground is sloppy, lame, and should be avoided at all costs.

Look, if you're not feeling excited, terrified, and nauseous all at the same time, you're writing to the low value parts of your story and playing it safe. The ideas freaking you out as you write them down--making you sweat and making you high--are why an editor or reader will buy your book.

Anything less and you're cheating yourself and your readers--if you get that far!

Chris Stewart is Program Director for Literary Arts with the Maryland State Arts Council, also known as "The Brutal Cheerleader" by her editing clients! Join her Facebook Page: http://www.facebook.com/ChrisStewartTheRealWriter

Does the Pitch Tail Wag The Novel Dog?

By Michael Neff

Recently, in a post by Algonkian veteran Liz Brody on her blog, the subject of query letters and pitches came up yet again. What she seems to grasp is that you can't have a good pitch or query without a good novel to back it up. Does that go without saying?  It should.  But if so, why do thousands of writers send out dull or bad queries, and pitch agents or editors with novels that don't stand a chance?

If you follow a model for a good pitch, i.e., a 150-200 word punchy synopsis-like summary that produces the first major plot point but doesn't give away the climax, and you're sufficiently self-critical, you should finally come to an understanding of the worth of your project. Keep in mind that by forcing your story into that specific model, by forcing yourself to "fill in the blanks" so to speak, you're inevitably led to understand the major strengths and weaknesses in the novel itself.

For example, if the body of the pitch, once heard or read, evidences zero plot tension or dramatic complication, it might well be the result of no real antagonist (among other things) available to create one (this is a common failing with new novel writers), and if this condition proves true upon further discussion with the author then we have a case of the pitch tail successfully wagging the novel dog. In other words, the weak or vague pitch led the author to understand why the novel wasn't working, thus strongly encouraging a rewrite from the very first page.

The God of Social Media Approves Our Evolution - Algonkian Goes "Viral"

by Michael Neff

Algonkian has recently undertaken a mission to go viral with the social media tropes of the day. We established a presence on Facebook, of course, and it's rather attractive (as if that matters--it does) and functional (links to worthwhile info for writers). FB, as everyone knows, is a must for credibility these days, and though I had to be dragged into it, I finally gave in and accepted the judgment. Am I sorry?  Not yet.  Then of course, there is the incessant drone of Twitter.Com. I was even more reluctant to engage in bouts of tweeting every week, but the prevailing tribal vibe lured me into it.  Could I have resisted?  Of course, but would it have been worth the resistance?  I can't tell yet. 

Next, and don't hang me for this one, we even joined SQUIDOO.  Yes, it's rather silly, with squids and all, however, the interface for including all types of video, lists, blog rss, and info is top of the line.  If you can just ignore the undersea marketing fluff, you're doing something worthwhile.  Let's hope other people think so. And I did zap those horribly annoying "infolink" adverts in the text--you know, the ones that are green and underlined and when you mouseover them you get a BS pop-up window with an advert that has nothing to do with your purpose in life?

And what is in the future?  Yelp?  Digg?  Wet Paint?  Is it all necessary?  God, I hope not. We would all rather focus on what we're good at: working with writers.  From Social Media Today:

Community is the catchphrase which is connected to the Internet ... 41 percent of users trust the information published on Facebook, and if posted by a friend, the trust level grows to 64%.  Social media is really all about building relationships.

Okay, so there it is. If we can get 64% of people to trust us on Facebook we're building relationships.  But when will real life make a difference?

Maybe a money back guarantee would be better?

Complications: A Doctor's Love Story

Complications, A Doctor's Love Story

By Paula Margulies

I have been meaning to write updates about my clients' books and have been so busy lately that my good intentions have fallen by the wayside.
So, it is with a heavy heart that I've decided to hold true to my resolutions and begin with my wonderful client, Dr. Linda Gromko, and her memoir: Complications, A Doctor's Love Story.

I'm writing with a heavy heart because Linda's husband, Steve Williams, passed away today after a long battle with kidney failure. I didn't know Steve, but I have known Linda for almost two years (we met at the Pacific Northwest Writers Conference in August, 2009).

After meeting Linda and working with her to promote her book at bookstores and kidney dialysis conferences, I heard all about what a smart, funny, courageous, and kind man Steve was. He and Linda were certainly well-matched, for she has the same intelligence, warmth, and tremendous wit that he is famous for. My heart is breaking for Linda and her family at his loss, and I hope that she can find some comfort in the outstanding life and wonderful memories that she and Steve created over the years.

Linda's book, Complications, is part love story and part history of Steve's struggle with kidney failure. Though realistic about the rigors of life with kidney dialysis and heart disease, Complications also offers readers a wonderful portrait of sacrifice and hope.

Dr. Gromko’s true story begins with an implausible inheritance from a former patient and her first meeting with Steve, a businessman who is “gifted at banter, irreverently funny, and loyal as a beagle.” Soon after the couple decide to wed, Steve's history of diabetes and high blood pressure leads him to fall precipitously into the abyss of kidney failure. Written from a doctor’s perspective, the book takes the reader on a tumultuous course of medical and personal trials, as Dr. Gromko exerts the most powerful advocacy of her life for the man she loves.

Joe Piscatella, author and President of The Institute for Fitness and Health, endorsed the book with these words: “Dr. Linda Gromko has written a gritty, realistic piece about true life with kidney failure and heart disease. If anything makes a case for prevention and a healthy lifestyle, this book delivers!” And best-selling author Elizabeth Lyon noted: “Dr. Gromko explains everything about the realities of kidney disease, and in a way that readers can not only easily understand, but will also feel on the edge of their seats awaiting the next diagnosis, procedure, victory, or complication. Ultimately, this memoir is a stirring account about hope, commitment, sacrifice, and love.”

I urge all of you who might be interested in kidney disease, dialysis, and modern-day love stories, to purchase a copy (softcover or Kindle) of Complications. As you read, take the time to reflect on the courageous and loving life this couple built together, and send your best thoughts and wishes to Linda Gromko and her family. 

Comment from Anthony S. Policastro, One of The Writer's Edge founders and a contributor

Linda's story is truly inspiring and courageous and I was touched by it awhile back when Linda asked me to publish her book on the Kindle. Although I was only formatting it for Kindle publication, I found myself reading the entire book. I was amazed at what she had accomplished.
My heart goes out the Linda and her family for the loss of her beloved husband, Steve.

Team Triumph

By Paula Margulies

I don't have a lot of knick-knacks on my desk (I prefer a clean surface when I'm working), but there are a few treasured items that reside along the perimeter of my work area: photos of my husband and kids, my Santa Barbara Writers' Conference mug, a banksia nut candle that Dan brought me from one of his trips to Australia, and my prized possession, a small digital clock that I won as a team competition participant in the Coors Light Biathlon.

I won the biathlon prize many years ago, when I was in my twenties and lived in Santa Barbara. An avid cyclist, I spent long hours training and competing in centuries, triathlons, and biathlons along the California coast. My team partner, Deirdre, was a co-worker and a lithe, athletic runner with great speed, who had done triathlons with me in the past. She convinced me to enter this race, arguing that we had a chance to win based mainly on the strength of her running prowess (she was right about that).

Winning this particular competition almost didn't happen. On the last lap of the cycling portion of the race, the gear-shifting mechanism on my bicycle sheared off as I approached the runners’ transition line. Unable to make the bike go forward, I ended up running the last few yards on foot, stumbling along in my cycling shoes to hand off the baton to Deirdre. We won the competition by seconds; I imagine that we would not have succeeded if my bicycle’s gears had failed any earlier in the race.

I treasure this particular win, not only because it was one of the few competition victories I can actually claim (I was a decent rider, but by no means a star), but because I won as part of a team. Victories are sweet when they are hard won, but I believe they're even sweeter when they come as a result of team effort. There's something uniquely special and uplifting about winning a challenging fight with a colleague at your side. It’s the group mentality, that feeling of connecting with another person and fighting together, that brings about a unique sense of joy that only athletes who participate in team sports can realize.

This sense of team accomplishment carries over into many areas of life, including work and career. Like the world of sports, the business world can be just as competitive (and physically and mentally grinding) as a sporting event. With an accomplished team, all of us are more likely to succeed – we bring our individual talents and strengths to the situations we encounter and, in addition, we are there to prop each other up, cheer each other on, and celebrate our victories together.

I like to think that the author who has a team working with him is damn lucky. My sense is that the most successful authors have agents, editors, designers, publishers, and publicists all working on their side. Without this kind of team, the author who tries to go it alone is like the athlete who competes by himself – success is possible, but the achievements and victories are oftentimes fewer realized and even less acknowledged.

With a good team behind her, however, an author has a much better chance of succeeding on a big stage. Some authors may manage to take the publishing world by storm on their own, but most of the successful best sellers are so because they are published and promoted by the best agents, editors, and publicity people in the business.

One can argue that going it alone has its upside: there is no one to answer to, fewer time delays, and certainly never any argument about how a work should look, what it should contain, or how it is promoted. But the person who chooses to do the writing, editing, cover design, publishing, and promoting himself, had better be damn good at all these things. Most are not, and the staggering number of poorly written and designed self-published books bears evidence to this fact.

But the author who chooses to build a strong, professional team around him has a good chance of being a winner. Like their athletic counterparts, authors who have talent, train hard, and surround themselves with the strongest teammates in the business, have a much better chance of standing out in the brutally competitive world of publishing than those who choose to go it alone.
______________
Paula Margulies is a book publicity and promotions expert in San Diego, California. You can reach her at paula@paulamargulies.com, or visit her website at www.paulamargulies.com.

Writers Interviewed - an Algonkian Writer Conference Event in The Big Apple

What are they doing? Are we talking New York?

Just a cute little piece on writer types with novels to workshop and pitch who are talking about one of our Algonkian Writer Conference events in New York. Will it prove it's possible to learn, be inspired, and have a good time all at once? Seriously though, this one is what we call the American Idol of our events. We have no Simon as such, and we don't tolerate that type of person, but we're firm and no gratuitous unproductive back-slapping is allowed. Following days of tension, on Saturday night, at our Post Pitch Cool Down, drinking is mandatory, followed by various forms of absurd behavior, if deemed appropriate. Whatever works for purposes of catharsis.



If you want follow up information and commentary, link to http://nycpitchconference.com.

And if you wish to learn more about Algonkian Writer Conferences: http://algonkianconferences.com

Enjoy!

Be Focused, Be Prepared, Be Committed – Steps to Take Before Hiring a Publicist

By Paula Margulies

Most prospective clients who approach me about publicity are new authors who have never worked with a publicist before. Whether self or traditionally published, many of them write to me with questions, the most common being: What would you charge for promoting my book?

My response is always the same: What is it you're looking for? A book tour? Media coverage? Internet exposure? All of the above? And how much do you want to spend? Without knowing what it is an author wants, it's difficult to put a price on how much I can do for him

It's also difficult to say how much publicity an author is likely to get without having read the author's book or knowing a little about her platform.

So, for new authors who are thinking about hiring a publicist, I've composed the following tips on items to consider before calling or sending an inquiry email to a PR expert:

1. What kind of book have you written?
With over 288,000 new titles released each year, it's important to know where your book fits in to the overall market. Is it a young adult novel, targeted for teens, or would younger kids, say 5 -9 year olds, be more likely to read it? Does your mystery fit more in the true crime or detective category? Is your love story a traditional romance or does it fit more under the women's fiction heading? Knowing what you've got to sell will help you pinpoint what you have to do (and where you have to go) to sell it.

2. Is there a market for it? If so, who and where is that market?
Once you know what you've written, you need to decide who would read it. Is your audience both men and women, or are only women likely to be interested? Are there targeted niche audiences for your book? If so, where can you best reach them? Be ready to discuss with your publicist who your audience is and where you’re willing to go to get their attention.

3. What kind of experience/expertise/knowledge do you have that can be used to promote your book?
Having a platform is essential for both fiction and non-fiction writers, especially when promoting your book to media producers and reporters. Platform has to do with you (the author), your background, and the level of expertise or recognition you have in your subject area. Before you hire a publicist, ask yourself the following questions: Are you a recognized expert in your field? If not, would you be willing to educate yourself and/or work to establish yourself as such? What is it about your background and experience that makes you an interesting interview for the media? Are you willing speak, write, and blog about your book/subject area? When you meet with your publicist for the first time, be ready to describe what you bring to the table in terms of background and experience.

4. How much are you willing to spend on publicity?
Before you hire a publicist, sit down with your spouse or significant other and decide how much you can afford for book promotion. Review items 1-3 above and decide what will give you the most exposure for your type of book and audience(s). Decide if you’re willing to travel to speak, tour, and/or sell your book, and figure out how long you are willing to do that. Plan to create web, blog, and social media sites for your book and estimate the expenses, both time and money-wise, for those. Finally, create a budget that factors in costs for printing and shipping copies of your book, creation of promotional items (bookmarks, posters, fliers, etc.), website development and hosting, travel, hotel, and food expenses for signing and/or media tours, booth space fees, postage, advertising, etc. Also factor in the cost of hiring a publicist (see my post entitled Straight Talk on Book Publicity Costs for more on that) or other professionals (graphic reproduction, ebook formatting, legal, etc.) you might need to help with your book's promotion.

5. How committed are you to doing what your publicist recommends?
I'm always surprised at how many of my clients do the groundwork of hiring me and then, once we begin their promotional tour, panic when they achieve some level of success. As many authors realize after trying to do it themselves, it's extremely difficult in today’s noisy and crowded publishing landscape to get attention from booksellers and the media. It can take an experienced publicist repeat contacting and hours of follow-up and pitching to get a bookseller, reporter, or producer to agree to an event or interview for a client.

But, despite their desire for exposure, there are always a few authors who balk at doing signings or radio and television interviews once they get them, which is frustrating on many levels. It can be awkward for a publicist to go back to booksellers and the media to say that a client is passing on an event after working so hard to get them to agree it in the first place. It's also time-consuming to have to revisit plans and goals with authors, who say they want publicity and then waver on following through. Yes, it can be scary to be in front of the camera for the first time or, for some, to have to stand up in front of a group and speak. But a good publicist can provide helpful tips for overcoming those early jitters, and most authors agree that, like any other activity, they get better at it the more they do it. And successful authors know that without that kind of outreach, they would not be able to generate the essential word-of-mouth ripple effect that comes from continued audience exposure.

It's a shame to waste opportunities, especially if an author has done his footwork and has spent the time and money to get the hard-won exposure he needs to successfully promote his book. Be committed to your book's success, and if you hire a publicist, follow through on her efforts to obtain the promotional attention you seek.
__________
Paula Margulies is a book publicity and promotions expert in San Diego, California. You can reach her at paula@paulamargulies.com, or visit her website at www.paulamargulies.com.

How Many Ways Can You Say “Gray”?

Bestselling Novelist Karen Dionne talks about how she chose the setting for her newest novel, Boiling Point.

Editor's Note: If you are inspired, awe struck or just emotional about a particular place consider using it as a setting in a novel. A place with such emotional ties adds a rich element to the story.

Karen Dionne is the internationally published author of Freezing Point, a science thriller nominated by RT Book Reviews as Best First Mystery of 2008. 

A second environmental thriller, Boiling Point, about an erupting volcano, a missing researcher, and a radical scheme to end global warming is forthcoming from Berkley in January 2011.

Karen is cofounder of the online writers community Backspace, and organizes the Backspace Writers Conferences held in New York City every year. She is a member of Sisters in Crime, Mystery Writers of America, and the International Thriller Writers, where she currently serves on the board of directors as Vice President, Technology. 

She is also Managing Editor of the International Thriller Writers' newsletter and webzine, The Big Thrill.

My new environmental thriller, Boiling Point, is about an erupting volcano, a missing researcher, and a radical scheme to end global warming involving geo-engineering. The story takes place during the time of a real volcanic eruption: Chaitén volcano, in Northern Patagonia, Chile.

Chaitén Volcano came to life for the first time in 9,000 years on May 2, 2008 in a major eruption. The magma blasted 3.1 miles through Earth’s crust in only four hours, giving the people living in the town at the base of the volcano six miles away just 30 hours’ warning. The volcanic plume climbed 12 miles into the stratosphere, covering much of Patagonia with ash and drifting as far east as the Atlantic. 

No one lost their life, but ten days later, heavy winter rains washed the ash that covered the ruined mountains into the river, creating a lahar that caused the banks of the Rio Blanco to overflow and destroying 90% of the town.

Because my publisher bought Boiling Point before it was written, I was able to travel to Chaitén volcano one year after the initial eruption for onsite research. I stayed in Chaiten town, even though the town was still evacuated and without electricity and running water, and hiked to within one mile of the new lava dome, where I saw steam vents, heard explosions coming from the caldera, and felt a small earthquake. It was an amazing and inspiring trip that definitely informs the novel!

I chose Chaitén as the location for Boiling Point after I saw this amazing picture of the initial eruption that was making the rounds of the Internet:

 As I wrote the chapters leading up to the moment of eruption, was really looking forward to describing that amazing plume:

"A colossal pillar of ash and gas spewed from Chaitén’s caldera. Molten rock colored the column red as it streaked for the stratosphere, turning the sky around it a sickly yellow. Plumes of steam erupted from the surrounding rocks, cheering the inferno heavenward like hissing demons."

Boiling Point follows several characters’ stories until they all converge at the volcano at the end, and so not long after, I had the chance to describe the plume again from another character’s point of view:

"To the east, the massive pillar of ash stretched into the night. It roiled and pulsed like a living thing, lit from within by great sheets of orange and red flame like a Hollywood explosion that just kept going. Flickering around it and through it were brilliant bolts of lightning, dancing and chasing each other, lighting up the whole plume and the layers of cloud above and below with purple. A terrifying construct of fire and lightning and smoke. A vile, elemental monster, looming over his town, threatening to rain down flame and thunder. Heart-stopping. Terrifying. Like something born of the perverse imagination of a disaster movie director. This wasn’t something that happened in real life. And yet there it was, right in front of him, and Gabriel was watching it with his own eyes."

And not long after that, again:

"And then there was the volcano. At the edge of the caldera, wisps of steamlike mist. Beyond, a smoking hump—a newborn lava dome, barely visible in the shifting ribbons that curled up around it. A brand-new mountain where none had been a day ago. It smoked and shuddered, and even from this distance they could hear it pop and rumble as boulders tumbled down its slopes. The tendrils of steam that spewed from its sides rose up to meet the main column, a vast nightmare tower of churning ash and steam. It rose up into the heavens and mixed with the clouds until Ross couldn’t tell where the volcano’s plume ended and the sky began, spreading its umbrella over the world and raining down ash. Ash that was falling on them."

– and again:

"An angry black column of ash and debris filled the sky, writhing and roiling like something alive, so big, she felt like an ant contemplating the smoke from a roaring campfire. Like the lone survivor of an atomic blast."

–  and again    

"At last, the caldera. She craned her neck as she drove through a passage that was eerily similar to the one she’d entered from the other side barely twenty-four hours ago. Towering walls guarding a narrow entrance, the gates of Hell. Inside, a world of fire, steam, and smoke. Staggering in its immensity and power. Elemental. She could feel Chaitén’s vibrations thrumming through the floorboards. See the rocks crumbling off the cliff faces as she drove between them. Smell the sulfurous odor belching from the bowels of the Earth. Hear the mountain roar. The vast expanse of rocky ground was split apart, riddled with cracks oozing new rock, spurting steam. And in the middle, a hill of red rock that was already the size of a small mountain, vomiting a roiling tower of ash and gas from the center of the Earth, darkening the skies and raining down cinders and ash: the newborn lava dome. Dante’s Inferno."

– again and again and again. I’ll admit, by the time the last character saw the volcanic plume for the first time, it was becoming a real challenge to find a fresh way to describe what was essentially exactly the same thing.

Don’t get me wrong: Boiling Point was a lot of fun to write. After all, the novel has a 40-page climax that takes place IN the caldera of an erupting volcano – it doesn’t get more exciting than that! But having the bulk of the story take place immediately following Chaitén’s eruption created another descriptive challenge, as the following video illustrates:

(Chaitén volcano, Northern Patagonia, Chile. Video by Karen Dionne. To see more photos and video of my research trip to Chaitén volcano, visit www.karendionne.net)

 My next novel, I’m choosing a more colorful setting!

To read an excerpt from Boiling Point, click here.