Better Than Blurbs: Loren Kleinman and Indie Authors Naked

Because I no longer write blurbs, but still very much want to help other authors, I've launched a blog series called Better Than Blurbs. The authors and I will have in-depth discussions about their books, which I hope will help readers identify whether they'd enjoy reading them. This is the fifth post of the series. The author is really the editor in this case, though she is an author as well, with a second book of poetry due out this year. She is Loren Kleinman, and the book is Indie Authors Naked. Which you just know will lead to a good discussion on the state of independent publishing.  

Me: Let's jump right in. Loren, please tell my readers a little about the book.

Loren: Indie Authors Naked explores and defines the world of independent publishing. 

Comprised of a series of essays and interviews by indie authors, booksellers and publishers, readers will get a look at the many aspects of the indie community, where publishing professionals of all types come together with the simple goal of creating something unique; something that speaks directly to the reader, no middleman necessary.

Some of our contributors include James Franco, Hugh Howey, McNally Jackson Books, Sarah Gerard, OHWOW Books, Raine Miller, David Vinjamuri, Toby Neal, Rachel Thompson, Eden Baylee, Christoph Paul, Jessica Redmerski, Dan Holloway, Orna Ross and more.

Me: The thing I like best about this book is that it explodes myths about the new direction of publishing. And these are myths I’ve been trying to explode for a long time. (I guess I’m saying the thing I like best about this book is that it backs me up.)

I particularly like that you include an interview with a representative of a bookstore that has an Espresso Book Machine. This explodes two important myths at once. First, that the indie/digital revolution is synonymous with the end of paper books. Second, that it will put little independent bookstore out of business. Will you tell my readers more about this book printing machine and what you imagine for the future of the little bookstore?

Loren: The best way to describe the Espresso Book Machine (EBM) is that it offers Print On Demand (POD) publishing. What’s amazing about EBM is that it allows readers to access books that might have been out of print as well as have immediate access to various book titles. An author can send a PDF version of the book to the EBM operator and the machine binds and trims a paperback.  The idea of the EBM was that it could also fit into a small store, which would allow smaller shops or libraries to be able to offer quick and accessible print runs.

I think McNally Jackson said it best in their interview with IndieReader: “Independent bookstores are committed to bringing a wide variety of new and exciting books to their customers. As the technology grows and becomes more economically feasible, I would imagine not only bookstores but also libraries and universities introducing self-publishing programs.”

To add to that, bookstores will become much more than bookstores, they’ll become a user/reader experience so to speak. While Amazon will offer readers opportunities to discover new books and authors, bookstores will offer a complete reader/writer experience: reading clubs and events, self-publishing options, and individualized attention to readers’ tastes. I don’t foresee independent bookstores fading any time soon. If you’re like me, while I love ordering a book on Amazon, there’s something primal about pulling a book from a wooden shelf and curling up in a corner of the store with a coffee and getting lost. Independent bookstores will have to look to other ways to make money rather than just selling books. McNally Jackson is an excellent example of offering a reader experience from in-store events, to their EBM, book recommendations and online bookstore featuring EBM books and various other services. They’re an example of the future of independent bookstores. They do it their way and I love watching them evolve.

I consider reading a very intimate experience. Don’t get me wrong, I love eBooks; I also love my stack of paperbacks on my nightstand. 

Me: There are a number of different ways traditional book contracts can hurt authors, but to my mind maybe none more extreme than the fact that ebooks have freed us from the concept of “out of print.” In general this is a great thing, but when working with traditional publishers it often results in rights that never revert to the author. Do you think this is a big factor in why so many authors are reluctant to give Trad a try? Do you hear much mention of this when talking to indie authors? It seems to me a bit of a hidden trap, and maybe most authors are concerned with broader topics such as rate and speed of payment and artistic control. But it’s one drawback an author can’t eventually reverse. I’d like to hear your thoughts on that.

Loren: OK. So there are two themes I notice when talking to indie authors about choosing to self publish:

1.     They want to have artistic control.

2.     They might want to get picked up by a large press (which does and/or might happen as a result of an author’s success).

And, to traditionally publish:

 1.     Distribution and marketing perks. Though, marketing is becoming more and more the author’s responsibility. 

I think the best way to go is hybrid. Traditionally publish and self publish. Why not? You experience the best of both worlds (pardon the cliché). But, seriously, as a hybrid author you can have creative control and you also get help with distribution. Some books you can choose to self publish, while others you might want to go the traditional route. Again, it’s the writer’s preference, but I think gaining perspective from both sides of the street make for a healthy authorial mix. Such a mix could allow authors to make more money, reach more readers, and allow for more cross promotion and networking.

Again, I always think it’s best never to pigeonhole yourself. Branch out. You have so much to gain from opening yourself up to various opportunities. The whole point, after all, is to write, is to create, is to share that creation. Otherwise, why do it? [Me: Note, as a decidedly hybrid author, I second that.]

Me: I’m wondering how much of a rift you see in the indie world between those who meticulously produce their books, such as hiring professional copyeditors, cover designers, and proofreaders, and those who feel that indie has finally freed them from the need to jump through those hoops. Do you have thoughts on this, and have you seen any public clashes on this subject break out?

Loren: I think finding a good editor is like dating. You have to find the right fit both emotionally and professionally. It’s so important to produce the best work you can. Now, everyone’s best varies. I’m a bit obsessed with producing the perfect book. But, really, is that possible?

I often see the misrepresentation or misunderstanding of the word “raw.” Raw does not equal a literary “mess.” Raw (to me) means the writing moves you to a feeling that is humane and basic. I don’t mean to say basic as simple, but basic in the way that it is from the earth, it is true to its own being, and that truth connects you to your truth.

There are too many books that lack copyediting, proper formatting, etc. It seems a rushed job. That is raw in the unfinished sense. Writing is a process. You can’t rush the process. If the book takes you three years then it takes you three years. If the book takes you three months then it takes you three months. If you rush the process readers will notice.

It took me seven years to write, edit and publish my second collection of poetry The Dark Cave Between My Ribs (Winter Goose Publishing). Indie Authors Naked took two years between the interviewing, editing, etc. My point is it’s called a process for a reason. If you rush it then you don’t trust it.

Essentially, my feeling is to always put out the best work you can. That should be a promise you make to yourself. It’s also the first rule of Write Club, or maybe that was to not talk about Write Club.

Me: I can’t help noticing that the schism between traditionally published authors and indie authors can be quite vitriolic at times. It’s easy to see how the sides line up: everybody is backing their own interests. That’s not necessarily bad, but only great fear could create such venom. Seems to me more choices can only be good. Do you have any theories on why we can’t all just get along?

Loren: Writers want readers. So naturally we’re battling for their attention. Though it sort of feels as if we’re raising our hands in a sea of raised hands.

I think I mentioned this in a previous question, but reading is an intimate experience. It’s up to the reader who they want to read. I respect that. It’s important to me that readers have the option of exploration.

This idea that indie is taking away from traditional publishing’s readers and vice versa is a bit self-indulgent. There are plenty of traditional books that I’d prefer not to read and the same goes for indie. But that’s my choice.

All I know is that the most professional writers have me hooked. The moment I see “bashing” I’m turned off. I think some writers kill their careers before they happen by becoming venomous.

Writers could get so much more from the publishing experience by cross-promoting such as connecting with readers you might not have gotten as a traditional or indie author. You never (never) know how things play out.  Sometimes by letting go of control we can experience a much more heightened, more enjoyable reader-author connection.

Me: Other than reading this book, which I think would be excellent advice, what advice would you give to an indie author just starting out—or to an author who is still weighing publishing paths?

Loren: Stop worrying about publishing. Think about your book first. Write the best one you can.

Writing a book is one of the hardest, most grueling things you can chose to do. And it is a choice.

Write the best book you can. When you’re done, do your research. Review your options. I spent months reviewing publishing houses. Not every publishing house will be interested in what your writing, specifically genre and topic. Take your time and interview editors and formatters and ask for references.

But besides all of that, focus on the craft. Focus on improving your writing. I mean I never met a writer that got worse.

I’ll leave it at this: “Your job as a writer is making sentences…most of the sentences you make will need to be killed. The rest will need to be fixed. This will be true for a long time” (Verlyn Klinkenborg).

Me: Is there anything else you’d like our readers to know about you?

Loren: My second poetry collection, The Dark Cave Between My Ribs, will be out in 2014 via Winter Goose Publishing. I started writing the poetry collection back in 2004 and finally hunkered down to re-write most of the collection this past year. The book is about love and loss, but also about letting go and being open to love, again. The book was primarily inspired by a traumatic experience I went through in 2003, I started writing the book as a way to heal. The process of writing resembles the process of grief in way. In as sense I went through the emotions, explored the sadness through writing, and through revision found a new voice, found new possibilities to live again. While I wrote the book as a way to heal, the book is not just about healing, love and loss are part of the human condition; they are real and raw experiences. Death is part of life, love is part of life, and loss is natural as well as the process of grief. I wanted to write a book that celebrated life, celebrated loss, and love.

I’m also writing a New Adult literary romance novel This Way To Forever. The novel explores how young people deal with love and ambition and the choices that come with each.  Other themes the novel explores are choosing romantic love over security, love as an ideology, and long distance love/dealing with long distance relationships. I’m still working on revisions, and hope to be done with a solid draft to submit for publication by February 2014.

Me: Thanks so much for taking the time to visit my blog, Loren! 

Another Kindle Monthly Deal

I'm delighted to announce that my novel When I Found You is now spending another month as a Kindle Monthly Deal, this time for January 2014. The book had an amazing 2013. It was a Kindle Monthly Deal for July, when it rose to #2 in Kindle Paid and stayed there for most of the month, selling well over 125,000 copies just in that 31-day period. In fact, it just closed out the year at #58 in Kindle bestsellers for 2013.

It's on sale right now for $1.99. If you haven't read it, this might be a good time to give it a try. If you read and enjoyed it, I'm always grateful for recommendations to friends. I think we all feel better recommending books to others when they are affordably priced.

Happy New Year, and happy reading!

BIG Holiday Sale on Ebooks

Starting today, December 23rd, I'm bringing prices down on several of my ebooks in honor of the holiday. And two of my newer story collections are even free.

Here are all the links you'll need in one place:

Where We Belong, the recent winner of two Rainbow Awards, is only $1.99. When You Were Older is also $1.99. And one of my best received novels, Don't Let Me Go, is only $2.99. These prices will hold until December 28th.

The short story collections Always Chloe and Subway Dancer are absolutely free through December 27th.

I figured the novels might make good last-minute stocking stuffers for the readers on your list, and the free story collections can be for you. I honestly believe faithful readers deserve a break on book prices. 

A disclaimer about territories: the three novels are traditionally published (or soon to be) in the UK. Which means, with much regret to my lovely UK readers, I am not at liberty to discount them. That's the bad news. Now for the good news. Always Chloe and Other Stories and Subway Dancer and Other Stories are free worldwide.

Happy holidays, and happy reading!

Rainbow Awards for Where We Belong!

I am thrilled to report that Where We Belong has received multiple honors in the 2013 Rainbow Awards.

It won a Rainbow Award in its category, Lesbian Contemporary General Fiction. That was exciting enough. But then it went on to win Best Lesbian Novel, which is a kind of "best in show" award, a winner among all the category winners.

That's a huge honor, and I'm grateful to Elisa and the many judges who worked so hard, and as volunteers, to make these awards great.

Another thing that makes these awards great: This year they raised, and delivered, almost 6,500 dollars for two LGBT charities, Ali Forney Center in New York City and Colors in Los Angeles. 

Here's my certificate, of which I am most proud:

And an extra thanks to all my readers and fans who have been behind this book all along. Not sure what I would do without all of you. May I never find out!

Better Than Blurbs: Elizabeth's Landing by Katy Pye

Because I no longer write blurbs, but still very much want to help other authors, I've launched a blog series called Better Than Blurbs. The authors and I have in-depth discussions about their books, which I hope will help readers identify whether they'd enjoy reading them. This is the fourth post of the series. The author is Katy Pye, and the book is Elizabeth’s Landing.

Me: Katy, please tell us, in your own words, as much as you care to about Elizabeth’s Landing.

Katy: Short answer:

“A classic girl-meets-turtle story, well told.” Christie Olsen Day, Gallery Bookshop

Long, “beware of asking the artist for meaning” answer:

I started Elizabeth’s Landing knowing zilch about writing a novel. I’m prone to map and think things out, but everything I read warned against setting up themes to define characters or tell the story. Just write. I did. And didn’t need to look back until you asked the question. It turned into a voyage of rediscovery.

Bits from Gary Snyder’s essays in The Practice of the Wild kept popping up as I rooted around for a way to talk here about “meaning” instead of plot. His insights inspired my early thinking, but thankfully disappeared during the long writing process. Re-reading the collection last week I found that rather than having forgotten, I had internalized these Snyder touchstones.

• nature (the wild “in us” and “out there” are not truly separate)
• home and family (the “hearth” we leave in order to learn, returning to sing as “elders”)
• community (the local, but also larger “cosmic family”)
• grace (living and acting out of our true place in the whole)

These frames both hold and expand the story. They drive the action, deepen the stakes, and cement character roles and reactions. Elizabeth instinctively gets it. She’s grown up in nature around Picketts Pond, been warmed by family and community fires. The move to Texas blows this world apart, forcing her to travel uncharted lands. Once loose, her need to restore but also widen her definition of place ignites every impulse. She has no choice but to challenge the story bullies—Grandpa, Pete, Larry Wilkes—and draw from strong allies—Grandma, Maria, Tom, even Becca. But this is no hero conquering evil scenario. Elizabeth engenders the widest opportunity for redemption—the antidote to loss.

All the main characters, including the environment, have been undone by design, circumstance, or accident. Through Snyder’s prism, the story asks what happens when we lose or abandon our individual and collective center? Do we reach out to connect or lash out to divide? Do we run, or stay put to battle things through? Some characters, like Grandma climb back from despair, others, like Elizabeth’s father and Grandpa deny and struggle to stay afloat, a few, like Larry Wilkes, drown. Elizabeth sings at the campfire, beckoning us home.

“Nature is not a place to visit, it is home…” -Gary Snyder, “The Etiquette of Freedom”

Me: Still glad I asked. I was surprised when I began reading the materials surrounding the book, for example the info on your Amazon author page. It never occurred to me that you researched for the book. I assumed you had a background in marine life, shrimping, the Gulf. (That’s a compliment.) If it’s not from your own experience, what made you choose these elements?

Katy: Thanks. The core story elements pull from my experience, especially the activism parts. But I figured a novel around gravel mining (see next question) lacked an audience, and pairing kids with animals is a natural portal to exploring environmental and social issues. Sea turtles are such engaging, iconic creatures and, like their ocean habitats, face life-threatening challenges. As an information junkie, research ranks second only to my chocolate addiction.

Me: I know you have a strong environmental background, but will you tell my readers a little bit about it?

Katy: Summers in the redwoods were an antidote to anxieties I felt as a kid. My relationship with nature was strictly personal and a refuge until my early 30s.

In the 1980s, that view shifted. A friend convinced me to join the fight to stop gravel mining on a neighborhood stream. Water levels in a critical aquifer were dropping. Stream bank erosion was peeling off expensive farmland. Suddenly, my “nature” wasn’t out there, taking care of itself; it was under attack in my backyard. Deeply entrenched factions killed productive discussion.

Our group hired a geographer, a respected mining consultant from the University of Ontario to discuss options, mainly to prove us right. Instead, he blew apart the narrow frameworks dominating all sides in the debate. He agreed, get mining out of the creek, but added, mining won’t stop. The off-channel floodplain held most of the remaining premium-quality gravel in northern California. Society runs on—demands—resources, he said, but consumers and the mining companies should pay the true price. Including all environmental and social costs. Instead of the two cents a ton county fee, a dollar would be more equitable. Mining companies should resurface roads damaged by their trucks, plus and devise reclamation plans that restored, even added value to the land and for wildlife.

Ten years of draining, yet inspiring work on the mining issue set my environmental passion. The geographer’s big-picture concepts “re-channeled” my future. I wanted to learn how to help people talk about environmental issues, to better articulate the problems and solutions. My next chapter included returning to U.C. Davis and graduating at 42 with a major in natural resources and communication.

Hired by the Yolo County Resource Conservation District, I completed my move from combatant to facilitator. For decades agricultural practices on individual farms and ranches degraded soil and water supplies throughout our model watershed. Our innovative grant proposals funded integrated fixes on demonstration farms and ranches. Farmers built sediment ponds, returning soil to the land instead of sending it downstream. Native plant hedgerows and grassed irrigation canals and roadsides gave new homes to wildlife and beneficial insects. They also reduced or eliminated erosion and pesticide use. In the hills, ranchers planted native grasses with many times the soil-holding capacity of annual weed species. Herd management systems controlled gully erosion. We won awards and the practices were copied within the state and beyond.

My environmental background began in meeting an emotional need, then moved to feeling powerless against the odds. The more involved I became, the bigger the issues and stakes, but the more I grew. I learned to be a team player. And when I had to tackle the narrative structure and the issues in Elizabeth’s Landing, I was ready.

Me: Your book touched on two issues close to my heart. One is the environment, and the way all of life is interconnected. And the foolishness of thinking we can do damage to the earth—drive a species to extinction, for example—and it won’t come back to bite us. The other is the way the political process works. And in my experience it’s definitely true at the local as well as national level. Money interests are served, the environment is sacrificed, individual constituents are kept in the dark as much as possible. It’s nice to see a fictional triumph, but in real life, do you think there’s a way out of this bind? Are you optimistic?

Katy: Ah, finally the novelist controls the world.

Sadly, your experience is widespread. Big money has nullified political judgment, gutting financial and environmental laws and crippling enforcement agencies. We know the nature of that beast, the real rub is (back to the gravel mining issue) we’re part of it. My life expectations of what I “deserve” stress the big E environment. They either contribute to the conflicts, ensure the status quo, or make things worse. Corporate and political greed and short-sightedness are rampant, but I think we hold many more cards to the future than we realize. It’s a complex responsibility, but we’re here to help each other. Business can’t stay in business without customers and I’m trying, in my own ways, to act on that power. I’m also starting to shift a key aspect of how I think about and interpret the “bad news.”

The media lavishes attention on the bad actors. That’s good because we need and should demand to know. Bad news without balance ramps up despair. Yet every day untold numbers of quiet, dedicated people worldwide walk the line, do the science, share tasks, spread the word, stand up for animals, plants, air and water, and support others in astounding ways. Some receive death threats, some are shouted down or ignored, others are hauled off to jail for peaceful protests. Their stories and example are powerful. The kids heroically working to bring about change completely blow me away. When I get down-spirited over what’s happening, I re-read their stories or write them into my blog (or into a novel). If we greatly intensify our focus on what’s working as we move forward, I believe the ranks for change will swell. Previously uninvolved, even uninformed people, will feel empowered to act.

Scientific evidence commanding change is expanding. The public is waking up, thanks to publicity on issues like climate change, Fukushima, ocean health, the BP (et al) catastrophe, plastic pollution, and now fracking disasters. Education is critical and the Internet is a powerful tool for mobilizing and unifying constituents. We’re not close to a package of solutions, but despite, perhaps because of industry and political blow-back, our collective voice is amplifying. Will our overloaded ship turn around in time? No one knows. The life we’ve known is changing. It’s in our nature to survive and more and more oars are hitting the water.

Me: I liked the fact that there was a lot more going on than just the turtles. Family backstory, a new friend with a disability, tough characters like the grandfather who became many-faceted as the tale went on. So, this was your first novel. How did you pull this off? Did you have intricate outlines? Keep your research in special ways? Or did you find you were able to do all of the layers of the story “by feel”? Or is this the first novel you’ve published, but you’ve written many?

Katy: This is my first work of fiction over fifteen pages. I wrote “by feel” until I hit the oatmeal of the middle chapters. An early critic kept saying, “where’s the conflict, where’s the tension?” Drove me nuts! I had to get off my ego and figure it out. Robert McKee’s book, Story, was an invaluable resource for that. Paraphrasing, “People say it all the time, ‘I like to write, love stories, vacation’s coming up, I think I’ll write a novel.’ No one would ever say, “I love music, I think I’ll write a symphony.” Oh, silly me. The writing shifted to studying how to write a novel, what makes good story-telling. That included reading lots of kids novels, mapping storylines, figuring out what I liked and didn’t in others’ books, and why. Re-write, rinse and repeat.

I worked in critique groups (invaluable) and yes, I used complicated charts. Everything was at the mercy of the sea turtles’ hatching schedule—all logged on a calendar and chapter action outline. A sea turtle vet helped verify wounds, illnesses, and procedures. I was fortunate to have technical support and a few story ideas from several of the world’s top turtle conservationists. A renowned Texas shrimper-turned-environmental and social activist corrected my fishing techniques. My second draft was almost finished when the oil spill hit in April 2010. It had to go in the story. I went to Texas that summer to ground truth parts of the story and see the first Kemp’s ridley hatchling release from Padre Island National Seashore, the most important nesting beach for the species in the U.S.  It was bitter-sweet.

I had wonderful teacher/editors along the way, all gifted writers who helped me push the story wider and deeper. “By feel” came back after I’d created the world, asked “what if,” and listened to “it gets worse,” over and over. I knew enough about my characters to finally leave them alone and hear their voices over mine. They polished it up.

Me: When you decided to tell this story, what made you choose a young adult protagonist/audience?

Katy: Kids, especially around Elizabeth’s age, are stretching out, looking for measures of who they are and want to be. It’s a challenging ride, the road between innocence and adulthood. Thirteen to sixteen remain my most difficult years.

The world is a much more complex and conflicted place than when I was a teen.

From the genres and stories young adults gravitate to, it seems many are at war with their futures. Perhaps we all are. I wanted a story that says it’s okay to reach out (what I couldn’t imagine at fourteen). Maybe some of the struggle will ease, and maybe not just for you. What you do follows you. Bit-by-bit you’ll find your way. Turns out, adults are connecting with the story, too.

Me: Since this is a debut, please tell us what you have planned for the future.

Katy: I have story ideas mulling about, but no concrete plans. As an indie author and publisher, I’m trying to get a grip on how to sail Elizabeth’s story out as far as possible. The most fun, and an invigorating break from writing, is connecting with readers and booksellers, getting feedback, support, and hearing others’ stories. A double chocolate hit.

Me: Please ask your own question, and answer it.

Katy: Have you said enough?

More than. Maybe needed more jokes.

Okay, no wait, a plea: For holidays, anniversaries, or anytime consider “adopting” a sea-turtle through one of the world’s fabulous turtle rescue and conservation organizations. Give, if you can, to your favorite wildlife fund or to groups supporting education and activism toward a healthier world.

And don’t celebrate with balloons or sky lanterns. Visit Balloonsblow.org to find out why. Main character, us. Story problem: environmental trash, dead animals, and a rare and disappearing noble gas.

A portion of Elizabeth’s Landing’s book sale profits supports sea turtle conservation.

Thank you, Catherine.

Me: Thank you. I want to mention to my readers that the paperback is 40% off at CreateSpace until December 15th. Use code: B9GBX97Y at checkout. E-books are also discounted at Kindle, Kobo, and Nook. That should make it extra tempting for you to give this one a try. And don't forget the turtles benefit from each sale.

You can learn more about Katy at her website and blog, follow her on Facebook, or check out her YouTube channel.

You can also learn more about the Yolo County fight to stop gravel mining and click this link about added value to the land and for wildlife.

Hope you'll give this one a try.

Two Discounts at Once

Hopefully most of you know that my novel When You Were Older (US ebook edition) is only $0.99 right now. This deal will continue through the Thanksgiving weekend, and then it will go back to the regular $4.99.

But starting today, we're also offering the newest of my novels, Where We Belong (also US ebook), as part of the new Amazon Countdown Deal program. It will be only $0.99 today, Wednesday the 27th. Tomorrow, Thanksgiving, it will be $1.99. It will go up a dollar each day until it's back at the regular price. So the sooner you grab it, the deeper the discount.

It's the holidays. So we have extra deals to offer my readers. If you can't get books into people's hands at a great price on the holidays, when can you?

That said, wait till you see what we have in store for Christmas!

As always, please stay tuned. And if you grab one of these books, happy reading!