Okay, so this is another long (and boring) title for a post.
But you know what? I have found oblique or inferred titles do not get the views, irrespective of how well thought out those titles may be, and regardless of the quality of the post’s content.
Possibly, this is because many readers just ‘don’t get’ them? Or it maybe it is because people think the writer is being ‘a bit too clever’?
So, here I am with a plain statement for a blog post title. At least this way you get the gist of what the article is about… or do you?
Read on to find out…
I am a regular listener of the radio. I don’t just mean music radio, the odd quiz show or sport. I am referring to ‘talk’ radio, interviews, articles and in-depth discussions.
Serious radio, if you like to call it that.
I got hooked on listening to this sort or broadcast some years back when I did a lot of driving. Sometimes music becomes monotonous; there are times when even your favourite and most loved tracks won’t cut the mustard.
Then you have the ‘Radio Presenters’, we used to call them DJ’s back in the day.
But that was when DJ’s were star celebrities, when everyone and, I mean everyone, knew their names because they were bloody good at entertaining and engaging all who were tuned in.
Unlike the inane, immature, crass drivel which spouts from the mouths of the current drove of unprofessional, clearly uneducated people who host many a radio shows, both on national and local stations.
Okay, rant over. Back to the article…
When you have many miles to drive, listening to intelligent and informative conversation, presentation and debated opinions is often welcome company.
I have found many a premise for a new story, or a character base, or a situation to set my tales within, by listening to such programmes. Some of those inspirations are still with me, unused. Some are notes, other simply bullet points, an aide memoir waiting to be built upon at some future date.
Others have found homes, they are now part of my story worlds awaiting the next reader to uncover their being.
Yes, one’s muse may be triggered by many things. All writers, I am sure, gain inspiration from a million stimuli each and every day; films, TV, magazines, social media, overheard conversation, observed actions… the list is limitless.
For me listening to the radio has become a prime source for stimulating my creative juices.
I think this is because when one listens exclusively, that is without accompanying visual input, the mind can focus more accurately, its subconscious, or semi-conscious, concentration allowed to fix, to centre on the words alone without distraction.
Yes, when driving the main emphasis and attention is clearly applied to controlling the car and reacting to all which is around you. However, your cognitive ability allows another part of your mind to absorb and assimilate the information you hear, clearly and precisely, without conflicting with the prime task in hand, that is your driving.
When I hear something of interest, I take a mental note of the time, channel and programme name, so when I am home, I can go to the broadcaster’s website and re-run the article I heard earlier. It is then I make my written notes and detailed memos.
Allow me to give a couple of examples by way of explanation.
A few days ago, while driving home I tuned into a programme which was delving into the issue of female autism. This report was enlightening enough regarding the subject itself. I found it full of stimulating information which I could, and still can, use in my future writings.
However, one statement touched my heart to such a degree I knew I had found a wonderful gem of inspiration.
One of the experts discussing this condition told of his interview with a young sufferer who, upon being diagnosed, said to her doctor, with much relief;
“For all my life it felt as if I had a black spot inside of me. I thought it would never go away”.
That one simple sentence was, for me, like finding a pot of gold at the bottom of the rainbow. Those of you who are artistically minded will, for certain, understand the enormity of such a stimulus.
Another example, which I have already taken advantage of, by writing a poem called ‘My heart’, was during a play where one of the lines was about skeletons ‘kissing with their skulls’.
I wrote the following poem shortly after arriving home that evening.
Here is that poem.
My heart is a grave for lovers
Where skeletons embrace ever crumbling lust,
And skulls kiss in breathless anguish.
Scarlet blood long soaked into the ashes,
Forgotten passions abandon, the cast-off flesh,
Sensuous agonies of the soul
Haunt faded moments embezzled by time.
Rise up from the earth,
Stand upon your tombstone,
Seek your absent self, your withered spirit
Wandering aimlessly in immortal eternity.
But look not within my heart,
For it is but a grave for lovers.
This poem and many others can be found in my book Shadows of Emotion.
It is a while since I have written a post focusing on the process of creative writing.
The reason being, I have said much about other ‘stuff’ associated with authoring and publishing. Stuff I felt important enough to warrant writing about.
However, doing so led me away from the core value of this blog, which is to give, in my usual rambling and rather haphazard way, tips, advice and suggestions on improving one’s writing skills and understanding of authorship.
Those of you who follow me will know I do not write in a scholarly constructive fashion, because I do not consider myself a teacher or an authority of literary genius.
I prefer to allow indefinite abstract descriptions to suggest and evoke one’s own perceptions and introspection to convey the messages in each of these Ramblings.
In my heart of hearts, I believe the soul of the writer, the artist that lays within, is the greatest asset of all. No one can learn to write unwillingly; the writer must have love and passion above teaching and education.
A writer must want to write, above all else.
So, with those matters cleared away, I guess it is time to reveal what this article is about.
As a mass noun, the definition of this word, according to the Oxford English dictionary is, ‘The action of making a mental connection’.
Regarding fiction writing, I would take this two steps further and say it is, ‘The action of making a mental, sensory and emotional connection within one’s imagination’.
However, to create such a powerful, multi-sensory consanguinity within a reader’s mind, requires the writer’s understanding and needs them to be adept at wordsmithing.
To me, the word ‘wordsmith’ is a wondrous, self-describing noun.
Imagine standing before a blazing forge, gauntlet covered hands, leather apron, large metal tongs holding a glowing red-hot bar of iron. The other hand wielding a heavy hammer.
Smell the fire, the heat, hearing the Smithy as he pounds the almost molten metal into the shape of his choosing. Not an easy task, one which takes many re-heatings and coolings of the metal. One which takes countless strikes with the hammer against the solid block of the anvil before anything recognisable is formed from the raw metal.
This is what I envisage when thinking of the word ‘wordsmith’.
My ‘association’ is with the hours of sweat and toil it takes to form a loose jumble of letters and scattered words into a coherent and meaningful sentence. To mould and form each word so it fits seamlessly with the next, so they all flow in a smooth, well-paced fashion to complete the paragraph.
The result of a Blacksmiths work is more than just flattened and twisted metal, it is a product purposely shaped into a functional object, decorated to enhance its appearance, creating an article of both beauty and reason.
Such should be our undertaking as writers. Our words should not only serve the functionality of revelation but create a pathway of beauty and intrigue for our readers to follow. Our tales should hold within their very form the pure essence of captivation, of fantastical fiction.
To do this we must weave that very essence, the distillate tincture of association within our words.
“That’s fine for you to say,” I hear you mutter.“But how do we do that?”
My answer is to consider the word this post is about, consider ‘association’. The association of words.
Now, many of you will be thinking ‘thesaurus’ because that is what a thesaurus is all about, isn’t it?
Well, yes and no.
You see, when I talk of word association I am not merely speaking of functional words you may find within dictionaries and thesaurus. Neither am I considering which words may be grammatically correct. I am talking about creativity, of creative writing. Of breaking the rules when it lends to better or even great storytelling.
Those among you who write poetry may, or at least should, have a greater understanding of the flexibility of words, how they can be moulded to convey more than their basic meanings. Particularly when two or more are used in conjunction, oblique, ambiguous or both.
Wordsmithing in fiction writing utilises what is learnt through the poetic principle, includes and encompasses it within the whole wordsmithing process.
As a way of explanation, I’ll take an excerpt from one of my short stories, ‘The Bridge‘, taken from volume three of my short stories collection, ‘Tales of Crime & Violence’.
Out of context, I think this is a rather unremarkable excerpt. Even so, once studied while holding the concept of association in mind, its secrets are revealed.
The Humber Bridge is monumental. It is suspended by a mass of giant pythons, twisted metal cables one hundred feet above the sludge brown of the river. From tower to tower it is one mile and the road continues to reach out from there, grabbing the riverbanks with blackened tarmac and concrete fingers.
Yet, for all the earth destroying steel and concrete construction, the bridge has an illusion of beauty that is enhanced by nature itself. Somehow the two blend, even complement each other, an amalgamation of converse contraries.
Firstly, the suggested size of the bridge is stated, in an emotional way, by using the word monumental.
It is then revealed to the reader this is a suspension bridge.
Using the term ‘mass of giant pythons’ is suggestive of and leads into the next sentence ‘twisted metal cables…’
Here are the first wordsmithing associations.
Most people know what a suspension bridge looks like. The story could be told by simply stating this bridge is a vast suspension bridge.
The following words about metal cables could have been just that ‘metal cables’. But the addition of ‘twisted’ is used specifically because of its association with the commonly held image of snakes.
We have now created an image in the reader’s mind of ‘giant twisted pythons holding up a bridge’. Which is a far better read than say, “a large bridge held up by steel suspension cables”.
To continue, the height of the roadway on the bridge is given, one hundred feet, so is the fact the bridge is above a river.
So, once more, the story could read “… a large bridge held up by steel suspension cables one hundred feet above a river…’ Which factually would be correct, although it does not make a very captivating or entertaining read.
Moving on, the incorporation of the words ‘sludge brown’ is purposeful. Not only to transfer the perceived visual perception of a dark river but to almost subliminally link back to the snake imagery by suggesting colour association while taking into consideration most people visualise a river as ‘winding’ or ‘twisting’. Another correlation.
While this imagery of bridges and pythons is building in the forefront of the reader’s comprehension, there is also the fact the author is creating an atmosphere of dark foreboding; or at least the idea of something ominous germinating.
Sludge brown, twisting, python, mass, all have links with the nefarious.
The next ‘s sentences structure reinforces this unease.
The factual description of the bridge is given, but this is enhanced by a form of predicate which strengthens the sinister. “… the road continues to reach out from there, grabbing the riverbanks with blackened tarmac and concrete fingers.”
Reaching out, grabbing, blackened, fingers; all strong adjectives which focus on creating a sensory awareness of the underlying drama.
While a person may not be fully aware why, or what effect these words are having as they read, you can bet your bottom dollar their subconscious will. Personal and social belief, acquired by myth, legend and the silver screens of Hollywood has conditioned us to be susceptible to even the slightest of suggestive input.
It is also a long-proven fact when one reads, they absorb far more, far quicker than by any other method of communication.
The above example is a rather direct and implicit one. But there are stronger yet more oblique instances.
Like these, from my poem ‘Doorway’
This side or that.
In or out.
With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.
Life or death.
Simple. A wooden frame. Harsh nails, forged from iron, blood and sweat in the furnace of forgotten hopes. Spikes driven deep, driven through, splintering the flesh of being, binding into cold stone of indifference. Hanging forever, bearing the pain for an eternity.
But not so simple. A sign, a warning, a barrier. Invisible in its presence of possibilities lost, scorned, unfound, unbelieved. Open but empty, a nothingness that stops you dead in your tracks.
This side or that.
In or out.
With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.
Life or death.
Lost or gained or never had. Can you lose what was not? Can dreams die or do they fade away; decompose as out our living bodies rot with age upon our bones.
What is there, beyond the gaping opening of the way?
Future, or past repeated. Mirrored fears steeped in time, awaiting our return from where we have never been. A destination desired by myth, by greed of those who will not step this way, cowering in the shadows of mediocrity, of sallow existence, of being too far from any door to be truly known, except by repeated words, all meanings lost in the whisper of time, misinterpretations and vague comprehension.
What ifs lay as a carpet of likelihoods, a vastness of possibilities, probabilities, stretching away to the rims of risk and horizons of chance; choices to be made, taken, grasped or passed up.
Prospects scorned or lies waiting to trip the unwary traveller, to crush your skull, your hopes, your faiths until they crumble into a dust of inferiority until your knees bleed on the cold stone floor of humbleness and subservience.
Know your place.
With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck. Fertilised or barren.
Life or death.
How long the openness. How soon the slam of too late shall shut out the light from the other side, of this side or that, or the other, and so vice-versa. Versa-vice.
Sounds vanished, diminished. New hope runs down our legs, incontinent imaginings puddling beneath our feet, wasted.
There is no return. Time flows by, constant. There is only now, just then, what was. Already you are too late, it has gone. Stealing away those possibility’s which once were yours and now belong to another. Maybe not yet born. A foetus of stardust, a twinkle of forlorn wishes.
Maybe they will be the ones who shall hesitate at the gates of option and chance. Maybe they will settle for comfort and the familiar and choose not to stumble blindly into the realm of the unknown?
Or maybe they shall pass this way, step through the door and into the future of destiny without looking backwards?
This side or that.
In or out.
With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.
Life or death.
Without getting too bogged down in technicalities, (not my thing), I will just highlight a few instances from the above, and then leave you to read and re-read the above poem and find the associated words which link together to create the stories own vibrancy.
First, ‘cowering in the shadows of mediocrity’.
One may expect to read ‘Cowering in the shadows,’ I am far from the first to write those words in that order. But then consider the use of ‘mediocrity’, it is not generally expected in this framework.
What are the shadows in your story associated with? Think of an indirect but implicit word and use that or another to suggest the ‘feeling’ you wish to create. Pair words which are oblique or ambiguous to create new meaning, to create the atmosphere you intend.
Forget about those ‘rules’. Ignore the grammar check in word or Grammarly or whatever. There is no substitution for the mind.
Secondly, take ‘your knees bleed on the cold stone floor of humbleness and subservience’.
This conveys a strong message from the initial simplicity of what may be expected until the string ‘humbleness and subservience’ appear in conjunction with the rest of the sentence. Those reading are expecting something far simpler, say ‘the castle, or maybe ‘the house’. But inserting ‘humbleness and subservience’, leads the mind to immediately think of servants kneeling on the cold stone floor.
Linked with the previous segment of the paragraph that mentions prospect, lies and faith the ambiguity is one of suggested religion and loss of belief or at least a trial of personal conviction.
Often when using oblique association, or creating one in such a way, it strengthens the powerfulness of the imagery formed.
If this includes creating your own metaphors or making new words do so. Shakespeare did not suffer the slings and arrows of outrageous fortune by only using the accepted words of his time.
Using this ‘sideways’ form of association, not only in poetic context but in storytelling, can produce a weighty and influential transcript that will hook the reader both openly and subliminally.
Good storytelling is not just about style and content; it is not all about narration, it is not simply getting all your words in order, it is all of this melded cohesively and working in harmony throughout the entire structure of your manuscript.
It is about modelling the words you use, moulding and melding them to conceive something new, something uniquely yours, it is about practised and proficient wordsmithing.
When editing, read, re-write and work each individual sentence. Hone it, sharpen it, until it has its own perfect edge and then move onto the next.
Never skip a word, examine each one; examine its place in the sentence and change it, one word by one word, sentence by sentence, polishing and shaping and forming each little detail until every sentence is a magical story in itself.
Do the same time again and again, until every detail shines clearly.
Only then will your tale truly deserve to be called your ‘finished’ work.
Anything less is less.
The first excerpt in this post was taken from ‘Tales of Crime & Violence, a three-book collection.
I was asked recently, by Francis de Aguilar, a writer friend, what first caused me to “Become interested in African wildlife.“
A simple question.
I told him it was after visiting South Africa, particularly the time I spent in the Hluhluwe Umfolozi Game Reserve.
However, Francis’s question stayed in my mind; although I answered him, it left a nagging doubt in my mind I was wrong.
After pondering for a few days, the truth unravelled itself. I now knew the correct answer.
My interest with Africa and its diverse multitude of wildlife was first stoked by reading the novels of Wilbur Smith.
Back in the early seventies, I picked up a rather dog-eared and worn copy of ‘When the Lion Feeds’, which I devoured within two days. I followed that book by purchasing ‘The Dark of the Sun’, again read within a few days.
I was about sixteen years old and, for the first time, ‘hooked’ on a particular author.
I read all of Wilbur Smith’s books up to the 1991 publication of ‘Elephant Song’. My favourite book, (excluding any of the ‘Courtney or Ballantyne Novels’) must be ‘Eagle in the Sky’…or ‘Cry Wolf’…or ‘A Sparrow Falls’….or…
But I digress.
The real answer to the question posed to me by Francis is, it was reading these books when I was a young man that stimulated my imagination, made me think about the heat, the vastness, the veld, the bush and, of course, the animals of Africa.
For years, I carried my imaginings of the world Wilbur Smith planted in my head with his words, until one day I had the opportunity to visit Africa myself.
I was not disappointed.
The continent is mind-bogglingly vast. The scenery, the smell, the sun, the animals, the people, everything exceeded my expectations, bettered those imaginings I held onto for so long. This I find is something rare, very few places ever exceed our own imaginative conceptions.
I have returned to Africa many times, to different areas, different countries within this vast dark continent.
You may have heard it said, Africa captures, not only your heart but soul and once you have been, you can never really leave.
These are some of the most honest words ever spoken.
I am here now, but part of me will forever remain in Africa.
Now, being a writer, I cannot leave an article like this with just one conclusion when I know there are always several stories to be told about everything.
Therefore, I would like you to also consider this from Wilbur Smiths point of view; or maybe it is just my own interpretation of what I think his view may, or could, be.
Who knows? But I’ll write my thoughts out anyway.
I wonder if dear old Wilbur thought of me when he wrote his first novel?
I don’t mean me as an individual, as a single person but as a conceptual being. I wonder If Wilbur thought he may influence some young man, somewhere in the world, to fall in love with Africa as he typed out his very first paragraph of ‘When the Lion Feeds’ way back in the early 1960’s. (The book was first published in 1964).
Then, my thoughts ask the very same question of myself.
Do I have an image, a conceptual ‘personage’ in my mind who may, one day, be influenced by my own work, by my writings, by the tiny little black shapes, these strange runes of ink I scattered across countless pages?
The answer is yes, I do have such a notion, albeit a rather intangible abstract.
Which leaves you to ask yourself the same, do you?
Think about it carefully, do you?
If you would like to take part in making my rather intangible abstract notion a reality, then please start by reading ‘Within the Invisible Pentacle’ a collection of thought-provoking stories which are not quite as you may think they may be…
This is a question I asked myself while pottering about in the garden.
It may seem like a simple question, one which has a very simple answer; the likes and the things we do listed, almost ‘bullet-pointed’ as a reply.
That’s fine, for most people.
But I am an author, a writer. To me, even those simple answers have hidden depths, more meaning and a thousand stories each to be told.
Here is where my writer’s mind went after I asked myself that question…
I know what I do, but I wondered if that was ‘just me’?
You see, I love travelling. I love to explore other countries, sampling their food, their culture, being amazed at wonderful vistas, cascading waterfalls, crazy cities, wild traffic and such.
I also like to travel around Britain, the place I live. So far, my favourite areas are the Highlands & Western Isles of Scotland.
The Llyn peninsular in Wales gets better and better the further west you travel. The very best being Aberdaron and Bardsey Island.
I reside in Yorkshire, the county known as ‘Gods Country’ for its stunning landscapes.
I originate from the south and was lucky enough to have lived in Kent, called the ‘Garden of England’, which kind of speaks for itself.
All in all, I love nature; landscapes, coastal areas, animals, plants, and grand views. I like red wine, cold beer, fine whiskey, food and some good company.
To my mind this is what home is all about, making a comfortable place with hints, reminders and touches of all the things you love. Pictures and photographs of loved ones, trinkets and ‘tat’ from all those places you have visited; be it a foreign country or the local park, it’s those little inconsequential, yet sentimental items, like a shell collected from a beach, a pebble from a mountain path or a serviette from ‘that’ café.
In a way that is what our homes are for, storing and sharing all those little things which bring back the memories from a life well lived.
We can also make our homes reflect the things which make us… us. Especially, at least for me, in the garden, the garden in which I was pottering when I first asked myself the question I am writing about now.
In this instance, I have ninety per cent completed a project I started about three weeks ago.
In one corner of my garden was a derelict, rotted and neglected raised ‘deck’. I built the deck about ten years or so ago from reclaimed scaffolders boards and, I must admit, was proud of the outcome.
The said deck, (holding tables, chairs, potted plants and lighting), hosted many ‘al fresco’ lunches and dinners, served as a ‘buffet’ table during garden parties and barbecues it even became an improvised office for my writing on the days the sun shone and the rains held off.
But, as many structures constantly exposed to all weathers, it slowly degenerated, until it was little more than a rickety load of planks balancing precariously on a few rotten cross-members.
After laying unused and unloved for so long I decided to rip it up, replacing it with raised-bed vegetable plots and a small seating area.
Partly this decision was to do with the ‘stuff’ I wrote about earlier, the travelling to places, the sampling of food and wine and such like.
You will see in the following photographs I have placed my potted vines along the wall. These have never produced any edible grapes or enough to make even a single glass of wine, not here in England, not with our weather. But they do grow some large and tender leaves which are perfect for making dolmades, one of those foods I first ‘found’ on my travels many years ago.
I have made one deep growing bed and two shallow beds. The idea is to grow ‘root’ vegetables, such as carrots, parsnip, onion and sweeds in the deep one, leaving the shallow beds for the vegetables that grow ‘upwards’; beans, peas, sprouts, lettuce and so forth… once the soil has been delivered, which is about all I need now to complete my task, hence it is only ninety per cent complete.
I already have an area for soft fruits and yesterday harvested a bumper crop of particularly sweet and sticky Gooseberries, the ‘Brambles’ (Blackberries) are beginning to set fruits and so still have many flowers.
This then, is my answer to my own question, “what do writers do when they are not writing?”
For me it is often gardening, but not simply for gardening’s sake.
Its for relaxation, creativity, frugality, satisfaction and for good food, healthy unadulterated food which I and or my wife will turn into some amazing dishes or preserves; some that will bring memories of a time, a trip or a place, flooding back, or maybe excite us, as we look forward to the next travel experience we have planned.
These are the sort of things I do when not sitting alone, isolated, eyes glued to the screen and scribbling away like a manic… I’ll let you finish that line!
However, I am curious to know what you do when you are not writing, please, let me know so I can be sure it is not ‘Just me’.
Keep Happy, Paul.
Don’t forget to visit my website,http://bit.ly/paulswebsitewhere you can find my latest books, including my Electric Eclectic Novelettes.
So much to do, so little time. (I think I have heard that said somewhere before.)
At least I have found a few moments to share another post about being an indie author.
I do not normally write a ‘list’ style post as they generally tend to be little more than ‘clickbait’.
However, on this occasion, I have made an exception to the rule and produced a sort of list post myself. But one I hope is better and far more informative than those ‘clickbait’ I mentioned above.
I hope these tips will help you create a book which will sell in (vast) volume.
“On with the post”
I hear time after time and frequently read, on social media, authors asking why no one is buying their book(s).
It could be down to many things, even the lack of serious or targeted promotion.
Novice writers often spending too much time and effort in posting their book(s) on author group pages… HINT… authors are more interested in writing their own books and most already have a vast TBR library they will get around to reading, soon(ish), one day, maybe later, or never.
You need to put your energy and effort into targeting those people who are more likely to want to read your work than another author. (Coals to Newcastle, busman’s holiday… ring a bell?)
However, before you get anywhere near that stage, here are a few basic questions, self-check questions, you should ask yourself and, this is most important, answer honestly.
You will only be letting yourself down if you lie to yourself.
In a nutshell, you must ask yourself, (way before you publish) if your book looks professional and is your blurb up to scratch?
These are the questions you need to use to clarify each point of consideration.
Regarding your books cover:
1, Does it look professional.
No, truly; do your book cover(s) look like they could be displayed alongside the best sellers on show in your city’s premier bookstore?
If you cannot say it does with absolute certainty, take a mock-up, even a full-colour print of your cover and visit some bookshops. Hold your image up, place it on the shelf next to the big named author’s books.
Now, give it ten coats of looking at. Ask those who are browsing what they think of your intended cover.
This is a form of market research. It can save you a ton of heartache let alone money. But you must be honest and you must listen to what others say, after all, it is they who will be buying your book, not you.
2, Does your book cover clearly demonstrate the genre of your book?
Your potential readers will, most often, have one or two genres they prefer. Like many people, once we find something we enjoy it takes a giant leap to change.
Therefore, if your book does not accurately reflect the genre of its content, you WILL be losing any potential readers initial interest.
3, Does your cover immediately garner attention?
Is it sufficiently attractive to stand out among other books on the shelf or on Amazon?
Does your cover artwork stand out amongst the other books around it? How well does your book ‘stand-out’ as a ‘thumbnail’ image on an Amazon page full of other books?
Are your friends or the bookshop browsers immediately drawn to your cover? If not, you need to make changes.
Note: Too many authors make the mistake of trying to tell the entire books story on their covers. This is not what the cover is intended to do. In simple terms, the cover is like a candle flame to a moth. It is there to attract a person browsing to take a closer look at your book. Once the browser has the book in their hands or has ‘clicked’ for more details, the cover has done its main job.
After which the points below come into play.
4, Does your book title grab attention?
Pretty much like the cover image ‘as a whole’, the title of your book must do several things. It must accurately reflect the genre of your book while defining its own individuality.
Along with this, it must show who the book is intended to be read by. Not an easy task to succeed at, especially when regarding fiction, which is far more subjective than non-fiction.
Regarding non-fiction, your title must indicate the benefit and what makes your book different to other covering the same or similar subject matter.
5, Does your book’s subtitle and/or description clarify who the ideal reader is?
Does your description work as a prime first hook on the general browser?
The description (subtitle) should convey the emotional (or practical) payoff to the reader when reading your book. (The ‘what’s in it for me’ factor)
To communicate this your description needs to capture the curiosity of the browser, it must take them on a clear, cohesive, emotional journey and leave them wanting to know more. You must engage their curiosity?
Is your books description length similar to the prime authors/major publishers books of the same genre?
Note:Nothing on the cover of a major publisher’s book is thereby happenchance, everything is carefully calculated and designed based on a vast database of market research and marketing sciences.You should not go far wrong by following their designs and formatting.
6, Pricing your book
Have you priced your book to match that of similar titles of the same genre by other indie authors?
Here price point could be a major influencing factor. Price your book too high and few will buy it. Too low and many will perceive it as a low-value item and pass it by.
The trick is to get this balancing act weighed off. Not an easy task.
7, Are your books first pages intriguing enough?
Many online bookstores offer a ‘look inside/sample read’ function. This is akin to flicking through a few pages of a physical book in a bookstore.
When considering this fact, it becomes clear you need to ensure an early hook is built into the first pages, say the first 10% of your book.
This will create an intrigue, a wanting to know ‘What happens next’ question into your potential reader’s mind, encouraging them to buy your book.
I hope these pointers will help you with the designing your books cover and when writing your ‘blurb’.
You will find many more ways to reduce your publishing costs and loads of money-saving methods by reading ‘The Frugal Author’, immediately download-able HERE.
From logging in to our social media accounts to buying new shoes, we wouldn’t be able to get much done without first logging into an account with a password. The problem is, as more and more of our everyday lives have gone online, particularly as authors and writers, when we need a wide range of internet sites and platforms to market and promote our books.
Chances are you have needed to create more passwords than ever, which can cause problems. After all, who uses a different password for each and every site? Perhaps not many of us, if we’re being honest.
Indeed, according to new research from Kaspersky Lab, people tend to fall into one of two camps: those who use passwords that are complex but difficult to remember and those who create passwords that are easy to remember but easy to crack.
Complex but forgettable
Those of us who create complex but difficult to remember passwords may have more secure accounts, but sadly they also have a tendency to forget these passwords. After all, it’s a lot easier to remember password123 than to remember Pa$$W0rdTh3G14nT123.
And a fair number of people surveyed understood the need for complex passwords, with 63% selecting online banking accounts, 42% payment applications including e-wallets, and 41% online shopping as types of accounts that need the most secure passwords.
However, 51% of people admitted to storing their passwords insecurely, and a staggering 23% said they store them on a notepad.
Short, handy, easy to crack
According to the research, a disheartening 10% of people surveyed admitted to using the same password for every account they own — a practice that increases the very real risk of account compromise. Reuse one password for all accounts and you ensure that if one account is compromised, they all are. You can check to see which accounts of yours could be compromised here.
On top of that, the research showed that 17% of those surveyed had faced the threat of account compromise, or actually had an account compromised, in the past 12 months.
The third way
One solution can fix both problems: a password manager such as Kaspersky Password Manager. Using a password manager might sound like something only geeks would do, but actually, it’s surprisingly easy to use. You create one complex password (we’re all capable of remembering one difficult password!), and it protects all of the other passwords. The password manager stores and fills in passwords for all of your online accounts, and everything is secured using encryption so that nobody can snoop.
However, if you’re looking for some quick tips, resident tech expert David Emm suggests the following:
Make every password at least 15 characters long — the longer the better.
Don’t make passwords guessable. There’s a good chance that personal details such as your date of birth, place of birth, partner’s name, and so forth can be found online — for example, on your Facebook wall.
Don’t use real words. They are open to “dictionary attacks,” someone using a program to quickly try a huge list of possible words until they find one that matches your password.
Combine letters (including uppercase letters), numbers, and symbols.
Don’t “recycle” passwords — say, david1,” “david2,” “david3,” etc.
Use a different password for each account to prevent all of your accounts becoming vulnerable.
If you suspect your password has been compromised, change it immediately.
Stay safe out there.
Sometimes, just sometimes, a book comes along which tends to re-define certain aspects of expectation.
This new release from Paul White, DARK WORDS, is a book which contains several short stories, poetry and some written works which defy classification, they are… prose, articles, essays for want of interpretation. Each written piece is deep, meaningful and emotive. Paul explores avenues, dark avenues of the human psyche where many dare not venture.Hurt, fear, pain, self-harm, love, hate, loathing, love lost, depression, loneliness, anger, suicide, anxiety, all these and more are considered within the pages of DARK WORDS.
In Paul’s own words…
“Dark days come to us all at some time in our lives.Heartbreak, grief, fear, loss, pain and anxiety collide and conspire, individually and collectively to bring us down.We feel the battles rage within ourselves; they fight and scream in a tortured anguish of emotional turmoil.Solace is often found alone, in dimly lit rooms, with mellow songs playing over and again.Reading DARK WORDS, sharing the pain within these tales help us dry our own tears, to drive away the clouds of uncertainty and crush the demons which haunt our souls.To accept and acknowledge the blackest days of our lives often reveals the pathway from the shadow maze of obscure reflection, into the sunlight of possible future.Dark days come to us all, at some time in our lives. They are not the place for us to dwell for too long.They are not our home.”
DARK WORDS is one of those books you should, you need, to have on your bookshelf. One of those books everybody should read, at least once in their lifetime. Get your copy today, now,http://amzn.to/2E79PI
Don’t worry if you live Stateside, Dark Words is available on Amazon.com tooHERE
This year 2017 has seen some seismic shifts in the publishing and advertising industries as major issues such as transparency (Note Facebook revealing their loss of Data a short while ago. This note added April 2018) and brand safety have taken centre stage. Next year is shaping up to be no different, as the industry looks ahead to key issues which will dominate the news agenda over the next 12 months and beyond.
“GDPR will hit in May 2018 and with just seven months left to be ready, many within the industry are only just learning about the implications. People are spending more time online across a wider array of devices and are becoming smarter at consuming online content. Consumers are hungry for real content and will be looking for ways to cut out fake news and time-wasting content by seeking out better quality content providers and starting to pay to access the best content.
2018 will continue to deliver opportunity; we all need to think about building interactive audio relationships via Amazon Echo, Google Home and other voice controlled devices, and how virtual reality devices like Oculus Rift and PlayStation VR and augmented reality via the latest generation of iPhones will affect the way we communicate brand messaging to our audiences in new and innovative ways.”
“Native advertising has rapidly gained momentum this year and will continue to do so in 2018. With native ad spend expected to reach more than €13 billion across Europe by 2020, it is safe to say it is no longer just a buzzword, but an essential part of the marketing mix that is finally getting the recognition it deserves from the industry.
“As publishers look to focus on brand safety, transparency, and the user experience, I expect we will see more of a migration to native as developments in creative technology bring more flexibility. By harnessing the capabilities of programmatic, the scale and efficiency of this flourishing format will be a force to be reckoned with.”
Electric Eclectic books incorporate aspects of Native Advertising in their marketing strategy assisting indie authors book sales. The amazing thing regarding Native Advertising is most people will not recognise or notice it occurring because it is an almost subliminal method of carrying your brand message.
THE CONTINUED RISE OF INDIE AND HYBRID PUBLISHING
Traditional publishers may offer prestige, but also limited creative control and royalties. In recent years, independent publishers have accounted for an ever-larger share of the market, with the help of high-quality cover designs, writing, and marketing plans.
Last year, data showed for the first time the share of self-published books and books published by small publishers, at 42 per cent, was larger than the market share of big-publishers, at 34 per cent.
Ascendant is the phenomenon of hybrid publishing, which includes a variety of publishing models which straddle a middle ground between traditional publishing and self-publishing. Veterans of traditional publishing have left behind their larger companies to bring top skills and experience to the world of independent publishing.
More and more authors are opting for hybrid publishing, which allows them to hold on to creative control and royalties while benefiting from the best of the traditional publishing world.
LONGER SHELF LIFE WITH EBOOKS WILL MEAN INCREASED COMPETITION
With the rise of digital book listings, we are seeing a change in the lifecycle of books. When keeping books available depended on a limited quantity of physical shelf space, it meant books that no longer sold well were removed from shelves as soon as possible.
With digital retailers, there is no such premium on shelf space. With books remaining discoverable indefinitely, authors and publishers may want to take a fresh look at “legacy titles” – books published in the past that are no longer a focus for your attention.
Consider reinvesting in a new cover, book description, and marketing resources to revitalise these titles.
Remember, in this age of digital ebooks and kindle, the more books you have available, the better chance you have to grab your share of the crowded eBook market.
This is one reason you should have a minimum of three marketing branded books working for you and all your prime titles. Electric Eclectic (part of CQ International) is the fastest growing and most inventive brand. Take a peek at their Website.
MORE BOOKS, STAGNATING READERSHIP
According to Pew Research Center, about 73 per cent of Americans read at least a book a year.
This is a figure which has remained stagnant since 2012. Meanwhile, the number of books published in the US has grown exponentially since 2010. Self-published titles have grown from 133,036 in 2010 to 727,125 in 2015, an increase of 446.5 per cent. (latest full figures available.)
Getting your books to readers has, therefore, become an increasing challenging.
Authors need to work towards “discoverability”, working to develop their own audience as an author and creating strong brand marketing for their books.
Many self-publishing authors also face criticism for poor editing and packaging – with more books on the market, the pressure to create and maintain high-quality presentation is becoming paramount. Pay special attention to your design choices; editing and marketing can help self-published books rise above the rest. But a great cover is your first opportunity to attract readers to your book. A professional cover will help you gain sales. Check out PeeJay Designs by Paul White. They offer a professional, but friendly and communicative service HERE
AUDIOBOOKS ARE GROWING
Audiobooks are the fastest growing sector of the publishing world.
In 2015, the audiobook industry was valued at 2.8 billion dollars. 43,000 books were released that year alone, compared to 36,000 in 2014 and just 20,000 in 2013. (Latest full figures available.)
Since audiobooks do not follow the same agency model as eBooks, publishers have been more willing to experiment with distribution models for audiobooks. In particular, subscription models, such as that of Amazon’s Kindle Unlimited platform, are on the rise. In a similar approach to Netflix or Spotify, the service offers unlimited access to 2,500 audiobooks.
While the cost of creating an Audiobooks is higher than most forms of book creation, including many hardcover formats, it is one of the publishing trends to seriously consider.
As with all relatively new markets, audiobooks platforms, production and distribution methods are only in their infancy, so invention and initiative are prime.
PUBLISHING TRENDS 2018 – SUMMARY
The publishing trends of 2018 are likely to follow the broader patterns seen throughout the decade; the rise of small publishers, digital platforms and new formats.
In other ways, the publishing world will continue to see a backlash to traditional, restrictive and controlled marketplaces during in 2018.
Keeping an eye on such trends can help publishers and authors get a sense of where things are headed in the years to come. The future will be about development, choice and ‘canny’ marketing.
The data reveal what some might consider a surprising generational pattern in book reading.
Young adults, those aged eighteen to twenty-nine, are more likely than their elders to have read a book in the past twelve months.
In 2014, there were more hugely successful movies based on young adult books than ever before. Divergent, The Maze Runner, The Fault in Our Stars, If I Stay, and The Book Thief all appealed to a younger audience and may be causing this surge of interest.
We’ll have to wait to see if this is a passing phase or a longer-term trend.
The survey also noted women are more likely to be the book readers in a household. The average woman reader read fourteen books in the past year, compared with nine books for men.
In 2014, Pew reported that 50 per cent of Americans have a dedicated handheld device, either a tablet computer like an iPad or Kindle Fire, or an e-reader such as a Kindle or Nook, for reading digital content. This is up from 43 per cent in September 2013.
While tablets are still the most popular electronic way to read digital books… at present, last month The Wall Street Journalpredicted they may be pushed aside by smartphones in the coming years.
In the first three months of 2015, 41 per cent of ebook buyers read digital books primarily on their tablets, according to the newspaper (citing Nielsen data), and 32 per cent read ebooks primarily on their e-readers. However, the publication also reported on a Nielsen survey from this past December that found 54 per cent of ebook buyers read on their smartphones at least some of the time. In 2012, that number was just 24 per cent.
Fortune cites reasons for the adoption of reading via smartphone:
“Convenience, of course, as well as ramped-up technology that makes reading on mobile phones a more pleasant experience. Smartphone screen sizes, too, are getting larger.”
Okay, that will do for today.
There is a mass of indicators which will need your careful consideration when deciding which tactics to adopt in your overall marketing strategy.
Chose carefully and wisely, invest well and reap the rewards.
Thanks for reading another of my rather out-of-character serious postings… my normal, regular Ramblings shall resume shortly.
In the meantime, take a look at the latest Electric Eclectic Novelettes HERE
I have been working on an awful lot of ‘Stuff’ these past few weeks.
I am always busy, it keeps me from hanging about on those street corners. But these past weeks I have been busier than most.
Let me give you a clue….
Over the last two weeks, I wrote approximately 630,000 words, 350,000 last week and 280,000 the week before.
I have promoted the November edition of CQI magazine, the Sci-Fi season special. Click on the cover image to read.
I am in the midst of compiling two annual catalogues for CQI, ‘The Collection – a guide to year-round giving’ and ‘The LIST 2018′ a catalogue of commended and acclaimed books.
During which time, I have beavered away at marketing to keep my two latest books high on the Amazon sales lists. Successfully.
I finalised and formatted a further two books, including designing the covers. They are:
Dark Words – dark tales & darker poetry is scheduled for release on the 1st of February 2018.
Within the Invisible Pentacle, a collection of intriguing feminine titles is due out on the 1st of June 2018.
That done, I can concentrate my efforts on completing two other WiP:
Floyd a Novel about an escaped psychopath on a bloody rampage of revenge and…
On the Highway of Irreverent Rumination & Delusion, which is a rendering of my past blog of the same name, about musings of life, living and our society, with many additional perceptions, formed into a book.
I am hoping to have both completed by the end of 2018… but who knows?
Included in this time, right up until yesterday morning, I have published three new eBooks, Kindle ‘novelettes‘ under the collective brand of Electric Eclectic.
Electric Eclectic books are absolutely fantastic, they enable readers to ‘taste‘ a previously unread or unknown author at the extremely low price of just 1.00 (Dollar/Pound/Euro). HOWEVER… unlike many low-cost books all EE novelettes are vetted to ensure they meet exacting standards, so readers can buy Electric Eclectic branded books with confidence.
EE is a Franchise, where the individual authors benefit from the marketing and promotion of being associated with the prime EE brand itself. Enquiries about becoming an EE author to EEbookbranding@mail.com
My current EE novelettes are:
North to Maynard, a tale of Gremlins in our modern world of high tech.
Three Floors Up, where a psychotic man watches those below until…?
Mechanical Mike, a tongue-in-cheek sci-fi robot story, set in Paris during WW2.
Oh, I have also helped a fellow author to create a fully illustrated children’s book, written by an eight-year-old girl. A project not without its problems, but one where I have enjoyed overcoming the challenges.
I took three days out to travel to Belguim during this time period too.