For Fame& Fortune - Write Here

Turn over a rock or open a Writer's Market and find writing contests. All over the Internet the word travels at the rate of speeding electrons about the latest and greatest writing contest. Plunk down the money, write a story, and grasp fame and fortune -- and publication.

Why not enter a contest, throw a story into the ring, and take a chance on what you know you do better than anyone else -- write? It is that easy -- and it is that hard. Is it worth it?

I remember the first contest I entered in a writer's newsletter I subscribed to. Short story, any genre, and, while sitting in the bathroom, I came up with what I felt was the perfect story. I dashed to the computer and wrote it down, checked it twice, and sent it off speeding along the electron highway to its final destination. I went back to work and back to writing and completely forgot that I had entered. I didn't haunt the email box hitting the button and hoping the news was good. I simply forgot about it. I was after all writing my first novel, a romance because the odds were better of getting a romance published, and there was more money to be had. Mostly, I just wanted to be published, to know that I had made it.

As I got to the middle of the novel, an email arrived. I had won the contest with a first person vampire story that was like no vampire story out there. I had won.

It took a few moments for the squee of joy to rise up through my shocked body and emerge out my mouth, terrifying children and pets and sending birds racing for the skies to get away from whatever was making that obnoxious and loud noise that sounded suspiciously like a jaguar making a monumental kill for the first time. I had won.

I don't remember the prize, but I do remember the feeling -- and the story -- and the knowledge that dawned that day. It was satisfaction and pride and not a little shock.

I've entered writing contests since then and I always get a frisson of fear/pride that shudders through me and a smile that stretches from ear to ear as I read the email or open the envelope with my certificate, check, whatever inside. It feels good to win, but that isn't the reason I do it. I enter contests with the hope of being noticed by the publishing industry and readers, mostly by readers. It doesn't hurt to have a string of awards to add to my writing resume either, or to my biography.

Since I am an indie published writer you may think that entering a contest with the hope that I will end up in the contest seems disingenuous. Not at all. I would accept a contract from a publisher, but it would be on my terms and have all the things I deserve and need to make my books a success. After all, all roads lead to Rome. In this case, all roads lead to readers, and readers buy anthologies with contest winners, the best of the best. I have a few on my bookshelves. It's nice to know the competition and what kinds of stories are considered the best, if only as a measuring stick. I also enjoy reading contest anthologies because I often find a writer I didn't know about or a story that delights and surprises me for a few moments, takes me out of the working day and the struggle to string together enough words to create a story or novel. Besides, I love to read.

Why, you ask, do I mention contests today? What is the big deal? There are new contests and old favorite contests every single day of the year. Why now?

Because I came across a contest looking for the next J. K. Rowling or Stephenie Meyer. Whether you like or don't like the named authors (I like one of them), you cannot dismiss the fact that these writers, these women writers, are successful. On that score alone, being chosen as the next writer to step into the limelight is worth the effort. At the end of the contest, the winner will be published in an anthology and get a publishing contract with the bells and whistles the likes of which turned Amanda Hocking's head when she signed on the dotted line. That kind of treatment would turn anyone's head.

So, without further ado, on to the contest. Click the link, read, and then write your own prize winning story. And, if you don't win the contest, you will have at least written something you can publish indie style. There are no losers, except those unwilling to place their tuchus in a chair and write. Good luck and good writing.

Writer's Toybox Contest

Deadline:  September 30, 2012

Netherworld Books: Horror, science fiction, fantasy, and paranormal romance

Publishing Portents

Everything changes and yet everything stays the same. Seems like an oxymoron. In publishing, that is exactly what it is -- an oxymoron. The more things change, the more publishers seek to maintain the status quo, scaring authors into believing there are nothing more than an unimportant cog in the vast machinery of publishing.

I began writing about the truth in publishing years ago -- 8 years ago -- when a writer I knew set down the path with a specific agent in mind. The writer was determined to have this one agent and approached the agent to take her on as a client. The agent refused; the  writer had no backlist and no publishing credits to speak of. It didn't matter that the writer had more than 10 years of experience writing articles and blogs and had co-written a book on writing; she didn't have enough experience -- or income -- to interest the agent, not even with a book that had series potential.

The writer went out and got a contract with a publisher through unusual channels and went back to the agent, newly signed contract in hand, and begged to be taken on as a client. The agent said yes and took her 15% off the top for doing nothing. The writer had done the hard work and, hat in hand, was shark bait.

I was outraged that the writer had so little faith in herself and couldn't see what was happening, but when the agent's contract, which the writer asked me to read, included an annual fee for the cost of doing business, I begged the writer to look for another agent or at least tell the agent to forget about the contract unless the annual fee was deleted. The writer signed anyway, consigning 15% of the hard earned royalties to agent for the life of the book, and the planned series. I wrote about it in 2004, but it was merely a portent of the coming storm. Other writers with a wider readership and more years in the publishing business began writing about what was going on behind the scenes.

Since the Dept of Justice case against 5 of the Big 6 publishers and Apple hit the news, Joe Konrath has written extensively about what is happening, and he continues to inform the reading and writing public exactly what it all means. It's all about who has the power.

Writers do not seem to understand that they have the power. Without the words, publishers have nothing to publish. Readers don't generate books. Publishers merely print what authors write and without the words, there is no business. As I explained to my writer friend 8 years ago, a conversation that ended our friendship, the writer has the power, not the agent. An agent might have great contacts, but those contacts exist because the agent is representing the writer. No writer, no words, no contract, and no money, despite the fact that agents are determined to bite the hand that feeds them.

Agents may believe that publishers feed them, but that's only because publishers take agents out to lavish lunches and dinners, give them booze, invite them to launch parties where the food and booze flow freely, and sign the check made possible by the author who put the words together so a book was possible. It's hard to see who is really paying the bills when the publisher's name is on the check, a check that wouldn't exist without the writer. It's called exploitation and agents and publishers have been exploiting writers since the first mass market book rolled off the Gutenburg presses.

When workers, in this case writers, are exploited, they form unions that bargain for the collective power of the workers (writers) and strike if necessary until terms are met and conditions changed. Writers have a union of sorts in the Authors Guild, but that union hasn't been doing much to help out the people (writers again) that make the Authors Guild possible. Joe Konrath and Barry Eisler hit it out to the cheap seats. Once again, people, even authors, forget who has the power.

That writer friend I mentioned told me that refusing to sign the agent's contract, annual fee and all, was not an option since the writer was a small fish in a very big ocean. I still believe that someone must take a stand and put a stop to the exploitation of writers. I would have refused to sign, but then I wouldn't have chosen that agent in the first place. The agent has done little for my writer friend's career except collect her 15% and she still charges for the cost of doing business, rather like the phone company or the utility company adding an annual fee for the paper clips, ink, paper, and postage necessary to send you a bill. Those charges, overnight mail fees included, should come out of the 15% the agent already gets. Thinking that only a Stephen King or J. K. Rowling could stand up to the agent and get the annual fee rescinded is wrong thinking. Every writer, every author who writes a book that is published is powerful enough to say NO very loudly and be heard -- and heeded.

There will be scabs who will work during a strike because they have no other choice, but Joe Blow who has never written a book before cannot replace a Barry Eisler or Ted Dekker, and that will become obvious when sales fail to make it possible for publishers to take agents out to lavish lunches where the martinis and whiskey flow so freely.

The signs are obvious. Pay attention. Writers have the power. They always did. It's time to use that power. We are authors, hear us roar.

 

It's All About the Words

When Jon Land offered to read and review my novel, Among Women, I was a little anxious. He was after all an internationally known author and I was just the person who had read and reviewed several of his books, and not always with glowing words. I pointed out shortcomings and places where the plot or characters didn't quite work, but the surprise was that with every review, he has thanked me unconditionally -- and agreed with my assessment. It's not like he could change the books to fix the plot holes but he was gracious. That was the one thing I counted on -- him being gracious -- even if he didn't like my novel.

He is also a gentleman. I could forget about any soul ripping or prose rending as I've endured with former friends who have decided to vent their spleen on me by trashing my work. I knew he would be honest whatever the outcome.

I sent him my book in April and a few days ago he gave me his answer.

"With AMONG WOMEN, J.M. Cornwell has fashioned an emotionally bracing tale of love, loss, and redemption.  Here is a book of rare depth in both character and story, tragic and uplifting at the same time in the tradition of Alice Walker, Terry McMillan and Judith Guest.  Certain to stay with you long after you've turned the last page and just as certain to leave you eagerly awaiting the talented Cornwell's next effort."

--Jon Land, bestselling author of STRONG AT THE BREAK and BETRAYAL

I was stunned, shocked, and pleased. I've not been compared to McMillan, Walker, or Guest -- and I wasn't quite sure who Judith Guest was. I found out pretty quickly. She wrote Ordinary People and several books in the same vein. Walker and McMillan I knew; I've been fans of them both for years.

The extravagance of the blurb is undeniable and I thanked Jon profusely. If I wasn't a fan of his Texas Ranger Caitlin Strong before now, I would be soon. However, I am a fan and have been since the first book. Jon writes solid and timely thrillers and, while I quibble on occasion with some of his plot choices and point out the holes, he is overall a solid writer with a vast imagination.

I've been told that authors praising other authors doesn't make a difference to the reading public and yet publishers and authors put blurbs from recognizably famous authors on the backs of their books. I didn't do that with Among Women because I hadn't sent galleys or advanced reading copies to any authors who had agreed to read the book. I could barely get people I know to read the book. They're always too busy, don't read that genre, or just don't read at all. I have a rather long list of authors whose books I've read and reviewed, but I didn't think it appropriate to ask them to read my book, and I didn't ask any of the authors I've known for years and corresponded with. I wanted the reading public to start talking about my novel and my writing, good or bad (preferably good), and start the snowball rolling down Mount Everest. The snowball seems to be stalled at base camp 2.  Or is it 3?

The thing about the writing business is no one really knows how it works. Authors who tell great stories and couldn't put together a cogent grocer list zoom to the top of the charts, garnering automatic fame and a considerable fortune.  Authors who know how to market and tweet and socialize like madmen and write formulaic drivel zoom to the top of the charts, too. All too often, authors who do it all right and follow the rules, barely make it to the middle of the pack. It's a crap shoot, especially for indies, and fragmenting themselves and their efforts following what worked for other authors doesn't do much good, except to provide a little bump in sales. There is no tried and true method of getting ahead and advertising on no budget isn't an option. The only thing left is the story.

I read a post Amanda Hocking wrote recently about how everyone talks about all the millions of dollars she has made and no one mentions that she writes books with stories that people want to read. It's all about the story even though the editing and proofing are horrible. She's one of those who write fantasy and fantasy is hot right now, so what happens to someone like me who writes books about real people in real situations? Base camp 2 -- or 3. You know, right at the summit.

I don't know what else to do but keep writing what moves me and keep hoping that among the seven billion people on this earth, a few paltry million will discover my stories and decide to read them.

Jon Land did me a huge favor by reading my book and I hope, by putting his views here, others will feel the same way and read. I don't socialize and network all the time (I have two full time jobs) and I don't haunt the bulletin boards and forums. I'd have no time to write if I did. That just leaves this story and the ones that came before and the ones that will continue to follow. Somewhere along the way, I hope it is enough.

It's all about the words.

 

From Amateur to School Girl -- Again

A reviewer, who admitted she doesn't read the kind of book I write, said "the writing and character development seemed a little amateurish." I guess a little amateurish is like being a little virginal. On the cusp of being a tramp and on the road to whorish -- or something like that. At least it's a three-star review, so I'm not going to worry.

Not worry? I'm going back to school. Maybe I can burnish the rest of the amateur out of my writing.

I did decide to go back to school, in a way, by signing up for Great Courses. It was a huge bargain, $39.95 down from $215. College at bargain basement prices, and no exams or dissertations or angst about what to wear to class. I always obsessed about having enough paper and a pen and pencil that worked. Silly me. I may even take the course on rhetoric and critique. It's likely my reviewing skills may also seem a little amateurish. Of course, I've earned enough money to buy food when the bills depleted my regular income, and I've had to pay taxes on the earnings for the past six years. Do amateurs pay taxes on earnings? Oh, well, not important.

I decided to try out one of the Great Courses since I've been receiving their catalogues for years. With the long list for the Booker Prize out today, it just makes sense to brush up my reading, writing, and critiquing skills. I took a look at the list and checked them all out on Amazon to see what was available for Kindle and at what prices.

Surprisingly, four of the books were out of print even though they were published within the past few months, and nearly all of the books were priced at near hard cover price, and often more than the paperback price. I guess publishers just don't get it.

How does a book go out of print in the seven weeks since it was published? Low print runs. Most of the books were published with a less than 6000 print run -- for all countries. Had they chosen to offer digital files (at realistic rates), the books would still be available while reprint orders were being made. I guess they didn't believe in the books enough to order a print run sufficient to sell to interested readers, and ebooks readers do actually read. I've finished six books on Kindle and just received the Kindle the first of May. Of course, it goes without saying that I've read many more books in print (that's what the office sends me to review) and a few in digital form that is not compatible with the Kindle. The total is, I believe thirty books that I didn't read on Kindle, and that's a conservative estimate. I've also read two of George R. R. Martin's A Song of Fire and Ice books (A Game of Thrones and A Clash of Kings, and have begun A Storm of Swords) and have nibbled The Bone People, a Booker Prize winner from 1985 that was a gift from a friend who said after the second chapter she realized the main female character was me.

One of my guilty pleasures, and not including Martin's saga, is the Nikki Heat mysteries written by Richard Castle, of television fame. Now there was a bright marketing ploy. A character on a TV show (one of the few I stream) is an author of mystery novels and, in real life, there are books written by said TV character featuring his partner and love interest, Detective Kate Beckett, aptly named Nikki Heat.

The writing is simple and the mysteries not that difficult to solve, and the byplay between Heat and her literary shadow, magazine writer Jameson Rook (who also writes romance novels as Victoria St. Clair), is heated, to say the least. It's fluff writing but it's fun, hence guilty pleasure. I've read Heat Wave and am working my way through Naked Heat, although the naked part is sadly missing so far, and I'm reading them on Kindle at a price below the paperback price. What a concept. The thing is, I'm enjoying the books, just as I enjoyed reading Terry Pratchett's Discworld series on Kindle.

Kindle is a great product and I'm enjoying the heck out of mine -- when I'm not reading review books, like Prophecy by S. J. Parris or Deed to Death by D. B. Henson, whose writing is long on detail and short on action through the first half of the book. D. B. Henson was first self-published and then picked up by Simon & Schuster, so indie to traditionally published still happens, and not just to Amanda Hocking, who is wringing the very last drop of tease out of her move to St. Martin's Press with her troll series.

What surprised me about the Booker Prize news this morning was the slap at Apple for not having any of the digital books available from the long list and being questioned as to whether they were players or just playing. I guess Apple is an amateur compared to Amazon, but you didn't hear that from me.

So, while the publishing world is heating up and plots are being bandied about, I will return to the beginning and learn to construct artful sentences in an effort to shake off that amateurish taint in my writing and character development. After all, writing is evolution and to write and sell one must evolve.

The Eyes on Amanda Hocking

Everyone is talking about Amanda Hocking and her $2 million deal with St. Martin's Press. The news has even reached Europe and the United Kingdom, and everyone has advice for her.

In a recent post by Alan Rinzler in his blog The Book Deal authors and agents offer their advice and opinions on what Amanda Hocking can expect and whether or not she's right. My grandmother always used to say that advice is free and you get nothing for free. It all comes down to second guessing Ms. Hocking's choice.

As I've said in previous posts, Ms. Hocking has done what's best for her. Whether or not that turns out to be right will be determined over the next five years while she tries to earn out her advance. Either way, win or lose, she will gain what most writers only dream of -- entry to the publishing world at the top of the heap instead of having to work her way up from the bottom through the midlist and eventually, if ever, to the star ranks where marketing and publicity roll out the red carpet. With two million dollars at stake, there is no way St. Martin's Press will drop the ball on this one. They have too much invested.

Some of the most interesting comments came from an author who got the star treatment and an agent.

Garth Stein, author of The Art of Racing in the Rain, from Harper Collins, cites being on the road nearly nonstop to publicize and market his book, much of the money coming from his own pocket. It resulted in 1.5 million book sales, but it was undoubtedly a hard slog, but he warns, "But don’t think it gets easier because you have a big publishing house behind you now! I’m constantly struggling with the balance between marketing, family, and writing my next book." If Ms. Hocking wants more time to write, with $2 million on the line, she may find it in short supply. It may be a good thing she isn't married and has no children. That will lessen the choices a bit.

Sandy Raihofer of the David Black Literary Agency weighs in from the agent's, or at least her, perspective. "Hocking says she welcomes the editorial process a traditional house can offer. YES! That’s validation of the process that’s been in place for decades — if not generations — for honing a manuscript. Not to mention the amount of editorial work we agents do in order to sell a work, and sometimes on the back end as well." I wonder if Ms. Raihofer is cheerleading for agents because she believes they do a lot of the work in packaging and "honing a manuscript" or because she wants to believe it. Most of the authors jumping ship for self-publishing are doing so because they are dissatisfied with the "services" rendered by publishing and agents, and not just because of the money, although that is definitely a factor.

I've worked with several agents over the years on previous projects and I can say I got very little input or honing from only one agent.

Ms. Hocking is today's news and she is a hot topic for several blogs and tweet-fests. I'm sure she is a little tired of the limelight and just wants to get back to writing. While her meteoric rise to fame and fortune has fueled considerable debate, her success has also inspired writers in both camps to jump into publishing -- indie and traditional -- secure in the knowledge that if Amanda Hocking can do it, so can they.

When the furor dies down, I wonder whether or not Ms. Hocking will end up in obscurity or if she will find herself in calmer waters writing and touring and making the most of everything she has earned and been offered. No doubt there another rising star is about to crest the horizon and Ms. Hocking will be last month's flavor. Whatever happens, Ms. Hocking seems like an intelligent and savvy young lady with a glowing future ahead of her and I wish her well.

As for me, I have covers to choose and a proof to check and another critique to work on. It's Monday and just another day in the week for me. I'm still slogging my way up the publishing hill.

Be a Real Writer

I am beginning to wonder why more authors don't self-publish. Oh, that's right. It's because of the onus of vanity publishing. That is changing.

There are lots of writers who still believe that legitimacy only comes with being published by a real publisher, real meaning established publishing house. They also believe that the only way to go is with an agent to look after your interests because writers just don't know about contracts and rights and all that legal mumbo-jumo.

There are even writers who insist that a writer isn't a real writer unless and until the name appears on the spine of the book as the only author, ignoring the publication of articles, co-authoring books and articles, anthologies and anything that isn't a fiction or nonfiction book authored by the writer and only by the writer. Too many qualifiers.

The real reason for placing all those hurdles is to differentiate oneself from what the competition. It's the same old schoolyard game of one-upmanship. If I have numerous articles and have co-authored a couple of books AND have published a novel then I'm a writer and you're not because you've only written articles and contributed to twenty anthologies. It's silly and petty and only silly and petty people still believe that way. A writer is one who writes. It's that simple. The dictionary says nothing about publication, just writing.

The Belle of Amherst, Emily Dickinson, is undoubtedly a poet even though she never published a book of poetry in her lifetime. Only a handful of poetry was ever published. In death, as in life, Dickinson remains a poet.

One thing writers need to do is stop fighting with each other. Our differences are our strength and shouldn't be used as a reason for exclusion, but people tend to be more exclusionist than inclusionist. Too bad, since it makes a sometimes lonely life that much lonelier, and more competitive.

During this time of changes and birth pains throughout the publishing world, we need to celebrate our differences and find ways to support each other. I was impressed with Barry Eisler and Amanda Hocking congratulating each other in a recent tandem interview. They each recognized in the other intelligence and business savvy, despite choosing different paths. They were polite and professional. We need more of that especially now that the face of publishing is changing so quickly.

I have found myself at odds with other writers over these issues and I usually end up shaking my head and walking away. I cannot abide jealousy in any form.

When I was just getting into the whole Internet thing and finding my cyberlegs, I visited many writing forums and offered advice to newbies coming in asking questions. I did have a limit, but when someone was interested in learning, I thought it only fair to spare them some of the anguish and offer tips and point out a few signs along the way. If I didn't know an answer, I knew where to find it and I sent them to the source. I caught a lot of flack from more seasoned writers and professionals because I was wasting my time and making it too easy for them. I was surprised, and I shouldn't have been. People can be mean, no more so than when they feel threatened. I never feel threatened. There are an infinite way of telling stories and an infinite number of combinations on the so-called 12 plots available. Of course, I hadn't heard about Mary Sues then either. I don't write fan fiction.

I have heard of mimics and I think most writers go through a mimicry stage when they try to write like their favorite authors. Some writers have made a very good living mimicking certain writing styles and authors. Mimickry (imitation) is said to be the sincerest form of flattery.

We all have to start somewhere and writing is the very first step. Get the words out of your head and onto the page. Once you do that and do it consistently -- every day is best -- you are a writer. The rest is business. That is what publishing is, a business, a means to earn money as a writer. Real writing is really writing day after day, week after week, weekends and holidays, and every spare moment -- even if it's just for your own amusement or to share with family, or as a legacy to future generations.

Emily Dickinson is not here to appreciate the impact her poetry had on subsequent generations of admirers and readers, but somehow, somewhere inside her, she felt the need to put her feelings and thoughts and ideas down on paper so we could share that corner of her life and abilities . . . because she wrote.

That's how to be a real writer. Sit down and write.

Along the Self-Publishing Road

I know what Amanda Hocking means about dealing with cover art, page size, copy writing, etc. because I'm going through the first stages of putting my book out in print. It is a bit daunting, although there are plenty of companies and people available to make it easier -- for a price. It does tend to eat into the profits, and there are few profits just starting out. These are all the things that publishers do, or at least once did, before publishing went the way of medicine -- into specialization. Somehow that reminds me of a song done by Marilyn Monroe in a movie. Specialization, specialization.

It's easy for Joe Konrath with his sources and years in publishing and Barry Eisler, just sticking his toe into the self-publishing waters, to talk about how it's no big deal to get out there and publish your own books. They have all been in publishing for years and have made some contacts. It's different when you're just starting out with one or two books and deciding to go from self-publishing an e-book, which is somewhat less complicated, thanks to Smashwords, to publishing a book in print. There are book sizes and cover art (front, back and spine) and color of paper and type of paper and print fonts and all kinds of madness to wade through, at least for the first time. I'm in a quandary.

At least I have some help because I chose a really good cover artist, who is still finding his way as he graduates from college, and we are learning together. He's a Photoshop genius and he has no clue how to do a full book cover (back, front and spine) for a print book. Good thing I have some serious Google-foo and can find just about anything when I'm motivated, and I am very motivated right now.

Finding templates and sizes for print covers was easy, but it is less easy deciding between CreateSpace and BookLocker as publisher. I am leaning toward CreateSpace simply because it has a wide distribution channel and I am guaranteed to get into the right bookstores, although I've known about BookLocker for ages and they have the best prices -- as far as I can tell -- and they don't just take any book. It's almost as hard to pass BookLocker's vetting process as it is to find a good publisher. The only way to tell which will be the better choice is to keep exploring. At least I know I passed the BookLocker test and they'd welcome publishing my book. I guess that bodes well for reviews and positive blurbs. That's always a good thing.

In the meantime, I can continue to productively procrastinate on the next book since I do have some serious work to do with the current book shepherding it through the publication process. That makes me feel a little less uneasy. It isn't that I don't want to write, or at least finish Whitechapel, but that I need to get this first book out of the way and onto the shelves within the next couple of months, especially since I've decided to enter it into the self-publishing book awards this year -- if I get it done in time. I don't think they take e-books yet. Entering the WD Self-Publishing Book Contest is not about the money, but about the exposure and promotions that will result -- and the money would be nice. I do have a lot of expenses right now.

I have found out that not buying books (I put a moratorium on book buying for two years, of course with the occasional slip for a really necessary book) does make funding the current process that much easier, and I have plenty of review books to keep me company. Can't give up the day job that has kept food on the table for the past six or so years until I'm more of a household -- or at least of a book shelf -- name. That takes time.

I suppose this whole journey is meant to be more than just a learning experience. It is supposed to try my soul and test my patience, and I'm well down the road for that. Luckily, I do thrive on challenges and self-publishing has become quite the challenge. The up side is that I get to watch my book sales continue to climb and feel a certain sense of elation and excitement that should be enough to see me through those soul-trying and patience-wearing days ahead. I've no doubt they are up ahead and I'm ready for them.

So far.

Traditional v. Self-Publishing: The Continuing Debate

I'm new to self-publishing e-books, at least to doing it myself. I have, however, edited several books that were self-published, and I have watched that side of the industry for a very long time. Like most writers, I kept writing and polishing my work, chasing agents and publishers, and getting no love. It's that way for many writers -- for most writers, truth be told.

When I decided to take the plunge with Among Women, I had certain expectations: that my book would hit the market and begin to make ripples. There was still the idea at the back of my mind that a traditional publisher, preferably one who had rejected the book, would see the error of their way and offer me a book deal. That idea diminished over time and I began to look at self-publishing and e-books in a completely different light -- a hopeful light.

Amanda Hocking is a hot topic right now and she has done well, selling nearly a million e-books and making a tidy profit. Joe Konrath, who I have quoted and mentioned several times, has become the guru of self-published e-books and has presented his case with the backing of several other well known print authors who have jumped ship to join the independent publishing brigade, the most recent defector having given up a $500,000 book deal with St. Martin's Press: Barry Eisler. His daughter asked why he didn't publish The Lost Coast himself as an e-book. I have to say, the news isn't all good, but it is intoxicating to think that I could be one of the lucky ones, as long as luck includes passion about writing and a moderate facility with creating memorable characters and interesting books.

It seems that series books are selling the best and I can see why. Charlaine Harris, Kim Harrison and Anita Blake spring immediately to mind with their paranormal characters and solid writing. After all, it's like building any relationship; when the people click (reader and character) you want to know more about the person, be a part of their lives. I had that experience with a paranormal series of three books (so far) that is set in Colorado; I got caught up with the characters and wanted to know what came next. Katherine Lampe did a great job creating memorable situations and three-dimensional characters. She isn't published, but I hope she will be so I can keep reading about them.

After doing plenty of research and taking the plunge, no one was more surprised than I was when the news came out that Amanda Hocking was pursuing a three-book deal with traditional publishers for more than $1M (one million dollars). Why would the darling of indie publishing take such a big step backward? She has already made more than a million since she began publishing e-books two years ago, so what's the draw? I had more questions than answers so I went on a bug hunt and tracked it back to the source.

It didn't take long to figure out what was going on here. Fear. It's a big burden writing, editing, finding or hiring someone to do a good book cover, line editing, copy editing, formatting and all the other things that go along with self-publication, and it seems to have taken its toll on Amanda. Can you blame her? Doing it all yourself, especially the marketing and maintaining a web presence, is exhausting and it takes away the energy necessary to write books. It won't cost her much, except most of her profits, and she will sleep better at night, be less afraid and be able to focus on writing, or at least that is what I get from her post.

To put it in perspective, I am reminded of an acquaintance who was desperate to sign a specific agent. She approached the agent with a solid book proposal, a great query and a wonderful sample of what she had in mind. The agent took no time at all rejecting it all. She didn't have time to work with an unpublished author who had one book to offer. The writer was devastated. She submitted the proposal to Adams Media and got back a question: Can you change the book to fit the format the editor had in mind? She could and she did and she got the contract for the book. She was about to be published. What did she do? She went back to the agent, contract in hand to beg for a second chance. The agent agreed. After all, the writer had done all the work and all she needed to do was take a look at the contract and collect her 15%. She did tell the writer that she would have to work hard to promote herself and continue to write more nonfiction books in the same vein. The writer agreed. Why not? She would have -- and did -- crawl naked over broken glass just to pay the agent of her choice. I see the same willingness to do anything to get a traditional publishing contract in what Amanda Hocking wrote.

I'm sure that Amanda realizes that she will get, instead of 35% or 70%, depending on the price of the e-book, 14.2% of digital publishing royalties, after she's paid her agent and whoever else she has hired to promote her work. She will also have to continue to maintain an online presence and promote herself; publishers just don't do that much promotion or publicizing any more; it's up to the writer. It's her book and her name. She will see a 12-15% royalty, minus fees to agents, publicists, etc., when her book hits the stands and its shelf life will be about the length of a Mayfly's life span. She will finally get on the NY Times bestseller's list instead of just the USA Today bestsellers list, but she can relax. She won't have to worry about copy or line editing, have control over the book cover or have any kind of control over the finished product except for what she puts into it. She will finally have an editor who will spot repetitions and plot holes and continuity errors and rest easy that it will be done right. She can finally exhale.

Everybody has to make a choice, whether to self-publish or following the traditional path with agents and legacy publishers, and do the best they can with what they get. No writer is guaranteed to be a bestseller and, whatever route the author takes, it will come with its own set of problems and hurdles. Traditional publishing does not guarantee a book will be published error-free or that continuity, typos, plot holes, etc. won't still get through onto the page. I've read and reviewed too many books that were subpar on that score to believe that. If it means that Amanda Hocking can finally exhale and continue to write the books that have thrilled so many, then so be it. I suppose in the end, a small percentage of sales is worth being able to sleep at night and no longer be afraid.