Wednesday, March 4, 2015
While nothing is set in stone and there are variables, I have found that during certain days and times, some of my social media posts receive more activity than others. Of course it also depends upon the content of the post, but if you've ever wondered what times might be best to post a particular book related topic, event, question, etc., it could help to know when the social media pages receive the most clicks.
My Internet research, based upon reading various articles (one in particular that tracked the habits of 14 million social media users), seems to indicate that it's best to post content on Facebook and Twitter in the daytime. Users are more consistently sharing between 9 a.m. and 12 p.m. EST, and clicking between 3:00 p.m. and 5:00 p.m. EST.
Yes, it showed that most users share on Facebook and Twitter in the morning when at work, and clicking can happen more often in the afternoon, until people get off work. In both cases, traffic is heavier during employee break times. I do believe it's true that more people are on social media while at work than we think, but employees also log on once they get home, some catching up on what they've missed, and some who cannot use their cell phones during work hours, or because they just don't have the time when at work.
As far as peak days of the week, Thursdays are busier on Facebook, and Fridays are busier on Twitter, still at the same times, mornings and afternoons.
Personally, I find that evenings, Monday through Thursday, are good times. Surprisingly, users are engaging during the times when people are also watching popular TV shows, like Scandal and Empire, because so many people are online chatting about it. Friday evenings and weekends are slower, with the exception of maybe Sunday nights.
So, it's really a two-sided coin. Whatever works for you is what you should stick to, but being that visibility in this business is so important, and so much revolves around the Internet and our social pages, I feel this would be a cool thing to think about if you're promoting a new book release or sharing a blog page, or just staying in touch with your social media friends.
The more engaging you are and the more popular your page is, Facebook, in particular, is more likely to see to it that your post spreads among your network. It's all part of the Facebook algorithm, and newer users, or less active users, are less likely to have their posts shared to other feeds. If a post receives a lot of likes, shares, and/or comments, it will bubble up to the surface of other people's feeds.
With Facebook, you obviously want your posts to show up often in the stream or news feed. A new post will do that, but also, an older post will as well if you share it later, plus it moves up to the top of your page. If you post while fewer people are on the site, the chances of people seeing it are obviously slimmer, but also, when someone likes your post, shares it, comments, etc., your post appears in various places of your friends' news feeds. Even likes will allow the post to reappear. Have you ever noticed that as soon as someone likes an older post of yours, others begin to like at and comment as well?
Much of this is not rocket science, but it is social media science, and it's food for marketing thought.
Write on and post on!!
Sunday, March 1, 2015
When Lynelle and I published our children’s novel last year, I sent it to a colleague of mine for review. That colleague just happens to be a Senior Advisor at the Brain Science Institute and Science of Learning Institute at Johns Hopkins University and the Creator of Curiosityville. She is also a children’s book author. Not only did she give a glowing review, she introduced us to the people at Port Discovery Children’s Museum. They saw the value of the book as an excellent learning and teaching tool and invited us to participate in the “STEM in Spring 2015. During Maryland schools spring break, the STEM in Spring exposes thousands of children to Science, Technology, Engineering and Mathematics by workshops, activities, and exhibits in a hands-on interactive manner.
Port Discovery Children’s Museum is ranked among the top five children's museums in the country and is one of the leading non-traditional educational resources of the Mid-Atlantic region serving hundreds of thousands of children per year with educational and fun activities. They focus on child development and learning through interactive play. We were delighted for this opportunity to partner with Port Discovery, because the museum normally partners with large institutions who sponsor programs, workshops and exhibits as well as community outreach programs.
Since “Zapped” is about children who are shrunk and zapped into a biological cell for an exciting adventure, we proposed a workshop where we recreate the journey of the main characters of the books through the cell. The purpose of this is to familiarize children with the biological cell and the structure and functions of the parts of the cell while they are having fun. We decided to convert an 18’x34’ space into a cell – a really exciting and fun project that requires lots of child-safe materials. The only set back is we have to fund the project ourselves. No problem if you’re a large institution with access to a lot of funds. Daunting if you’re two struggling authors.
We started looking at ways to fund this project. We first reached out to the college where I worked, but of course with all the bureaucracy that will take more time than we have. So we turned to gofundme.com, a secure crowd funding website that allows us to raise funds online. Gofundme is really nice in that it automatically posts to your websites, emails, Facebook etc. There is no administrative cost to donors, and unlike some other crowd funding websites, we get to keep the donations even if we don’t reach our goal. We calculated that if each of my 800 Facebook friends could give as little as $5, we would be well on our way to making that workshop a reality. While we’ve had some wonderful donations, we are quite far from our goal of bringing STEM to the kids at Port Discovery Children’s museum.
- You can help us achieve our goal by clicking on this widget and donating. It needs not be much as every little helps.
- You can re-post or share it to your Facebook page, Twitter or other social media sites asking others to support our cause.
Saturday, February 28, 2015
Nope, we're going to talk about heroines. In case you're wondering that falls under the category of characterization. I have a beta reader, a live one not a muse, who is great at predicting what story is potentially great but also honest enough to tell me when I'm getting repetitive. When I hear the "r" word, I freak. Usually she is referring to my "style" so I can calm down a little since mine is a bit on the different side.
Still I have that other girl, the muse girl, sitting on the right or left shoulder, her choice, tugging on my earrings to make me step back and look at my main female characters. I dread the thought of using a mental cookie cutter to create them and so I'm constantly on the lookout for anything repetitive. And so is she.
How do you create heroines that differ from one other? Well, first and most simply, the physical description. I've had a character tall and powerful and brunette as well as two petite ones with black and blonde hair. That's the easy way out. But it's also the opportunity to layer that character a little too. Do their physical attributes affect their view of life? For my work, that's most of the time. My tall and strong heroine, Khai Zafara, from Inamorata Crossing, never thinks about it. She's a dedicated soldier at least at the start and takes her physicality for granted; for her it's a positive attribute.
Payce Halligan and Isadora DayStar are both small and petite; one blonde, the other black haired. One ignores her size until it becomes a problem and then she responds with feistiness. The other sees herself as a tiny person in her universe, her worth even less than her size. But that's the superficial layer.
It's the deeper layers that truly differentiate characters. How they respond to themselves and their conflicts is the key here. Anger, revenge, fear are some of the conflicts characters have to and should be dealing with in their stories. But there's one other conflict that many authors don't include. I've said this before, a bazillion times: guilt is a powerful motivator. Not only that but it's a fairly common motivator for readers as well. In other words, guilt is also a fairly universal experience. I give my characters a ten foot duffle bag of it to drag around.
How each character deals with it is the conflict. It's the major differentiation between female characters. To give you an example let's look at Payce and Isadora again. Both Payce and Isadora have major guilt over almost the same thing but on different scales. Payce deals with it by withdrawal and obsessive target practice as if reliving the trauma over and over and attempting to recreate it with the right outcome each time. Yes, I know that sounds like the recipe for insanity, but it isn't. She isn't so obsessive that she can't function—she uses target practice also as a form of self-therapy—to make sure she doesn't make the same mistake again.
Isadora on the other hand, tries to bury her past to the point of desperate addiction to kill her memories and her guilt and any emotions attached to them. To that end she debases herself completely and horrifyingly for the drug, thereby confirming, consciously and subconsciously, that she has no real worth whatsoever. Her guilt overwhelms her and just surviving becomes a suicidal struggle.
Thursday, February 26, 2015
Sunday, February 22, 2015
Then serendipity happened: I read a story in a local newspaper about a new Kensington Publishing imprint called Arabesque that was pioneering multicultural romances. The article gave me a precious scrap of information: the name of the Arabesque editor: Monica Harris. I asked a friend to find the Kensington address online as I had no computer and I shot off a three-page query to Ms. Harris via snail mail--yeah, it's what we did in 1998--and I waited.
A few months later I got a response, not from Monica Harris who had moved to another house by then, but from Karen Thomas, her replacement. Ms. Thomas enclosed submission guidelines and asked for the full manuscript of that first novel. There was one little problem: my novel was 10,000 words short of the word count she requested. So what did I do?
Clueless act #1: I brushed that minor word count detail aside, printed the manuscript, and off went the 10,000-word-too-short novel. (Pro tip: DO NOT DO THAT!)
Clueless act #2: Enclosed in the package was a lovely little bio on decorative stock, mentioning my adorable son, the lush valley where I lived, my precious rose bushes, and so on. (Pro tip: DO NOT DO THAT!)
Clueless act #3: What I did not enclose was a synopsis, although the guidelines specifically asked for one. It was too much of a bother and I was in too much of a hurry. (Pro tip: DO NOT DO THAT!)
Did I ever hear from Ms. Thomas again? Well, uh, no. I proceeded to....
Clueless act #4: Instead of sending the manuscript out to other potential markets, I waited...and waited...and waited for a response from Arabesque. I eventually got despondent and put the whole publishing idea on indefinite hold. (Pro tip: DO NOT DO THAT!)
I know--you can't believe anyone could be that deluded. I can hardly believe it myself but I was, and trust me, I wasn't even the most clueless aspiring author out there. In hindsight, putting down the manuscript and backing away was probably the least clueless thing to do then: I was a danger to myself. I spent the next eight years expanding that first manuscript, getting critical feedback from a first reader, editing the novel to a state of squeaky cleanliness, ignoring it for years at a time when life got "interesting", and learning everything I could about the publishing industry. At the end of 2005 I was ready to enter the publishing fray once again, this time as a serious player.
I was lucky. Within months of my decision, frustrated with the glacial pace of snail mail queries, I discovered a site that listed agents who accepted e-queries. I got four requests for full manuscripts immediately and about two months later, I had a literary agent. She sold the book to an editor who said she loved the story and wanted to acquire it for Dorchester Publishing. That editor? Monica Harris, the former Arabesque editor whose name in a newspaper had sent me gung-ho on the road to publication almost a decade before. I'd gone full circle.
Thursday, February 19, 2015
At that time I had what Valerie and I thought was an adequate cushion in the bank, monthly bills were at the lowest they'd been since our first child was born, and I had a couple of writing and editing jobs lined up. Part of this calculation was the fact Valerie earned enough as a safety specialist that our family's survival did not depend on my writing income alone (though our budget required I have an income). I did okay but not great those last five months of 2011. Valerie and I ended the year with the sense that while full time writing was not the fast track to riches, it was doable.
The next year caused us to reassess that conclusion.
Quick lesson in freelancing and publishing to explain why: The presses at big house publishers need lots of lead time, so book packagers – who provide print-ready manuscripts to publishers, thus saving the publisher a lot of time and money – will reserve a slot in the publisher's production queue before the book is written. Occasionally – not as rarely as you might think – a "name" author delivers an unusable or incomplete manuscript and can't (or won't) fix it in time for its scheduled printing. If the book packager is not willing to give that slot up, she will hire a freelancer to rescue the book. The freelancer is paid by the word to complete the manuscript on time in the style of the "name" author; the freelancer receives no royalties, her name does not appear on anything related to the book, and she is contractually forbidden to even drop a hint about her involvement.
In 2012 a desperate book packager trusted the recommendation of a colleague and offered me a high-ticket rescue. I delivered, earning enough to have the back yard fenced in and pay cash for the newest used car I've ever purchased. The packager said she was impressed with my work and would henceforth give me first crack at anything similar that came along. My wife and I agreed going full-time freelance was the best career decision I'd ever made.
Nothing that paid remotely that much has come my way since.
The next year, 2013, was okay. It started out slow, but that was the year I added editing doctoral dissertations and masters theses to my list of services. Over the last five months of 2013 I earned slightly more than I did over the same months in 2011. I figured that indicated the cruising speed for my income stream – anticipating that to be economic baseline for the duration.
2014 was horrible.
I was focused less on income-producing projects in professional markets and more on finishing up my Masters of Fine Arts in Creative Writing and writing a young adult novel on spec for a small press, which the small press decided not to pick up. (Still looking for the right small press, so, y'know, call me.) I was also a nice guy and let not one but two struggling candidates (a masters and a doctorate) defer payment. Both of them stiffed me. Net result was I made less in all of 2014 than I did in the last five months of 2011 – and 20% of that came in the form of a single check on December 29.
How did I get by? How did I hold up my end of the family budget?
I became a semi-regular seller at the local flea market, acquired legendary status for my chef-ly skills in braising cheap cuts of meat and creating stews out of found objects, and through study of amateur tutorials on YouTube acquired the skills to repair (sometimes correctly) a lot of things I would have previously taken to the shop, called a repair man to fix, or simply replaced. I signed with a temp agency and earned money with an irregular series of one-off jobs like setting up banquets, preparing paper records for storage, and sorting metal things I've never seen before or since according to size. For a few months I had a part-time job at Target and spent a few nights a week keeping up with guys one-third my age unloading trucks and stocking shelves. All without sacrificing my status and as a full-time freelancer.
Because sometimes, usually more than once in your career, you will find in the story of your life as a writer schools of anecdotes about the things you did to enable yourself to write.
Monday, February 16, 2015
Wow. How much time do you have? I mean, we could be here a while.
For example, there are the odd conversations that take place between author and editor. As often as not, they can end up being e-Mail back-n-forth sessions that start at a reasonable time before continuing into the wee hours of the night, long after sensible people have shuffled off to bed or at least forsaken their computers for reruns of Everybody Loves Raymond or that gazillionth airing of The Shawshank Redemption. Still, I’ve had some of the best conversations with my editor during such late-night sessions; the kind of discussions that allow me to go back to the novel I’m writing fueled by renewed vigor and sense of purpose.
Then, there are the sorts of drive-by chats that leave me scratching my head before I start doing Google searches for things like “How to dissolve a body in an inflatable swimming pool.”
Not really, of course. Everyone knows the best way to go solve such problems is to just call in an air strike.
And then there are the times when you think your editor just has to be screwing with your head.
Case in point: Back in the early 2000s, my editor at Pocket Books proposed a rather ambitious Star Trek mini-series. It was to be a nine-book effort, with four writers each writing two books, and a final book written by yet another author to cap off everything. Late in 2002, I was contacted by my editor, for whom I’d recently written my first Star Trek novel and who also was editing what would become my first original science fiction novel. He wanted us to write two of the books! This was, in retrospect, our call up from the minors as until that point, my writing partner and I had been writing e-Book novellas for Pocket, but we weren’t considered part of the “starting lineup” with respect to the Star Trek author stable. Of course we couldn’t say no!
The hook was set. There was no getting away. That’s when the fun started.
We were brought into the project rather late in its development. The other writers were already plotting their stories and a couple had even started writing. As we were called in to replace another writer who had bowed out, we were already behind the 8-ball so far as devising a story that didn’t trip over the other contributors to the mini-series. Our editor, ever the helpful one, offered this bit of editorial wisdom:
”Yours will be the third and fourth books in the lineup,” he told us. “Now, the first two books take place in space, and the fifth and sixth books take place on a planet, so try not to set your story in either of those two places.”
Yeah. It’s a Star Trek story, so piece of cake, right?
He had to be messing with us; it was the only explanation. In truth, he was messing with us, because he just enjoyed saying things like that in order to provoke a response. However, in his own way, he more or less was telling us what he wanted. Really.
To this day, that’s still the funniest piece of “guidance” an editor’s ever given me.