You have your novel finished. Now what?
You have lots of options -- ebooks publishers, small press publishers, traditional publishers, or some form of self-publishing.
In the next few days, I'll talk about each form of publishing with some pros and cons to consider with each type of publisher.
TRADITIONAL PUBLISHERS
Traditional publishers are the publishers you find in bookstores. In US publishing, many are based in New York City. Some of these publishers of genre/popular fiction include Tor, Pocket, St. Martin, Dorchester, and Kensington.
The major advantage to these publishers is distribution. Their books are usually carried by all the major bookchains and distributors so anyone can walk into the neighborhood bookstore and buy or order your book.
The better the distribution, the more books sold.
They will also give you an advance on your earnings and cover all the costs of creating the book itself including editing, the cover, and the printing.
Authors published this way are on the top of the author pecking order.
The major disadvantage is competition. You will have an uphill battle to gain a coveted slot in a publishing schedule and your competition will include many published authors.
In some markets, you'll need to get an agent even before you begin the fight for that slot, and this is an equally difficult and slow process.
Another disadvantage is lack of control. You will have almost no say in your book's title and cover. More often than not, you will also be required to change some of the book's content.
Pigeonholing is another problem. You must write to fit the current trends in popularity. It's a rare book that can be totally different.
SMALL PRESS
Small press is a minature version of the traditional publisher, but rather than being owned by a conglomerate, it is owned by individuals. Many are niche publishers specializing in a particular market like regional mystery or paranormal romance.
Some have the advantage of good distribution through book chains and distributors so they can be found in bookstores, but others do not. It will be much harder to find your book in a bookstore, but it should be available for ordering.
All the expenses of editing, cover art, and printing are covered by the small press, and some offer advances on earning which are usually much smaller than the traditional publisher.
The amount of author impute in the publishing process ranges from none to a great deal according to the individual press.
The disadvantages include poorer distribution, the vagaries of the how each runs its business, and the inherent risk of working with a small company where an owner's illness can stop the presses.
TOMORROW, I'll discuss self-publishing and vanity/subsidy publishing.
Tuesday, November 24, 2009
Monday, November 23, 2009
Self-publishing versus Vanity/subsidy Press
Recently, several major publishers, including Harlequin and Thomas Nelson, have announced self-publishing options for authors under their brand name. In Harlequin's case, it is Harlequin Horizons.
You pay them for various services including editing, covers, etc., and they publish your book in paper and in common ebook formats like the Kindle.
But are these services really self-publishing, or are they vanity/subsidy press?
Here are working definitions of these two types of publishing--
SELF-PUBLISHING: The author must find a printer, editor, etc., and must pay for each service, then must find the distribution services, as well. All profit goes to the author.
SELF-PUBLISHING THROUGH A ONE-STOP PRINTER: Some printers offer all the services necessary to publish a book. Each service is paid by the author. All profit goes to the author.
VANITY/SUBSIDY PRESS: They offer all the services necessary to publish a book like the one-stop printer. You can buy in for the basic service, then you can add on various services like editing, cover art, etc. The vanity/subsidy press, however, then takes a large cut of the profit with no risk or cost to itself.
By these definitions, Harlequin Horizons is a vanity/subsidy press because they take 50% of the profit.
If you'd like to study a line by line explanation of Harlequin Horizons' promises to authors, and what those promises really mean, I suggest Jackie Kessler's blog on the subject.
http://www.jackiekessler.com/blog/2009/11/19/harlequin-horizons-versus-rwa/
What do I think of all this? I believe that an author should educate herself on all the options and make an informed choice. An educated writer won't be a victim to the parasites of dreams who prey on writers.
For the next few days, I'm going to publish a series of blogs about all the publishing options available to an author. I'll talk about the pros and cons of each method so you can decide which is right for you.
I'd appreciate it if you would share this special blog event with your writing friends, etc.
You pay them for various services including editing, covers, etc., and they publish your book in paper and in common ebook formats like the Kindle.
But are these services really self-publishing, or are they vanity/subsidy press?
Here are working definitions of these two types of publishing--
SELF-PUBLISHING: The author must find a printer, editor, etc., and must pay for each service, then must find the distribution services, as well. All profit goes to the author.
SELF-PUBLISHING THROUGH A ONE-STOP PRINTER: Some printers offer all the services necessary to publish a book. Each service is paid by the author. All profit goes to the author.
VANITY/SUBSIDY PRESS: They offer all the services necessary to publish a book like the one-stop printer. You can buy in for the basic service, then you can add on various services like editing, cover art, etc. The vanity/subsidy press, however, then takes a large cut of the profit with no risk or cost to itself.
By these definitions, Harlequin Horizons is a vanity/subsidy press because they take 50% of the profit.
If you'd like to study a line by line explanation of Harlequin Horizons' promises to authors, and what those promises really mean, I suggest Jackie Kessler's blog on the subject.
http://www.jackiekessler.com/blog/2009/11/19/harlequin-horizons-versus-rwa/
What do I think of all this? I believe that an author should educate herself on all the options and make an informed choice. An educated writer won't be a victim to the parasites of dreams who prey on writers.
For the next few days, I'm going to publish a series of blogs about all the publishing options available to an author. I'll talk about the pros and cons of each method so you can decide which is right for you.
I'd appreciate it if you would share this special blog event with your writing friends, etc.
Wednesday, November 18, 2009
Links of Interest
WORLDBUILDING: Highly respected fantasy author Katherine Kerr shows how she created her magical world.
http://us.penguingroup.com/static/html/blogs/creating-magic-deverry-katharine-kerr
BUSINESS OF PUBLISHING: The tricky out-of-print contract clause.
http://pubrants.blogspot.com/2009/11/sales-thresholds-in-oop-clauses.html
BUSINESS OF PUBLISHING: Why publishers are having an increasingly bad time of pushing specific titles, particularly nonfiction.
http://blog.nathanbransford.com/2009/11/moving-needle.html
BUSINESS OF PUBLISHING: How the no-competition clause in a publishing contract affects separate electronic rights.
http://pubrants.blogspot.com/2009/11/when-no-compete-clause-comes-into-play.html
CRAFT: The inciting event in a novel.
http://talktoyouniverse.blogspot.com/2009/11/inciting-event-and-your-world-revisited.html
BUSINESS OF PUBLISHING: Yet more words to know about books sold--sell in, sell through, returns and earn out. Simple words that can make or break your career.
http://cba-ramblings.blogspot.com/2009/11/sell-in-sell-through-and-earn-out.html
BUSINESS OF PUBLISHING: An overview of the revision of the Google Book agreement with links to various articles.
http://accrispin.blogspot.com/2009/11/revised-google-book-search-settlement.html
BUSINESS OF PUBLISHING: Introduction to the things you need to do to get ready to submit your novel to agents or publishers.
http://angryrobotbooks.com/2009/11/pitch-perfect/
BUSINESS OF PUBLISHING: Three things you want to figure out before you try to sell your book to agents or publishers.
http://behlerblog.wordpress.com/2009/11/17/those-pesky-three-questions-that-can-stop-your-heart/
Agent Irene Goodman will auction off 25 partial (3 chapters and a synopsis) critiques for charity.
http://www.irenegoodman.com/ebay.php
NEW WORD OF THE YEAR: The people at New Oxford American Dictionary have choosen their new word of the year among such contenders as netbook, ecotown, teabagger, hashtag, intexticated, unfriend, and sexting.
http://blog.oup.com/2009/11/unfriend/
BUSINESS OF PUBLISHING: Ebook sales are exploding, and paper book sales are getting better.
http://ireaderreview.com/2009/11/15/kindle-sales-explode-for-random-house-2-9-to-22-6-million/
http://news.shelf-awareness.com/ar/theshelf/2009-11-18/aap_september_sales_jump_12_3_up_3_6_for_the_year.html
BUSINESS OF PUBLISHING: Agent Kristin Nelson gives her take on Harlequin's new self-publishing/vanity press line, Horizons.
http://pubrants.blogspot.com/2009/11/exploitation-or-empowerment.html
EDITOR INTERVIEW: Harlequin editor Charles Griemsman.
http://www.ninc.com/blog/index.php/archives/meet-assistant-editor-charles-griemsman
http://us.penguingroup.com/static/html/blogs/creating-magic-deverry-katharine-kerr
BUSINESS OF PUBLISHING: The tricky out-of-print contract clause.
http://pubrants.blogspot.com/2009/11/sales-thresholds-in-oop-clauses.html
BUSINESS OF PUBLISHING: Why publishers are having an increasingly bad time of pushing specific titles, particularly nonfiction.
http://blog.nathanbransford.com/2009/11/moving-needle.html
BUSINESS OF PUBLISHING: How the no-competition clause in a publishing contract affects separate electronic rights.
http://pubrants.blogspot.com/2009/11/when-no-compete-clause-comes-into-play.html
CRAFT: The inciting event in a novel.
http://talktoyouniverse.blogspot.com/2009/11/inciting-event-and-your-world-revisited.html
BUSINESS OF PUBLISHING: Yet more words to know about books sold--sell in, sell through, returns and earn out. Simple words that can make or break your career.
http://cba-ramblings.blogspot.com/2009/11/sell-in-sell-through-and-earn-out.html
BUSINESS OF PUBLISHING: An overview of the revision of the Google Book agreement with links to various articles.
http://accrispin.blogspot.com/2009/11/revised-google-book-search-settlement.html
BUSINESS OF PUBLISHING: Introduction to the things you need to do to get ready to submit your novel to agents or publishers.
http://angryrobotbooks.com/2009/11/pitch-perfect/
BUSINESS OF PUBLISHING: Three things you want to figure out before you try to sell your book to agents or publishers.
http://behlerblog.wordpress.com/2009/11/17/those-pesky-three-questions-that-can-stop-your-heart/
Agent Irene Goodman will auction off 25 partial (3 chapters and a synopsis) critiques for charity.
http://www.irenegoodman.com/ebay.php
NEW WORD OF THE YEAR: The people at New Oxford American Dictionary have choosen their new word of the year among such contenders as netbook, ecotown, teabagger, hashtag, intexticated, unfriend, and sexting.
http://blog.oup.com/2009/11/unfriend/
BUSINESS OF PUBLISHING: Ebook sales are exploding, and paper book sales are getting better.
http://ireaderreview.com/2009/11/15/kindle-sales-explode-for-random-house-2-9-to-22-6-million/
http://news.shelf-awareness.com/ar/theshelf/2009-11-18/aap_september_sales_jump_12_3_up_3_6_for_the_year.html
BUSINESS OF PUBLISHING: Agent Kristin Nelson gives her take on Harlequin's new self-publishing/vanity press line, Horizons.
http://pubrants.blogspot.com/2009/11/exploitation-or-empowerment.html
EDITOR INTERVIEW: Harlequin editor Charles Griemsman.
http://www.ninc.com/blog/index.php/archives/meet-assistant-editor-charles-griemsman
Monday, November 16, 2009
Viewpoint as Camera or Participant, craft
The most common mistake in writing third person viewpoint is the writer becomes a camera rather than the actor in the scene. In other words, the writer is sitting in the corner scribbling away as they describe the movie going on in front of them.
As a camera, the writer would write:
The correct place for the writer to be is in the brain and body of the viewpoint character. She should describe what the viewpoint character sees and feels to make the scene come alive. Here's the same scene through the filter of viewpoint character, Faith Cody.
The trick to being in a character's head is to create a reality for the reader. Use visual language. Make the reader SEE what the character sees. Make the reader FEEL what the character feels.
Don't say, "Pamela was afraid." Say, "Shivers ran down her back like cold fingers." In other words, show, don't tell. If a character is angry, don't have him shout dialogue or "say angrily." Use his actions instead. If he's grinding a wadded paper to pulp in his hand while he's talking, you can be darn sure he's mad.
CAMERA AS THE RIGHT VIEWPOINT
Camera or panoramic viewpoint does have a place in fiction, particularly in epic fantasy or historical novels, where the writer wants to show the large overview of a great battle or event. Tolkien in LORD OF THE RINGS often uses the camera viewpoint.
If you are considering using camera viewpoint within most genre, you need to decide if the larger viewpoint is worth the loss of immediacy. In most cases, it isn't.
As a camera, the writer would write:
Faith struck at him with the edge of her hand, but he caught her wrist and held it.
"Don't," he said harshly.
She clawed at his eyes, but he dodged. Yanking free, she came to her knees but paused.
He took advantage of her slowness by throwing himself on top of her and pinning her to the bed.
She kicked at his groin and missed. Screaming and twisting, she tried again.
The correct place for the writer to be is in the brain and body of the viewpoint character. She should describe what the viewpoint character sees and feels to make the scene come alive. Here's the same scene through the filter of viewpoint character, Faith Cody.
Faith struck out with the edge of her hand, but the self-defense blow which should have smashed his windpipe was as clumsy and slow as the rest of her drugged body. He caught her wrist in steel fingers.
"Don't."
His hard-voiced command spurred her from her hopelessness, and she raked at his eyes with her free hand. His hand loosening her wrist, he dodged.
Yanking free, she came to her knees in bed. She wore only a large tee shirt.
Shocked by her vulnerability, she paused before attacking again or fleeing. In that moment, he threw himself at her, pinning her to the bed, his hands manacling her wrists to the sheets.
Her knee seeking his genitals, she twisted, but her knee glanced off his inner thigh. Screaming like an angry jungle cat, she writhed beneath him as she tried to hit him again with her knee.
From THE GAME WE PLAY.
The trick to being in a character's head is to create a reality for the reader. Use visual language. Make the reader SEE what the character sees. Make the reader FEEL what the character feels.
Don't say, "Pamela was afraid." Say, "Shivers ran down her back like cold fingers." In other words, show, don't tell. If a character is angry, don't have him shout dialogue or "say angrily." Use his actions instead. If he's grinding a wadded paper to pulp in his hand while he's talking, you can be darn sure he's mad.
CAMERA AS THE RIGHT VIEWPOINT
Camera or panoramic viewpoint does have a place in fiction, particularly in epic fantasy or historical novels, where the writer wants to show the large overview of a great battle or event. Tolkien in LORD OF THE RINGS often uses the camera viewpoint.
If you are considering using camera viewpoint within most genre, you need to decide if the larger viewpoint is worth the loss of immediacy. In most cases, it isn't.
Wednesday, November 11, 2009
Links of Interest
PODCASTING HOW TO:
http://editorunleashed.com/2009/11/04/the-savvy-authors-guide-to-podcasting/
BUSINESS OF PUBLISHING: SL Viehl shows the money reality of was a massmarket bestseller looks like.
http://www.genreality.net/more-on-the-reality-of-a-times-bestseller
CRAFT: Using a fairy tale as the structure for your novel.
http://writerunboxed.com/2009/11/05/old-bones-new-flesh-building-a-novel-from-a-fairy-tale-concept/
BUSINESS OF PUBLISHING: Licensing your book rights.
http://bookendslitagency.blogspot.com/2009/11/licensing-your-rights.html
MARKET NEWS: Harlequin has started a digital-only publishing company, Carina Press. It is looking for not only all subgenres of romance, but also mystery, suspense, thrillers, erotica, and fantasy.
http://carinapress.com/
AGENT INTERVIEW: Agent Diana Fox of Writer’s House.
http://realmlovejoy.blogspot.com/2009/11/agent-interview-diana-fox.html
BUSINESS OF PUBLISHING: Simple explanation of royalties and advances.
http://cba-ramblings.blogspot.com/2009/11/how-book-royalties-work.html
AGENT INTERVIEW: Editorial assistant to Matt Bialer, Lindsay Ribar.
http://magicdistrict.wordpress.com/2009/11/09/interview-lindsay-ribar/
PROMOTION: Acknowledging your weaknesses and strengths in promotion.
http://booklifenow.com/2009/11/book-promotion-the-value-of-acknowledging-constraints/
BUSINESS OF PUBLISHING: Ten things to remember if you want to be a published author.
http://storyflip.blogspot.com/2009/11/golden-oldies-ten-things-to-remember-if.html
AGENTS: Canadian agent Sally Harding is interviewed.
http://www.ninc.com/blog/index.php/archives/meet-agent-sally-harding
BUSINESS OF PUBLISHING: Is your book financially worth publishing? Publishers and numbers.
http://cba-ramblings.blogspot.com/2009/11/is-your-book-worth-it.html
http://editorunleashed.com/2009/11/04/the-savvy-authors-guide-to-podcasting/
BUSINESS OF PUBLISHING: SL Viehl shows the money reality of was a massmarket bestseller looks like.
http://www.genreality.net/more-on-the-reality-of-a-times-bestseller
CRAFT: Using a fairy tale as the structure for your novel.
http://writerunboxed.com/2009/11/05/old-bones-new-flesh-building-a-novel-from-a-fairy-tale-concept/
BUSINESS OF PUBLISHING: Licensing your book rights.
http://bookendslitagency.blogspot.com/2009/11/licensing-your-rights.html
MARKET NEWS: Harlequin has started a digital-only publishing company, Carina Press. It is looking for not only all subgenres of romance, but also mystery, suspense, thrillers, erotica, and fantasy.
http://carinapress.com/
AGENT INTERVIEW: Agent Diana Fox of Writer’s House.
http://realmlovejoy.blogspot.com/2009/11/agent-interview-diana-fox.html
BUSINESS OF PUBLISHING: Simple explanation of royalties and advances.
http://cba-ramblings.blogspot.com/2009/11/how-book-royalties-work.html
AGENT INTERVIEW: Editorial assistant to Matt Bialer, Lindsay Ribar.
http://magicdistrict.wordpress.com/2009/11/09/interview-lindsay-ribar/
PROMOTION: Acknowledging your weaknesses and strengths in promotion.
http://booklifenow.com/2009/11/book-promotion-the-value-of-acknowledging-constraints/
BUSINESS OF PUBLISHING: Ten things to remember if you want to be a published author.
http://storyflip.blogspot.com/2009/11/golden-oldies-ten-things-to-remember-if.html
AGENTS: Canadian agent Sally Harding is interviewed.
http://www.ninc.com/blog/index.php/archives/meet-agent-sally-harding
BUSINESS OF PUBLISHING: Is your book financially worth publishing? Publishers and numbers.
http://cba-ramblings.blogspot.com/2009/11/is-your-book-worth-it.html
Monday, November 9, 2009
Using a Real Place with a Fictional Name, CRAFT
QUESTION: I've tried to turn small towns with which I'm familiar into fictional towns or settings--usually for a paranormal world. Each time, I've ended up with a big, confusing, frustrated mess. You have mentioned that you have done this. Do you have any tips or tricks for developing your hometown into a fictional town?
In my novel, TIME AFER TIME, my heroine’s hometown of Moravia is literally my hometown with the location of streets, etc.
The heroine's engagement party is in a country club that's about five miles away from where I live. I fiddled a bit with the look of the huge room and the patio where she meets the hero, though, to fit the plot.
The hero picks her up in a horse and carriage and takes her to the golf course to the east of the country club.
I know where the McDonalds is that they stop at for a late snack and the apartment complex where she lives.
In a series I'm working on now set in Moravia, the hero's house is about a block away from where I live. The house is across the street from the Methodist church I went to as a child.
The hero and his best friend ride on trails I rode as a girl, and the heroine goes to a fictional version of my alma mater. When she drives there, I know what she passes, and the campus is described accurately.
If I change some element of the real town for my fictional town, I make a note to myself to that effect although I rarely reuse settings like the country club.
I give the streets different names because I don't want people to make too close a connection between High Point and Moravia, and for the new series, I'm using the High Point of twenty-five years ago because it fits better. Those riding trails are now housing developments, for example.
Rather than a map, I have an equals list.
Willow Street = Chestnut Drive
Nathanton = Greensboro
Most of my names have a word play involved. Willow and Chestnut are both trees, and Greensboro is named after Revolutionary War hero, Nathaniel Green.
I never use exact distances, but I know how long it would take to get from the magic equipment storage warehouse to Daniel's house in the middle of the night if you were driving well over the speed limit.
This information doesn't really change what happens or anything, and I could change the time for my own convenience, but just knowing helps keep the place real for me, and, hopefully, that makes the place more real to the reader.
QUESTIONS: Ask me a writing or publishing question! Contact me via my blog or webpage.
WRITING WEBSITE AWARDS: If you enjoy this website, be sure to nominate it and recommend it to friends.
In my novel, TIME AFER TIME, my heroine’s hometown of Moravia is literally my hometown with the location of streets, etc.
The heroine's engagement party is in a country club that's about five miles away from where I live. I fiddled a bit with the look of the huge room and the patio where she meets the hero, though, to fit the plot.
The hero picks her up in a horse and carriage and takes her to the golf course to the east of the country club.
I know where the McDonalds is that they stop at for a late snack and the apartment complex where she lives.
In a series I'm working on now set in Moravia, the hero's house is about a block away from where I live. The house is across the street from the Methodist church I went to as a child.
The hero and his best friend ride on trails I rode as a girl, and the heroine goes to a fictional version of my alma mater. When she drives there, I know what she passes, and the campus is described accurately.
If I change some element of the real town for my fictional town, I make a note to myself to that effect although I rarely reuse settings like the country club.
I give the streets different names because I don't want people to make too close a connection between High Point and Moravia, and for the new series, I'm using the High Point of twenty-five years ago because it fits better. Those riding trails are now housing developments, for example.
Rather than a map, I have an equals list.
Willow Street = Chestnut Drive
Nathanton = Greensboro
Most of my names have a word play involved. Willow and Chestnut are both trees, and Greensboro is named after Revolutionary War hero, Nathaniel Green.
I never use exact distances, but I know how long it would take to get from the magic equipment storage warehouse to Daniel's house in the middle of the night if you were driving well over the speed limit.
This information doesn't really change what happens or anything, and I could change the time for my own convenience, but just knowing helps keep the place real for me, and, hopefully, that makes the place more real to the reader.
QUESTIONS: Ask me a writing or publishing question! Contact me via my blog or webpage.
WRITING WEBSITE AWARDS: If you enjoy this website, be sure to nominate it and recommend it to friends.
Wednesday, November 4, 2009
Links of Interest
EDITOR INTERVIEW: Megan Records of Kensington.
http://www.ninc.com/blog/index.php/archives/meet-editor-megan-records
QUERY LETTERS: Agent Janet Reid blogs about the effective query letter.
http://jetreidliterary.blogspot.com/2009/10/notes-from-effective-query-class-at.html
CRAFT: Story structure.
http://www.genreality.net/story-structure-and-nanowrimo
CRAFT: Back story. What it is and how to avoid putting too much of it in.
http://cba-ramblings.blogspot.com/2009/10/all-about-backstory.html
RESEARCH: Paranormal Investigations.
http://www.innsmouthfreepress.com/?p=2726
BUSINESS OF PUBLISHING: The Top Five Secrets to Getting a Book Deal
http://www.alanrinzler.com/blog/2009/10/29/ask-the-editor-the-top-5-secrets-to-getting-a-book-deal/
STRESS: Learning to deal with the stress of being a writer.
http://www.genreality.net/destressing
EBOOK READERS: An overview of all the ebook reader hardware now available.
http://dealnews.com/features/e-Book-Readers-Cheat-Sheet-Amazon-Kindles-Barnes-Noble-Nook-jet-Book-more/321945.html
COPYRIGHT: Free download of Cornell University’s “Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums”
http://hdl.handle.net/1813/14142
CRAFT: The difference between foreshadowing and telegraphing future plot points.
http://cba-ramblings.blogspot.com/2009/11/foreshadowing-vs-telegraphing.html
QUERIY LETTERS: Agent Jessica Faust discusses query lengths.
http://bookendslitagency.blogspot.com/2009/11/query-length.html
BUSINESS OF PUBLISHING: Mistakes a new author should avoid.
http://apparentlyaprilynne.blogspot.com/2009/10/firsts.html
AGENTS: How to turn off an agent.
http://cba-ramblings.blogspot.com/2009/11/how-to-avoid-getting-agent.html
CRAFT: Exposition.
http://jpsorrow.livejournal.com/238997.html
http://www.ninc.com/blog/index.php/archives/meet-editor-megan-records
QUERY LETTERS: Agent Janet Reid blogs about the effective query letter.
http://jetreidliterary.blogspot.com/2009/10/notes-from-effective-query-class-at.html
CRAFT: Story structure.
http://www.genreality.net/story-structure-and-nanowrimo
CRAFT: Back story. What it is and how to avoid putting too much of it in.
http://cba-ramblings.blogspot.com/2009/10/all-about-backstory.html
RESEARCH: Paranormal Investigations.
http://www.innsmouthfreepress.com/?p=2726
BUSINESS OF PUBLISHING: The Top Five Secrets to Getting a Book Deal
http://www.alanrinzler.com/blog/2009/10/29/ask-the-editor-the-top-5-secrets-to-getting-a-book-deal/
STRESS: Learning to deal with the stress of being a writer.
http://www.genreality.net/destressing
EBOOK READERS: An overview of all the ebook reader hardware now available.
http://dealnews.com/features/e-Book-Readers-Cheat-Sheet-Amazon-Kindles-Barnes-Noble-Nook-jet-Book-more/321945.html
COPYRIGHT: Free download of Cornell University’s “Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums”
http://hdl.handle.net/1813/14142
CRAFT: The difference between foreshadowing and telegraphing future plot points.
http://cba-ramblings.blogspot.com/2009/11/foreshadowing-vs-telegraphing.html
QUERIY LETTERS: Agent Jessica Faust discusses query lengths.
http://bookendslitagency.blogspot.com/2009/11/query-length.html
BUSINESS OF PUBLISHING: Mistakes a new author should avoid.
http://apparentlyaprilynne.blogspot.com/2009/10/firsts.html
AGENTS: How to turn off an agent.
http://cba-ramblings.blogspot.com/2009/11/how-to-avoid-getting-agent.html
CRAFT: Exposition.
http://jpsorrow.livejournal.com/238997.html
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