2015 harper teen

11/24/15 Book News , Lies I Told , Promises I Made , Reading # , , , , , , , , , , , ,

Promises I Made Release Day!

PromisesIMade HC CToday’s the day I’ve been waiting for – the day readers will finally get to know the outcome of Grace’s story from Lies I Told. This books means so much to me, and I’ve already been getting mail from advance readers saying it’s my best book ye, the highlight of which was a reader who emailed to say, “Of all your books, Grace’s story is the one that moved me the most.”

Add that to praise from Kirkus – who called the book “riveting” – and it’s an understatement to say I’m excited for this story to be out in the world. I so hope you enjoy it! As always, please consider adding it to your Goodreads shelf and leaving a review on Amazon, B&N, Goodreads, etc.

They help more than you know!

<3

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10/21/15 Fearless , Indie , Lawless , Lies I Told , Mob Boss Series , Promises I Made , Reading , Ruthless , Self-Publish , Uncategorized , Writing # , , , , , , , , , , , , , , , , ,

Three Months Indie: An Update

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Well, I did it. Lawless released last night, bringing my first full-length Indie series to a close. It’s hard to believe less than three months ago I hadn’t even released Ruthless. I was nervous and scared, wondering if I was going to look back on my decision to go hybrid as a huge mistake.

Thankfully, that is NOT how I’m feeling.

Like, at all.

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I’ve sold over 20,000 books in less than three months. At least one of the Mob Boss books has been on at least one of the Top 100 lists¬†almost the entire time, and I’ve met hundreds of new readers, all of them passionate and enthusiastic about modern romance. I’ve also met countless Indie and hybrid authors who have been incredibly generous with their information and beyond supportive of this newbie. I lost track a long time ago of the dumb questions I’ve asked along the way, but there hasn’t been a single time that someone hasn’t offered me an answer.

To give you an idea of my progress, here’s a 90-day graph showing you my sales from August 1st when Ruthless released¬†to today.

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You have to ignore that REALLY big jump at the end — that was my 2300 preorders for LAWLESS dumping into the system. It makes it look like I wasn’t selling well before, but my sales actually held steady between 200-300 a day from August 10th onward. I had a quite few days where they were over 300 — ¬†one where I inexplicably hit 411 — and fewer where I dipped to 175, usually after the 30-day sales cliff that follows a new release. But it’s been pretty steady, with sales of around 6,000 books my first month and close to 9,000 my second month. October will probably see me around 10,000 when it’s all said and done. You can see little jumps in early¬†August and the beginning of September which coincide with new book releases, proving that new content goes ¬†a long way toward keeping you visible.¬†I’m very¬†happy with these numbers, even if they don’t grow, but I see no reason why they shouldn’t with a consistent new release schedule.

Financially, this is the best decision I¬†could have¬†made. I’m not going to be quite as transparent here as I was in my last update, but I will say that if you know I’ve sold over 20,000 books in less than three months, and you know I’m typically making a 70% royalty on the Indie side, you know why I am pretty ecstatic. I haven’t discounted my books at all up until now, so they’ve all sold at $3.99.

For the first time in a long time, I feel like my feet are under me, and it’s hard to explain the relief I feel knowing I’ll be paid once a month instead of twice a year (or less if I haven’t earned out) on the traditional publishing side.

But the biggest gain of all is in creative choice. If you’ve been following my posts, you know that I’ve spoken before about the necessity of writing what’s selling when you make your living writing. “Write the book you want to read” is great advice — but not always¬†sound if one must bring home a paycheck from said writing. I’ve always loved the books I write. I pour my heart and soul into every one, and I have a powerful, lasting bond with every character and every story.

But there are other stories. A near-future sci-fi thriller. A coming of age YA novel set against the backdrop of travel on the cheap. A contemporary story about sisters that deals with divorce and mental illness. An adult thriller about eco-terroism. These are all stories that I’ve shelved at one time or another because I was told the market wasn’t ripe for selling them, or that my particular brand wouldn’t support a sale in one of these areas. To be clear; I am GRATEFUL for this advice. The people looking out for me know I make¬†my living writing, and they know I support four people with that¬†income. There hasn’t been¬†much margin for error.

But here’s the thing; the kind of can’t-sleep-I’m-so-excited passion I have for certain projects doesn’t come along every day. It was the way I felt about Prophecy of the Sisters when I was writing it, and it’s a voice¬†I’ve tried to listen to ever since. Having to shelve those ideas because financial concerns forced me to play it safe was hard and sad and creatively demoralizing. Because the financial noose has loosened, I’ll be able to take more writing risks on the traditional publishing side — with the bonus of having¬†an Indie readership who may¬†read those books if they don’t sell to traditional publishing.

I feel like I can breathe again. Most importantly, I’m starting to dream again. Of the books I can write (even if no one thinks they will sell) and the things I can do for myself and my family and others with this bit of financial blessing. I think that’s one of the worst parts about being in survival mode; you’re so focused on getting through it that it’s hard to remember to dream. Dreaming feels like a waste of time and energy when you’re struggling to survive, but what a loss it is when we stop. It’s so wonderful to feel hopeful and excited again — about my writing and about life in general and the opportunities I might have now to travel and write ALL¬†kinds of stories.

That I owe to the people at Authorbuzz who spearheaded the marketing campaign that¬†started sending traffic to my book pages right out of the gate, and to my readers, who have been so lovely and wonderful and excited about these books, and whose enthusiasm has carried me forward through a difficult three month writing schedule. I also owe a thank you to my mom and my kids, because they have been right there with me, game for anything, urging me to take the leap after talking about it for years. Having people who have your back, people who believe in you and cheer for you and make you feel like you can do anything… Well, that makes all the difference.

Now that things have stabilized, my focus is expanding. I have books lined up for both Indie publishing and traditional publishing for the foreseeable future, and I’m working on a schedule for 2016 that will allow me to continue releasing my Indie stuff no more than 6-8 weeks apart with time¬†to work on two speculative¬†projects as well. I plan to attend a few conferences and/or workshops next year, and I’m looking forward to meeting more awesome authors.

On the traditional publishing side, PROMISES I MADE (sequel to LIES I TOLD) comes out November 24th, and my first YA love story, A WALK IN THE SUN, will be out next summer. On the Indie side, THE MUSCLE, my new serial featuring Luca, a character from the Mob Boss series, launches November 17th and will b complete by Christmas. I’m excited to share them with you!

And there’s always more to learn! I’ve found the marketing and business side of Indie publishing¬†to be fascinating (color me surprised!), and I can spend hours reading about it or watching videos or talking to other Indie authors about the things they’ve done. I also need to work on maximizing my exposure on Nook, Kobo, and iBooks, because right now, I’m only selling a tiny fraction of my total there. I have a feeling I’m missing some promotional opportunities and methods for connecting with readers on those platforms, and that’s something I want to be better about. I’ll also be creating a dedicated website for Michelle St. James¬†so I can further separate my two writing names and the books that go with each.

Most importantly, there’s craft, something that has always fascinated and challenged me. I want to continue getting better, and I’m excited to keep working toward that goal. Writing MORE has always been my proving ground, and I’m so very excited to know now that I’ll be able to do so for the foreseeable future.

Thanks for joining me on this crazy ride!

And if you’re curious, you can buy Ruthless, the first book in the Mob Boss series below;

Amazon

Nook

Kobo

iBooks

Fearless, the second book, can be found here;

Amazon

Nook

Kobo

iBooks

And LAWLESS, the final book is out now;

Amazon

Nook

Kobo

(iBooks is still in review)

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10/14/15 Contests & Giveaway , Lies I Told , Promises I Made , Reading , Uncategorized # , , , , , , , , , , ,

Promises I Made ARC Giveaway

PromisesIMade HC CI can’t believe we’re only a little over a month away from the release of Promises I Made. It’s so nice to have this duet released nine months apart instead of a year, which is more standard for series. It’s always hard to wait such a long time for a book!

I’m especially excited to share the conclusion to this¬†story. It’s a story¬†that really speaks to a struggle I think many of us share — the struggle to believe that we are really worthy and deserving of love and hope and all the beauty that life has to offer.¬†You can preorder it here (and with any book retailer), and if you haven’t read LIES I TOLD, you can do so here (also available at B&N, Kobo, Ibooks, and local Indie).

In the meantime, I have two very coveted ARCs available for giveaway. There are lots of easy ways to enter, and if you already follow me on Twitter or Instgram, or you are part of my Reader List, you may already have entries in the bank.

ūüėČ

 

a Rafflecopter giveaway

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06/24/15 Contests & Giveaway , Lies I Told # , , , , , , , , , , , ,

Beach Read Giveaway!

You guys… It’s summer! The kids are out of school, the sun is (mostly) shining, and I can finally turn off that pesky 6:15am alarm. Not only that, but after years of releasing books in the winter, I finally have a perfect beach read with my name on it.

As many of you know, LIES I TOLD is set in the fictional beach town of Playa Hermosa, California. All of Grace’s lies and deceit — not to mention her love affair with Logan Fairchild, the one boy she’s not supposed to love – are set against the backdrop of crashing waves, surfer boys, and sunshine.

To celebrate the intersection of these two awesome events, I’m giving away TEN awesome prize packs.

You heard that right; TEN!

FullSizeRender-26Each prize pack includes a signed hardcover of LIES I TOLD, a tote bag, a mini-notebook for all your secret summer thoughts, a summer-scented hand cream, raspberry lemonade lip balm, nail polish, tropical candy, peacock pocket mirror, and a LIES I TOLD/PROMISES I MADE bookmark.

As always, there are lots of ways to enter. Some of them you can do once a day and get a point for each one. Others (like leaving a review of the book if you’ve already read it) will gain you up to FIVE points all by themselves. I’m keeping this contest short, ending it on Monday July 6th so you’ll still have plenty of time to make use of your goodies.

Contest open to US mailing addresses only. Pattern on tote bag and notebook, and nail polish color, vary.

HAPPY SUMMER, YOU GUYS!

 

 

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06/06/15 Book News , Life , Reading , Uncategorized , Writing # , , , , , , , , , ,

Newsletter – Incoming!

After much deliberation I have decided to join the ranks of newsletter-bearing authors. One of the hardest things about authoring in the modern age is knowing how much to share, how often to share it, and whether people are REALLY interested in hearing it. Here, I’m my own worst enemy, because my assumption is always that people are busy and overloaded with information, and it takes something pretty special to compel them to read something else on their computer.

Do I have stuff to share that’s something special? I’ll let you decide. But I do have stuff to share — about reading, writing, and life.

And sometimes I even have NEWS.

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So after taking an informal Facebook poll and confirming that a good number of my readers would like a semi-personal, once-monthly, quick and easy to read account of what’s going on¬†— with my writing and everything else¬†— I decided to give it a whirl. My plan is to include a couple of real life things (recipes, things I’m loving that month, etc.) with a personal snippet and a book recommendation or writing tip. I’m planning to keep it one page, and only put it out once a month.

But the big thing is that I’m going to make as many announcements as possible to newsletter subscribers first. And that includes my next book announcement.

If you’d like to stay in the loop, you can sign up for the newsletter¬†here in under ten seconds. And if you decide to opt out at any time, all you’ll have to do is hit the “unsubscribe” link at the bottom of each newsletter.

<3

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04/20/15 Lies I Told , Life , Writing # , , , , , , , , , ,

Kirkus calls LIES I TOLD a “touching” Thriller!

It’s been such a whirlwind two weeks celebrating the release of LIES I TOLD that I’m just now getting to share this with you guys.

A few months ago I found out Kirkus had given LIES I TOLD a STARRED review. Most of you probably know this is a big deal; Kirkus is notoriously tough on writers, and they have a very, very high bar to star something. I was completely blown away and grateful, because the review really validated all the hard work I’ve done on craft these past couple of years.

Fast forward to release day and THIS pops up in my Twitter feed;

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Yes, you’re reading that right. Kirkus actually tweeted about LIES I TOLD, calling it a “touching” thriller and making it clear that it’s an exception to the rule.

So… yeah. I’m just kind of bragging.

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And sharing! And reminding you that LIES I TOLD is out now, and I’d love if you’d give it a shot. And if you already HAVE given it a shot and enjoyed it, I’d love it if you’d post a review on Amazon/B&N/Goodreads, because it really helps bring the book up in the search algorithms.

For those of you who have done all these things and more, I continue to be grateful and overwhelmed by your support. I think I have the best readers in the whole world.

<3

 

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04/15/15 Uncategorized , Young Writers Series # , , , , , , , , , , , ,

Young Writers Series Week Six; Agents and Editors (What They Do and Why We Need Them)

Welcome back to the Young Writers series! I seem to be running at least a day late every week, but this week I have a great excuse; LIES I TOLD released last Tuesday!!! I’ve been super busy with interviews and blog tours and promotion. Things are starting to calm down a bit, which is a good thing. I love talking to readers, but my favorite part is still the writing. I’m happy to be back in my office working this week.

Last week on the Young Writers Series we talked about how to sell your book. I took you through the process step by step, from getting an agent to revising to “subbing” to editors. This week we’re getting into the nitty-gritty of agents and editors, namely what they do and why we need them.

Let’s talk about agents first.

If you read last week’s post, How Do I Sell My Book, you know that you really must have an agent if you want to sell to any of the big traditional publishing houses. They just don’t accept unagented manuscripts anymore. And even if your favorite aunt is the CEO at HarperCollins, you’ll STILL want an agent. Here’s why.

There are good agents and there are GREAT agents. A great¬†agent (which I so happen to have, luck me!) will work through edits with you before submission. Not every agent wants to do this, and that’s okay. But very, very few never-before-published authors are going to hit it out of the park on their first try. Even after you’ve edited your book multiple times and hired an outside editor, odds are good that your book will still need some work if you want to put your best foot forward. I saw this firsthand when I tried to sell what was my second finished book. I had a different agent back then, and we did very, very little work on the book before sending it out to editors. Nine months later, it hadn’t sold and I made the decision to find an agent who was more hands-on with editorial feedback. Fast forward to Prophecy of the Sisters and the TEN MONTHS I spent in revisions with my current agent and you get a three-day pre-empt from Little Brown and a deal that was much bigger than anything I had expected. That just wouldn’t have happened if I’d gone out with my first version of the manuscript. It can be maddening to work through revisions on the front end, but it’s almost always worth it.

Once you begin to sub, a great agent will have street cred that will get your manuscript read faster, and they will also be able to negotiate terms that are favorable to you when it comes to royalty rates, bonuses, geographic rights (some books sell World rights, but if you sell World English instead, your agent may be able to sell your book’s subsidiary rights to a foreign market, and that money goes straight to you instead of toward your publisher’s advance). They will have a good handle on the personalities of various editors and what it might be like to work with them, and they will know which publishers are more likely to follow through on marketing promises (something that matters in a big way). They will continue to be a liaison between you and your editor if anything tricky arises, i.e. deadline related issues, marketing problems and questions, payment concerns, etc.

And none of this ends with your agent. Assuming your agent works for an established agency, you will have lots of legal counsel backing you up. In addition, publishers value their relationships with great agencies, and they will work hard to insure that both you AND your agency are happy with the way you’re treated.

Once your book is sold and settled in its new home, a great agent will guide your career and advise you about long-term strategy. The publishing industry is rapidly changing, and timing plays an important role in how well a book is received. I’ve often had two or more ideas in the queue at a time, and it’s been invaluable for me to pitch them all to my agent and get his feedback on which one has the best chance of selling in the current market. ¬†Great agents also¬†have film and TV connections that can be beneficial¬†to you. In addition to writing books that have sold into traditional publishing, I’ve also written for ABC and have worked-for-hire on books with two other publishers. I’ve collaborated with a well-known adult writer on a YA project, something that was made possible because my agent heard the author was looking for a partner, and I’ve written for an app company. Even if you’re not interested in any of these avenues right now, the publishing process can be fickle and SLOW. You won’t always get paid on time, and sometimes you won’t sell a book, even after you’ve been published. Having an agent with widespread connections can gain you off-the-beaten track opportunities that will help pay your bills during the lean times.

In short, the 15% I pay my agent is MORE THAN WORTH IT. I have never begrudged him a cent, because he works incredibly hard for me. He brings game changing expertise and experience to the table, and I have made back that 15% a hundred time over because of his role in my career.

Once your book is sold, the majority of your communication about the project will be directly with your editor. He or she will send you revisions, introduce you to marketing and publicity at the publishing house, and be your main contact for everything related to the book they’ve acquired.

A great editor is one who both understands your vision for the project (hopefully this is a given if they’ve bought your book) and one who will push you to make it the best it can be within that framework. An editor isn’t going to give you all the answers. They’re going to tell you the problems and trust YOU to come up with the answers. This doesn’t mean you can’t run things by them, but you shouldn’t expect them to tell you how to do your job.

Their job is finding potential problems. Yours is to fix them.

A great editor makes all the difference in the finished product of your book, and a great¬†finished product is the best insurance policy you can get in terms of your long term career.¬†A great editor will bring out your manuscript’s potential by guiding you through more¬†revisions with a flexible hand. This matter because once your book has sold, you can expect at least one more round of fairly significant revisions, and maybe more.

Beyond the actual editing, a great editor is someone who LOVES YOUR WORK. He or she believes in you as a writer and wants to see you succeed. They can be your fiercest advocate at the publishing house, fighting for marketing dollars, turning down covers that are less than stellar, and campaigning to buy more of your work. If they really want to keep working with you, they will often engage in a dialog about what they might like to see from you next, giving you a better chance of selling another book to that publishing house.

So as you can see, agents and editors provide a unique set of skills that will help you with both your writing and your long-term career. In my mind, the value they add isn’t even in question, at least not with traditional publishing.

But it’s a two way street. Here are some things you can do to be a good client (to your agent) and employee (to your editor);

1. Keep your communication concise and professional unless and until you know each other well enough to discuss personal matters.

2. Let feedback on your manuscript settle before responding. It’s easy to sound snippy in an email when you’re feeling defensive about your work. And snippy isn’t professional.

3. Be willing to hear your agent and editor out in matters where you might disagree. Remember that they have their area of expertise, and you have yours.

4. Be on time.¬†Try not to take license with the fact that you’re in a creative field. Few employees¬†can get away¬†with being consistently late and plan to keep their job for any length of time. Treat your professional commitments like the promises they are (barring some kind of catastrophe, which does happen now and again) and you will gain the good will of your agent and editor, as well as a reputation for being easy to work with.

5. Never, ever badmouth your agent or editor. If you’re not happy and a friend asks for feedback, you can be honest privately about your experience, but it’s just not professional to badmouth a colleague in ANY business.

6. Know when it’s time to be a team player. Like all businesses, publishing requires that everyone work together. There will be times that you won’t like how things are going. You may be angry about the amount of marketing given to your book (especially if you were promised more), about your cover design, about the amount of¬†conferences (or lack thereof) in which you’re asked to participate. There’s a time to push back on issues like these and others like them and a time to be a team player. Once your editor makes it clear THIS is your cover, for example, there is often NOTHING you can do to change it. You can ask, but if they say something like, “We feel strongly this is the right cover, so we’re going to go out with it and see how it goes,” that means the decision has been made, and the best thing you can do for your career AND your book is plug that book (and its cover) for all you’re worth, be gracious about it, and hope for the best. Being openly angry¬†won’t help you once the decision is made (or before, for that matter, when a calm discussion is in order).

Join me next week for Keeping the Balls in the Air (How to Juggle School, Social Life, and Writing).

And I hope you’ll all¬†pick up a copy of LIES I TOLD! I’ve spent the last couple of years really focusing on craft, and I’ve gotten¬†so many emails and comments and reviews saying this is my best book yet. I’m excited to share it with you guys!

<3

 

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04/09/15 Funny , Lies I Told , Life # , , , , , , , , , , , , , , ,

LIES WE TOLD Video

I’m so excited to share the video Caroline and I put together to celebrate the launch of LIES I TOLD. This isn’t a book trailer. It’s a compilation of lies told by or to real life people, and their explanation of how the lie changed them and how they moved past it. Some of them are funny, some heartfelt, and one is even shocking, but one thing the video illustrates is something Grace Fonataine in LIES I TOLD knows firsthand; Sometimes the worst lies we tell, are the ones we tell ourselves.

And my lie is in here, too. Yikes!

Enjoy! And you’ll get extra entries on the massive $250 gift card giveaway if you share the link.

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04/07/15 Contests & Giveaway , Uncategorized # , , , , , , , , , , , ,

It’s LIES I TOLD Release Day!

It’s LIES I TOLD Release Day!

And YOUR chance to win tons of amazing goodies.

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This book is so important to me, and while I’m going to do a longer blog post tomorrow about the thematic elements and why I believe Grace is someone everyone can identify with (even if you haven’t been adopted by a “family” of scheming con artists), today I just want to say….

YAY! Yay for me and yay for all of you who have helped and supported me through the years. I’m lucky to feel like I “know” so many of my readers. When I sign into social media, it’s often like entering a giant coffee klatch where everyone is¬†cheering each other on, celebrating the good times and propping each other up during the bad.

Writing has been a lifesaver for me in more ways than one. Aside from being the only source of income for my family (I’m a single mom), it also serves as a distraction from my often persistent inner demons. No matter how depressed or anxious or sad or sacred I get, writing is always there to get me out of my own head. And sometimes, that’s the only cure for what ails me.

Anyway, this is all just to say… thank you. Thank you for buying my books and spreading the word and sharing my posts online and propping me up when the going gets tough. In the coming days, I’ll be posting specific ways you can help this book succeed, this heartfelt¬†book that has FOUR out of¬†FOUR stellar trade reviews, including a star from Kirkus (hint for now; buy it, review it, tell your friends about it).

Now let’s talk swag.

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Those of you who have been with me awhile  know that I am (*cough*) kind of famous for giving good swag. And while change is usually a good thing, I kind of want to keep my swag creed, thank you very much.

With that in mind, I’m offering up THREE awesome prizes;

photo-29First¬†Prize; a $250 Visa gift card or gift card to the bookstore of your choice (gift cards are not pictured since I don’t know which one the winner will want), Victoria’s Secret bath gel and body lotion, tropical inspired nail polish and candy, grapefruit lip balm, a bookmark, peacock pocket mirror, and an entire library of my signed, currently published books (Prophecy of the Sisters trilogy, A Temptation of Angels, This Wicked Game, and LIES I TOLD).

Second Prize; a $100 Visa gift card or gift card to the bookstore of your choice,¬†Victoria’s Secret bath gel and body lotion, tropical inspired nail polish and candy, grapefruit lip balm, a bookmark, peacock pocket mirror, and an entire library of my signed, currently published books (Prophecy of the Sisters trilogy, A Temptation of Angels, This Wicked Game, and LIES I TOLD).

Third Prize; Tropical inspired nail polish and candy, grapefruit lip balm, a bookmark, peacock pocket mirror, an entire library of my signed, currently published books (Prophecy of the Sisters trilogy, A Temptation of Angels, This Wicked Game, and LIES I TOLD) PLUS a signed ARC of PROMISES I MADE, sequel to LIES and the final book in Grace Fontaine’s story (out in November of this year).

photo-30You can enter in so many ways, all of them centered around helping me spread the word about LIES I TOLD. You can do simple things like share the link to this giveaway or a link to the LIES WE TOLD video. You can change your Twitter picture to the cover or write a lie on a tiny piece of paper and hide it somewhere, then post the picture with the hashtag (see photo of mine), each  for FIVE entries. You can do some of the things once a day for the duration of the giveaway (earning up to 30 entries if you do them every day), and others will earn you as many as FIVE entries in one shot. Basically, you can do as much or as little as you want! You MUST use #LiesITold on all Twitter, Facebook, Instagram, and Tumblr entries for them to count. You also must be following me on those sites if you post there. Contest runs through May 7th at Midnight EST and is open to residents of the US and Canada. The Lies video mentioned as an entry option will be up later today.

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Good luck, you guys! I can’t wait to see all your posts (and keep your eyes out for mine, because I plan to leave some lies around, too…)

<3

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04/06/15 Uncategorized , Writing , Young Writers Series # , , , , , , , , , , , , ,

Young Writers Series Week Five; How Do I Sell My Book?

Welcome to this week’s installment of the Young Writer’s series. I missed last week completely! I was so slammed with launch stuff for LIES I TOLD (out tomorrow, you guys! Please pick up a copy!), plus a deadline on another book, that I kept meaning to catch up and just never did. So we’ll call this Week Five and get back on track.

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Last week we talked about outside advice; how to make it work for you and how to know if you should take it when offered.

This week we’re talking about the nitty-gritty of selling your book. For most writers, publication is the goal through all the late writing nights, crippling self-doubt, and endless revisions that make up the process of writing. If it’s not, that’s totally okay! There is a lot to be said for doing something just for the joy of it.

But if you want to see your book published, this post is for you.

The sales¬†process in publishing is a lot longer and more involved than most people realize. Some of it is dependent on the type of publishing you choose (see Week Two¬†in this series), but for our purposes here, we’re going to focus on selling your book to large traditional publishers like HarperCollins, RandomHouse, Scholastic, Little Brown, , Simon and Schuster, and Penguin.

First of all, you need a finished manuscript. Yes, finished. Unless you’re writing non-fiction or have published books before in your genre, a partial probably isn’t going to cut it. So before you do anything else, finish your book, revise it, give it to a beta reader or editor, and revise it some more. I know it’s tempting to cut corners on the editing side. You finished a whole book! You want to see it on the shelves of a bookstore! But you won’t usually have a chance to resubmit to an agent or editor once they reject a certain project, so you don’t want to go out with less than your best work. Polish it until you literally can’t go any further with it on your own.

Once you have a complete manuscript, you need to look for an agent. Some people don’t think you need an agent, and while there might be room for discussion in some areas, you DEFINITELY need an agent if you plan to sell to traditional publishing. None of the big publishers accept unaccented manuscripts, and neither do most of the small ones. And that’s just for starters. There are TONS of other reasons, which I’ll save for next week’s topic, Agents and Editors (What They Do and Why We Need Them). For now, let’s operate on the assumption that you trust me on this.

ūüėČ

The best way to look for an agent is to find out who represents your favorite books and/or subscribe to the Deal Report at Publisher’s Marketplace (it was $20/month when I sold Prophecy. It might be a bit more now). Through the deal report you can search recent deals in your genre to make sure the agent your interested in has a solid track record of selling books like yours. This is important, because anyone can hang out a shingle and call themselves an agent. You want someone with a proven track record of selling consistently. Have you ever heard the saying, “A bad agent is worse than no agent?” No? Well, you have now, and it’s true. Hold out for someone great. If you query thirty agents with fantastic track records and none of them feel confident that they can sell your book, it might mean the book isn’t ready or the timing isn’t right. Go to work on another project, even if you choose to query less experienced agents. It will keep you sane and will give you something else to sell in the event your first book doesn’t. Plus, I think you’ll be surprised by how much you’ve learned and grown since your last book.

Before querying you’ll need the following (in addition to your finished manuscript);

1. A query letter – this is a one page letter (you can find examples online) explaining why you’re querying this particular agent (they want to know you’ve done your homework and querying them because you genuinely think they’d be a good fit for the project –¬†not just because you’re querying every agent known to man or woman), a brief paragraph or two about your book, and a closing that provides the word count and an offer to send a partial or full. Most agents will request a partial before they request the full manuscript. This could be a ten page partial or a fifty page partial or anything in between. Sometimes they’ll just request a synopsis, which brings me to my next point. But first, here’s my query letter for Prophecy of the Sisters, aka Indigo Sky, and the book that started it all and got me the agent I still have today;

 

June 20, 2007

AGENT NAME
AGENT ADDRESS
CITY, STATE, ZIP CODE

ATTENTION: AGENT NAME

Dear NAME OF AGENT,

I came across your name while researching potential agents for my YA novel. Your interest in fantasy and work with a paranormal edge makes me believe you might be a good fit for my YA Gothic fantasy, INDIGO SKY

It‚Äôs 1890 and sixteen-year-old Lia Milthorpe is at war with the person she loves most ‚Äď her twin sister.

Alice and Lia are orphans reeling from the mysterious death of their father in the forbidden chamber known as the Dark Room. Immediately after his death, Lia begins having dreams in which she travels the skies at will while her body lies sleeping. But the dreams are not nearly as strange as the symbol blooming on her wrist ‚Äď that of a snake entwined circle known as the Jorgumand.

Lia soon discovers that Sonia, a young psychic, bears nearly the same Mark. When Sonia shares with Lia the biblical tale of the Watchers, they begin a quest to solve a series of riddles found in a primordial book called The Book of Chaos. If Lia cannot solve the puzzle before her sister, she will lose more than her sanity, she will lose her very life – and bring about the apocalypse foretold in mythological legend the world over. Her journey takes her to the shadowy Astral Plane, to the nether reaches of the spirit world, and to the face of evil itself.

INDIGO SKY is complete at 78,000 words. I welcome the opportunity to send it at your request.

Warmest regards,

Michelle Zink

EMAIL ADDRESS

CONTACT PHONE NUMBER

 

Simple, right?

2. A synopsis – I advise having that synopsis prepared, a basic one page synopsis that gives a high level explanation of the events in your book, and a four to five page synopsis that is much more detailed. Don’t be coy here. The agent wants to know what’s really going on in the book and more or less how it ends. I’m giving you guys the goods by also including my one-page Synopsis for Prophecy of the Sisters below;

 

Indigo Sky – Synopsis

Sixteen-year-old Lia Milthorpe‚Äôs life is in danger from the person she loves most ‚Äď her twin sister.

It’s 1890 and Lia and Alice Milthorpe are orphaned twins reeling from the mysterious death of their father and working to cheer their crippled younger brother, Henry. After their father’s sparsely attended funeral, they return two days a week to Wycliffe, a private school for wealthy girls, and attempt to settle into some kind of normalcy.

But Lia‚Äôs reality begins to unravel with sensory-rich dreams that occur more and more frequently, bringing with them a winged demon that chases her through the velvet sky of her nightmares. The dreams are followed by the discovery of an unusual mark on the inside of her wrist ‚Äď that of a serpent devouring its own tail. The strange happenings make Lia long to confide in her sister, but Alice becomes more and more withdrawn, and Lia resolves to find the answers on her own.

But it is only when James discovers an ancient tome entitled ‚ÄúLibrum Maleficii et Disordinae‚ÄĚ, or ‚ÄúThe Book of Chaos‚ÄĚ, that Lia begins to understand the timeless battle of which she is a part ‚Äď the battle between the demonic Lost Souls, fallen angels of the biblical Watchers, and those who try to shield the physical world from their reappearance.

The Prophecy outlined in the Book dictates that the battle continues through a long line of sisters. In each generation one sister is the Guardian, and one the Gate. The Guardian is tasked with shielding the physical world from the reappearance of the Souls. The Gate is the pathway back that will begin the Seven Plagues outlined in the biblical Book of Revelations.

Lia becomes certain she is the Guardian and her sister the Gate. When she discovers that a beautiful young psychic and an outcast from Wycliffe both bear the Mark, the three girls set out to unravel the Prophecy‚Äôs riddle and discover how they might guard the world from The Gate. The task is great enough ‚Äď and is made greater still when Lia discovers the truth hidden in the Prophecy‚Äôs riddle.

A truth that will call into question everything she believed she knew about her sister ‚Äď and herself.

And now there is so much more at stake, for if Lia cannot find before her sister the Keys foretold in the Prophecy, she may lose more than her sanity. She may lose her very life ‚Äď sacrificing the lives of those she loves most in the process.¬† Her journey takes her to the shadowy Astral Plane of the Otherworlds, to the nether reaches of the Spirit World, and to the face of evil itself.

 

These are the query and synopsis’s that started my career. I hope they help you, young writers!

Now, once you have agent, that agent should take you through some revisions on your book. Even when we think our books are perfect, they’re rarely ready to sell the first time out the gate, even if you’ve revised with an editor or reader. A good agent has their finger on the marketplace and will know how to tweak your manuscript so it’s in the best position to sell. Once you’re through revisions with your agent, the book goes out “on sub” or on submission.¬†This means your agent is sending it to editors he or she knows that¬†are looking for your type of project. This is excruciatingly painful for the author. You’ve finally done it! You’re book is on sub! It could sell any minute!

Except it probably won’t. Most editors will take at least a month to get back to your agent, and some will take longer. You MIGHT get lucky and be in the very tiny percentage of authors whose books sells at auction (more than one house is bidding on the book at a time) or in a pre-empt (one publisher steps up and offers a lot to keep it from going to auction), but most of the time, the process is much slower and less exciting than that.

Work on something else.

Again, it will keep you sane, and it will give you something else to sell if this book doesn’t. Because yes, that’s right; just because you’re on sub doesn’t mean your book will sell. My second book VERY NEARLY sold, but it just didn’t quite make it. While it was on sub, I wrote the book that would become PROPHECY OF THE SISTERS, and the rest is history.

If your agent receives several rejections, he or she may feel it’s time to throw in the towel and start fresh with a new project. This is super devastating, no way around it. Assuming your agent IS a good one (see above), he or she will probably have submitted to somewhere around ten houses, so if someone hasn’t snapped it up by then, the odds are slim that you’re going to get a sell somewhere else, unless you’re willing to go to much smaller presses (which also have much smaller advances and a lot less to offer in terms of marketing – totally okay if you’re okay with it!). This is when it will be handy to have another project waiting in the wings. Most agents will be happy to look at your next project if your first one didn’t sell, assuming you want to stick it out with them. If you don’t, you start the process over with a different agent.

And that’s the process in a nutshell.

That’s quite a nutshell, eh?

ūüėČ

Next Week we’ll be back on track with Week Six;¬†Agents and Editors (What They Do and Why We Need Them).

And please remember that LIES I TOLD releases TOMORROW! Ahhhh! It would mean so much to me if you would consider picking up the book and helping me spread the word online. I’m going to put up a giant giveaway tomorrow with tons of awesome stuff (gift cards! a whole signed MZ library! Victoria’s Secret bath products!), so please come back for a visit.

<3

 

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03/27/15 Lies I Told # , , , , , , ,

A FOURTH Glowing Review for LIES I TOLD

You guys… pinch me. I can’t believe this is real. Yesterday I found out LIES I TOLD has garnered another lovely, gushy review from Publisher’s Weekly. Trade reviewers are tough to please, and I think this might be the first time since the Prophecy series that I’ve had across the board awesome reviews for a book.

Here it is;

Seventeen-year-old Grace endured the foster care system for years until a pair of thieves adopted her, employing Grace and her older brother, Parker, for their cons. Ever since, Grace has spent four months in one place, five months in another, changing her name, personality, and friends in service of her parents‚Äô schemes. Now the family has landed in Playa Hermosa, Calif., gearing up for their greatest con yet‚ÄĒsnagging $20 million in gold bars, hidden in the house of a local family. Grace‚Äôs job is to get close to handsome Logan Fairchild to find out where they keep the gold, and Zink (the Prophecy of the Sisters trilogy) builds significant tension as Grace begins to fall for her mark and make real friends, throwing her loyalties and decision-making into flux. It‚Äôs a gripping, edgy thriller that‚Äôs driven as much by the internal conflicts of its sympathetic heroine as by the threats that the con will come crashing down around Grace and her family. A dramatic 11th-hour twist will leave readers eager for more. Ages 13‚Äďup. Agent: Steven Malk, Writers House. (Apr.)

I worked incredibly hard on this book and spent a lot of time fine-tuning my knowledge of craft. I couldn’t be more pleased that it’s¬†is being received so favorably. If you haven’t preordered yet, would you consider doing so? First week sales (all preorders go to first week sales) are so important to a book’s success, and I would really appreciate it! Plus, if you order from Oblong Books and Music by April 1st, I can sign and personalize your copy, and you’ll get a pretty little peacock pocket mirror as well. If you order from Amazon or B&N, the price is significantly cheaper when you preorder, and they don’t actually bill you until the book ships.

Thanks so much for your support!

<3

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03/26/15 Contests & Giveaway , Lies I Told # , , , , , , , , , , , ,

Blog Tour Stops for LIES I TOLD

Less than two weeks until the launch of LIES I TOLD, and I have so many fun things planned for you guys! Starting with a blog tour chock full of never-before-released excerpts, interviews with moi (don’t lie – you’ve always wanted to know what kind of milkshake LIES I TOLD is and what my favorite song is right now), tons of random things about me and the book (hint; there is one and only one game that I’m addicted to on my phone… ūüėČ ), playlists, and almost¬†twenty chances to win a LIES I TOLD prize pack.

Please join me in showing some love to the blogs hosting LIES I TOLD;

 

March 22nd   ReadingTeen   http://www.readingteen.net/

March 23rd   Reading Lark   http://readinglark.blogspot.com/

March 28th   MundieMoms   http://mundiemoms.blogspot.com/

March 29th   FictionFare   http://fictionfare.blogspot.com/

March 30th   Stories and Sweeties   http://www.storiesandsweeties.com/

April 1st   The Irish Banana   http://theirishbanana.blogspot.com

April 2nd   Dark Faerie Tales   http://darkfaerietales.com/

April 4th   Page Turners   http://www.pageturnersblog.com/

April 7th   Step Into Fiction   http://www.stepintofiction.com/

April 8th   Chapter by Chapter   http://www.chapter-by-chapter.com/

April 11th   Fictitious Delicious   http://www.fictitiousdelicious.com/

April 13th Neverending Stores Book Blog   http://www.neverendingstoriesbookblog.com/

April 15th   Curling Up with a Good Book   http://curling-up-with-a-good-book.blogspot.com/

April 22nd   Once Upon a Twilight   http://www.onceuponatwilight.com/

April 24th   Such a Novel Idea   http://suchanovelidea.com/

April 27th   NovelNovice   http://novelnovice.com/

April 30th   Me, My Shelf, and I   http://www.memyshelfandi.com

 

All of these bloggers put so much time and effort into hosting me, and I can’t thank them enough for all their support. But I CAN encourage you to pop in and visit them, and to read the LIES I TOLD tour stops along the way.

Nice people, awesome book talk, and secret info. What’s not to like? And who knows? Maybe you’ll win!

ūüėČ

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03/25/15 Uncategorized , Writing , Young Writers Series # , , , , , , , ,

Online Young Writers Series Week Four; A Word About Outside Advice

Whew! It’s been kind of crazy around here the last few days, which is why I’m late getting up this week’s installment in the Young Writers series.

Last week we talked about the different kinds of publishing, and the pros and cons of getting your book to readers via traditional publishing, boutique publishing, and self-publishing. You can reference that post here. And feel free to go back and look at the prior week’s entries as well.

This week we’re going to talk about outside advice, because frankly, it’s kind of a mine field.

If you read my post about self-editing you know that I’m a big believer in having an outside editor. Self-editing is meant to be a preliminary step on your way to the having someone else read and critique your work, not the end of the revision process.

But hiring an editor (or asking a friend, if you must go that route), can be tricky. For both of you.

Many times we ask someone to read our work, not with the desire to truly get better, but with the desire for an ego stroke, for someone to tell us our work is awesome except for that typo on page 23. We SAY we want outside criticism, but do we mean it? It’s a question each writer has to ask and answer themselves. And the truth is, if you don’t mean it, you really have no business asking someone else for feedback. It takes A LOT of time and effort to read for someone, and even more time and effort to give constructive feedback. If you’re looking for an ego stroke, you’re wasting everyone’s time (and your money, if you’re paying someone to edit for you). Your reader/editor will spend hours reading and compiling notes to help you make the book better, and you will spend days or weeks or months waiting for said notes. If you¬†ignore everything they say anyway, what’s the point?

You might as well just ask your mom to read for you (providing she’s not a mom like me, who will tell you if it needs a lot of work, whether you like it or not).

Something I hear fairly often from people who hire me to edit for them is, “I like the book fine the way it is. Just give me feedback on the little stuff. I don’t want to change anything big.”

Here’s me when people say that; ………….

Don’t you truly want your book to be the best it can be? If so, you have to be willing to look at the whole picture, because as an experience for the reader, a book is the sum of it’s parts. True story. Do you think the reader is more concerned with a typo than with pacing so slow they can’t finish the book? Or with cliched character development? Or plot holes so big you can drive a semi through them?

I don’t know about you, but when I read a book, those are the things that make or break it. They are the things that make a reader think, “This is so boring” or “Oh, my god… I can’t finish this,” even if they don’t know why.

If you love your book the way it is and aren’t willing to consider feedback about the big and small issues, my advice is to skip the time and money of hiring an editor (and save said editor a lot of frustration) and just run with the book as is.

But I don’t advise it.

On the other side is your editor/reader/friend. I love editor/reader/friends. I’ve been fortunate to have some truly gifted ones, and it’s not an overstatement to say that they have shaped and improved my writing in HUGE ways, and often very, very quickly. In my opinion, nothing makes you better like a tough-love editor who really knows what they’re doing.

And therein lies the rub.

Not everyone who will read for you knows what they’re doing. Some will be willing to read because you’re a friend or relative. Some are readers themselves. But none of those things necessarily qualify someone to shape your project.

It is very, very important that you hire someone (or ask someone) to read/edit for you who has a solid knowledge of craft.

Let me just take a moment to let that sink in.

………….

Ready? Now listen, I understand that not everyone can hire an editor, especially if you’re in high school or college and money is tight, you may HAVE to rely on a friend or peer. But choose your readers carefully anyway. Make sure the friends or peers you ask to read for you have discerning taste in literature, or at the very least, have YOUR taste in literature. If you’ve written a book you would compare to Twilight, don’t ask your best friend to read for you when her favorite book is The Sun Also Rises. And if you’ve written another The Sun Also Rises, you probably shouldn’t ask the friend whose all-time favorite book is Twilight.

Once you’ve chosen someone to read for you,¬†be honest about the type of feedback you’re willing to consider. Honestly, I don’t like editing for writers who aren’t interested in ALL feedback, because my mind automatically processes all the things that¬†need work, and it’s almost impossible to turn parts of that off while leaving other parts on. This is why I prefer working on developmental edits to copyedits — people who hire me for copyedits sometimes get more than they bargained for.

ūüėČ

But if you genuinely DON’T WANT developmental feedback, be honest about that up front so your reader doesn’t spend a lot of time putting together notes that you intend to discard anyway.

After your reader is finished and gives you his/her notes, take some time to process everything before you start defending your work. This will be harder than you imagine it to be. Your instinct will likely be to explain all the reasons you did what you did, even though it didn’t work for the reader/editor, or to go into long-winded descriptions of what you were trying to do.

Operative word here? Trying.

If your reader/editor says it doesn’t work for them, it doesn’t work for them, and it may very well not work for others. If you want to have a discussion about what you were trying to do in the context of how you missed the mark and what you can do to ACTUALLY make your point, that’s okay. Sometimes it’s very helpful to brainstorm possible fixes with someone who has read your work.

But here is where you need to check yourself before you wreck yourself; Do you REALLY want to have the discussion to come up with ways to fix the problem? Or is that just a way to justify a discussion in which you defend the work as it is?

It’s an important distinction.

I’ve sold ten book and six novellas now, and I STILL have to fight a knee-jerk reaction against editorial notes. I read through my Ed Letter and think, “That’s not true. I say X right here” and “It’s OBVIOUS she’s scared because of X reason.” It’s a perfectly natural reaction to criticism against something to which you’ve given your heart and soul.

But I’ve learned to let the feedback simmer for a bit. There have been very, very few times in the span of my professional writing career when I’ve started out thinking the editor was wrong and still believed they were wrong three days later. Usually the cycle post-editorial letter goes like this;

Annoyance > Disbelief > Anger > Reflection > Inspiration

I start out annoyed that my editor thinks my project has big problems, move onto denial that they are right, slide into anger that they would dare think all this stuff is wrong, ease into reflection about the truth of their feedback, and then become inspired as ideas begin coming to make the book better.

I’ve learned to save a detailed response to editorial notes for after I’ve hit the Reflection phase. Instead, my initial email response is something like; Thanks so much for your feedback! I’ll give all this some thought and get back to you with any questions.

ūüėČ

And the truth is, edits are still terrifying after all these years. I liken it to pulling apart a giant puzzle and hoping you can make all the pieces fit back together again in a way that makes sense. There’s always a little part of me that wonders if I can really do it. But being scared isn’t a valid reason for NOT doing something that will make your book — and your writing — better. In fact (life lesson alert!), I’d say that’s true of everything in life.

What if you’re not sure about the suggested changes? What if they just don’t FEEL right in your writerly bones?

Well, ultimately the decision to change something or not to change it lies with you. Just make sure your desire to leave things as they are is TRULY rooted in the belief that the story¬†is best served¬†that way rather than ego or unwillingness to do the work. Questioning your editor’s credentials now is a little too convenient. You hired them/asked them to read for you because you thought they were the best person for the job (and if you didn’t, you SHOULD, see notes above). What has changed? Are they not the best person for the job because they had criticism for¬†your work?

Hire the best person for the job, then really listen to what they have to say. That’s kind of the point, right? Because you want to be BETTER. In fact you want to get better with every book. I’m still learning, and it’s my favorite part of the process. You don’t WANT to be writing the same kind of book ten years from now that you’re writing now. You want them to get better and better and better.

Right?

The only way to make that happen is to read and write, listen and learn, and most of all, be willing to set your ego aside.

A quick checklist about the editing process;

 

1. Self-edit as much as possible before handing your project to someone else.

2. Choose someone who is somehow qualified to give you the best possible advice, then commit to listening to said advice.

3. Be clear about what you’re hoping to accomplish with your revision.

4. Take some time to process your editor/reader’s notes with an open mind before jumping to defend the way you’ve already done things.

5. Enter with an open mind into any project discussion with your editor/reader.

6. Be willing to do the hard work to make your book the best it can be.

 

Next week we’ll be covering¬†How Do I Sell My Book?¬†(A Step-by-Step Walk Through the Process). Hope to “see” you there!

<3

 

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03/23/15 Contests & Giveaway , Lies I Told # , , , , , , , , , , ,

Promises I Made Advance Copy Winner

Woo-hoo! We finally have a winner in the PROMISES I MADE Cover Reveal giveaway!

And the winner is…

*drum roll*

Stacee!

I’ve¬†already sent you an email, Stacee, and I’m so excited for you to read PROMISES I MADE. Thanks to everyone who entered and helped me spread the word. I’ll be giving more of these away after the LIES I TOLD launch in TWO MORE WEEKS, so stay tuned.

<3

 

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03/16/15 Uncategorized , Writing , Young Writers Series # , , , , , , , , , , , , , , ,

Online Young Writer’s Series Week Three; Publishing Options

Last week in the Young Writers series we talked about self-editing. Namely, what you should really be looking for when revising your work before passing it on to someone else. I got quite a few messages about the post and am glad it was helpful to so many of you.

This week we’re talking about the different kinds of publishing. Or SOME of them anyway. It used to be that you sent your book to an agent or editor at a traditional publishing house and left it in the hands of universe. There were big publishing houses and small publishing houses, but they all pretty much did the same thing. The big houses just had more money and more clout.

All that has changed over the last decade or so. With the advent of self-publishing, it’s become easier than ever to to see your words in print. But it’s also become more confusing than ever, because now you have OPTIONS, and all of those options come with¬†inherent pros and cons. It can be tough to know what to do and how best to get your work to readers.

And I hate to say it, but there’s no easy answer. Plus, I’m not big on giving people answers.¬†I like to give information instead. Then YOU can come up with your own answers.

ūüėČ

Let’s start with TRADITIONAL PUBLISHING. For the sake of this discussion, we’re going to call traditional publishers those that typically pay decent advances and have similar processes when it comes to acquiring new work, marketing, etc. We’re also going to stick with the bigger companies that have been around a while in this category, not because smaller houses don’t add value to the process, but because I’m giving them their own section in Boutique Publishing (below).

When you think of traditional publishers, you probably think of companies like HarperCollins, Random House, Simon & Schuster, Little Brown, and Penguin. But the are lots of companies that would be categorized as part of Trad Pub, and many of the smaller ones are divisions of the bigger ones (called IMPRINTS).

Traditional Publishing is the toughest way to get your work to the general population. This is because to many, it’s still the gold standard in publishing, and there are many layers to the process of being signed with them.

First of all, barring some personal connection to an editor, you MUST have an agent. Editors at traditional publishing houses stopped accepting unaccented manuscripts a long time ago. There are just too many of them, and an agent is one way editors can narrow their focus to work that has, on some level at least, already been vetted by a professional. Once an editor reads your book and likes it, they typically have to take it to Acquisitions, and that means getting a whole bunch more people on board with your book (more on that process in Week Five: How Do I Sell My Book?). By the time your book is actually bought by the publisher, LOTS of people have agreed that it’s a viable book, which means one that will make everyone money. And while it’s sometimes tempting to dismiss this part of the equation, remember that advances to authors cost money. Paying editors and marketing people and cover designers and accountants and legal people cost money. Having offices to do all of this stuff costs money. Marketing books costs money.

So… yeah. I have thoughts on the Trad Pub model of deciding where this money goes (because I don’t always agree), but I’ll save that for another time. For now, let’s just accept that big business costs big money to run, so they’re not going to buy books ¬†they don’t think they can sell.

One note of clarification; just because THEY don’t think they can sell it doesn’t mean it WON’T sell. Keep reading.

ūüėČ

So it’s hard to break into Trad Pub, but the silver lining is that there is a certain amount of quality control involved with books that are traditionally published. At the very least, they’ve been edited and deemed good enough to buy by lots of people on the publishing team. That PROBABLY means the book doesn’t suck, and that is worth something to readers, most of whom view books that are trad pubbed as safer bets than books that are, say, self-pubbed (I’m not saying this is always true, just that this is a typical school of thought… keep reading!). Some of that street cred is passed onto you when you publish traditionally. Whatever happens to your book in terms of sales, you’ve SOLD BOOKS to big publishing houses, and that isn’t very easy to do.

Upsides to Trad Pub include more money to spend on advances and marketing. Not that this money will go to you – advances and marketing treatments vary wildly in publishing. But at least you know they HAVE it. It’s also easier to get placement for your book in bookstores, which have limited shelf space and are very picky about what they put on display. Lastly, you have access to a lot of expertise in all facets of publishing, so at the very least, it’s a tremendous learning experience, both on the editorial side (working with a great¬†editor will make you a better writer like nothing else) and with regards to cover design, marketing, etc.

But I’m not going to lie; there are downsides. Remember all that money I told you about? Money for advances and marketing? Well, it’s far from even distribution. One book might get a $5,000 advance and another might get $500,000. One book might get a teeny-tiny marketing budget while another gets a massive campaign. And let me stop you before you say you don’t care about marketing.

You do. You SO do.

That’s because once you publish a book, those numbers follow you to the next book. And the next. If your book doesn’t sell well (which it’s much less inclined to do without significant marketing – there are just SO MANY BOOKS in the world now), your next contract, if you can get one, will likely be much less lucrative, setting you up for an endless cycle of low advance/low marketing that almost assures your authorial demise in Trad Pub. Publishers want to protect their investment, so they spend most of their marketing dollars on books that garner big advances. And those are a tiny minority of books that are bought by them, which means it’s tough for all the other books in the line up to get the kind of attention that makes Trad Pub an advantage over other methods of publishing.

Timing is also a factor with Trad Pub. Because they’re so big and have so many books, your book likely won’t be published until at least a year-and-a-half after the publishing house acquires it (I waited more than two full years for Prophecy of the Sisters).

Lastly, the amount of input you have in a traditional publishing house will likely be small. This is true when it comes to everything – marketing, cover design, even the title of your book. I’ve been lucky with LIES I TOLD, because HarperTeen has been very inclusive about title and design, but that hasn’t always been the case. And the bottom line is this; when you sell your book and accept an advance, you are no longer its sole proprietor.

In a perfect scenario, one where you get a good advance and a great marketing plan and have lots of talented people rooting for you at the publishing house, Trad Pub can be awesome. But that endorsement comes with the caveat that I’ve sold books to four major publishing houses now, and my experiences have been mixed.

Let’s move on!

I’m going to refer to BOUTIQUE PUBLISHING¬†here as companies that are small and/or up and coming. Just a few years ago, these publishers were divided into camps; traditional boutique publishers (small companies who published print books) and digital boutique publishers (those starting to publish books on digital platforms for ereaders). Back then, many traditional boutique publishers didn’t really have a handle on the rise of digital publishing, and digital publishers didn’t have a mechanism for getting printed books into bookstores.

All of that has changed. Most small traditional publishers have become savvy about digital publishing and how to use it to their advantage, and new distributors have stepped up to provide brick-and-mortar placement for boutique houses that once specialized in ebooks. This is all awesome news for writers, so let’s start with the upsides!

Working with a boutique publisher can mean more hands-on input about cover, title, and marketing. This isn’t always the case, but most of the time you have fewer cooks in the kitchen with a small house, and that means you have direct access to the people collaborating on these decisions. Timing can also be¬†accelerated¬†with a small publisher (although not always), meaning your book may make it in front of readers much faster than it would with traditional publishing.

Small publishers tend to cater to niche markets. That means if you write romance or sci-fi or erotica, or any “genre” novel, you won’t be competing against all of those books PLUS books in every other category for a spot. And once the book is published, that publisher may have a loyal following of readers in that genre who trust them to publish the books they like. Translation; sometimes it’s an easier way in.

Most importantly, small publishers can be¬†more accessible to writers both before and after publication. You don’t always need an agent to get your manuscript in front of an editor, and after your book is acquired, you’ll likely have direct access to many of the people on your team.

As with anything, there can be downsides. Easier access and acquisition isn’t always a good thing. Sometimes (not all the time!) a book isn’t picked up by Trad Pub because, well, it’s just not good enough. It could be that¬†it needs more editing or it’s in a waning genre or any number of other things, but sometimes having your book rejected by Trad Pub is a blessing in disguise.

When I first got an agent, we tried to sell my second book. I loved that book. I thought it was absolutely perfect. But it didn’t sell, and while I was super disappointed, I’d spent the months it was on submission working on a Gothic fantasy called Indigo Sky. That book became Prophecy of the Sisters. The failure of my¬†second book to sell prompted me to seek out a new agent, and I ended up with Steven Malk and Writer’s House, who have been amazing to me and amazing for my career. Prophecy sold for a much larger advance than that second book ever would have, insuring me more marketing and a better start in the business. I believe I would have been published either way (I wrote five books in two-and-a-half years – I was DETERMINED), but I think it would have been a rougher start with that second book, and there’s no telling where I’d be now.

The thing is, those editors knew my second book wasn’t ready, even if I didn’t. If I were trying to sell it now, maybe I’d sell it to a smaller publisher or self-pub it. But that wouldn’t magically render it ready. It wouldn’t magically render it GOOD. And do I want a book with my name on it floating around out there if it’s not, at the very least, GOOD?

No.

Small publishers also have less money to spend on marketing, although this is only an issue if we’re talking about¬†the BIG money spent in traditional publishing compared to the small money spent in boutique publishing. If your book falls into the latter category, there might not be much of a difference between small money in Trad Pub and average money in Boutique Pub. Also, your advance with a small publisher will likely be small or even non-existent. Maybe you’ll make it up in royalties, maybe not.

Let’s move on to our last category;¬†SELF-PUBLISHING.

Self-Publishing used to be a four-letter-word in publishing. It was only done (supposedly) by hacks; people who weren’t good enough to sell their books to a “real” publisher. And to be fair, this criticism wasn’t always unfounded. There are downsides to making it easy for anyone and everyone to upload their writing and call it a¬†book. Because let’s face it; writing is harder than it looks, and just because you love to read and own a computer, well, that doesn’t mean you’re a great writer.

Which is not to say you shouldn’t write! I say if something brings you joy, do it! But as a reader, let’s be honest; it sucks to take a chance on a book, pay for it with your hard earned money, and then have it be downright bad.

Luckily, self-publishing no longer carries the stigma it once did, and there are endless resources available to make sure your work is as professional as possible before you show it to the world. You can hire editors and cover designers and even PR people to help you get the word out. And if you’re on a budget, there are countless resources online that will give you information about how to do these things yourself. You can collaborate with other self-published others on Twitter and Facebook, cross-promoting and learning the ropes from each other.

You also have complete control. Over your title, your cover, your release date. Everything. If your cover doesn’t play well with readers, you can change it and have the new one up in twenty-four hours. If you need to make edits after it’s been published, you can do that, too. Your book can be released within days, and your paychecks (if your book sells) will start arriving within a couple of months.

All of that control comes with a price, though, and it’s called RESPONSIBILITY. Your cover will only be as good as the cover designer you hire or the cover you design yourself. Do you have the expertise to do it? Does your cover designer REALLY know what makes for a cover that sells books? Your book will only be as good as ¬†the editor you hire and the revisions you make. Nothing can destroy a book’s potential like a bad editor — or an author unwilling to make the changes necessary for the book to shine. Are you willing to do that? Do you have access to an editor that REALLY knows what he/she is doing? Marketing is a HUGE part of self-publishing. There is no publisher to send press releases or get your book up on Goodreads or give out advance copies to librarians and teachers at conferences. Do you have the time and knowledge to make all that happen?

If so, self-publishing may be for you, and many authors have made a name for themselves (and a good living) doing it.

Bottom line; there are more options than ever for writers. By taking a hard look at your work, your goals, and your resources, you can decide which route is best for you. The good news is, if it doesn’t work out, those other options are still out there, and there’s nothing saying you can’t switch gears later on. Many traditionally published authors are now “hybrid authors”, which means they traditionally publish some of the their work and use other methods as well.

I hope this helps! Please feel free to leave questions in the Comments section. And check back next Monday for Week Four; A Word About Outside Advice.

Because not all advice is good advice.

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Also, we’re doing an awesome video project for the LIES I TOLD launch and would love for you to participate! All you have to do is send a video via Skype to LIESITOLD detailing a lie you’ve told yourself or one someone else has told you, how that lie has impacted you or your self-esteem, and how you go about moving on from the lie. The first five people to submit videos win a personal Skype video from me plus a signed hardcover of LIES I TOLD. And I’m participating, too. Yikes!

Check out the details an my video message about the project here.

 

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03/11/15 Contests & Giveaway , Lies I Told # , , , , , , , , , , , , , ,

Send Us Your Lie!

I have a surprise for you guys! I made you a video message.

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As part of the LIES I TOLD launch, we’ll be putting together a video compilation about lies¬†and we want YOU to participate. All you have to do is send a short video message to the Skype address LIESITOLD. Your message should explain a lie someone has told you or one you’ve told yourself, how that lie has impacted you, and how you go about forgiving or moving on from the lie. Once all the messages are received, we’ll put them together with some music and it will be really awesome. Plus, I’ll send personal video messages and a signed hardcover of LIES I TOLD to the first five people to send in their messages.

Oh, and one more thing. I’ll be participating, too, so you’ll get to here a lie of mine as well.

It’s only fair!

Deadline for entries is Tuesday March 24, Midnight EST.

Can’t wait to see your videos!

Also, my shadow and I need a haircut. It’s been a long winter.

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03/09/15 Uncategorized , Writing # , , , , , , , , , , , , , ,

Online Young Writers Series Week Two; Self-Editing

Welcome back, young writers!

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Last week we talked about the things you can do now to give yourself a head start if you’d like to write as a career. This week we’re going to talk about self-editing, because while EVERY writer needs an editor other than themselves, it wouldn’t be nice to give your book to someone else without first doing some work on it. That’s because NO BOOK IS EVER “DONE” right after you finish writing it.

One more time for good measure.

NO BOOK IS EVER “DONE” RIGHT AFTER YOU FINISH WRITING IT.

It doesn’t matter how awesome it is or how much you love it. And that goes¬†for every author everywhere.

Even if you circle back and edit as you go (I do this in 100 page increments), you won’t have an objective view on the book until you get some distance from it and then read it front to back. Even then, you will STILL need an outside reader/editor. But they will hate you less because you will have done at least some of the clean up ahead of time.

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When I first started editing my work, waaaaaaay back in 2005 when I started trying to get published, I wasn’t sure what I was looking for, and to be honest, I didn’t even realize that I didn’t know what I was looking for. Of course, there was the obvious; typos, inconsistencies in the timeline, pieces I’d forgotten to take out when I’d cut other pieces with which they connected, etc.

But I wasn’t focused on the big picture at first. You know what made me start focusing on the big picture? Reading for OTHER people.

I belonged to a few online writer’s forums and began trading work with a couple of people I liked and admired (one of them is now also published, which was so fun and exciting to find out). It was only when I started reading for other writers that I saw the things that REALLY mattered. And it wasn’t typos (although I should say for the sake of clarification that your manuscript shouldn’t be riddled with them).

That was a turning point in my own self-editing evolution, because I was able to look for the things I knew readers would notice.

But before I get to the checklist, I want to stress one very important thing about self-editing; GIVE YOURSELF TIME AWAY FROM YOUR MANUSCRIPT BEFORE YOU BEGIN EDITING.

I know, I know. You’re DYING to read it! DYING to send it out to other people so they can read it! DYING to start querying agents! DYING to put it up on Amazon and Apple and B&N if you’re self-publishing.

But trust me on this; you will NOT see your work objectively until you give your mind time to breathe. Consider it a palette cleanser, like those little dishes of sorbet they give you between courses at super fancy restaurants. Work on something else, read, take walks, hang with friends, watch movies. Anything BUT start revising your manuscript. In a perfect world, you’d be able to give yourself at least a month away from it, but if you absolutely can’t wait that long, promise me you’ll wait at least two weeks.

Pinky promise?

Good.

Once you’ve had a break, go back and start reading your manuscript with these things in mind (this checklist pulls from a talk I give to schools and libraries about self-editing);

1) Setting

Setting is so important to that immersive quality you get in a good book. It’s the thing that makes you really feel like you’re in a different place, like you can taste the food and smell the air and¬†see the trees and flowers and weather unique to that area. A well developed setting makes the reader feel like they are THERE. This was a very big part of Prophecy of the Sisters. The rural New York setting in the late 1800s allowed me to create a lot of the creepy, moody vibe that pervades the book, with¬†fog hanging low over the fields and shrouding the mountains, rain battering the windows, and the wind making an old house creak.¬†In A Temptation of Angels it was Victorian London, its nighttime air sooty with lamp smoke, the clatter of carriages a backdrop to everything outside. In This Wicked Game it was modern day New Orleans with sultry, humid weather, the sound of jazz bands, the smell of magnolias. And in LIES I TOLD it’s a California paradise on a cliff over the water where wild peacocks strut the streets and parrots flit through a thick canopy of trees, the sound of the surf breaking against the cliff like a lullaby to everyone who lives there.

See what I mean? It’s important! And even suburban America has a look, feel, and smell. Your job is to capture it so fully that it almost feels like another character in your book – without distracting from the story.

2) Character Development

This might seem obvious, but the nuances to creating well-rounded characters are many and sometimes difficult to quantify. In short, you want your characters to come on the scene fully developed, with a personality, likes and dislikes, hopes and dreams, habits and tics. And you want your protagonist¬†to change somehow through the happenings of your story. To arc, if you will. The protagonist¬†could start out strong and be broken by the end. He could be broken and grow strong. She could be rigid and unmoving and the grow to see that things aren’t so black and white. The important thing is that your character be so unique that he or she isn’t interchangeable with just anybody.

In Prophecy of the Sisters, Lia starts out the meeker of the two twins and must grow to own the responsibility that is hers, even if it means forsaking her twin. In A Temptation of Angels, Helen evolves from a sheltered, over-protected Victorian girl to someone willing to risk her life to save others. In This Wicked Game, Clare eventually begins to question her disbelief in voodoo, and her harsh judgement of those who practice it, when she realizes that life is a lot more mysterious than we think. In LIES I TOLD, Grace begins to question not only the things other people tell her about herself, but the things she’s believed to be true as well – all in an effort to become¬†more fully HERSELF. Not the Grace everyone else says or believes she is, but the one she in in her heart, and the one she most wants to be.

A big part of the fun and challenge of reading about interesting characters is watching them grow and change. Make sure yours are fully developed from the beginning, and that the main characters make some kind of emotional, physical, or mental journey in the story.

3) Relationship development

This is very similar to Character Development. In real life, our relationships with others are sometimes complicated, full of love and dislike and competition and jealousy and admiration. And as people undergo change, so too, do our relationships with others. This should be reflected in your story. Relationships should be authentic, backed up by what you show or tell us about them. This is easiest to illustrate in a love story. In a good one, we see the gradual progression from first meeting to love through a series of (hopefully realistic) encounters and exchanges. But relationship development can be more complicated when it comes to other types of relationships. If two people have always been¬†competitive, that should be evident, even subtly, in their interaction and/or the accompanying exposition, and that should be true of any relationship you build. If you show us that someone is protective of someone else, that dynamic should be evident throughout, until and if it isn’t anymore.

In Prophecy of the Sisters, Lia and Alice grow from having a slightly distant relationship to being actual enemies, and then find their way back to each other in a more honest way. In A Temptation of Angels, Helen has an adversarial relationship with Darius, Griffin’s older, cynical brother. But in the end, Darius comes to respect her, and she comes to see beneath his brittle facade. In This Wicked Game, Clare and her parents are at odds. Clare doesn’t want any part of voodoo, but it’s an important part of her parent’s history and current business. We see them clash in the beginning, but gradually Clare’s stance softens, and her mother thaws a bit, too. In Lies I told, Grace and Parker start out close, like the adopted siblings they are, then grow apart as their goals diverge.

Whatever the relationships in your story, make sure they are authentic and fully developed. Think about the complexities of your own relationships! Try to capture them on the page.

4) Pacing

Pacing is the speed with which a reader moves through your story, and it is largely dependent on the things you’ve included, the things you’ve omitted, and the way the story is structured.

When I’m preparing to write a book, I use a screenwriting “beat sheet” to outline the pivotal moments in the story (you can find sample beat sheets online). Then I write a 4-5 page summary of the story, laying out those pivotal moments within the narrative of the story. To keep things moving, you want to move between pivotal moments as quickly as possible.

When you read a book that feels slow, it’s often because the writer has rambled a bit in the space between pivotal events. It’s okay to mention what a character’s wearing from time to time, for example, or to show us what they order at a diner. But we don’t need to see what they’re wearing everyday (unless this is a book with a fashion component or it serves the plot somehow), and we don’t need to hear about every meal they eat.

When I was working on pacing¬†it helped me to visually my book like a movie. In a movie if two people are going to a diner to eat, we don’t always see them in the car in the way there. And indeed we SHOULDN’T – unless something happens in the car that is material to the plot or some other important facet of the story. More often than not we’ll see two people agreeing to go to the diner, and then the director will cut immediately to the diner and the conversation that takes place there, because THAT is the next pivotal moment.

See what I mean?

Structure can play a part in this, too. Sometimes we can most easily see the things we need to see with POV shifts or flashbacks. Whatever it takes!

5) Voice

Voice is that intangible quality that makes you feel like you’re inside a character’s head. It’s a hard thing to learn, so I can’t really tell you how to do it. But I can say the best way to cultivate voice is to first look closely at the things I’ve laid out so far. If your setting is rich and atmospheric, if your characters are fully fleshed out, if their relationships with others are real and sincere, voice will often come naturally.

I heard Lia’s voice in my head before I ever started writing. It was somber and a little heavy. Helen’s voice was young and scared in the beginning and grew to be strong and even a little impetuous. Clare was difficult for me at first. She was just a normal, modern girl. How could I make her stand out? I waited for a long time to start This Wicked Game because I couldn’t hear Clare in my head. I thought about her when I drove or when I cooked, imagined what she would think of various things. Then one day, she was just there. Grace came easily to me and by the time I’d written the Prologue, I had her in my head. Her voice in LIES I TOLD is a little sad, a little weary. I had trouble with voice at first in my current WIP, so I wrote a stream of consciousness narrative for each of the two main characters until I felt like I “knew” them.

You can do this too!

Try writing something short from the first-person POV of someone you know. It could be someone from school, a sibling, a friend, your bus driver. Imagine what that person thinks about, what matters to them. There are no rules! Just choose something to write about and go. It can be about that lonely kid on the bus who never talks to anyone on the way home or the bus driver who always looks so tired. What is he/she thinking about? What matter to him/her? Just write a stream of consciousness something in this person’s POV. You can do this anytime you want as an exercise, and you can do it with the characters in your book if you’re having trouble nailing their voice.¬†In the case of the latter, do it until it feels right, because it’s important that you have that down when you begin.

Voice is also YOUR voice. That is, the unique quality to your writing that will make a reader know they are reading a Michelle Zink book or a John Smith book or a Jane Doe book, even when those books seem wildly different on the surface. That isn’t something that can be taught, but it can be cultivated. How?

Simple. You have to write. A LOT.

6) Authenticity

Few things are as important as this. Have you ever read a book and groaned aloud because, well, people don’t TALK like that!?! Or you just know that character wouldn’t do¬†that? In movies this is a big pet peeve of mine. I call it the “Running from an Explosion” effect. It’s like, really? The building explodes ¬†and they just run and they’re okay? They don’t get hit with debris or anything? They don’t get cut or banged up?

But dialog and narrative can be tricky too. Try to hear your characters in your head (having their voice down will help with this) so you can imagine them talking. Remember that most real people use contractions. They do not say something like this. They’re much more likely to say it like this.

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I’ve been lucky to have teenagers and young people in my house for the last ten years, so I’m pretty much surrounded by youth speak at all times. The downside is that I probably sound like a sixteen year old sometimes, but the upside is that I’ve always gotten compliments on my dialog. Just remember that speech, like everything else, is affected by character development. A surfer from California probably won’t sound the same as a street-wise kid from New York City, and THEY will probably sound different from someone who’s grown up on a farm.

But one word of warning; don’t make caricatures out of your characters! Just because someone is from the Bronx doesn’t mean they Towk Like This. And just because they’re from California doesn’t mean they’re, like, soooo stupid! Think about your character, where and how they grew up, who they ARE, and let that inform your dialog and the story to make both authentic.

7) Plot

This is kind of a loaded bullet point for the sake of this online series. There are TONS of diagrams and graphs online to illustrate story arc. As I’ve said, I use a beat sheet when I plot out my books, but it doesn’t matter what you use; just make sure your books HAS a plot.

Most plots are made of up the following; Exposition, Conflict, Rising Action, and Climax. You could go crazy looking up all the varying perspectives on plot. There are subcategories to the above, and sometimes subcategories to subcategories. But the main thing to remember is that a plot has CONFLICT, and pretty much everything in the book revolves around the resolution of that conflict. Sometimes it helps me to see Conflict as Goal. In Prophecy of the Sisters, the goal was to figure out the Prophecy (first book) and then bring it to an end (in the second and third books). In A Temptation of Angels, it was for Helen, Griffin, and Darius to figure out who was hunting them and why, and then eliminate that danger. In This Wicked Game, it was for Clare to figure out what the mysterious woman wanted and how she was connected to the Guild – and to Clare’s family. And in LIES I TOLD, it’s Grace’s internal conflict between staying on the grift with her family even if it means betraying someone she loves or finding a way to have a real life.

A plot isn’t wandering around in a made-up world seeing interesting things and it’s not just people talking. There has to be a conflict, and from that conflict a goal typically arises (goal=to resolve conflict). Make sure your story has these things, and it will also have the kind of order that makes a book readable and engaging.

Whew! That was quite a lesson. I hope it helps. Please feel free to leave any questions in the Comments section, and please pass this along to any other young writers.

Remember that you can go back and read last week’s lesson about how to prepare for a future writing career. There are lots of different ways to get your words to reader, and next week we’ll be talking about the different paths to publication and the pros and cons of each, including traditional publishing, boutique publishing, and self-publishing.

And you guys! Less than a month until LIES I TOLD releases. Then you can all read Grace’s story.

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03/06/15 Contests & Giveaway , Lies I Told # , , , , , , , , , , , , ,

PROMISES I MADE Cover Reveal!

You guys! I honestly feel spoiled these last few days. I’m not sure anyone has a right to so many fun, exciting things in one week. I’ve shared another AH-mazing review for LIES I TOLD (that makes three out of three, including that starred review from Kirkus) plus the absolutely gorgeous beyond-my-wildest-dreams finished copy of the book. And while that may seem like a small thing, covers are SO IMPORTANT to a book’s success, and the amazing design team at HarperTeen really pulled out all the stops, surprising me with a treatment on the back cover that I can only describe as badass (follow me on Facebook/Twitter/Instagram for a look).

But wait! There’s more!

I also get to reveal the cover of PROMISES I MADE (FALL 2015), the sequel to LIES I TOLD. And those of you who have read an ARC of LIES know why getting your hot little hands on the PROMISES ARC is a big deal.

I’m zipping my lips now.

Nope. Not saying one word!

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Suffice it to say that after you read LIES, you’re going to want to get your hands on one of these babies.

So without further ado…

 

PromisesIMade HC C

 

 

 

 

 

 

 

 

 

 

Isn’t she a beauty? I love this cover because it really captures Grace’s fear and isolation in the second book. She looks hunted – and she is.

To celebrate the reveal of this amazing cover for PROMISES, I’m giving away one of my very first ARCs. It’s a precious commodity, guys! But I’m willing to part with it if you’ll help me spread the word. And with that in mind, I’ve set up an easy-peasy giveaway below.

There are tons of day ways to get entries, some of which you can do more than once a day, and some of which are as easy as tweeting or following me on one of my social media platforms (which I know a lot of you already do). Just pick the one(s) that suit you and you’re all set!

P.S. because of Rafflecopter’s rules, this giveaway won’t officially start until Midnight tonight. Don’t worry, I’ll remind you to come back and enter. I was just DYING to share the cover.

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a Rafflecopter giveaway

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03/02/15 Lies I Told # , , , , , , , , ,

ANOTHER Awesome Review for LIES I TOLD!

You guys! This is crazy! I’m so excited to announce the THIRD (out of THREE!) awesome review for LIES I TOLD, this one from Booklist. “The sense of foreboding that pervades the novel explodes at the end, with irreparable damage to everyone. An addictive read.”

AN ADDICTIVE READ! Woo-hoo!

Full review follows. Thanks Booklist! heart emoticon

Lies I Told.
Advanced Review ‚Äď Uncorrected Proof
Zink, Michelle (Author)
Apr 2015. 352 p. HarperTeen, hardcover, $17.99. (9780062327123).

Grace and Parker were adopted by a couple of con artists. Their cobbled-together family moves from state to state, integrating themselves into wealthy communities, learning the habits of their marks, and then robbing them blind. But the strain of leading this duplicitous life begins to send fissures through the family, and as their double-dealing house of cards comes crashing down around them, Grace’s deepening feelings for the handsome Logan, her assigned mark, only make the situation more complicated and wrenching. Grace is a complex and compelling character. Her parents give her a true sense of belonging, something that was missing while she was in the foster system. But what she fails to recognize, and what causes increasing conflict between her and Parker, is that by making the teens complicit in a series of long cons, her adoptive parents are being psychologically abusive, ultimately destroying Grace’s ability to have any real friendships or relationships. The sense of foreboding that pervades the novel explodes at the end, with irreparable damage to everyone. An addictive read.
‚ÄĒ Eve Gaus

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02/12/15 Lies I Told # , , , , , ,

Preorder Goodies

Just a reminder that you can now preorder¬†a signed copy of LIES ¬†I TOLD from Oblong Books and Music! I love doing preorder incentives with Indies, both because I want them to stick around and because it means I get to see the names of the people who have preordered and can write a personal message along with my signature. I feel like I know so many of you from Twitter, Facebook, etc., and it’s really nice to see your names on the list and then sit down to write you a note. Plus, if you order from Oblong you get a handy-dandy peacock pocket mirror as part of the promotion.

Like you needed something else to make this worthwhile.

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Preorders are a very important benchmark for authors, as publishers look at those numbers to determine how well the book is expected to do. And THAT is important because if a book does extraordinarily well with preorders, a publisher may give the book more exposure through increased marketing, something that can make ALL the difference in how well a book does long term. It’s one of very few things you can do in advance of a book’s release to support the book and its author. So do me – and any author you want to support – a solid and preorder a book today!

P.S. Hang onto your receipt if you preorder from another store (online or otherwise) as well. All of my preorder swag is going to the Oblong orders first, but if I have extra, I’ll be offering it to readers who preordered elsewhere.

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Michelle Zink is the award-winning author of over seven novels. She lives in New York with too many teenagers and too many cats.
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Michelle St. James Online
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Acclaim

"This arresting story takes readers to other planes of existence…"
- Booklist (starred review)


‚ÄúAn intense and captivating story‚Ķ‚ÄĚ
- VOYA (starred review)


‚ÄúA fresh and engaging cast of characters, a page-turning plot and lyrical prose add up to an accomplished feat of storytelling‚Ķ‚ÄĚ
- The Guardian


“A captivating tragedy…"
- Publishers Weekly


‚ÄúZink‚Äôs methodical unfolding of events will draw readers in‚Ķ‚ÄĚ
- Kirkus


‚ÄúTingly suspense is craftily managed‚Ķ‚ÄĚ
- The Bulletin

Awards
 

 



@MichelleZink
.@realDonaldTrump getting desperate trying to blame Dems for his failed bill. Couldn’t even get his own party to support it. SAD!!
RT @MMFlint: Trump has blinked. So much for the Art of the Deal. #loser @realDonaldTrump
.@realDonaldTrump Some big deal maker you are. Can’t even get your bill to a vote with a Republican majority. You are a fraud. #killthebill