Category: California Gothic

Measuring the Authorial Momentum

It feels so great, now that I have Personal Jesus with my editor. For the first time in months I’m able to devote some head space to book 3 in the California Gothic, The Goddess of Los Angeles. The first part of this was, of course, going back through and reading the 30,000 or so words I’d written before having to go back and re-edit. I also had to go through all of my notes to remind myself what the hell I was writing and where I was going with it. I’ve also revisited my list of David Bowie song titles (each of the chapters in Los Angeles takes its name from a Bowie song).

Even though I know how important the edits to Personal Jesus are, I couldn’t shake the feeling I wasn’t making progress through working on book 1 when I’d already finished book 2. However, even just writing two and a half thousand words over the past few days makes me feel I’ve made huge strides forward. I knew, of course, that editing book 1 was progressing as a whole, but because I wasn’t writing for the latest book in the series I felt that my authorial momentum had stalled.

The whole time I’ve been editing Personal Jesus I’ve had scenes and dialogue for Los Angeles drifting in and out of my mind, and I can at last begin to order my thoughts.

I just hope I get to finish my first draft without my editor coming back and telling me there are more major changes to make to Personal Jesus.

*Goes back to writing with fingers crossed*

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The Trials and Excitements of Self-Publishing

So, I’ve discovered one of the trials of self publishing (although that term has derogatory overtones in the industry; surely ‘unsigned’ would be more appropriate?). I am spending more time on marketing and promoting my work than I am on writing the next piece.

It’s a situation that makes a mockery of the argument that publishing houses are outdated. That argument suggests that publishers are just printers with fancy offices, but of course they are so much more. I’m lucky enough to have a great editor (one of the many things publishers can organize), but there’s still the overwhelming ‘Everything Else’ to deal with.

Publishers are primarily marketers and distributors. To deal with the latter first, the current self-publishing model means you can easily get your work onto the websites of Amazon, Borders, Barnes & Noble and such, but this is a far cry from walking into one of their stores and seeing you book for sale on the shelf. Plus there’s the army of independent book stores across the country. No one person can establish a personal relationship with each store and convince them to stock their books. Publishing houses have the resources and connections that allow them to achieve this on your behalf.

And then there’s the marketing. Blogging, tweeting, facebooking and such are all things I would be doing if I were signed to a publisher. Without one I’m also talking to people to get them to write reviews, I’m building a readership one person at a time, I’m arranging cover art, I’m calculating book jacket and bleed sizes, I’m talking to independent book stores about having them stock my books.

Self-publishing is running your own business, albeit one with even greater opportunity for self-importance and delusions of grandeur than normal. Because of this I’m also having to carefully consider what are the most cost effective ways of selling my books. For example, a complex, media-rich website that draws people in and generates press would be incredible, but I don’t have the time or resources to build it.

It would be fantastic if I could engage a marketing agency to generate interest in my books and drive sales, but that would be a huge overhead. This is the kind of things that a publisher can do to you; they have the time and resources to do all of this and more if they feel they can sell your work in sufficient numbers.

And as much as every author wants to be read and enjoyed, that’s what it always comes down to; selling units.

Technology is just now giving writers the freedom that it gave to musicians five or ten years ago. Established acts like Radiohead and Nine Inch Nails have left the record labels, and artists such as Amanda Palmer have built a fan base and reputation through connecting online directly with listeners.

And whilst all of the above are things I do that aren’t writing, I’m finding that I’m enjoying them enormously. Yes, writing is my favorite part of the process, but being able to get hands-on in everything else is fantastic.

If any of the above sounded like complaint, it really wasn’t intended to be. The whole process is fascinating and as tempting as it is to think that all of this is getting in the way of writing, it is actually facilitating it. Would it be easier to do all this if I had a publisher? Undoubtedly. But I could quite possibly put as much time and effort into promoting myself to publishers as I do into promoting myself to potential readers. And talking to readers seems to be much more fun.
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This may just be a quick post, but it’s a huge thank you to everyone who’s bought Stripped: Down to the Bone for the Kindle; it’s only been available for sale for a week and I never expected to get this sort of response, so thank you all.
It will be available for other eReaders soon, being out on the Nook next week and available through Apple, Borders and more shortly after.

I’m currently harassing my editor on an almost hourly basis (note: editors really don’t appreciate this) to get Part 2 ready for release and as soon as I have it, it will be going available.

When the three parts are all edited and released, we’ll be releasing a paperback version for all those of you who prefer more traditional reading formats.