write locally

A few notes from Robert Pinsky’s “Is Vision the Twin of Speech?” (Bernard Osher lecture at Portland Art Museum).

Monday, March 7th, 2011

As a past national Poet Laureate, Robert Pinsky launched the Favorite Poem Project, a collection of ordinary Americans reading lines from their favorite poems. The project grew from his conviction, which he expressed at tonight’s lecture at the Portland Art Museum, that America struggles from a lack of a unified folk culture and of a unified class culture (the “snob” factor). He argued that without grandmothers to pass down distinctly “American” stories, dances, and recipes, and without a hereditary elite to guard and pass on “American” high culture, the work of inventing our culture is multiethnic, democratic, and continuous.

He opened the speech with a statement that I am still thinking about: That we are a great nation with vast economic and military power. But are we a great people? He spoke with a poet’s respect for the human ear–for the need to hear ideas slowly, a second or even third time, to give the mind time to circle and inspect the words. So imagine his slow, slightly gravely voice asking, a second and third time, A people… Are we a great people?

Part of his lecture featured clips from the Favorite Poem Project, one of them an high-achieving Chinese immigrant high school student, whose favorite poem is Emily Dickison’s “I’m Nobody! Who are You?” She read it aloud in the park at Stone Mountain, Georgia–what she called her favorite place. After the clip, Robert Pinsky called attention to the relief carving on the rock behind her, of slave-era heroes Robert E. Lee, Stonewall Jackson, and Jefferson Davis. “She is a smart girl,” he said. “Someday she will think about that carving, and wonder how slavery is part of the culture she is living today.” (Slightly paraphrased, with apologies.)

He closed with a reading of William Carlos Williams’s “To Elsie”:

The pure products of America
go crazy—
mountain folk from Kentucky

or the ribbed north end of
Jersey
with its isolate lakes and

valleys, its deaf-mutes, thieves
old names
and promiscuity between

devil-may-care men who have taken
to railroading
out of sheer lust of adventure—

and young slatterns, bathed
in filth
from Monday to Saturday

to be tricked out that night
with gauds
from imaginations which have no

peasant traditions to give them
character
but flutter and flaunt

sheer rags—succumbing without
emotion
save numbed terror

under some hedge of choke-cherry
or viburnum—
which they cannot express—

Unless it be that marriage
perhaps
with a dash of Indian blood

will throw up a girl so desolate
so hemmed round
with disease or murder

that she’ll be rescued by an
agent—
reared by the state and

sent out at fifteen to work in
some hard-pressed
house in the suburbs—

some doctor’s family, some Elsie—
voluptuous water
expressing with broken

brain the truth about us—
her great
ungainly hips and flopping breasts

addressed to cheap
jewelry
and rich young men with fine eyes

as if the earth under our feet
were
an excrement of some sky

and we degraded prisoners
destined
to hunger until we eat filth

while the imagination strains
after deer
going by fields of goldenrod in

the stifling heat of September
Somehow
it seems to destroy us

It is only in isolate flecks that
something
is given off

No one
to witness
and adjust, no one to drive the car

(From The Poetry Foundation)

Indie book advertising that works?

Wednesday, December 1st, 2010

Yesterday, Lit agent Kristin Nelson wrote a blog post on Pub Rants–”Advertising That Works?“–that suggests a new way to publicize books. Ever hear of Groupon.com? It helps independent local businesses offer deals to local customers, sometimes at huge discounts. She sums it up like this:

It introduces subscribers to local companies that they might not have discovered otherwise and more importantly, if a subscriber buys the deal for the day, that person is committed to visiting that company or using that service in the very near future.

I’d love to know if this concept could work  directly for authors. For instance, a few indie authors  could team up and publicize book specials along a couple of different dimensions–say, “Get three books by local Portland authors for $25″; or, “Get three new YA paranormal romance books for $25.” It would be a great way for readers to connect with new authors in their geographical area, or new books in a genre they love.

If you know me, you’ll know that any kind of local publishing venture intrigues me. The “Big Six” publishers are not the bad guys–they’ve brought us every book we’ve ever loved–but I also love the idea of self-publishing, Wild West stigma and all. The number of books per year continues to climb, and yet the number of good manuscripts that get rejected continues to climb, too. If you’ll allow me a cautious flight of fancy, what potential there must be for (some) literature right now, if (some) authors and (some) readers alike move away (sometimes) from the big-box-store mentality of traditional publishing and instead write locally, buy locally, and read locally (a little more often).

Maybe, just maybe, books and reading would regain footing in American culture. As Leonard Cohen wrote, “There is a crack in everything; that’s how the light gets in.” For once, let it not be the light of a computer or television screen.

Paying for indie publishing: It takes a village?

Saturday, September 4th, 2010

I’ve said here and elsewhere, many times before, that it takes a lot of money to self-publish a book. You can write one for only the cost of your time, but to involve professional editors, designers, printers, and possibly even marketers is to commit several thousands of dollars of your own money to do it right.

I make a living by editing books. If I am correcting your novel line-by-line, I cost about $2000.  I usually pay a competent designer between $1100 and $1300 to typeset that book and design its cover. Then I will charge you $150 to write your flap copy and press release. (I know it’s a faux pas to talk about money in public. Tsk, tsk. We writers… You can’t take us anywhere.) The result will be an attractive, well-edited book that you will be proud to share with your readers.

You can find better deals, of course. And they are still expensive. David Drazul, a fellow writer, spent a bit over $1000 in workshop fees, editing, design, and marketing costs. (See his guest blog post below, or here.) No matter how you slice it, indie publishing is not as democratic as we biblio-revolutionaries would like it to be.

Until now? Michael Keefe posted an article last week on music website MadeLoud.com, “Kickstarter: Where Modest Dreams Can Still Come True,” that highlights yet more instances of successful crowd-funding ventures. While the concept is not exactly fresh from the fires of a new economy (TIME published an article on it in 2008, and it has been around for at least ten years), it offers some hope for the cash-strapped genius in all of us. By posting your project on a site like Kickstarter.com, people anywhere can read about it and donate a minimum of $1 in support of it. Some of the site users’ current writing projects include zines and a translation of “Uruguayan poet Marosa di Giorgio’s 1965 masterpiece, The History of Violets.

The concept is appealing. With over 95 percent of its revenue going directly to the artist, writer, or filmmaker, a crowd-funding site can offset the cost of a worthy project. Besides that, it also involves the public in the arts and creates a sense of ownership–supporting an idea that I am personally attached to, namely that the arts are a dialogue, not a talent show.

Guest blog: David Drazul on the cost of self-publishing

Saturday, September 4th, 2010

I asked my fellow writer, David Drazul, if he would be willing to talk about the self-publishing costs of his novel, Armistice Day, on this blog. He was gracious enough to break down all his expenses and comment on what he would do differently next time. Be sure to check out his book on Amazon.com, and his website here.

Publishing Costs

I’ve spent my whole working career in technical fields. The style of writing required in engineering and computer programming is very dry and doesn’t lend itself to creative writing. In essence, I had to re-learn how to write.

I was initially inspired to write by the birth of my son. After composing an essay detailing that event, I signed up for the local adult ed writer’s workshop. I tried my hand at non-fiction but it wasn’t until I submitted fiction that everything came together. What would later become Chapter 2 of Armistice Day was submitted to the last class. I don’t know if you want to include this re-education, but if you do, that’s $150.

As I wrote up enough material, I returned to the writer’s workshop to have it reviewed. I went through two workshops at another $150 a pop.

Once I’d taken everyone’s advice on corrections and suggestions, I asked the teacher of the workshop, a writer and editor herself, to perform a final review. I think that was $200. And that was a discounted rate.

I spent the next couple of years pitching agents but had no luck. Bad cover letter from an unpublished author? Probably. I decided to self-publish because I couldn’t stand to have Armistice Day lying on my hard drive forever. I’ll spare you my rants towards agents and traditional publishing as my predictions have largely come to pass. After spending too much time reviewing my self-publishing options, I began my hunt for an illustrator for the cover. The first guy went MIA and I waited too long before picking the next guy. I’m very happy with him though. Very professional. The cover cost me $200, which was very reasonable considering other artists posted rates of several thousand dollars. armday_cover

Since I went with Lulu, the other publishing costs were nil. As you know, Lulu gets paid when my book sells. I don’t use any of their editorial or marketing services.

Total Publishing Cost: $400 – $850 depending upon how you slice it.

Marketing Costs

Book Reviews: I’ve got two of those. They were free. Well, the first one received a copy of the book in print so technically that cost me $11 (Cost to make book and have it shipped to the reviewer).

Donations: I donated a copy of the book to my local library. Cost: $11.

Targeted Marketing: I’ve emailed friends and family, posted to MySpace, and made announcements on my blog and three sci-fi rpg message boards (one has since shut down) that the book was out. No cost.

Website: Back when I had a small business, I bought a couple domain names and got some web hosting. I needed more space and functionality than the real cheap/free sites offered so I had to pay. $100/year for domain name and web hosting. I’d still have the website even if I wasn’t writing professionally. I don’t know what other authors do/pay, probably just stick with a free blog.

Business Cards: When I ran a small business, I learned how to make my own business cards on my home pc. I print them myself. The cost here is just for the cards themselves, which is a few bucks.

Advertising: I haven’t popped for this yet. The Indie Spotlight lets people buy ad space for $5-$10/month. There was also a zine I was going to buy ad space in but they folded before they published my short story. That would’ve been about $20-$30.

Trade Shows: The illustrator for Armistice Day rented booth space at GenCon. He offered to sell my book and any other merchandise I had for a flat $50 fee.  I went for it and commissioned him to print up some promotional posters. To save myself money, I designed the poster myself. I had four printed up for $100. The illustrator kept one for GenCon (per my instructions) and sent the other three to me for future promotional use. I also sent him 150 biz cards and 15 books (the books cost me $165.72).

Unfortunately, GenCon was a bit of a bust. One book sold. The $15 price was the killer. The bright spot is that the illustrator churned through most of the biz cards so my name is getting out there.

As an aside, I’d hoped that writing short stories would get my name out there and thus increase book sales, but that’s been a bust. The competition in the recession-shrunken genre zine market is brutal. I’ve sold one story. But since Smashwords allows short stories to be released on their site (even reprints if the rights have reverted back to the author), I’m going to post some there after I give up on getting published in the zines. I posted my one sale there (the zine recently closed down) for free (if a book doesn’t sell for $2.99, what can a short story get?) and it’s racked up 51 downloads in a week.

The illustrator is going to TravellerCon in October (a sci-fi RPG) and the same conditions apply. Although it’s another $50, he’s got the books and poster. I have to print up more biz cards. I’m going to discount the book to $10 and see how that goes. It’ll be a loss, but maybe the lower price will shrink my total deficit for this venture.

If anything, the experience at GenCon provides valuable feedback on print pricing. $15.58 is the minimum retail price I can sell the book for on Amazon. I get $1 per book sold there. It tells me that I may have to find a less expensive way to print (Lightning Source, perhaps?) as a no name writer can’t charge $15 for trade paperback without people balking.

Total Marketing Costs (so far): $222, unless you want to include the 14 unsold books from GenCon.

Now these numbers may not seem like much, but the royalties from my book sales fallshort of even these modest expenses.  I am at roughly 25 percent of break even at best. If the expenses weren’t so low, it would be really hard to justify. Going forward, when I finally write the sequel, I’ll still need to pony up the editorial and illustrator costs, but I don’t know if I’ll return to the writer’s workshop. New marketing strategies may be in order as well.

A few tools for writers with websites

Friday, February 26th, 2010

Here are a few free tools for networking with other writers, getting the word out about your website, and evaluating its performance. … Also, the frequency of my posts about building an online presence are probably misleading. Despite appearances, I am not spending hours online, am indeed writing a new novel, and am keeping up with editing projects!

Technocrati: It is my understanding that if you have a blog, listing it on Technocrati will increase your traffic and web rankings. Once you create a profile, you’ll get a claim code (like this: P9MM9PVRFXT7), which you post on your blog (as I am doing now), by which they’ll verify your blog and eventually include it in their databases. It is also my understanding that Technocrati is valuable enough to make the long wait for verification worthwhile.

Website Grader: The tool scores your site on a 1-100 scale, and tells you what you need to do to make it easier to find, push it higher in Google’s Page Rank system, and communicate better with your audience. (Yay, Julia Stoops of BlueMouseMonkey.com, who designed this site! It got an 87 right off the bat.)

Twitter: OK, obvious one. But I’ve found that 15 minutes a day of sharing useful content, and hash-tagging keywords (e.g., #publishing), will accrue relevant followers and also turn up helpful articles, depending on whom you follow. Not sure how some people gather followers who number in the thousands, but I get two or three new followers every day by using Twitter moderately. I’ve found that I’d rather limit my Twitter-time to the book industry, and save Facebook for chatting with friends.

SPANnet.org: If you have a book out, join this free and growing community of authors. Most are self-published. In concept, this is what needs to happen next in publishing–authors need to start working together more to promote each other (rather than themselves), and connecting directly with readers. SPAN may not be there yet, but it’s a step along the way.

***Also recommended by a fellow editor and web-savvy colleague: Google Analytics, which provides free and thorough traffic data for your site.

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