One week before book launch and the pace really picked up with all those last minute things that must be done NOW. I still have more questions than answers, but I check each item off the list one by one. Unfortunately, updating this blog has taken a back seat to the other minutia that requires my attention. Once the initial rush settles down (and when will that be, exactly?) I can fill you in on the intricacies of launching a book.
Some very exciting news, though. Traveling Blind is already listed on the Internet stores of Barnes and Noble, Borders, and Amazon.com. After I emailed book launch spam... I mean info... to all my friends and family, one of those friends sent me the Amazon link to the book. We all did a happy dance and I promptly had a panic attack. I'm sure the reason we're on those websites is because we are in the Ingram catalogue simply because we're using Lightning. Really no big deal, but seeing the book on the Internet for anyone to find and buy was THRILLING. It's not just people in Ukiah who can buy it; it's the whole world.
(Oh no. I think I just gave myself another panic attack.)
We're also setting up the paypal account on the website to sell books directly. Far more complicated than I thought it would be, but I'll explain how that process worked and how I finally made my decision about selling on the site when I have a wee bit more time (again, I'd really like to know when that will be.)
To top it all off, I have a midterm in Marketing the same day as our book launch! Thank you to my instructor for letting me make up the test when I get back. But I still need to study, which I'd better do right now. No more time to check in.
One odd thing, though... on Amazon there is a third party discounter selling the book. Who are these people and how did they get a book which hasn't even been sold yet? If any of you know, please send a comment and explain this mystery to me.
Thanks for your support. I promise, more details later, but I gotta run. I have a test to study for, three book readings to plan, a trip to Montery, bookstores to contact, and more networking to do in the next two weeks.
Monday, October 29, 2007
Wednesday, October 24, 2007
Boxes of Books
When the UPS guy brought the books to my door, I didn't scare him this time. Calmly he and I carried ten boxes of books from Lightning Source into my living room. I opened one box to inspect the contents but remembered that I should keep the books stored in their original box as Dan Poynter recommends to prevent damage. I sat down on the couch and examined a few of the books, looking for blemishes or wrinkles. Each book I flipped through was absolutely pristine. Beautiful. The colors on the cover are rich. The printing vibrant. Lightning Source has done an excellent job.
Next week is the official book launch of Traveling Blind. Laura stopped by a little while ago and picked up a box to share with her writing group. She hugged me tightly and is so happy with how her book turned out. In that moment, I understood what a muse must feel; the vicarious excitement knowing you helped someone fulfill their dream. I helped her bring her book to life, and now I'm helping her spread the word about it. All those hours of editing, designing, setting up the business, building a website, researching publishing, forking out too much money... all of it is for this moment. Laura's book is real and I helped make it possible. But it is Jane and Rick who helped me pull it off. Without their support and knowledge, this task would have been impossible.
Thank you Jane for helping me with the editing and for all those unpaid hours you've put into marketing and research. Thank you for believing in me enough to want to join this crazy venture.
Thank you Rick for the website, the book design, and now the audio version you're still struggling with. Thank you for standing in the middle of the street with your camera to get that perfect shot of the asphalt for the cover.
And thank you Laura for trusting me enough with your creation and letting me publish it. You've made my dream come true too.
Sunday, October 21, 2007
Fulfillment
We just hit a snag at Medusa, namely, how do we sell books from the website? The original plan was that Lightning Source would be "drop-shipping" the books when orders were submitted to our website. Only problem is, Lightning Source will only drop-ship after you've listed 25 titles with them. 25 titles? Let's see, 3 titles per year divided into 25 means in...8 1/2 years we can sell books directly from them.
In the mean time, if I want to directly sell books from Medusa, I need to do it myself. Okay... um... how do I do that?
Order fulfillment is a complicated, labor intensive process and most publishing companies hire outside help. Seeing as I have no more money in my operating budget, I can't afford help. That means I get to pack a book someone has ordered and send it to the address they gave. Should be simple, right? For some reason this is a very complicated process.
First, you need to decide how people are going to give you money and request a book. After some investigating, I've decided to use Pay Pal. I know there is some controversy about Pay Pal, but for the time being, it is the best choice because of its reliability and ease of use. I have signed up for a merchant account with Pay Pal and now Rick is checking out the steps to set up a link on the website and the parameters we want to use for a "shopping cart."
Next, I am hunting for a space to store ten boxes of books in my 1000 square foot house. As it is now, my office is my lap-top and my desk is crammed into a corner of my bedroom, covered with paperwork and other notes. Somewhere, I need a spot for book storage and processing orders. Kitchen?
Then, I need to find good mailers. Dan Poynter recommends Jiffy-Lite bags. I wonder how many I will need? And how much will it cost to ship a book, anyway? A 6x9 paperback will cost... what? How do I figure out shipping costs? Do I do a standard amount? Send them all media mail? Should I buy a big role of stamps and a meter? How many trips to the post office will I make every week?
Finally, I need a good way to keep track of orders. Who ordered which book and where did they want it sent? Did the book get there? If not, why? Not only is this important for good customer service, but it's vital for tax purposes. I wonder if there's a good program.
I have a feeling I'll be learning the best way to provide fulfillment simply by doing it. Standard trial and error. As long as I don't muck up orders too badly I can figure out the most efficient way to do it. And besides, I can always encourage people to just order from Amazon if it turns out I'm bad at this. Sometimes, the easy way is the right way.
In the mean time, if I want to directly sell books from Medusa, I need to do it myself. Okay... um... how do I do that?
Order fulfillment is a complicated, labor intensive process and most publishing companies hire outside help. Seeing as I have no more money in my operating budget, I can't afford help. That means I get to pack a book someone has ordered and send it to the address they gave. Should be simple, right? For some reason this is a very complicated process.
First, you need to decide how people are going to give you money and request a book. After some investigating, I've decided to use Pay Pal. I know there is some controversy about Pay Pal, but for the time being, it is the best choice because of its reliability and ease of use. I have signed up for a merchant account with Pay Pal and now Rick is checking out the steps to set up a link on the website and the parameters we want to use for a "shopping cart."
Next, I am hunting for a space to store ten boxes of books in my 1000 square foot house. As it is now, my office is my lap-top and my desk is crammed into a corner of my bedroom, covered with paperwork and other notes. Somewhere, I need a spot for book storage and processing orders. Kitchen?
Then, I need to find good mailers. Dan Poynter recommends Jiffy-Lite bags. I wonder how many I will need? And how much will it cost to ship a book, anyway? A 6x9 paperback will cost... what? How do I figure out shipping costs? Do I do a standard amount? Send them all media mail? Should I buy a big role of stamps and a meter? How many trips to the post office will I make every week?
Finally, I need a good way to keep track of orders. Who ordered which book and where did they want it sent? Did the book get there? If not, why? Not only is this important for good customer service, but it's vital for tax purposes. I wonder if there's a good program.
I have a feeling I'll be learning the best way to provide fulfillment simply by doing it. Standard trial and error. As long as I don't muck up orders too badly I can figure out the most efficient way to do it. And besides, I can always encourage people to just order from Amazon if it turns out I'm bad at this. Sometimes, the easy way is the right way.
Tuesday, October 16, 2007
A Muses Portrait
My Muse had her portrait done in honor of the press. She spent many hours hanging out with Nate at the tattoo shop, posing and preening and enjoying herself so much she hardly came home at night, leaving me all the fun work of setting up the business structure of the press. At first, I enjoyed the peace and quiet, but I began to miss her constant chatter and snake hiss. At last, she triumphantly returned, bringing this beautiful image with her.
"I am pleased. If I ever get bored with you, I will be going to Nate. He is a true artist." She then lay down on my bed for a three day nap.
Wednesday, October 10, 2007
The Book Is Here!!!
Yesterday, a UPS truck parked in front of my house. When my Muse and I heard the squeak of the breaks and then the distinct sound of the truck's back door being raised, we stared at each other, both frozen with the expectation. Is it really for us? I looked out the front window and saw the UPS guy was indeed walking up our steps.
"It's here!" I screamed and ran for the door. The UPS guy stopped on the first step and stared at me like I might be an ax murderer as I flung open the front door, squealing and jumping. He dropped the package quickly on the porch and stepped back, far away from the crazy woman who had snatched up the package and was hugging it to her breast, saying, "Thank you! Thank you," over and over. He backed away, one hand fearfully waiving, and didn't turn around until he'd reached his truck.
I brought the package inside and shut the door, almost knocking over my muse. "Let's see it!" We ran to the kitchen where I found a knife to slice the tape that locked our book inside. At last, I pulled away the cardboard and revealed our beautiful, thick. glossy, perfect book.
"Is it alright?" my muse whispered, her voice tight with the suspense.
I examined the cover, front and back. Lovely. Then I gently turned to the first page. Good. The second. Nice. I flipped pages more rapidly, feeling the soft, almost dusty texture of the cream paper and smelling the fresh binding. Yes, yes... oh my God, it's beautiful.
"It's perfect," I said.
She grabbed the book from my hand and looked at it, almost drooling with pleasure. "Yes. It's wonderful!" We jumped up and down and squealed some more, which made the poor dog run away and hide in the other room until we stopped making that awful noise. At last, she handed the book back to me and we smiled at each other. "Thank you," she said.
I hugged her tightly, not caring if the snakes bit. "Thank you! This was your crazy idea, you know."
She nodded and grinned. "Glad you listened?"
"Yes. Most defiantly."
Friday, October 05, 2007
Money
I opened a business account at Washington Mutual, which has been my bank for 10 years and I've always been happy with them. As usual, the person I worked with was very friendly and helpful, even though she had missed her lunch and had a line of customers waiting for her. She took the time to answer my questions and since I already had a personal account, it was a snap to open a business account.
Then she asked, "Would you like to open a line of credit?"
"A what?" I stared at her blankly. I had already agreed to apply for a business credit card because that seemed the best way to keep track of purchases. Put it all on the card, pay it off as quickly as possible, preferably the same month. So what's this line of credit thing?
"You can borrow up to $75,000.00 simply by using your checking account. If you need to make a purchase that would make your account overdrawn, you can write the check and that would tap into your line of credit."
$75,0000? Honey, do you know what kind of business I have? It's a publishing company, a small, sole proprietorship, with two books, maybe three, published per year. Most presses barely make a dime and I'll be lucky if I break even. Why in God's name would anyone want to loan a book publisher THAT much money?
But my brain just grabbed onto that amount and began spinning visions of the new laptop I needed for my business and a top of the line color laser printer, plus a new desk, a fax machine, a cell phone that took pictures, and a car, because a business person can't drive around town in a beat up Honda Mini-Van.
"I'll think about it," I said.
The next day, the bank called to let me know the credit card application was approved and had I decided on the line of credit? Kissing my dreams of a fax machine goodbye, I told her I thought it was a good idea, but I only needed $10,000.00 as my limit. She said she'd get that paperwork done asap.
Oh well, maybe next year I'll buy a cell phone that takes pictures. Like one of those IPhones. That would be cool.
Then she asked, "Would you like to open a line of credit?"
"A what?" I stared at her blankly. I had already agreed to apply for a business credit card because that seemed the best way to keep track of purchases. Put it all on the card, pay it off as quickly as possible, preferably the same month. So what's this line of credit thing?
"You can borrow up to $75,000.00 simply by using your checking account. If you need to make a purchase that would make your account overdrawn, you can write the check and that would tap into your line of credit."
$75,0000? Honey, do you know what kind of business I have? It's a publishing company, a small, sole proprietorship, with two books, maybe three, published per year. Most presses barely make a dime and I'll be lucky if I break even. Why in God's name would anyone want to loan a book publisher THAT much money?
But my brain just grabbed onto that amount and began spinning visions of the new laptop I needed for my business and a top of the line color laser printer, plus a new desk, a fax machine, a cell phone that took pictures, and a car, because a business person can't drive around town in a beat up Honda Mini-Van.
"I'll think about it," I said.
The next day, the bank called to let me know the credit card application was approved and had I decided on the line of credit? Kissing my dreams of a fax machine goodbye, I told her I thought it was a good idea, but I only needed $10,000.00 as my limit. She said she'd get that paperwork done asap.
Oh well, maybe next year I'll buy a cell phone that takes pictures. Like one of those IPhones. That would be cool.
Monday, October 01, 2007
Good Enough?
After sending the manuscript and cover files to LSI, I got a message from Jane, telling me how happy she is that we're done. HOWEVER, she found two small errors in the text of the back of book info. Was it too late to fix them?
Great! Just great! I took a look at the book and saw what she was talking about: I didn't capitalize "Ford" and the word "she's" means "she is," not "she has." Lovely! My brain immediately began tabulating how many books I would have to sell to cover the cost of changing the file I had just sent to the printer. And does it matter? Such tiny mistakes; the kind most people won't even notice, and if someone does, they probably wouldn't buy the book anyway if the mistakes bugged them that much. No, doesn't matter. Go with it.
Or does it? Am I really the kind of publisher to let mistakes slide just to save some cash? Quality is extremely important to me. One of the biggest complaints people have about small presses and self publishers is poor quality. I don't want to be one of those presses. There's a reason my partner is a stickler for the proper use of a comma. Attention to detail shows professional work. Medusa may be small, but we are professional and I won't lower my standards just to save a few dollars.
You have to decide what "Good Enough" means for you. There is a point when you have to go with what you have because the deadline has passed. I'm sure Laura has looked at her manuscript a few more times since giving it to me and wishes she could add or change just one more thing. No. It is good enough and now it's time to let go. Rick, our designer, has tweaked and re-done the interior text at least 22 times. There's more he'd like to do, but the deadline is passed. And once the book is printed and out into the world, I'll bet I find a dozen things I wished I'd done differently. Too late. I've sent it to the printer.
Thankfully, LSI has an excellent communication system and my account manager was able to help me send the corrections without additional costs. Once I get the sample copy, I really hope I'll be able to look at it and feel satisfied that it's good enough for Medusa. There's no such thing as perfection, so good enough will have to do.
Great! Just great! I took a look at the book and saw what she was talking about: I didn't capitalize "Ford" and the word "she's" means "she is," not "she has." Lovely! My brain immediately began tabulating how many books I would have to sell to cover the cost of changing the file I had just sent to the printer. And does it matter? Such tiny mistakes; the kind most people won't even notice, and if someone does, they probably wouldn't buy the book anyway if the mistakes bugged them that much. No, doesn't matter. Go with it.
Or does it? Am I really the kind of publisher to let mistakes slide just to save some cash? Quality is extremely important to me. One of the biggest complaints people have about small presses and self publishers is poor quality. I don't want to be one of those presses. There's a reason my partner is a stickler for the proper use of a comma. Attention to detail shows professional work. Medusa may be small, but we are professional and I won't lower my standards just to save a few dollars.
You have to decide what "Good Enough" means for you. There is a point when you have to go with what you have because the deadline has passed. I'm sure Laura has looked at her manuscript a few more times since giving it to me and wishes she could add or change just one more thing. No. It is good enough and now it's time to let go. Rick, our designer, has tweaked and re-done the interior text at least 22 times. There's more he'd like to do, but the deadline is passed. And once the book is printed and out into the world, I'll bet I find a dozen things I wished I'd done differently. Too late. I've sent it to the printer.
Thankfully, LSI has an excellent communication system and my account manager was able to help me send the corrections without additional costs. Once I get the sample copy, I really hope I'll be able to look at it and feel satisfied that it's good enough for Medusa. There's no such thing as perfection, so good enough will have to do.
Tuesday, September 25, 2007
Today I Pushed "Send"
Today, I sent the cover and interior files to Lightning Source. As soon as I got the confirmation the files had successfully uploaded, I felt like crying. This whole crazy, Medusa inspired dream is coming true. Every step brings it closer to reality and very soon, I will be able to hold the real, page turning, beautiful book.
My Muse sat quietly beside me as we watched the little spinning pinwheel whirl around on the screen while the upload process advanced. When it was all done we just sat quietly together for a moment, both smiling, enjoying the feeling of excitment and pride. She didn't have to say a word; I knew she was proud of me.
I can't wait for the book-proof!
My Muse sat quietly beside me as we watched the little spinning pinwheel whirl around on the screen while the upload process advanced. When it was all done we just sat quietly together for a moment, both smiling, enjoying the feeling of excitment and pride. She didn't have to say a word; I knew she was proud of me.
I can't wait for the book-proof!
Sunday, September 16, 2007
Licenses, Numbers and Other Details
It's down to the proverbial wire, and now all those little details have to be figured out. Can't put off the business decisions anymore, so on September 11th I filed for my business license as a sole proprietor. Then I filed a fictitious name statement with the county clerk. No turning back now, I'm official. Of course, signing the contract with Laura made the press official, but now the tax collector knows I exist and once the "doing business as" is posted in the local newspaper, I'll really be in the public eye. Before, this press was a dream of mine which Jane decided looked like fun, and then Laura joined on. It was a fun idea. Now it's a real business.
So many details as the publication date gets closer. The next business thing to do is open a business account at the bank, then get a resale license so I can sell books directly. Set up a pay-pal account for the website, find an accountant to help Jane with the tax stuff, and hope I haven't forgotten something important as I create a formal business structure.
Beyond that, I got the library of congress control number, which has to be added to the copyright page. I sent the contract to LSI to set up a printing account. Rick and I are finalizing the interior of the book through guess work, comparisons, and a book by Pete Masterson. Luckily Rick already knows InDesign or we'd be completely lost. It's been weeks of reading and re-reading the text, finding the problems, balancing the text, looking for "orphans" and "widows" and then handing it off to Laura to double check. Of course she found things we missed. But this is good; creating a book is a collaborative process. More polish and rearranging in the text. Should the word be hyphenated or not? What about the spacing on page 112? Is that how you spell audacity?
And then there is the back of the book info. What can I say about the book that will relay what it is about and why someone should buy it? Why is this book important? What will compel someone to plunk down $16.00? What will they get for their money? All I can think of is "this is a really good book and you should buy it." Great! Where's my Muse when I need her?
More details: Where does the price go on the back of the book? Should we use the BISAC catalogue number, and if so, which category does it go under? Memoir, yes, but what kind of memoir? How much time do bookstores need to order the book before the actual release date to have it in stock? Who do I talk to about setting up readings? Wait a minute, why am I doing that? Shouldn't Laura do that? No, I should help, so what do I say? Is there a procedure for this? What if the resale license doesn't arrive in time? Can I still sell books at the conference, or will I get in trouble? Where did I put those receipts? Why doesn't the back of the book info actually fit on the back of the book? How many books should I pre-order? How many books come in a box? How many books do we need for gifts? Do I have all the permission forms? Where can I find a good accountant who knows something about the publishing business? Did we send out enough press releases? Has anyone called us about it? Do we follow up with calls, or is that being pushy? What am I doing? No really, WHAT AM I DOING?
So many details as the publication date gets closer. The next business thing to do is open a business account at the bank, then get a resale license so I can sell books directly. Set up a pay-pal account for the website, find an accountant to help Jane with the tax stuff, and hope I haven't forgotten something important as I create a formal business structure.
Beyond that, I got the library of congress control number, which has to be added to the copyright page. I sent the contract to LSI to set up a printing account. Rick and I are finalizing the interior of the book through guess work, comparisons, and a book by Pete Masterson. Luckily Rick already knows InDesign or we'd be completely lost. It's been weeks of reading and re-reading the text, finding the problems, balancing the text, looking for "orphans" and "widows" and then handing it off to Laura to double check. Of course she found things we missed. But this is good; creating a book is a collaborative process. More polish and rearranging in the text. Should the word be hyphenated or not? What about the spacing on page 112? Is that how you spell audacity?
And then there is the back of the book info. What can I say about the book that will relay what it is about and why someone should buy it? Why is this book important? What will compel someone to plunk down $16.00? What will they get for their money? All I can think of is "this is a really good book and you should buy it." Great! Where's my Muse when I need her?
More details: Where does the price go on the back of the book? Should we use the BISAC catalogue number, and if so, which category does it go under? Memoir, yes, but what kind of memoir? How much time do bookstores need to order the book before the actual release date to have it in stock? Who do I talk to about setting up readings? Wait a minute, why am I doing that? Shouldn't Laura do that? No, I should help, so what do I say? Is there a procedure for this? What if the resale license doesn't arrive in time? Can I still sell books at the conference, or will I get in trouble? Where did I put those receipts? Why doesn't the back of the book info actually fit on the back of the book? How many books should I pre-order? How many books come in a box? How many books do we need for gifts? Do I have all the permission forms? Where can I find a good accountant who knows something about the publishing business? Did we send out enough press releases? Has anyone called us about it? Do we follow up with calls, or is that being pushy? What am I doing? No really, WHAT AM I DOING?
Friday, August 31, 2007
First day of Revisions
I finally did sit down with my old novel and start revising. My first thought was, UK! This is horrible! Okay, I'm sure it's not horrible, but have you ever pulled out something you've written a few years ago and looked at it, keeping in mind what you know about writing now? Some of it is good, but there's quite a lot that needs work. ALOT of work. And my muse... she's enjoying this. She reads over my shoulder and giggles now and then.
"Go away, you're not helping," I say.
"I'm not here to help."
"Then what exactly are you doing?"
"Watching you try to create something good out of this crap."
I slam the lid of my lap-top closed and glare at her. "This was your idea, remember."
"I know. But when I suggested it I had no idea how bad your book actually is."
I lay my head on my computer. "Please go away. I don't need this. I really don't."
She flops onto my bed and starts picking at the edge of one of her finger-nails. "I mean, you told me you wrote a book so I assumed it was worth the effort, but what you've been working on is not what I'd call a book."
My face is still pressed against the plastic cover of my lap-top. "What is it then?"
"A futile whine for attention. I mean, what's the point? Why bother? Is it just a way for you to vent about the fact Paul died, or is this really ABOUT something?"
"It's about the power of friendship over death."
"Whatever that's supposed to mean."
I lift my head and look at her. "I know it needs work, but I think it's good stuff and with more polish I can really turn this into something beautiful. So please give me a little peace and quiet to do that, okay?"
She glances up at me as she bites her nail. "Sure, sure. Get back to work. I don't know why you're even arguing with me about it." She spits a piece of the nail she bit off. "Just pretend I'm not here, because I'm sure you know EXACTLY what you're doing."
I know what she wants. "What do you suggest I do?"
"Keep writing. Don't worry about me." She chews another nail.
I take a deep breath and let it out slowly. "No really. I'd like to know what you think."
"Well, for one, make sure there are enough scenes to SHOW what's happening because no one wants to read your long, boring, exposition. In fact, you should mark each one, and then look for places where you can create even more." She sits up and leans toward me.
"Show don't tell. Basic. What else."
"Don't get snippy. You asked for my help."
"Sorry. Please continue." I open my lap-top to show her I'm interested.
She stands. "More sensory detail. Your writing often lacks that. Make sure the time and place are really vivid. Oh, and keep it focused on your relationship with Paul and less on what happened after his death. If it isn't directly related to the friendship, cut it."
My muse keeps rambling and I study the manuscript as she talks, showing her I appreciate her help. I do, it's just sometimes the WAY she helps is a bit rough. She's very good at pointing out what's awful, and barely mentions what works. Sometimes I really wish I had one of those nice muses; the kind who applaud and bring you chocolate every time you write a good sentence. Mine hits me with books when I write a poor sentence.
I'll keep working on this manuscript, and hopefully it will become something really good. All I can do is try. Maybe that's the secret to being a writer. No matter what your muse says, you just have to keep trying.
"Go away, you're not helping," I say.
"I'm not here to help."
"Then what exactly are you doing?"
"Watching you try to create something good out of this crap."
I slam the lid of my lap-top closed and glare at her. "This was your idea, remember."
"I know. But when I suggested it I had no idea how bad your book actually is."
I lay my head on my computer. "Please go away. I don't need this. I really don't."
She flops onto my bed and starts picking at the edge of one of her finger-nails. "I mean, you told me you wrote a book so I assumed it was worth the effort, but what you've been working on is not what I'd call a book."
My face is still pressed against the plastic cover of my lap-top. "What is it then?"
"A futile whine for attention. I mean, what's the point? Why bother? Is it just a way for you to vent about the fact Paul died, or is this really ABOUT something?"
"It's about the power of friendship over death."
"Whatever that's supposed to mean."
I lift my head and look at her. "I know it needs work, but I think it's good stuff and with more polish I can really turn this into something beautiful. So please give me a little peace and quiet to do that, okay?"
She glances up at me as she bites her nail. "Sure, sure. Get back to work. I don't know why you're even arguing with me about it." She spits a piece of the nail she bit off. "Just pretend I'm not here, because I'm sure you know EXACTLY what you're doing."
I know what she wants. "What do you suggest I do?"
"Keep writing. Don't worry about me." She chews another nail.
I take a deep breath and let it out slowly. "No really. I'd like to know what you think."
"Well, for one, make sure there are enough scenes to SHOW what's happening because no one wants to read your long, boring, exposition. In fact, you should mark each one, and then look for places where you can create even more." She sits up and leans toward me.
"Show don't tell. Basic. What else."
"Don't get snippy. You asked for my help."
"Sorry. Please continue." I open my lap-top to show her I'm interested.
She stands. "More sensory detail. Your writing often lacks that. Make sure the time and place are really vivid. Oh, and keep it focused on your relationship with Paul and less on what happened after his death. If it isn't directly related to the friendship, cut it."
My muse keeps rambling and I study the manuscript as she talks, showing her I appreciate her help. I do, it's just sometimes the WAY she helps is a bit rough. She's very good at pointing out what's awful, and barely mentions what works. Sometimes I really wish I had one of those nice muses; the kind who applaud and bring you chocolate every time you write a good sentence. Mine hits me with books when I write a poor sentence.
I'll keep working on this manuscript, and hopefully it will become something really good. All I can do is try. Maybe that's the secret to being a writer. No matter what your muse says, you just have to keep trying.
Saturday, August 25, 2007
What is Marketing?
I hate to say this, but I now understand why a rejection letter might say "Your writing is lovely, but we don't think we can sell the book." Or why you may hear from your agent that the publisher's marketing department decided to "pass" on your book. Marketing department? What does the marketing department know about good writing? Have those people even read a book?
I am publishing Laura's book because I love it. The writing is excellent and the subject compelling, especially because she writes about children with such clarity and descriptive power, the fact they are blind becomes incidental. The blindness is a challenge and can be difficult, but it's not the only thing that matters to these children. They are vivid, powerful human beings. I don't feel sorry for them while reading this book, and that is a hard thing to accomplish. Laura is a great writer who understands her students.
But I am also publishing her book because I know it can sell. She has a huge contact list, is well respected in the community, and is comfortable talking to people about herself and her work. If I had the cash, I'd publish it regardless of whether or not I thought I could sell it. Since I don't have much money, and need to keep Medusa alive somehow, I need to earn back the money I spend on the project. I don't expect to get rich at this because I know being a publisher is a bad way to earn a retirement fund. I am a publisher because I love books and I want to help people who may not get a chance tell their story. If I don't think I can sell at least enough books to pay the printer, then I will pass on the project.
Marketing is looking at the project as a whole and figuring out before you invest much energy, time or money, if it is viable. Viability means - can the project support itself? This is different from Public Relations because PR is about spreading the word when the book is complete. Marketing is figuring out if you can afford to publish it at all.
So I cut my novel from the Medusa project list. I wrote a fiction book two years ago and have been desperately trying to get it published. I'm up to 70 rejection letters. Most have been very nice, but the nice ones say, "I like your writing, but I don't think this project can compete in the market." Can't sell it. I decided, screw it! I'll publish it myself. Then I began to question that logic. Is this project a good match for Medusa? Does it fit the mission of the press: "To tell the stories of people who have faced despair and used it to positively transform their lives?" No, my book doesn't. Not really. Does it have the ability to support itself? Doubt it. Then no matter how much I long to see my book in print, I have to let it go. Because the press is more important than my own desires.
Instead I am looking at another project of mine. The book about Paul. Does the book match our mission? Yes. Can it sustain itself? Perhaps. The run will be small, so I'll need to keep costs low. I feel it is important to tell this story, but it is actually Paul's story, not so much mine. His life and friendship profoundly effected mine and I want to share that journey with others. Then it is an important project for Medusa and the marketing department (Jane and I) need to examine all the parts of the project to determine costs, distribution and PR.
And that is what Marketing is.
I am publishing Laura's book because I love it. The writing is excellent and the subject compelling, especially because she writes about children with such clarity and descriptive power, the fact they are blind becomes incidental. The blindness is a challenge and can be difficult, but it's not the only thing that matters to these children. They are vivid, powerful human beings. I don't feel sorry for them while reading this book, and that is a hard thing to accomplish. Laura is a great writer who understands her students.
But I am also publishing her book because I know it can sell. She has a huge contact list, is well respected in the community, and is comfortable talking to people about herself and her work. If I had the cash, I'd publish it regardless of whether or not I thought I could sell it. Since I don't have much money, and need to keep Medusa alive somehow, I need to earn back the money I spend on the project. I don't expect to get rich at this because I know being a publisher is a bad way to earn a retirement fund. I am a publisher because I love books and I want to help people who may not get a chance tell their story. If I don't think I can sell at least enough books to pay the printer, then I will pass on the project.
Marketing is looking at the project as a whole and figuring out before you invest much energy, time or money, if it is viable. Viability means - can the project support itself? This is different from Public Relations because PR is about spreading the word when the book is complete. Marketing is figuring out if you can afford to publish it at all.
So I cut my novel from the Medusa project list. I wrote a fiction book two years ago and have been desperately trying to get it published. I'm up to 70 rejection letters. Most have been very nice, but the nice ones say, "I like your writing, but I don't think this project can compete in the market." Can't sell it. I decided, screw it! I'll publish it myself. Then I began to question that logic. Is this project a good match for Medusa? Does it fit the mission of the press: "To tell the stories of people who have faced despair and used it to positively transform their lives?" No, my book doesn't. Not really. Does it have the ability to support itself? Doubt it. Then no matter how much I long to see my book in print, I have to let it go. Because the press is more important than my own desires.
Instead I am looking at another project of mine. The book about Paul. Does the book match our mission? Yes. Can it sustain itself? Perhaps. The run will be small, so I'll need to keep costs low. I feel it is important to tell this story, but it is actually Paul's story, not so much mine. His life and friendship profoundly effected mine and I want to share that journey with others. Then it is an important project for Medusa and the marketing department (Jane and I) need to examine all the parts of the project to determine costs, distribution and PR.
And that is what Marketing is.
Thursday, August 16, 2007
The Manuscript is Done!!!!!!!!!!!!!!!!!!!!!!!!!!
Yesterday, I was jumping up and down and squealing like a 15 year old with front row tickets to a Green Day concert. My partner was doing the exact same thing on the other side of the country and we were texting each other madly, saying OMG over and over (I love technology. How else can you run a company with a partner who lives 2000 miles away?). My muse was giggling and I swear even the snakes were smiling. Why all the excitement? Because the final version of the manuscript is DONE! OMG. SQUEAL. JUMP UP AND DOWN. RUN AROUND THE ROOM. THIS IS SO AWESOME!!!!!!!!!!!!!!!!
Laura finished her last edits and name changes then sent it to Jane who did her super-power-editing-voodoo on it. Over a two week period the two of them sent notes back and forth to clarify a person or idea, find a new word, figure out a complicated scene, all while cc'ing me. I kept myself out of the process and just watched them put the final polish on an already excellent manuscript. But now, it is even better than I could have imagined. Jane also put it in the proper format and created a cover page for a galley version. May I just state for everyone that I love my partner?
Here it is. The final, official, no-more-changes book.
UNCORRECTED PROOF FOR LIMITED DISTRIBUTION
________________________________________
TRAVELING BLIND
Lessons on Life from Unlikely Teachers
By Laura Fogg
Category: Memoir, Non-Fiction
ISBN: 978-0-9797152-0-4
Pub Date: November 1, 2007
Price: $16
Pages: 280 (approx.)
Trim Size: 6 x 9
Binding: Softcover
Backmatter: List of Resources (pending)
Editors: Terena Scott, Jane Mackay
Distributor: Ingram (and affiliates)
Publisher: Medusa’s Muse
medusasmuse@gmail.com
www.medusasmuse.com
I'm gonna jump up and down and squeal some more!
Laura finished her last edits and name changes then sent it to Jane who did her super-power-editing-voodoo on it. Over a two week period the two of them sent notes back and forth to clarify a person or idea, find a new word, figure out a complicated scene, all while cc'ing me. I kept myself out of the process and just watched them put the final polish on an already excellent manuscript. But now, it is even better than I could have imagined. Jane also put it in the proper format and created a cover page for a galley version. May I just state for everyone that I love my partner?
Here it is. The final, official, no-more-changes book.
UNCORRECTED PROOF FOR LIMITED DISTRIBUTION
________________________________________
TRAVELING BLIND
Lessons on Life from Unlikely Teachers
By Laura Fogg
Category: Memoir, Non-Fiction
ISBN: 978-0-9797152-0-4
Pub Date: November 1, 2007
Price: $16
Pages: 280 (approx.)
Trim Size: 6 x 9
Binding: Softcover
Backmatter: List of Resources (pending)
Editors: Terena Scott, Jane Mackay
Distributor: Ingram (and affiliates)
Publisher: Medusa’s Muse
medusasmuse@gmail.com
www.medusasmuse.com
I'm gonna jump up and down and squeal some more!
Sunday, August 12, 2007
Paul
Today I went to visit the grave of my best friend Paul, who died of AIDS in 1992. Paul was my brother in every way except biology. We became friends when we were seven and through everything life threw at us, we stood together and faced it. He believed in me even when I didn't, and his absence in my life still breaks my heart after fifteen years.
As I drove home, I thought about him and what he meant to me, then I thought about the book I wrote for him, a memoir I spent ten years writing, only to set on a shelf in my room and never try to publish. Why did I put it away? Life got hectic and I started writing a new book, so the book about Paul was stuck on a bottom shelf and ignored.
But today, my Muse pulled it off the shelf and hit me with it. Without a word, she struck me on the back of my head with the heavy, plastic binder, and then plopped the manuscript in my lap. She vanished before I could complain. I touched the cover, opened to the first page, saw some things I would change, shut the binder quickly, and just sat there. Do I really want to take this project on again?
I smiled. Yes, I do. I need to share this story; tell people who Paul was and what he means to me. Show people how friendship is more powerful than AIDS or death. Remind us all that AIDS is still here; it didn't move to Africa at the turn of the century. And, because the mission of Medusa's Muse Press is to look despair in the eye and transform it into something beautiful. Besides, what my Muse commands I must obey.
Before my Muse found me, before I discovered Ariel Gore, Paul was my inspiration and mentor. When he died, he became my guide. My very first, original muse.
As I drove home, I thought about him and what he meant to me, then I thought about the book I wrote for him, a memoir I spent ten years writing, only to set on a shelf in my room and never try to publish. Why did I put it away? Life got hectic and I started writing a new book, so the book about Paul was stuck on a bottom shelf and ignored.
But today, my Muse pulled it off the shelf and hit me with it. Without a word, she struck me on the back of my head with the heavy, plastic binder, and then plopped the manuscript in my lap. She vanished before I could complain. I touched the cover, opened to the first page, saw some things I would change, shut the binder quickly, and just sat there. Do I really want to take this project on again?
I smiled. Yes, I do. I need to share this story; tell people who Paul was and what he means to me. Show people how friendship is more powerful than AIDS or death. Remind us all that AIDS is still here; it didn't move to Africa at the turn of the century. And, because the mission of Medusa's Muse Press is to look despair in the eye and transform it into something beautiful. Besides, what my Muse commands I must obey.
Before my Muse found me, before I discovered Ariel Gore, Paul was my inspiration and mentor. When he died, he became my guide. My very first, original muse.
Sunday, July 29, 2007
The Photo Shoot
On the day we went to Laura's house to take pictures for the cover, my muse decided to stay home, stating she had the utmost trust in Rick's ability with a camera. I think she was more worried about her hair than the book at that moment. It was a brilliant shade of sparkling white, so bright it made me squint, and the snakes were furiously tying themselves into knots. She threw a scarf over her head, told me to have a good time, and vanished. I was a little worried about the stylist.
Laura had a vision in the middle of a sleepless night of what the cover should look like. From the excitement in her voice, I knew she was on the right path. It had to be a direct message from her own muse; a muse I haven't met but who must be kinder than mine. A few days later, we were at her house with one of her students, a four year old girl I will call "B" and my own daughter, "R." Immediately the two girls began to play with the water in the small fountain that hung on a wall in Laura's back yard. Rick pulled out the camera and started shooting, desperately trying to keep up with the giggles and grins of the two girls. Laura joined in and before long, B's yellow dress was drenched. Laura's original vision was of her holding B while looking up at sunflowers. We all traipsed next door where the neighbor's sunflowers were 12 feet tall. Rick caught more images of Laura and B looking at the flowers, touching them, pointing at them with the white cane, then showing them to R who watched while sitting in her wheelchair. The garden path was narrow and the shadows thick, so Rick struggled with the terrain, the other plants and how quickly the children moved. Children aren't very happy sitting still to "pose." And besides, we wanted it to be spontaneous. A mobility lesson is often that way; you start out with one plan and then the child or the world provides a different direction. Go with it, or lose the moment, and lesson, entirely.
We returned to Laura's garden for more pictures: B walking the garden path with her white-cane, Laura holding her hand, both girls picking black-berries, more splashing in the fountain. After an hour, B was showing signs she was bored with picture taking by whining, so we called it a day. Rick felt we had enough to work with, but also felt he didn't capture the one, perfect shot. Oh well, perfection is elusive and kids are even harder.
But when he downloaded the pictures, we discovered he had managed to take three very good images. Three out of 50 is excellent! And after some debate amongst the four of us, we chose one. An image of Laura squatting beside a laughing B who is holding a sunflower out to R. The image is perfect, because it shows what the book is about: Laura the teacher, who is supporting a child who is showing another child the object. Who is really the teacher? Laura, or the child? In my mind, all of them are.
Rick is now doing the layout of the cover with the picture. It's looking great! If my muse ever comes back from the salon, I'm sure she'll be happy too.
Laura had a vision in the middle of a sleepless night of what the cover should look like. From the excitement in her voice, I knew she was on the right path. It had to be a direct message from her own muse; a muse I haven't met but who must be kinder than mine. A few days later, we were at her house with one of her students, a four year old girl I will call "B" and my own daughter, "R." Immediately the two girls began to play with the water in the small fountain that hung on a wall in Laura's back yard. Rick pulled out the camera and started shooting, desperately trying to keep up with the giggles and grins of the two girls. Laura joined in and before long, B's yellow dress was drenched. Laura's original vision was of her holding B while looking up at sunflowers. We all traipsed next door where the neighbor's sunflowers were 12 feet tall. Rick caught more images of Laura and B looking at the flowers, touching them, pointing at them with the white cane, then showing them to R who watched while sitting in her wheelchair. The garden path was narrow and the shadows thick, so Rick struggled with the terrain, the other plants and how quickly the children moved. Children aren't very happy sitting still to "pose." And besides, we wanted it to be spontaneous. A mobility lesson is often that way; you start out with one plan and then the child or the world provides a different direction. Go with it, or lose the moment, and lesson, entirely.
We returned to Laura's garden for more pictures: B walking the garden path with her white-cane, Laura holding her hand, both girls picking black-berries, more splashing in the fountain. After an hour, B was showing signs she was bored with picture taking by whining, so we called it a day. Rick felt we had enough to work with, but also felt he didn't capture the one, perfect shot. Oh well, perfection is elusive and kids are even harder.
But when he downloaded the pictures, we discovered he had managed to take three very good images. Three out of 50 is excellent! And after some debate amongst the four of us, we chose one. An image of Laura squatting beside a laughing B who is holding a sunflower out to R. The image is perfect, because it shows what the book is about: Laura the teacher, who is supporting a child who is showing another child the object. Who is really the teacher? Laura, or the child? In my mind, all of them are.
Rick is now doing the layout of the cover with the picture. It's looking great! If my muse ever comes back from the salon, I'm sure she'll be happy too.
Tuesday, July 17, 2007
Another Gravity Check
My Muse is stomping across the living room, eyes red with fury, every snake stretching out from under her dark hair, hissing and snapping. I stay far away from her. I just got off the phone with the lawyer I was referred to by California Lawyers for the Arts, a non-profit organization that helps artists with legal issues, and she doesn't like what they told me.
"Insufferable! Intolerable! This is an insult to my work! Our work! Laura's work! How does anyone write a book or paint a picture, or do anything artistic with lawyers breathing down their back?"
"He was very helpful and friendly."
She waves her hand at me. "Not him. I'm sure he was fine. I'm talking about the lawyers who could come after us a few years from now for publishing a book that might make someone, someday, upset. Scandalous! How can you work under this shadow of fear?"
"Carefully."
"The restrictions on what you can and cannot say. Changing names... intolerable! I mean there's a reason we kept the real names..."
"Yes. But now there's a very good reason to change them."
My muse crosses her arms and glares at me so intently I feel my feet turn hard and cold. "Why are you so eager to go along with it?"
I look away quickly. My feet tingle as if waking from sleep."I'm protecting the work. I'm not going along with anything." I cautiously walk toward her while keeping an eye on the snakes. "When a story is written down, it becomes tangible and isn't pure inspiration anymore. If you decide to share that story with the rest of the world, that means they get to read it and once that happens, the work is transformed into a living thing. It becomes a part of the reader. That's why it's important to protect the story from harm. Not limit the words or deny its truth, but strengthen the story's impact by giving it a foundation based on the physical world. The physical world is governed by laws, finances, budgets, taxes, and marketing."
"Disgusting! I can't believe I'm hearing this from you. I thought you were an artist!"
"I am."
"Then act like one!"
I stand my ground and meet her gaze. "I am."
She blinks. The red light in her eyes simmers and turns gold.
"I am acting like an artist who believes in this work so much that I am willing to do whatever I have to do to get it out into the world where people can read it. There are too many artists who ignore the rules that govern the art world so their work is never seen..."
"Revolutionaries!"
"Yes. Many are. And they take the risk that their work will cause pain. But if they are smart, they do it with eyes wide open. They don't hide behind the idea that since they are artists they don't have to know the consequences of their actions. They can stand beside their work and say proudly they understand the work may be controversial but they consciously chose to show it anyway. I respect those people enormously." I am standing beside my muse now, within striking distance of her snakes. "We are publishing this book and we will deal with whatever may happen in the future. But we are publishing it with eyes wide open and we are protecting ourselves not by changing the message, but by changing a name. That's all."
I wait. She is silent. The snakes look at me. Then slowly, she nods. "I see. Alright. I'll trust you on this." I take a deep breath. I won't be bitten, at least not this time. I rest my hand on her arm and my muse turns to me, her eyes back to green. Then she smiles a slow smile that makes me nervous. "But if I think for a moment you're giving in to lawyers out of fear, I will leave you immediately and you will never write another word again. Clear?"
"Absolutely clear."
"Good." She grins and pats my hand. "I'm off to get my hair done now. You'd better get to work on that manuscript. " She disappears with a wave.
I wonder where muses get their hair done?
"
"Insufferable! Intolerable! This is an insult to my work! Our work! Laura's work! How does anyone write a book or paint a picture, or do anything artistic with lawyers breathing down their back?"
"He was very helpful and friendly."
She waves her hand at me. "Not him. I'm sure he was fine. I'm talking about the lawyers who could come after us a few years from now for publishing a book that might make someone, someday, upset. Scandalous! How can you work under this shadow of fear?"
"Carefully."
"The restrictions on what you can and cannot say. Changing names... intolerable! I mean there's a reason we kept the real names..."
"Yes. But now there's a very good reason to change them."
My muse crosses her arms and glares at me so intently I feel my feet turn hard and cold. "Why are you so eager to go along with it?"
I look away quickly. My feet tingle as if waking from sleep."I'm protecting the work. I'm not going along with anything." I cautiously walk toward her while keeping an eye on the snakes. "When a story is written down, it becomes tangible and isn't pure inspiration anymore. If you decide to share that story with the rest of the world, that means they get to read it and once that happens, the work is transformed into a living thing. It becomes a part of the reader. That's why it's important to protect the story from harm. Not limit the words or deny its truth, but strengthen the story's impact by giving it a foundation based on the physical world. The physical world is governed by laws, finances, budgets, taxes, and marketing."
"Disgusting! I can't believe I'm hearing this from you. I thought you were an artist!"
"I am."
"Then act like one!"
I stand my ground and meet her gaze. "I am."
She blinks. The red light in her eyes simmers and turns gold.
"I am acting like an artist who believes in this work so much that I am willing to do whatever I have to do to get it out into the world where people can read it. There are too many artists who ignore the rules that govern the art world so their work is never seen..."
"Revolutionaries!"
"Yes. Many are. And they take the risk that their work will cause pain. But if they are smart, they do it with eyes wide open. They don't hide behind the idea that since they are artists they don't have to know the consequences of their actions. They can stand beside their work and say proudly they understand the work may be controversial but they consciously chose to show it anyway. I respect those people enormously." I am standing beside my muse now, within striking distance of her snakes. "We are publishing this book and we will deal with whatever may happen in the future. But we are publishing it with eyes wide open and we are protecting ourselves not by changing the message, but by changing a name. That's all."
I wait. She is silent. The snakes look at me. Then slowly, she nods. "I see. Alright. I'll trust you on this." I take a deep breath. I won't be bitten, at least not this time. I rest my hand on her arm and my muse turns to me, her eyes back to green. Then she smiles a slow smile that makes me nervous. "But if I think for a moment you're giving in to lawyers out of fear, I will leave you immediately and you will never write another word again. Clear?"
"Absolutely clear."
"Good." She grins and pats my hand. "I'm off to get my hair done now. You'd better get to work on that manuscript. " She disappears with a wave.
I wonder where muses get their hair done?
"
Thursday, July 12, 2007
Covers
Figuring out what the cover of your book should look like is a lot like trying to figure out exactly what outfit to wear to the interview for that job you want so badly that if you don't get it you'll slit your own throat. Should you look subdued and dress in gray? Is a suit too professional, or professional enough? Would a soft pink blouse be too feminine, or since the color goes well with your skin tone, make a good impression on the interviewer? Oh yes, this is the woman who wore that lovely shade of pink. Forget pink, what if you wear a bright red dress? Too bold, or is making a bold statement the right thing to do? You try on every outfit you have, terrified of picking something that will make you look more tired than you actually are, or possible too sexy. Or is sexy a good thing?
My muse and I have been struggling with the cover design for Traveling Blind. We started with a picture Laura took of a bright yellow road sign which shows a curvy road and says "next 23 miles." The sign has personal meaning to Laura and clearly shows the theme of the book. Traveling. Blind. Not sure where you're going. Lots of curves along the way. Gotta keep going forward. The sign stays.
But our first attempt gave the impression the book is a travel book and is far too similar looking to another memoir set in Mendocino County. Back to the drawing board. We keep the sign, but how do we show that this is about the "unlikely teachers:" Laura's students?
Enter Rick, our in-house graphic designer and my wonderful life-partner. My muse watched him work and from her silent attention I knew she was impressed. She doesn't know a thing about Photo-Shop and refuses to touch a computer key-board, so it's fun to watch her try and hide her ignorance while at the same time being fascinated by Rick manipulating an image on the computer screen. After several days, much discussion, and taking pictures of our bored but willing daughter, he presented us with four ideas.
My muse and I laid them out on the couch and studied them. One has my daughter's grinning face with the ocean in the background. Another has the two of us holding hands with the forest in the background. Two more have our silhouette in shadow, one with the ocean and the other with the forest. All have the road sign.
I looked at my muse who was frowning. "What do you think?"
She shook her head. "Hard to say."
"Which do you like best?"
"Very hard to say."
We silently stared at the cover samples and then I picked up the one with my daughter's face. "This one is nice, but is that because it's my daughter?"
"It is nice. A real child on the cover to show who the teachers are. And nothing catches the eye more than a child, and we need something to really grab the person browsing in the store." She touched the one with us holding hands. "I like this one also."
"Do you like the forest or the ocean?"
"Hard to say. They both express different moods." She tapped the one of us holding hands. "I'd like to see this one with the ocean in the background. And you should ask Laura what she thinks."
Laura stopped by later that day with a white cane so we could take more pictures of my daughter for possible use on the cover. I showed her the images while my muse lounged on the chair beside her and watched.
Laura also liked the child and the hand-holding, but said that the shadows were disturbing somehow. "I don't know which is better, but the only thing that grabs someone's attention more than a child is a cute animal." I glanced at my muse and she nodded. Laura also wanted to see the hands with the ocean in the background and she gave good technical advice about the layout of the cover. It's good working with someone with a degree in Art.
Later, I gave the notes to Rick who seemed happy to have something more to work with than a road sign and some vague suggestions about "showing the teachers." I realized just how lucky we are that he understands graphic art and design, and is a wiz at Photo-Shop.
That night, he was still working on the cover when I went to bed, my muse by his side, leaning toward him, watching everything he did.
My muse and I have been struggling with the cover design for Traveling Blind. We started with a picture Laura took of a bright yellow road sign which shows a curvy road and says "next 23 miles." The sign has personal meaning to Laura and clearly shows the theme of the book. Traveling. Blind. Not sure where you're going. Lots of curves along the way. Gotta keep going forward. The sign stays.
But our first attempt gave the impression the book is a travel book and is far too similar looking to another memoir set in Mendocino County. Back to the drawing board. We keep the sign, but how do we show that this is about the "unlikely teachers:" Laura's students?
Enter Rick, our in-house graphic designer and my wonderful life-partner. My muse watched him work and from her silent attention I knew she was impressed. She doesn't know a thing about Photo-Shop and refuses to touch a computer key-board, so it's fun to watch her try and hide her ignorance while at the same time being fascinated by Rick manipulating an image on the computer screen. After several days, much discussion, and taking pictures of our bored but willing daughter, he presented us with four ideas.
My muse and I laid them out on the couch and studied them. One has my daughter's grinning face with the ocean in the background. Another has the two of us holding hands with the forest in the background. Two more have our silhouette in shadow, one with the ocean and the other with the forest. All have the road sign.
I looked at my muse who was frowning. "What do you think?"
She shook her head. "Hard to say."
"Which do you like best?"
"Very hard to say."
We silently stared at the cover samples and then I picked up the one with my daughter's face. "This one is nice, but is that because it's my daughter?"
"It is nice. A real child on the cover to show who the teachers are. And nothing catches the eye more than a child, and we need something to really grab the person browsing in the store." She touched the one with us holding hands. "I like this one also."
"Do you like the forest or the ocean?"
"Hard to say. They both express different moods." She tapped the one of us holding hands. "I'd like to see this one with the ocean in the background. And you should ask Laura what she thinks."
Laura stopped by later that day with a white cane so we could take more pictures of my daughter for possible use on the cover. I showed her the images while my muse lounged on the chair beside her and watched.
Laura also liked the child and the hand-holding, but said that the shadows were disturbing somehow. "I don't know which is better, but the only thing that grabs someone's attention more than a child is a cute animal." I glanced at my muse and she nodded. Laura also wanted to see the hands with the ocean in the background and she gave good technical advice about the layout of the cover. It's good working with someone with a degree in Art.
Later, I gave the notes to Rick who seemed happy to have something more to work with than a road sign and some vague suggestions about "showing the teachers." I realized just how lucky we are that he understands graphic art and design, and is a wiz at Photo-Shop.
That night, he was still working on the cover when I went to bed, my muse by his side, leaning toward him, watching everything he did.
Sunday, July 01, 2007
My First Muse
My Muse hands me a gift wrapped in sea-green tissue paper. "Here. For all your hard work."
I stare at her, wondering if this is MY muse and not some other muse shape-shifted to look like mine. My muse does not give gifts. She brings insults and demands, but never gifts. "What's this?"
"A present. What do you think?"
"Why are you giving me a present?"
"Suspicious little thing. Fine. Give it back." She reaches for the package but I hold it tight against my chest.
"No way. It's mine."
"Then open it and stop staring at me like I've just handed you a bomb."
I gently tear the tissue paper and pull out a paper-back book. How to become a famous writer before you're dead, by Ariel Gore. "Wow. I've been wanting this."
My muse smiles, looking very pleased with herself. "I know."
"This is supposed to be great! Thank you so much." I hug her tightly, startling all the snakes who are too surprised to bite me.
"You're welcome." She squeezes me quickly before pushing me away. "I want to make sure you don't give up on your own writing by spending so much time publishing other people's. I still expect a great book out of you."
"I know. And you'll get it." I flip the book over and examine Ariel's picture. "She was the first person to ever publish me. Hip Mama magazine, about 6 years ago. She's so great. She's like my first muse, you know"
"You're first muse?" My muse purses her lips and squints. All the snakes shiver.
"In a way. I never met her or anything, and she's never visited, but she really inspired me back then. Single mom, writer, put out her own zine, worked her butt off to write novels. .. I mean, she's the kind of person I admire. She's a real, living muse."
My muse snatches the book from my hand. "Fine. Then tell her to come here and sit by your side and encourage you to write for God knows how many endless hours. Maybe she'll put up with your weak prose and inane plot lines, because I'm bored with it."
"Whoa. Hold on. I didn't say I wanted her to be my muse now. She was my first muse, but you're my muse today. Even when you treat me like crap and tell me I can't write, you're still my muse."
She folds her arms and looks away. "I don't treat you like crap."
I try not to laugh. It is very dangerous to laugh in the face of your muse. They are prone to disappear for weeks and only return when you're on your knees, clutching sheets of blank paper, begging them to come back.
"You have nothing to worry about. You're my muse now, snakes and all." I gently slide the book out of her hand and she lets it go without looking at me.
"Maybe."
"No maybes. And this gift...," I hold up the book. "This gift proves how much of a wonderful muse you are."
"I'm just trying to be more encouraging."
"Thank you."
"You say I'm too hard on you, so I'm trying to be nicer."
"I appreciate that."
"You can keep the gift, but only if you promise to put it to good use, and that includes writing me another book."
"I promise."
We look at each other for a moment and slowly my muse begins to smile. The snakes relax and curl around each other in peaceful loops.
Then she puts her hands on her hips and says, "But I don't want to hear you talk about any other muses ever again, got it?"
I hold up one hand. "I swear.
After she leaves the room, I add How to Become a Famous Writer Before You're Dead to the Medusa College Reading List. Hopefully she won't take it as a sign that I'm still thinking of Ariel Gore as a muse. I am, but my current muse doesn't have to know.
I stare at her, wondering if this is MY muse and not some other muse shape-shifted to look like mine. My muse does not give gifts. She brings insults and demands, but never gifts. "What's this?"
"A present. What do you think?"
"Why are you giving me a present?"
"Suspicious little thing. Fine. Give it back." She reaches for the package but I hold it tight against my chest.
"No way. It's mine."
"Then open it and stop staring at me like I've just handed you a bomb."
I gently tear the tissue paper and pull out a paper-back book. How to become a famous writer before you're dead, by Ariel Gore. "Wow. I've been wanting this."
My muse smiles, looking very pleased with herself. "I know."
"This is supposed to be great! Thank you so much." I hug her tightly, startling all the snakes who are too surprised to bite me.
"You're welcome." She squeezes me quickly before pushing me away. "I want to make sure you don't give up on your own writing by spending so much time publishing other people's. I still expect a great book out of you."
"I know. And you'll get it." I flip the book over and examine Ariel's picture. "She was the first person to ever publish me. Hip Mama magazine, about 6 years ago. She's so great. She's like my first muse, you know"
"You're first muse?" My muse purses her lips and squints. All the snakes shiver.
"In a way. I never met her or anything, and she's never visited, but she really inspired me back then. Single mom, writer, put out her own zine, worked her butt off to write novels. .. I mean, she's the kind of person I admire. She's a real, living muse."
My muse snatches the book from my hand. "Fine. Then tell her to come here and sit by your side and encourage you to write for God knows how many endless hours. Maybe she'll put up with your weak prose and inane plot lines, because I'm bored with it."
"Whoa. Hold on. I didn't say I wanted her to be my muse now. She was my first muse, but you're my muse today. Even when you treat me like crap and tell me I can't write, you're still my muse."
She folds her arms and looks away. "I don't treat you like crap."
I try not to laugh. It is very dangerous to laugh in the face of your muse. They are prone to disappear for weeks and only return when you're on your knees, clutching sheets of blank paper, begging them to come back.
"You have nothing to worry about. You're my muse now, snakes and all." I gently slide the book out of her hand and she lets it go without looking at me.
"Maybe."
"No maybes. And this gift...," I hold up the book. "This gift proves how much of a wonderful muse you are."
"I'm just trying to be more encouraging."
"Thank you."
"You say I'm too hard on you, so I'm trying to be nicer."
"I appreciate that."
"You can keep the gift, but only if you promise to put it to good use, and that includes writing me another book."
"I promise."
We look at each other for a moment and slowly my muse begins to smile. The snakes relax and curl around each other in peaceful loops.
Then she puts her hands on her hips and says, "But I don't want to hear you talk about any other muses ever again, got it?"
I hold up one hand. "I swear.
After she leaves the room, I add How to Become a Famous Writer Before You're Dead to the Medusa College Reading List. Hopefully she won't take it as a sign that I'm still thinking of Ariel Gore as a muse. I am, but my current muse doesn't have to know.
Sunday, June 03, 2007
Medusa College
Here is the list I handed out during LitFest for anyone who would like a lead on good study materials.
Favorite Books:
1. Publishing for Profit: Bottom Line Management for Book Publishers
By Thomas Woll
2. Self Publishing Manual: How to Write, Print and Sell Your Book
By Dan Poynter
3. The Pre-Publishing Handbook: What you should know before you
publish your first book. By Patricia J. Bell
4. Book Design and Production. By Pete Masterson
5. The Writers Legal Guide. By Tad Crawford and Kay Murray
6. Business and Legal Forms for Authors and Publishers.
By Tad Crawford
7. Small Business Kit for Dummies. By Richard D. Harroch.
Favorite Web Sites:
1. Para Publishing: http://www.parapublishing.com/sites/para/
2. Small Publishers Association of America: http://www.spannet.org/index.htm
3. Publish L: http://noodlefactory.typepad.com/publishl/2006/01/subscribing_ins.html
4. POD Critic: http://podbookreview.blogspot.com/
5. Independent Book Publishers Association:
http://www.pma-online.org/index.cfm
6. Miss Snark: http://misssnark.blogspot.com/
7. Independent Publisher: http://independentpublisher.com/index.php
8. Guerrilla Press: http://www.guerrilla-press.com/index.html
9. Emerging Writers Network: http://www.emergingwriters.typepad.com/
10. Council of Literary Magazines and Small Presses:
http://www.clmp.org/
11. Book Ninja: http://www.bookninja.com/?page_id=14
12. Book Industry Study Group: http://www.bisg.org/index.html
13. Bay Area Independent Publishers Assoc. http://www.baipa.net/
14. Aeonix: http://www.aeonix.com/
Favorite Books:
1. Publishing for Profit: Bottom Line Management for Book Publishers
By Thomas Woll
2. Self Publishing Manual: How to Write, Print and Sell Your Book
By Dan Poynter
3. The Pre-Publishing Handbook: What you should know before you
publish your first book. By Patricia J. Bell
4. Book Design and Production. By Pete Masterson
5. The Writers Legal Guide. By Tad Crawford and Kay Murray
6. Business and Legal Forms for Authors and Publishers.
By Tad Crawford
7. Small Business Kit for Dummies. By Richard D. Harroch.
Favorite Web Sites:
1. Para Publishing: http://www.parapublishing.com/sites/para/
2. Small Publishers Association of America: http://www.spannet.org/index.htm
3. Publish L: http://noodlefactory.typepad.com/publishl/2006/01/subscribing_ins.html
4. POD Critic: http://podbookreview.blogspot.com/
5. Independent Book Publishers Association:
http://www.pma-online.org/index.cfm
6. Miss Snark: http://misssnark.blogspot.com/
7. Independent Publisher: http://independentpublisher.com/index.php
8. Guerrilla Press: http://www.guerrilla-press.com/index.html
9. Emerging Writers Network: http://www.emergingwriters.typepad.com/
10. Council of Literary Magazines and Small Presses:
http://www.clmp.org/
11. Book Ninja: http://www.bookninja.com/?page_id=14
12. Book Industry Study Group: http://www.bisg.org/index.html
13. Bay Area Independent Publishers Assoc. http://www.baipa.net/
14. Aeonix: http://www.aeonix.com/
Insecurity
When I got home from LitFest last night, my muse was waiting for me at the front door.
"What's up?" I asked, setting down my book bag.
She folded her arms and tapped her right foot. "What's up? What do you think? What was all that, 'I don't belong here... what do I know about anything... why am I hear...' crap?"
"What are you talking about?"
"You're insecurity was so palpable I could feel it all the way back to your house! Please explain why I have to keep bolstering your ego so you can walk out the front door!"
I walked toward the kitchen. "Is that what you call criticising my work? Bolstering my ego? Please. Since when have you ever bolstered my ego?"
She followed close behind. "You've got to start believing you're a publisher and accept the fact you know what you're doing, otherwise this entire scheme of yours is going to collapse."
I turned on the kettle and then leaned against the stove. "You have no idea what it was like sitting on the panel, listening to the other publishers talk about their presses and all the things they know and all I could offer was a reading list of books I've studied. I felt like a moron."
"Where do you think the others got their info? Do you think they knew what they were doing when they decided to publish?"
"No."
"Exactly. They all started where you are now. But they succeeded. And you will too, unless you keep insisting you're not worthy of my patronage. Then I'll just have to find someone more empowered."
I grinned. I can't help but laugh at the way my muse talks. Bolster my ego? Patronage? Usually my muse throws insults at me while she sunbathes. But for some unknown reason, I love every snake on her head.
All the snakes on her head stared at me. "You're laughing at me," she said.
"No, I'm not. I'm listening. And you're right. I have to start believing in myself. At least a little bit."
She stepped closer and put a hand on my arm. "I believe in you."
In all our time together, my muse has never spoken so kindly to me. I was mesmerized by her sea green eyes and the sincerity in her voice. My muse believes in me. That thought grew louder in my head and for one glorious moment, I believed I could successfully publish Laura's book.
Maybe I can. Maybe if I work hard enough, keep studying, and stay focused on creating the best book possible, I can keep Medusa's Muse alive. When fear and doubt get too loud, I will remember that moment when I understood how much faith my muse has in me. Perhaps that will help me have faith in myself. At least a little.
"What's up?" I asked, setting down my book bag.
She folded her arms and tapped her right foot. "What's up? What do you think? What was all that, 'I don't belong here... what do I know about anything... why am I hear...' crap?"
"What are you talking about?"
"You're insecurity was so palpable I could feel it all the way back to your house! Please explain why I have to keep bolstering your ego so you can walk out the front door!"
I walked toward the kitchen. "Is that what you call criticising my work? Bolstering my ego? Please. Since when have you ever bolstered my ego?"
She followed close behind. "You've got to start believing you're a publisher and accept the fact you know what you're doing, otherwise this entire scheme of yours is going to collapse."
I turned on the kettle and then leaned against the stove. "You have no idea what it was like sitting on the panel, listening to the other publishers talk about their presses and all the things they know and all I could offer was a reading list of books I've studied. I felt like a moron."
"Where do you think the others got their info? Do you think they knew what they were doing when they decided to publish?"
"No."
"Exactly. They all started where you are now. But they succeeded. And you will too, unless you keep insisting you're not worthy of my patronage. Then I'll just have to find someone more empowered."
I grinned. I can't help but laugh at the way my muse talks. Bolster my ego? Patronage? Usually my muse throws insults at me while she sunbathes. But for some unknown reason, I love every snake on her head.
All the snakes on her head stared at me. "You're laughing at me," she said.
"No, I'm not. I'm listening. And you're right. I have to start believing in myself. At least a little bit."
She stepped closer and put a hand on my arm. "I believe in you."
In all our time together, my muse has never spoken so kindly to me. I was mesmerized by her sea green eyes and the sincerity in her voice. My muse believes in me. That thought grew louder in my head and for one glorious moment, I believed I could successfully publish Laura's book.
Maybe I can. Maybe if I work hard enough, keep studying, and stay focused on creating the best book possible, I can keep Medusa's Muse alive. When fear and doubt get too loud, I will remember that moment when I understood how much faith my muse has in me. Perhaps that will help me have faith in myself. At least a little.
Friday, June 01, 2007
We Have A Web-Site!
My boy stayed up late to get the web site up in time for LitFest, and here it is:
http://medusasmuse.com/
It feels like a grand opening, like this is our storefront, complete with fire crackers to ward off evil spirits. There are still a few more boxes to unpack, a few more bits of decoration to add, but the door is open and the word is out.
My muse is pleased.
And just in time. LitFest is tomorrow and I will be a speaker on the publishing panel.
http://www.mendolitfest.org/
I'm a bit nervous. What do I really know about publishing, other than it is a ton of work and if you're not passionate about that work you should let someone else do it? But I'll write more about LitFest in another post. For now, tonight, I am enjoying staring at Medusa's image from my very own website. Thank you, Rick.
http://medusasmuse.com/
It feels like a grand opening, like this is our storefront, complete with fire crackers to ward off evil spirits. There are still a few more boxes to unpack, a few more bits of decoration to add, but the door is open and the word is out.
My muse is pleased.
And just in time. LitFest is tomorrow and I will be a speaker on the publishing panel.
http://www.mendolitfest.org/
I'm a bit nervous. What do I really know about publishing, other than it is a ton of work and if you're not passionate about that work you should let someone else do it? But I'll write more about LitFest in another post. For now, tonight, I am enjoying staring at Medusa's image from my very own website. Thank you, Rick.
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