Armchair Interviews

A Novel Collaboration: Join Andrea Sisco of Armchair Interviews and Kathleen Baldwin, a multi-published novelist, as they discuss writing and marketing a book together while still remaining friends. Read about their thoughts, offer your own writing tidbits and ask questions.

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Mystery Writers of America Best First Crime Novel Competition

Rules for the 2007 St. Martin's Minotaur/Mystery Writers of America Best First Crime Novel Competition

Sponsored by St. Martin's Minotaur and Mystery Writers of America (MWA)

1. The Competition is open to any writer, regardless of nationality, who has never been the author of a published novel, as defined by the guidelines below, (except that authors of self-published works only may enter, as long as the manuscript submitted is not the self-published work) and is not under contract with a publisher for publication of a novel. Only one manuscript entry is permitted per writer.

2. All manuscripts submitted: a) must be original, previously unpublished works of book length (no less than 220 typewritten pages or approximately 60,000 words) written in the English language by the entrants; b) must not violate any right of any third party or be libelous, and c) must generally follow the guidelines below.

GUIDELINES
a. Murder or another serious crime or crimes is at the heart of the story.

b. WHAT CONSTITUTES PREVIOUSLY PUBLISHED: For the purpose of this Competition, previously published material includes the publication or distribution of the entry, in part or whole, in paper or electronic format or in any other medium, including self-published works. This does not include a chapter excerpt on an author's website, subject to the conditions that: (i) the excerpt is the only text that exists for public viewing; (ii) the excerpt is not for sale to the public, and (iii) the number of words in the excerpt does not exceed 10% of the total number of words in the work as a whole.

(The decision of the Competition's judges as to whether or not a manuscript qualifies will be final.)

DEADLINE: All requests for entry forms must be received or postmarked by November 30, 2007.

For FULL DETAILS/GUIDELINES, go to http://www.minotaurbooks.com

Consider Writing for a Nice Second Income

This article appears courtesy of Early to Rise, the Internet's most popular health, wealth, and success e-zine. For a complimentary subscription, visit http://www.EarlytoRise.com

Printed with permission.

By Marc Charles

"We loved your reviews, Marc. I'll FedEx a contract to you this week. We're looking forward to great stuff from you."

That's what a top publisher said to me in 1994. I had just secured my first paid writing project.

Freelance writing is a great secondary business. I know dozens of freelance writers who make anywhere from a couple of hundred dollars a month to well over six figures a year. And you, too, can get paid to write.

Now, let me assure you - no one had fewer credentials, expertise, or writing savvy than I did when I landed my first writing project. So don't let that stop you.

One publisher that I submitted a proposal to required writers to have degrees in English, journalism, and/or business in order to be considered for freelance work. (I wonder if the publisher had any of those degrees.) "Our readers expect a high level of expertise and education from us," he explained.

"But a college degree does not give someone the ability to write a compelling story or article," I said.

The publisher grudgingly agreed - but he still wasn't ready to accept my proposal to write for him on a freelance basis. So I suggested that I could write a "test" article for him to see what kind of feedback it would get from his readers.

The publisher was up for the challenge. And so I wrote an article about how the dot-com IPO hysteria would end badly (in 1999).

My article received a lot of feedback... much of it negative, from people who thought my premise was completely off the wall. But the publisher liked it. And he loved that it "stirred things up." I got the writing gig, and I worked with him for several years.

What do you need in order to be a freelance writer? Two things: passion and persistence.

You've got to be passionate and knowledgeable about your topic. If you're not passionate about your topic, your readers will care even less. On top of that, you need to be persistent about finding and closing deals for paid writing gigs.

Actually, make that three things. In addition to passion and persistence, you need the ability to communicate your ideas clearly - a skill that can be learned.

What you don't need is a college degree.

A Step-by-Step Formula for Landing Your First Paid Writing Project

1. Identify the market that turns you on.

This shouldn't be hard. What topics are you most passionate about? The financial markets? Horse breeding? Poker? Internet marketing? Real estate? Commodities? Major League baseball? My first paid writing gigs were website reviews, because I thought the World Wide Web was pretty neat and I was spending a lot of time online.

2. Identify the publishers and paid writing projects in that market.

This is easy. The Internet makes the research simple. You can search billions of documents instantly with the help of search engines like Google. If, for example, you're looking for publishers that focus on animals or pets, simply enter the words "animal pet publication" or "pet publisher" into a search engine.

The 2007 edition of Writer's Market lists more than 2,200 markets and publishers looking for writers. You can also look for work online at MediaBistro, CraigsList, and WritersWeekly, among other websites.

3. Write and submit proposals that ooze with personality.

Sometimes you'll be vying for writing projects with writers who have more experience and ability. So what?

You'll need to submit a proposal (sometimes a simple e-mail will suffice) that shows a publisher why he should buy your work. Make it easy for him to want to work with you. Let your personality shine through. Write like you talk in real life - not like you do when you're trying to impress an employer or an English teacher. Personality goes a long way in closing the deal.

4. Submit your work in accordance with the publisher's guidelines - and beat your deadlines!

Every publication has submission guidelines, and in most cases they are fairly simple. Follow them to a T. And when you start landing paid writing projects, make it a point to deliver your work before the deadline. If you do both of these things, you'll soon have more work than you can handle.

5. Always be looking for paid writing projects - even when your hands are full.

When you've got a steady stream of paid projects at your fingertips, you'll never have to deal with "dry" times.

[Ed. Note: Marc Charles is the editor of ETR's Profit Center Dispatch e-letter. Each week, he gives specific details on a business opportunity that could change your life.]

"So... You Want To Start A Book Club"

By Mayra Calvani

Mayra Calvani is an author and book reviewer. Visit her website and subscribe to her free monthly newsletter, The Fountain Pen: http://www.mayracalvani.com

Starting your own book club is a great way to share your love of books with other book lovers. Chances are many book lovers would love to start a club but simply don't know how, or for some reason think it is difficult. Starting your own book club can be easy, inexpensive, fun, and rewarding. The main requirement? A passion for words!

Step One: Decide The Kind Of Club You Want

Book clubs come in all colors, shapes and sizes. The first thing you need to do to is decide what kind you want yours to be. So take out pen and paper, and start planning!

* Would you like a club where members discuss only fiction, or non-fiction as well? Would you like it to be specialized, handling a specific genre? Or you want your club to handle only classics? Or books written by a specific prolific author? Or perhaps only books that have been banned or won Nobel Prizes?

* Do you want your club to be big or small? Eight to twelve members is a good number, big enough for a variety of ideas and small enough to stay cozy.

* Do you want to keep the club between friends or recruit a diverse group of people? A diverse group may offer a more varied contribution to discussions, but do you really want strangers in your home?

* Do you want food to accompany book discussions, or only beverages? From my experience, food isn't a good idea. People can't concentrate well while chewing food. But it's nice to have coffee or tea, especially if it's a morning session. In fact, drinking hot beverages during discussion is an important part of the book club experience. Some hosts/hostesses serve wine if the discussions are held at night.

* Do you want to conduct the book discussions at your home, in a rotation basis at the other members' homes, or outside at public places like libraries, bookshops, or restaurants? There are advantages and disadvantages either way. My favorite is a combination of both to keep the sessions fresh, lively and less routinely.

* How often do you want to meet? One month is a good idea. Less than this would be too often. People live hectic lives and members should have sufficient time to read the book comfortably. More than 6 weeks would make members too detached, and even prompt them to forget about the book until the last minute. Also, will you meet on weekends or weekdays?

* How long do you want each session to last? In general, two hours are enough time: The first 15 minutes for chatting, the next 1 1/2 hours for the book discussion, and the last 15 minutes to wrap it up and chat some more.

Step Two: Name Your Club

I'm amazed at the number of book clubs out there that don't have a name. Be original and inventive. Remember, this is your creation. A name gives it importance and legitimacy. Choose a name which suits the club. If your club will only handle vampire fiction, for example, The Transylvania Book Club would be a good name. Okay, maybe that's not too original, but you get my drift.

Step Three: Recruit Members

Now that you know all about your book club and have given it a name, you can start recruiting members.

* If you want to keep it between friends, several emails or phone calls will do.

* If you want a diverse group with both friends and strangers, then put a few ads in several places where you know people would be interested to join, like local libraries, bookshops, your children's school, or your church.

* Make your ad eye-catching, interesting, and professional. Include the name and some general info about your club.

Step Four: The First Meeting

Now that you have recruited the amount of members you wanted, you're ready for the first meeting, which normally will take place at your home.

Once the members have chatted a little, got their coffees and teas and settled comfortably in their chairs, you can begin discussing the rules with the members.
Remember to be flexible. A "dictator" attitude is sure to turn members off. Be enthusiastic. You should aim for a friendly, relaxed atmosphere.

* Discuss with the members all the points covered earlier in "Decide The Kind Of Book Club You Want," so they can have a clear idea of your book club.

* As leader, you could make the first book suggestion. Simply bring a list of several books you would like the club to read and let them decide by majority one title. Be wise! The future of your club may well depend on the first book selected. You can print out some reviews about these books and read them to the group to spark their interest and help them decide.

* Decide as a group how the books will be chosen and subsequent meetings held.

-Ideally, each member should have a turn at suggesting books, being leader and hosting meetings.
-Will you purchase hardbacks or paperbacks?
-Who will order books and keep record of books selected, as well as keep record of rotations?
-Will books be selected in advance for the whole semester, or a meeting at a time? Selecting books in advance is generally more convenient.

* Remind members to be punctual, and, ideally, to turn their cell phones off during discussions. Needless to say, it is each member's responsibility to read the whole book before each discussion.

* Make sure the "rules" are understood by all members and be prepared for questions.

* Reading is great, but reading critically is even better and will heighten the book club experience and add insight and depth to discussions. Offer the following suggestions to keep in mind when reading:

-Keep a pencil or highlighter in hand
-Look below the surface at underlying themes or ideas
-Is there anything unusual which gets your attention?
Recurring images? Symbolism? Metaphors?
-Unusual plot devices?

* At the end, suggest they take out their agendas or planners so they can write down the date and place of their next meeting. This should be done at the end of each meeting.

Step Five: The Subsequent Meetings, The Discussion Sessions

You've finished the first meeting. Congratulations! You deserve a big hug. The worst is over and the best is yet to come.

If the first meeting was a success, chances are the subsequent ones will be, too. As host or hostess of the first book discussion, you will set the standard. Remember to conduct yourself warmly and enthusiastically. Though you may use index cards, it is always better to express your thoughts in your own words and not read from your notes. Trust me, this will put people to sleep. Always try to keep eye contact with the group. Begin by talking a bit about the author and how this particular book fits into his other body of work, or if it's somehow related to his life.

Next get some general reactions:

-Did you enjoy it? Hate it? Was it entertaining? Boring? Exasperating? Did it grab you until the end? Was it a challenging, difficult read?

Once you have got some first reactions and "warmed up" the group, you can start going deeper:

- Were the characters believable? Stereotypical?
- What about the plot and pace?
- Did the book evoke any particular feeling? Anger? Frustration?
Terror? Indifference?
- What's unique about the story?
- Any recurring themes, images, symbols or metaphors?
- Any quote or passage which got your attention?
- Any similar works by other authors?
- Do you agree with the reviews written about this book?

If the book is non-fiction, you may want to discuss the following:

- Was the book helpful? Controversial? Informative?
- Was the book persuasive enough to change your mind or stand on an issue?
- What was the author's intention? Did he accomplish it?

Some Last Tips

* Several days before each meeting, send a quick reminder to all members with either email or a phone call.

* If you have small children and will need a baby-sitter during meetings, plan ahead.

* In all groups there will always be a couple of shy people. Encourage but don't insist in making them talk if they don't feel like it.

* If you have trouble coming up with a list of book suggestions, check book reviews on newspapers and online and print publications, or simply check titles on Amazon. Try not to stick only to bestsellers. There are wonderful gems out there from small presses, just waiting to be discovered.

* If you're very serious about your book club, why not make some T-shirts or sweatshirts, mugs and caps with your club's name-and even logo!-on them. This can be easily done at a print shop and members would share the cost. For a mystery club, for example, you could purchase deer hunter's caps and smoking pipes, and have them personalized with the club's name and/or logo. It's fun and your club will get even more attention-specially if your meetings are held in a restaurant! The only limit is your imagination.

Good luck. Above everything else, enjoy!

Welcome to the Rocky Road of Publishing

"We Love Your Story But We're Going to Have to Pass..."

By Laurel Dewey, author of PROTECTOR

http://www.LaurelDewey.com

A hundred years ago, a writer just had to write a good story. There was no hype, best seller list, no five star ratings, no book tours, no second guessing by agents or publishers, no white-knuckled, migraine-inducing, inflated expectations of the "next offering." There was just the book and the populace either loved it or hated it.

Yes, the PEOPLE had the say of whether a writer was worth reading. And that is STILL the way it is. It's the people who devour books, join book clubs, share their favorites with friends, chat about books on the Internet and love discovering new talent who will make or break a writer. The trick these days is getting your book into the hands of these people.

I thought writing my debut novel, PROTECTOR, was an exercise in endurance. I was only half-right. Gearing up for the selling of PROTECTOR was akin to training for the Olympics. We're talking growing a tough hide and stoking the coals of willpower each and every day to withstand the constant rejections. Getting PROTECTOR to an agent and then publisher while staying true to my story and myself was a process that was depressing as well as debilitating at times. But along the way, I learned valuable lessons that I'll share with you.

After two years, I finally got an agent who was seriously enthusiastic about PROTECTOR. But first, he strongly suggested I hire an editor to review the book and make suggestions. (It's always interesting when an agent or publisher gushes about your work and then suggests you make changes to it. It's the ultimate "You're perfect! Now change!" attitude.) But the guy had a point. Which brings me to:

Valuable Lesson #1: Never think your book is "perfect." The more time you have to reflect on it, the more chance you'll have to improve the character development and tighten the story.

So, I hire the editor. His name is Lou and he's terrific. He loves PROTECTOR but outlines several pages of alterations, including severely cutting 200 pages from the manuscript. The first draft was a hefty 650 pages and included a lengthy back-story on a former boyfriend of the main character. Did he add anything substantial to the plot that wasn't already there? No. Thus, I agreed to cut Mark from the book. That chopped about 100 pages. The other 100 pages were cut over the course of about five months as I tightened scenes and cut out extraneous ones.

Valuable Lesson #2: Always have passion for your story but approach it with a critical eye. You could easily be attached to a scene for personal reasons but those reasons may not propel your story forward. You often need to be brutal when it comes to trimming the fat from your book. If a scene still feels long after the 15th read, keep cutting.

Once PROTECTOR was edited down to a suitable 450 manuscript pages, my agent proceeded to eagerly submit it to publishers. He was sure he would sell it "within weeks." That was February of 2004. Well, weeks passed and nothing happened. No rabid bidding wars ensued from publishers. By late summer of 2004, the rejection letters began to pour in to my agent's office. His comment? "I've never read rejection letters like this before. They're actually...glowing." Here's a sampling:

"We love Laurel's story, characters and writing style...but we're going to pass..."

"Laurel Dewey has created a memorable character in Jane Perry...I look forward to seeing her name on the NYT Best Seller List...But I have to pass on this book...."

"This is one of the best debuts I've read in a long time...It's a powerful story...Compelling...But I don't know how to sell it to the public...I'll have to pass."

"I don't think the public will care as much as they should...But I know you'll find a publisher willing to take the chance...Good luck...I need to pass on this..."

My agent, editor and I were all dumbfounded. So, where to go next? It was decided that we'd wait six months and then re-send the manuscript to new editors at the publishing houses. Good Lord, I thought. That would be a year from the day my agent told me I was the next sure thing. This was getting depressing.

Valuable Lesson #3: Depression and discouragement are part of the writing game. Accept it from the get-go or don't become a writer. It's okay to get depressed, scream into the night sky and bang your proverbial head against the wall. I did all of these and more. You have the right to be despondent and drown your sorrows in a glass of wine or pint of ice cream or both. But you also have an obligation to get over it, toss aside the tear-stained hanky and keep plugging away if you expect to make it in the business.

Once I emerged from my Sylvia Plath moment of despair, I decided to see the glass half full. I was determined to use those six months to slightly alter PROTECTOR even further. Since there was already a mystical thread in the story, I decided to ratchet up that element of PROTECTOR.

Valuable Lesson #4: Always be open to new ideas in regard to your book and new approaches to strengthen your story. It was at this point of the game that I added a brand new character, Tony Mooney. Now, adding a new character on the third draft is not typical but after a lot of careful thought, Tony became a solid chord to establish the paranormal element. It was exactly the strengthening point that the book needed.

Six months came and went and my agent got interested in other projects. Discouragement crept back into my bones. He promised to give my book more attention "soon." Thus, I took one more look at my book and made more adjustments to it. Fourth draft. The final draft. I read and re-read it and knew in my heart that it was good.

Publishers, however, had other ideas. "Is it a crime thriller or metaphysical fiction? It can't be both." Well, why CAN'T it be both? I asked. "Because it's not been done like this before," they responded. I see. I found this rejection interesting in that publishers are forever saying they want something that is ORIGINAL and then when someone serves them a plate of original, they want something familiar to chew on.

I fell into a slump. I was beyond depressed. This was my baby and they were telling me my baby was ugly and needed a lot of dental work. But this is where the rubber met the road, folks. I had to ask myself how much I believed in myself and what I wrote. This is the point of the journey where you either crawl in a hole and give up or stagger forward and keep pushing. My editor Lou made a comment that lingered in my head: "New York publishers are out of touch. If you can get this into the hands of the public, you've got a hit..."

Shortly after that, I had to fly to Los Angeles on family business. I always troll the bookstores at the airport whenever I have a long layover and that's when I observed something wonderful. One by one, travelers from all walks of life trudged into the bookstore. They tiredly stared up at the array of book offerings, grabbed one that had an enticing cover, read the blurb on the back and usually purchased the book. I overheard one of them say, "I'm just looking for a good story to take my mind off my day."

Suddenly, it was so clear again to me. When it came right down to it, we writers are not curing cancer, brokering peace in the Middle East or splitting the atom. We're just storytellers. A lot of the publishing merchants and agents have forgotten about that. Too many of them are looking for the next "big" book. The only problem is, they're so into discovering the next big book, they overlook the "good reads"--the read that those airline travelers were searching for. The story that takes a person away from their troubles for a few hours at a time. Readers want to be entertained. If a story happens to be profound, all the better. If it happens to make a reader explore ideas they never thought of before, great. But in the end, people just want to kick back, read a book and then pass it onto a friend or leave it in the seat pocket of the airplane.

Valuable Lesson #5: Stay true to yourself and your vision even when the ivory-towered powerbrokers tell you that you're not good enough. Hey, it's YOUR vision and YOUR creative outlay of energy. In the end, YOU have to believe in yourself and your project more than anyone else.

You probably think that this is the point where I tell you a publisher said "yes," the clouds parted, the angels sang and I broke open the champagne, right? Wrong. I may have seen the light but my agent did not. He dropped me, explaining that he had done everything he could and wasn't interested anymore.

I spent the next nine months sending queries to more agents--28 to be precise--who all declined to represent me.

But still I believed that if I could get PROTECTOR into the public's hands, I'd have a hit. However, the big publishing houses made it clear they weren't interested. I realized I'd been focused on the big guys and ignoring the smaller, independent presses. So, without representation, I started to call small presses and began submitting PROTECTOR directly to them. Within less than a month, one of them said "yes."

"Yes."

What a sweet, almost unattainable word. After a glut of "no's," the word "yes" sounded like the ting of fine china against the edge of a spoon.

A lot of work followed, but I dove in happily, knowing that the effort was all pointing toward the snowy day many months later when I'd open a box from the publisher and finally hold PROTECTOR in my hands. You only have one chance to experience the publication of your first novel and the memory will forever be etched in my mind.

Valuable Lesson #6: The journey is often more important than the journey's end. It's important to keep your eyes forward on the prize but it's equally vital to turn around every now and again and remember the path you're traveling. If you're going to be a writer, there'll be plenty of potholes and detours and a few dead end roads. But as you migrate up and down that often-rocky road, you'll eventually discover that to capture the golden egg, you're going to have to carve your own trail. It's in the carving of that trail that you'll learn what you're made of and whether you truly believe in yourself.

The road hasn't ended for me. It's just gotten a bit steeper. But the view from the road has certainly improved.

Armchair Interviews says: PROTECTOR was published early 2007. See our review and listen to our interview with Laurel Dewey at Author Interviews on our site.

All-Important Research

Jo has written numerous mysteries set in England. SAINTED MURDER, 12TH NIGHT OF CHRISTMAS, PEARS BEFORE SWINE, DEATH OF AN ORDINARY GUY, and HORNS OF A DILEMMA (April 2007), all published by Hilliard & Harris. This story is about how she does the most-important research expected by mystery readers.

A Slippery Business

By Jo Hiestand

Golden Age mystery author Ngaio Marsh researched the murder method for her book Scales of Justice in her front garden, stabbing a variety of large melons with a shooting stick to observe the "head wounds" created by the stick's pointed tip.

Perhaps my method of death wasn't as exotic, but my murder setting needed a bit of research. And, not being a burglar or home handyperson, I didn't possess the necessary weapon. So I trotted over to my unsuspecting hardware store to purchase the tool for my trade. (Do I get tax credit for this?)

I needed to know what it felt like trying to budge a one-ton boulder, slipping in the mud, using a crowbar. Of course, in my book, HORNS OF A DILEMMA, there are a dozen beefy guys employed for the task, using not only crowbars but also stout ropes. But even as a lone female, I felt I could at least get the feel of the undertaking.

HORNS OF A DILEMMA, the fifth novel in the Taylor & Graham English series, revolves around the custom of turning the Devil's Stone, that hefty rock I was trying to emulate, however minutely on this side of the Atlantic, with an equally hefty fallen pine tree. The Devil's Stone lies in a churchyard and must be shifted every year on Ash Wednesday. Failure to do so puts the village in harm's way. The real English village of Shebbear, in Devon, has moved their Devil's Stone every year since the custom began (documented back to 1454 at least), except for one year during WWI. That year misfortune did strike the village and nearby farms, so maybe there's something to the custom.

Even though I've been to England nearly a dozen times and have lived there, I never participated in or saw that Devil's Stone turning, so I had to do the best I could with my backyard, pine tree and lone crow bar.

Trying to imitate the conditions of my fictional murder scene, I soaked the ground around the tree trunk with water, creating a mud puddle a hippo would be pleased to wallow in. I let the water seep into the ground for about an hour, then flooded the area again, hoping to get a deep, gooey mess. I did this twice more. Around 10:00 p.m., dressed in old clothes (that was easy--that's all I have) I went outside armed with my crowbar and a lit lantern. I walked around the trunk, figuring out the best method of attack. Even though I'd chopped off the major limbs, the remaining small branches--complete with needles, pinecones and a bird's nest--still looked like my hair on waking in the morning. But I figured if I got the trunk to roll, the branches near the top would just go along for the ride instead of acting as some type of arboreal brake. Since there was really no "better side" to the thing, I set down the lantern, put on my leather work gloves and grabbed the crowbar.

I will swear until my dying day that as soon as I bent down to crowbar the tree the night got darker and the wind whipped up. Was that a coyote watching me just beyond the reach of the lantern rays? And that noise overheard--surely that was just an owl or bat. Raccoons don't attack humans, do they?

I'm sure I presented an odd sight to anyone who might have been gazing outside at that moment. A woman, illuminated by a lantern, trying to shift a 30-foot pine tree with a crow bar, sliding around in mud (and where'd she get mud--it hadn't rained for weeks) in the dark of night, mumbling mild expletives. I'm still amazed no one phoned the police, reporting I was either burying a body or bludgeoning someone to death. Maybe cops really have seen it all.

I've never killed anyone outside my novels, but after I tired of "turning the stone," I whacked the bale of hay (a remnant of my Guy Fawkes' effigy stuffing and bonfire) several times, pretending it was my book's victim. It's surprising how exhausting murder can be....

I jabbed at the tree trunk long enough to fall several times, muddy most of my clothes and hair, skin my knuckles, and strain my back and shoulders (my chiropractor loves it when I do this kind of research). Even though it wasn't exactly a one-ton stone in a churchyard, at least I now knew what my characters would feel. And the way my muscles were screaming, it was most likely bloody murder.

Horns of a Dilemma, Jo A. Hiestand, (April 2007, Hilliard & Harris, $30.95)
http://www.JoHiestand.com

Audio Interviews Gaining Popularity

Audio Interviews and the Shy Writer

This article first appeared in MadTen's web site under this title and is floating around the world. Our own Andrea Sisco is quoted. http://madten.wordpress.com/2007/03/19/audio-interviews-and-the-shy-writer

Reprinted with permission of author, Mayra Calvani.

Audio interviews are in rising popularity as a tool of book promotion among authors. After all, all you need are a phone, a witty personality, and a talent for public speaking. The first one is easy-everybody has a phone these days. The second is a gift you may be born with if you're lucky. The third is a skill that can be learned, improved and perfected with the right tools.

Since there aren't magical drugs on how to become more witty (sorry, you're stuck with those genes), in this article I'll be focusing on how to help authors improve their chances to succeed at audio interviews.

The prospect of doing an audio interview is a source of stress, anxiety and even panic for many authors-especially the shy ones. Let's face it, many things could go wrong. A technical problem might arise or the author might freeze at a question and start stuttering. Most often the problems are technical, or the interviewer is faced with an author who talks very little or is unable to stop talking.

To beat the odds, there are practical steps an author can take.

Andrea Sisco of Armchair Interviews offers the following advice:

* Be prepared. Ask the interviewer what types of questions are likely to be asked.

* Practice: Have a friend interview you (to avoid the ummm, ahs, silences). It's an art form and I learned this early on when I worked in tv and as my husband is a professional speaker.

* Have something to say: Tell us something unique about the book/story. If you're able to use humor appropriately, do so (people love it).

* Don't talk more than 90 seconds (in answering a question). In audio, people lose interest if you drone on and on. There needs to be a discussion between the author and interviewer, otherwise it's a lecture.

* If there is a topic you don't want to discuss, tell the interviewer, otherwise you could be caught on tape and not know what to do.

* Speak up. Audios are touchy (since you're not in a sound studio). Also, make sure you turn off call waiting so we don't hear beeps. Put the dog in another room (children also) and make sure the windows and doors are closed so we don't hear outside noise that can be distracting.

* Have a pen/paper handy to make note of anything you think of that you want to discuss. Also take note of any directions given by the interviewer.

* Keep your voice well modulated. People don't want to listen to someone that drones, sounds flat, etc.

* If you're directed to call the interviewer (or receive a call) be there and be on time. Twice I've had no shows. They didn't write the time/date down. You could lose an interview that way. It certainly isn't professional.

Interviews with Armchair Interviews are fee-based and open to self-published authors, as well as those from small and big publishing houses.

Francine Silverman, who has her own Internet radio show, advices authors to practice in front of a mirror. "I have had some authors who do not contribute much - they wait until I ask a question. This makes it difficult for me since I can only formulate so many questions. Authors should practice talking about their books in front of a mirror and write down what they plan to say. If they are asked to provide questions beforehand, they have an idea what will be asked. Also, in my opinion, the best guests are those who promote their appearance to their mailing lists," she says.

Francine's radio show is called Marketing with Fran and is on Achieve Radio on Tuesdays, at 2 p.m., EST., and lasts one hour. "The shows are archived ten minutes after each show," she adds, "and can be accessed by visiting the site and clicking "Hosts" on the left and scrolling down to my show. There is no charge to guests, who are mainly authors, publicists and publishers. Yes, I would say all authors are welcome, providing they are comfortable speaking and are cooperative in providing me with the tools I need for a good interview, i.e., a list of questions, copy of the book, bio." If you're interested, you may contact Francine at franalive@optonline.net.

More useful tips:
* Join a local speaker's club.

* Listen to many audio interviews to have a clear idea of what is expected, paying special attention to the author's voice, tempo, and manner in answering questions. One great show I'd love to recommend is Barbara DeMarco-Barret's Writers On Writing where she regularly interviews authors, agents, and editors.

* Though it is difficult to measure the level of effectiveness audio interviews have in actually selling books, it is undeniable that any promotion is better that no promotion at all. I have gone straight to Amazon and purchased books after listening to audio interviews. One thing that is very important to increase effectiveness is to announce the interview beforehand to as many people as possible-friends, relatives, colleagues, clubs, online groups, lists, forums, etc.

* Finally, don't forget that audio interviews are like murders--the more you do them, the easier they get.

Mayra Calvani is an author and book reviewer. Visit her website and subscribe to her free monthly newsletter, The Fountain Pen, at: http://www.mayracalvani.com

The Voice in the Dark is http://www.mysteryfiction.net/Voiceinthedarknewsletter.htm

Book Launch Timeline

Maryglenn McCombs is an independent book publicist specializing in target, affordable media campaigns. For more information, please email Maryglenn at: maryglenn@maryglenn.com, or visit http://www.maryglenn.com

How do you create a timeline for PR?

To create a plan for book promotion, you will need to start with setting a publication date.

Understandably, there is a great deal of confusion about what a publication date--or pub date--really is.

A pub date is an "official release"--usually at least 6 weeks after a book comes off thepress. In some ways, this is a phantom date, as it is an approximate date when books will be available in stores. A pub date is an important part of planning a PR Campaign for your books, as it facilitates coordinating media placements and in-store availability. The pub date functions as a means of tying the book promotion and distribution together.

Some publishers will set a pub date based on a particular event or time of year. If your book deals with history, a particular event, or an anniversary of an event, you may want to consider setting your pub date to coincide with that time or event.

Is your book a holiday book? If so, set your pub date so that it corresponds with the holidays.

If there isn't a particular event that is associated with your book, plan the pub date so that you have adequate time both to promote the book and get it in stores.

Once you have set your pub date, it is time to put together a plan. Be sure to allow plenty of time.

For example, here are some ideas on planning a PR campaign for an as-yet-to-be-released book:

-- 6-8 months in advance of pub date (or longer if possible):

Solicit Long lead magazine coverage (glossy monthly magazines, journals, quarterlies)

-- 4-6 months in advance of pub date:

Solicit coverage with sell-in publications (primarily book and library trade magazines), major reviewers, and larger major national shows

-- 1-2 months in advance of publication date and beyond:

Work to obtain shorter lead print media coverage in newspapers, news services, newsletters, internet media, as well as broadcast - radio and television - media

Please note that each media outlet is different and these are guidelines only. You may find opportunities to get coverage in a longer lead magazine after your pub date, and you may have interview requests prior to the pub date. It is important to be open to the opportunities that come your way but do guard against getting "too much" coverage before your book is available. Remember the rule of supply and demand. Media creates demand. Be certain that there is supply to match the demand.

Introducing a New Publisher: Echelon Press

Prepared by Andrea Sisco, Armchair Interview--Six years ago, Echelon Press was a dream. Today, they house some of the most incredible talent in the industry. Holding fast to their original goals, they continue to seek fresh voices. Echelon's quest is and always has been to bring dedicated authors, who are determined to succeed, onto their team. They are pleased to have found a comfortable place in the mystery/suspense genre and are actively seeking submissions of all lengths--from short stories to full-length novels, with word counts ranging from 2,500 to 90,000 words. They are especially interested in growing their E-book line. For more information about Echelon Press, visit http://www.echelonpress.com

Answers provided by Karen Syed, Echelon Press.

1. What year did you launch Echelon Press?

In 2001 a friend and I started talking about the unfair treatment of new authors and the miserable terms some small presses offered them, and we decided that the industry needed a new champion of sorts. Too many fresh and talented writers go unnoticed because of the narrow focus of corporate marketing departments. I bought the company outright in 2003 and we have been blossoming ever since.

2. What genres does Echelon Press publish?

We began as a romance publisher because that's where our roots were, but quickly discovered that the industry offers opportunity for writers of all genres. We've currently found great success in the mystery/suspense and thriller genres, but most importantly we publish any genre that we feel will touch readers on a deeper level. Entertainment? Yes! But emotions are the key to every genre.

3. Echelon Press publishes both print and e-books. What is the ratio of print to e-books published?

Ratio? Oy! I don't do numbers, I do words. Echelon publishes twelve print titles per year. This is purely financial. Every book that goes into print also goes into eBook. We also have an eBook division that publishes fiction and non-fiction from 2500 words up. Up until the first of the year, we didn't offer eBook only, but the facts are that we have not grown enough to do every book in paperback, so we offer eBook as an alternative to authors who are committed to succeeding as authors and aren't afraid to utilize a viable option like electronic publishing.

4. How does an author submit to Echelon Press?

We've posted our submission guidelines on our web site and spelled out each item specifically--from the font we want to see to the protocol of naming your files for submission. The fastest way to eliminate your submission is to assume that yours is better than anyone else's and to not follow the guidelines. It is frustrating how many submissions we get each week that don't even come close to adherence. This does nothing to instill confidence in the author's ability to maintain a successful career and make them a good financial risk for the company.

________________________________________________________________

READ THE SUBMISSION PAGE ON THEIR WEB SITE--AND FOLLOW THE GUIDELINES.
QUERIES ACCEPTABLE FOR E-BOOKS.
FOR PRINT--ONLY BY REFERRAL FROM THEIR AUTHORS OR IF YOU MET ECHELON AT A BOOK EVENT.
___________________________________________________________________

5. What are the factors that Echelon Press looks for when making the decision to acquire a book?

First and foremost is the story. The story has to move us emotionally. Romance, horror, mystery, it doesn't matter; it has to be emotionally entertaining. Echelon is a small company, and in order for us to market and sell a book effectively, we have to be 100% invested in it. If we aren't, it won't sell.

Second, and nearly as important, is the author's commitment to the success of the book. Before an author submits to Echelon, they need to understand that there are no corporate dollars backing us, it is the blood, sweat, and tears of a small number of people, several of them volunteers who are committed to bringing fresh voices into the industry. If an author is not willing to lose sleep, wear sandwich boards promoting their books, and dance naked in the street with their covers strategically tattooed, then...okay, maybe it isn't that intense here, but Echelon works on a team strategy, and if any member of the team is weak or ambivalent, it is a detriment to the entire team.

6. Does Echelon Press accept unagented submissions?

Absolutely. Think of us as an author-friendly place. We are not opposed to agents, but Echelon doesn't work on a large advance schedule, and this doesn't work well with agents as that is one of their money-making sources. We are currently considering manuscripts submitted by agents, but not because of where they come from. We consider the work itself.

7. You publish short stories in an e format. What is the market for these short stories?

Readers. Short stories are not unique in themselves, but the manner in which we offer them is not ordinary. Short fiction is a quick fix. You can purchase, download, and read our short fiction all on your lunch break. It's that simple. You don't even have to leave your desk. We have received wonderful accolades from commuters who read our short eBooks on trains, planes, and in automobiles (carpooling--not driving). They are inexpensive, convenient, and entertaining. We are looking to expand this line, to offer something for everyone. One of our favorite things has become our Fast Fiction Writing Contest. Each month we offer a new topic and choose one winner. It has really produced some awesome stories! How clever I am!

8. Do you print in both hardcover and soft cover?

Echelon has one print format: Trade paperback. This is a cost-effective size for our company and it is widely accepted in the industry. Many have asked why we don't offer hardback. Simple, few readers are willing to invest $25-$30 for a book written by a first-time or unknown author. With our trade paperbacks we make every effort to keep the prices reasonable to make our books affordable to readers.

9. Does Echelon Press maintain a backlist?
One of the options we have is to keep a book in print for as long as the author is willing. We have authors who have been with us since the beginning and are content to remain a part of the team. As long as we continue to sell their book--and they do not become a cost issue--we will keep those titles in print. Other authors may not find us a good fit for their expectations and their books go out of print at the end of their contract.

10. How much editing does Echelon Press provide to prepare a title for publication?

This is one of our biggest issues. Each book is assigned to an editor and goes through a number of revisions. The editor and author go back and forth, correcting and revising, until the book is the cleanest we can make it. Over the lifespan of Echelon, we have gone through a huge number of editors, we have settled in with a great team and we feel confident that each book we put out is better than the last one. Are we perfect? Of course not. We do however have one thing in place that we think is important. The book goes through a series of revisions and then sent to a final editor for line editing and finalization--this is the proof process. The book is then gone over repeatedly until the author gives their final approval on the text. NO changes are made at that point and the product that hits the market is exactly what the author has approved. This puts the responsibility for the quality of the book's content on the author, where it should be. We make every effort to produce the best overall book we can.

11. How many queries does Echelon Press receive per month on average? Of those, how many partials are requested? And how many full manuscripts are requested? And finally, how many titles are published a year? How many short stories?

Right now we are getting about fifty queries a week, only about half of them have read the guidelines page on the Internet. We might request a partial from five of them, and on a good week we will request a full from one author. We publish twelve paperbacks a year, are looking to do at least twelve eBooks a year, and at this time we don't have a set number of shorts/novellas, but it is averaging about twenty-four per year.

12. How does Echelon Press promote its writers?

In the beginning, we knew little about marketing--we were just excited to be publishers. Who wouldn't be? Now, we are not so naive. We work very cooperatively with our authors in print advertising, consumer mailings, Internet advertising, events--all the usual things. We know that new authors don't have the credibility of the best sellers and we try to focus on helping them develop their readership. Our biggest obstacles come when an author feels that since they have written a book, it will automatically sell--and they don't have to do anything else. This is wrong. Best sellers are that because they have SOLD. Any author who is not willing to market and sell themselves to readers who don't know them, doesn't understand how the industry works. When we sign an author, it is with the intent of making them a household name. We cannot do this without the help of the author.

Echelon participates in 6-12 book festivals per year, allowing our authors to go out into the market and reach the specific people they need to win over--the readers! We try to use original techniques, things that aren't so commonplace, to make our authors stand out.

13. Are Echelon Press titles found in brick and mortar stores?

This has been a huge obstacle for us, but we continue to work on making it happen. We have authors who have truly persevered to work with us and make this a reality, and their efforts have gotten their books placed on the shelves of chain and independent stores, both regionally and nationally. We are also found on the shelves of thousands of libraries. It is an ongoing battle and we refuse to surrender.

14. How is the decision made on how many books will be printed?

This is the tricky part. As mercenary as it sounds, it has a lot to do with the author's level of commitment during the pre-marketing phase. If we see an author who does little to no pre-marketing or shows no interest in working with us, we do a lower number. If an author has a set and determined strategy for successful selling and marketing, we are willing to invest a little more.

Unfortunately this is all determined on the character of the person--and we have been wrong. When this happens, it is a serious issue for the company overall. If Echelon invests $10,000 in an author who then does nothing to help sell the book, it is a HUGE blow to every other author in house as that is money wasted that could have been spent on someone who is committed. (Goodness, I sound grumpy there.)

15. What is the length of time from query to acquisition?

I wish I could answer this better. Echelon went through a phase where we had brought on some readers, and they ended up doing more harm than help. We are currently backed up something 6-8 months. In some cases--if something really grabs me when I pull it up, it might be only a week. This is rare--although that's what happened with Murder Off the Book, where it was less than a month. We are working toward 3-4 months, but give us time to work out the kinks.

16. Can you tell us what was the first title Echelon Press published and a little of the history of that title?

This always gets me in trouble. The first title was Lost and Found by Alexis Hart...that would be my pen name. I know, some cynics say it smacks of self-publishing, but the bottom line is that we needed a book to launch and mine was ready. And hey, it's my company. It seemed like a logical place to start considering why we started. I had been badly published with a couple other small houses and wanted to make a point. I have one of those voices that the New York houses doesn't consider marketable, but the book is darned entertaining and received excellent reviews. It made the perfect jumping-off point for us, and I willingly offered it up as the guinea pig for the start of our education. I have no regrets on using it, but I wish I had known more about editing then. I've been asked why I don't revise it and re-issue it. Simple. Echelon is about moving forward. Lost and Found has seen its day, and to invest more money into it would not be good business. That money is better spent on a fresh voice.

Thank you, Karen, for sharing these insights and darn good answers.

Thinking Outside the Book

By Maryglenn

(Maryglenn is a publicist, presently representing Patrick Hyde, who wrote The One Pure Thing (see our review)

If you want to succeed in the book business, it is imperative that you know how to think outside the book.

A recent PUBLISHERS WEEKLY article noted the following:
Number of book covered in an August 2005 issue of Washington Post Book World - 27
In LA Times Book Review - 11
In the NYT Book Review - 50

Based on a 52 week/year publishing schedule, that means that Washington Post Book World covers 1,404 books a year; LA Times Book Review covers 572 books a year; and NYT Book review covers 2600.

If you add them all together, that is 4,576 reviews a year in these three major review outlets. Bear in mind that this is NOT 4576 individual books as some books will typically be reviewed in all of these outlets. But still - 4,576 reviews sounds great - right?
Well, not exactly.

RR Bowker, the US ISBN (International Standard Book Number) agency, reports that there were over 190,000 books published in 2004 alone.

So, what happens to the other 185,424 plus books?

This is where "thinking outside the book" comes in.

One of the biggest challenges today is limited review space and all too often, publishers and authors place way too much emphasis on reviews and miss other great opportunities to get media coverage.

Thinking outside the book means thinking beyond reviews, it means getting creative, and it means being in the know about news issues. This is what savvy promotion is all about.

In order to really think outside the book, here are some questions to consider:

-- Is there something in the book that could make an interesting article? Suggest an article idea.

-- Could the author offer commentary on a topic in the news? Offer the author as an expert source

-- Could some tips or suggestions in the book make for a great informative short article? Come up with an idea for using some tips or ideas from the book to create an article.

Reviewers, reporters and broadcast journalists need a reason to cover a book. Give them one!

Explore such things as:
Why the book is newsworthy
How it can benefit, enlighten or entertain a publication's readers
How the book is relevant to a publication - is the author an expert, a native of the particular area served by the publication, or is the author appearing in that area

If your book is fiction, you may have to get extra creative to come up with these angles, but bear in mind - you can do it. Be open to all ideas.

By focusing less on reviews and more on other ways to solicit coverage, authors and publishers exponentially increase their chances of receiving coverage and generating sales.

Email: maryglenn@maryglenn.com
http://www.maryglenn.com

From Our Armchair to Yours ...