How to Create Bestselling Book Ideas

First Edition Design eBook Publishing
  writing for The Future of Ink, March 7, 2014

5 Ways to Generate eBook IdeasIt’s one thing to write a book, it’s quite another towrite a book that will sell. We all want to follow our passion, write our dream and dance creatively with our muse, but wouldn’t it be fantastic if, amidst all of this creation, we also managed toproduce a bestselling book?That is, after all, the dream. Specifically we’d all like high ranking on Amazon and though I’veaddressed that and reviews in other pieces,I thought that a step back to the beginning might be a good place to focus on.

Finding Bestselling Book Ideas

I know this gal who fraternizes with a lot of SEO people; for those of you not familiar with the term, SEO stands forSearch Engine Optimization.These are the folks who spend their life trying to get on the first page of Google. One day several years back, she and I were talking about the topic ofhow to create ideas that sell.She told me that many of her SEO buddies would write books literally just based on keywords. It had nothing to do with their passion or what they really wanted to write about; instead, they focused on saleable terms, meaning phrases that were getting a huge bounce in Google. Now this may not be how you would ever consider writing a book, but there aremerits to this methodology: Book focus:Where will you focus your book?Don’t get too caught up in a set plan.Leave some room for flexibility and consider what’s “hot” to write about right now. What is an immediate need? You may still stick with your original plan, but slant it a bit more towards seeing what’s hot in search or in the media. Keep in mind that the speed of book production often allows us to jump on a trend or hot topic so take advantage of that when you can. Book title:If you have identified yourbest keywords for this market(which we’ll focus on in next month’s article) then you can and should use them here. Keywords in a title can really help to boost your exposure not just on Amazon but on Google as well. Book subtitle:If you already have your title set in stone, consider usingkeywords in your subtitleto help boost your exposure in search. Book topic:Let’s say you know your market, but you aren’t sure what to write about. Sure, you could align this with “book focus,” but consider that you’re an expert in consumer finance and want to write a book on this topic. Knowingwhat consumers are searching on(as it relates to finance) could be a great way to address the immediate needs of your reader. This is where keywords come into play but the research I share further in this article will help with this, too. The other element here is tocreate a topic that’s narrower.Instead of focusing on one broad area, focus in more granularly. For example, I recently taught a class about this very topic and we brainstormed ideas on creating segmented topics within one broader umbrella. Consider the real estate gal who has a book on buying or selling your first home. I suggested that instead of trying to reach a big, broad and cluttered market, that she instead focus on isolated industries. The ideas we brainstormed were: Buying Your First Home for Singles, Buying Your First Home for Seniors, Buying Your First Home for Domestic Partners. You get the idea, right? Createa series of booksthat sits under a broader market. This will net you better sales. Consumers like specializedtopics that help solve a specific problem.And the books don’t have to be long, but we’ll cover that in more depth later. Once you find this market or niche, you’ll want to publish regularly to it. Amazon and the associated algorithms tend to trigger quicker when an author has multiple titles so consider that as well. So, let’s assume that you’ve done some keyword research or are at least familiar with the keywords in your market. Let’s see how these searches relate to popular topics on Amazon. Step-by-step,here is what you’ll need to do:

  • On the Amazon page,search in the Kindle store tab.I want you to isolate your searches there for now.
  • Plug in your search term andsee what comes up.You’ll generally get 5-10 suggestions. Click on one of them.

Amazon Look at the books that come up in search andclick on the “customers also bought”section. AmazonCustomersAlsoBought Your focus should be on books thathave a low sales rank.Depending on the category, it could be as low as 20,000 or as high as 50,000. You want to make sure there’s a variety of books in this segment, preferablymore than fiveand they should all have this range of sales volume. If it’s lower than 20,000 that’s great, but when you get into the super saturated or unpopular categories, neither of those will help you. Some Amazon experts say that a 20,000 rank indicates that the book is selling five copies a day, but I find this hard to prove either way. Just know that given Amazon’s volume, it’s definitely not languishing. Regardless,this research will really help to expose hot topics and market segmentswithin your area of expertise that are selling well.

 Staying on the Short and Narrow

While full-length books will never go away, there’s a surge towards shorter, niche books—books that “own” a narrow market segment. When I first publishedHow to Sell Books by the Truckload on Amazon,I was surprised at how the sales outpaced my other books. While I know the title had a lot to do with this, it was also the fact that the book was shorter and focused on one particular area. If you decide to do this (write shorter books), I wouldn’t suggest justkeeping the book short.While short is the new long, there’s still plenty of room for full-length books, too. So, in other words, if you can mix it up, that’s the best track for success. How short can short be? Ten thousand to seventeen thousand words is generally acceptable. Keep in mind that if you do short, you don’t have room for fluff. You’ll want to be ascrystal clearas you can be on specific instructions, maybe even include step-by-step instructions or checklists, which readers love.

 Other Ways to Develop Book Ideas

There’s an element of research that goes into every book you create, and I’m not just talking about the topic research, but content, too. When you’re developing your book idea and trying todecide what to include and exclude from the book,consider spending a bit of time doing a comparison with other, similar books in your market. Take a look at their book pages on Amazon, read through their reviews. In particular, the negative reviews that give constructive feedback about what the reader thought was missing, or things they wished had been expanded upon, will be particularly helpful. Readers will tell you what they want, and they’ll often do it in a review.

Readers will tell you what they want, and they’ll often do it in a review.

 One Final Note on Shorter Books

On Amazon there is the “look inside the book” feature. This covers just a short section of your book, so be cautious when you’re preparing your final content. If your book is too short, the “look inside” feature will reveal most of the book, or enough of it that readers may glean what they want and not buy it. You want to fill the book with sufficient content so that you don’t end up with this problem. If you’ve finished the book and it seems a bit too short,consider adding things like checklists, free resources or bonus chaptersfrom other books you’ve written that relate to this topic. Keep in mind that this isn’t meant to pump up your book page count just for the sake of doing that, but if the book looks too much like a white paper or report instead of a book, you may end up with a lot of window-shoppers who don’t end up buying. How short is too short?Anything under 50 pages is too short.Generally I’d recommend that you sit somewhere over 55 pages, ideally 65 pages to be safe. And again, don’t stuff your book with useless content. Make sure that if you need to add pages, you are adding helpful, useful information. Doing somebook researchis not just a great idea to help develop some high-selling product, but a great idea overall. We invest so much of our time and effort into our books that the more we can make sure we’re on target, the less time we’ll spend languishing in obscurity. Given that there are3,500 books published every dayin the US, whatever you can do tostand out above the crowdcan make all the difference.   Read the rest of this article on The Future of Ink: http://thefutureofink.com/create-bestselling-book-ideas/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+tfoi+%28The+Future+of+Ink%29

Penny Sansevieri
Penny C. Sansevieri, Founder and CEO Author Marketing Experts, Inc., is a best-selling author and internationally recognized book marketing and media relations expert. She is an Adjunct Professor teaching Self-Publishing for NYU. She is the author of twelve books, including How to Sell Books by the Truckload on Amazon and Red Hot Internet Publicity.

Visit: www.firsteditiondesignpublishing.com

The DNA of a Successful Book: INFOGRAPHIC

First Edition Design eBook Publishers

INFOGRAPHICS

The DNA of a Successful Book: INFOGRAPHIC

Reposted from GalleyCat: By Dianna Dilworth on January 23, 2014 3:20 PM

hiptypeHiptype has created an infographic called, “The DNA of a Successful Book,” which explores what goes into a good book.

According to the graphic, 300-page books have an 87 percent completion rate. Completion rates steadily drop the longer a book gets, with 700-word books only earning a 35 percent completion rate. The graphic also reveals that books that earned the most revenue cost an average of $3.99, while books that sell for $.99 are sold 12x as often as other titles.

We’ve embedded the entire graphic after the jump for you to explore further.

The DNA of a Successful Book

by NowSourcing.
Explore more infographics like this one on the web’s largest information design community –Visually.

Largest Publishers Supply Less Than 8% of Ebook Titles; Achieve 50% of Ebook Sales

First Edition Design eBook Publishers

For those looking to predict what will happen in 2014, here is an interesting piece from back in October 29, 2013 by Thad McIlroy

If you read this entire blog entry your eyes are very likely to glaze over: it contains an overload of stats & calculations. So let me first offer an Executive Summary:

1. The five largest trade publishers in the U.S. published just 7.6% of all ebook titles between April 1, 2010, and May 21, 2012 (in other words, recently).

2. On the other hand their paltry title offering garnered roughly 50% of ebook sales volume during that period.

3. Still, despite those lopsided figures, ebook publishing is eroding the market share of the largest trade publishers, which stood at 65.1% less than a decade ago.

———————————

One of the latest filings in the ad nauseam Department of Justice struggle with Apple and the largest U.S. publishers (except Random House) offers some data nuggets that I find intriguing. The filing is a 103-page expert report from Roger E. Noll (PDF), hired by the state governments to estimate damages by the 5 publishers against consumers. (See Note 1 below.)

Publishers Weekly, quoting from the report, states that 1,348,121 ebook titles (excluding textbooks) were “purchased at least once” between April 1, 2010, and May 21, 2012. The top four e-book retailers at the time — Amazon, Barnes & Noble, Apple, and Sony — accounted for 98% of all retail ebook sales.

Noll calculates that 83,463 titles were sold by the five settling publishers. Random House is not among them, yet was the largest trade publisher during that period. For the fiscal year 2012 Random House (Bertelsmann) provided an estimate (PDF) that “more than 47,000 English-, German-, and Spanish- language Random House titles are available as e-books.” Today I found 18,423 results for “Random House” in NOOK Books on Barnes & Noble. Adding the latter (more useful) number into mix suggests that the (now) Big 5 published roughly 7.6% of all ebooks offered in the period under discussion. (See Note 2 below.)

To understand this data, first the easy bit: total title output in some perspective. To quote from a decade ago:

U.S. Book Production Soars to 175,000 New Titles in 2003

May 27, 2004 — R.R. Bowker, the leading provider of bibliographic information in North America, today released statistics on U.S. book publishing compiled from its Books In Print database. Based on preliminary figures, Bowker is projecting that U.S. title output in 2003 increased a staggering 19% to 175,000 new titles and editions, the highest total ever recorded.

The latest print book output recorded by Bowker ranges from “328,259 titles in 2010 to a projected 347,178 for 2011.” Ebooks are adding an order of magnitude number to the total. (See note 3 below for further detail on the number of titles published annually.)

Now the tricky part: market share.

The Publishers Weekly article quotes from Noll’s expert witness report that “the 6% of e-book titles sold by the five major houses (excluding Random House) generated more than $1.54 billion” in sales.

BookStats, the joint AAP/BISG data collection project, reported total revenues for the U.S. trade book industry at $13.94 billion in 2010, $13.97 billion in 2011 and $15.05 billion in 2012, for a three-year trade sale total of $43 billion.

BookStats separately reported that ebooks made up 6.4% of trade revenue in 2010 ($905 million), 15% in 2011 ($2.074 billion), and 20% in 2012 ($3.04 billion). Total ebook sales for the three years are then $6.2 billion (14.4% of overall trade sales in the period).

PRHOf course we know next to nothing about U.S. market share data for Random House or for Penguin, though estimates of the now merged companies peg their combined worldwide marketshare at 25%. The ownership of the venture is split 53% for Random House owner Bertelsmann and 47% for Penguin owner Pearson. This is assumed to roughly reflect their book sale ratios (on a worldwide basis) when the deal was struck in 2012.

Noll’s assessment of the percent of the damages incurred by each of the five publishers charged pegs Penguin’s sales in the period at $481,408,045 or 31% of the total. If I add in (a roughly estimated) $500 million for Random House total sales for the big publishers would hit $2.05 billion.

In the trading period covered by the DOJ suit, if we accept the there’s no significant seasonality to ebook sales, total trade publisher ebook sales would be just over $4 billion. The big 5 (formerly Big 6) then account for roughly 50% of ebook sales volume in this period.

To put this data in perspective I turned to The Culture and Commerce of Publishing in the 21st Century by Albert Greco, Clara Rodriguez, and Robert Wharton (Stanford University Press, 2006). A chart on page 15 of the book shows that in 2004 the 10 largest trade publishers (which, through consolidation, are roughly equivalent to the top 5 today) held 65.1% of the market; let’s call it two-thirds. Based on this data ebooks are starting to have a significant role in reducing the industry dominance by the largest publishers. Can that be a bad thing?

Next we have to focus on the all-too-dominant online retailer.

Notes

1. The damages calculated by Prof. Noll, given that he represents the plaintiffs, could naturally tend to the high side, consistent with how expert witnesses ply their trade (this aspect has been criticized in some of the trade press). But the underlying sales estimates, based as they usually are on published reports, are less pliable than the deductive techniques an expert might use to extrapolate damages from this core data.

2. Some variables lie outside of this data, mainly that we don’t know exactly when the titles that were purchased were published, which could throw the calculation off. But as book buying skews heavily to recently-published titles the factor should not be large.

3. Bowker recently reported that the number of self-published titles (both print and digital) in 2012 “jumped to more than 391,000, up 59 percent over 2011.” That puts the number of self-published titles at 231,000 in 2010. In 2012 Bowker noted that “while print accounts for 63 percent of self-published books, ebooks are gaining fast. E-book production in 2011 was 87,201, up 129 percent over 2010.” Bowker recorded roughly 265,000 self-published ebooks in the three years 2010-2012, suggesting that a million or so ebooks came from publishing houses, a number that isn’t borne out by other studies. It’s well known the many self-published authors aren’t using ISBNs and so don’t show up on Bowker’s radar but the figure nonetheless seems surprisingly large.

November 6, 2013

Over at Dear AuthorJane states “I’m not sure I agree with McIlroy’s final conclusion – that ebooks are having a significant role in reducing industry dominance by the largest publishers.”

I replied:

Thanks Jane for covering my blog post. I appreciate the critique.

The best marketshare figures I can find that are more recent than those quoted on my blog are Michael Hyatt’s , which showed 57.7% marketshare for the top 5 in 2009, a relatively modest decline from the 65.1 in 2004 (particularly because these numbers are always a little slippery).

I should have been more explicit in my argument. We know from numerous sources that ebook sales are eating into print sales, certainly for the largest publishers. With ebook sales now accounting for roughly 23-30% of the largest publishers total sales, and with their print book sales shrinking, the only way that these publishers can maintain their current market share is either by replicating their market dominance in ebooks, or by significantly increasing their market share in the remaining print book market. Neither seems likely.

Self-published authors, small & nimble, though still with modest sales volumes on a relative basis, are proving far more adept at learning how to successfully market their work than are the big trade publishing groups. That to me suggests that as ebook sales continue to grow as a percentage of total book sales, self-published authors will gain market share.

I’m not trying to imply that the mighty Random Penguin should have sleepless nights. But for the first time in many decades the publishing industry has a chance of becoming less dominated by a very small cadre.

– See more at: http://thefutureofpublishing.com/2013/10/largest-publishers-supply-less-than-8-of-ebook-titles-achieve-50-of-ebook-sales/#sthash.l6jTWJWy.dpuf

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12 Mistakes Nearly Everyone Who Writes About Grammar Mistakes Makes

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Publisher – Aggregator – Master Distributor

Posted: 11/20/2013 5:06 pm on Huffington Post

There are a lot of bad grammar posts in the world. These days, anyone with a blog and a bunch of pet peeves can crank out a click-bait listicle of supposed grammar errors. There’s just one problem — these articles are often full of mistakes of one sort or another themselves. Once you’ve read a few, you start noticing some patterns. Inspired by a recent post titled “Grammar Police: Twelve Mistakes Nearly Everyone Makes,” I decided to make a list of my own.

1. Confusing grammar with spelling, punctuation, and usage. Many people who write about grammar seem to think that grammar means “any sort of rule of language, especially writing.” But strictly speaking, grammar refers to the structural rules of language, namely morphology (basically the way words are formed from roots and affixes), phonology (the system of sounds in a language), and syntax (the way phrases and clauses are formed from words). Most complaints about grammar are really about punctuation, spelling (such as problems with you’re/your and other homophone confusion) or usage (which is often about semantics). This post, for instance, spends two of its twelve points on commas and a third on quotation marks.

2. Treating style choices as rules. This article says that you should always use an Oxford (or serial) comma (the comma before and or or in a list) and that quotation marks should always follow commas and periods, but the latter is true only in most American styles (linguists often put the commas and periods outside quotes, and so do many non-American styles), and the former is only true of some American styles. I may prefer serial commas, but I’m not going to insist that everyone who doesn’t use them is making a mistake. It’s simply a matter of style, and style varies from one publisher to the next.

3. Ignoring register. There’s a time and a place for following the rules, but the writers of these lists typically treat English as though it had only one register: formal writing. They ignore the fact that following the rules in the wrong setting often sounds stuffy and stilted. Formal written English is not the only legitimate form of the language, and the rules of formal written English don’t apply in all situations. Sure, it’s useful to know when to usewho and whom, but it’s probably more useful to know that saying To whom did you give the book? in casual conversation will make you sound like a pompous twit.

4. Saying that a disliked word isn’t a word. You may hate irregardless (I do), but that doesn’t mean it’s not a word. If it has its own meaning and you can use it in a sentence, guess what — it’s a word. Flirgle, on the other hand, is not a word — it’s just a bunch of sounds that I strung together in word-like fashion. Irregardless and its ilk may not be appropriate for use in formal registers, and you certainly don’t have to like them, but asStan Carey says, “‘Not a word’ is not an argument.”

5. Turning proposals into ironclad laws. This one happens more often than you think. A great many rules of grammar and usage started life as proposals that became codified as inviolable laws over the years. The popular that/which rule, which I’ve discussed at length before, began as a proposal — not “everyone gets this wrong” but “wouldn’t it be nice if we made a distinction here?” But nowadays people have forgotten that a century or so ago, this rule simply didn’t exist, and they say things like “This is one of the most common mistakes out there, and understandably so.” (Actually, no, you don’t understand why everyone gets this “wrong,” because you don’t realize that this rule is a relatively recent invention by usage commentators that some copy editors and others have decided to enforce.) It’s easy to criticize people for not following rules that you’ve made up.

6. Failing to discuss exceptions to rules. Invented usage rules often ignore the complexities of actual usage. Lists of rules such as these go a step further and often ignore the complexities of those rules. For example, even if you follow the that/which rule, you need to know that you can’t use that after a preposition or after the demonstrative pronounthat — you have to use a restrictive which. Likewise, the less/fewer rule is usually reduced to statements like “use fewer for things you can count,” which leads to ugly and unidiomatic constructions like “one fewer thing to worry about.” Affect and effect aren’t as simple as some people make them out to be, either; affect is usually a verb and effect a noun, but affect can also be a noun (with stress on the first syllable) referring to the outward manifestation of emotions, while effect can be a verb meaning to cause or to make happen. Sometimes dumbing down rules just makes them dumb.

7. Overestimating the frequency of errors. The writer of this list says that misuse ofnauseous is “Undoubtedly the most common mistake I encounter.” This claim seems worth doubting to me; I can’t remember the last time I heard someone say “nauseous.” Even if you consider it a misuse, it’s got to rate pretty far down the list in terms of frequency. This is why linguists like to rely on data for testable claims — because people tend to fall prey to all kinds of cognitive biases such as the frequency illusion.

8. Believing that etymology is destiny. Words change meaning all the time — it’s just a natural and inevitable part of language. But some people get fixated on the original meanings of some words and believe that those are the only correct meanings. For example, they’ll say that you can only use decimate to mean “to destroy one in ten.” This may seem like a reasonable argument, but it quickly becomes untenable when you realize that almost every single word in the language has changed meaning at some point, and that’s just in the few thousand years in which language has been written or can be reconstructed. And sometimes a new meaning is more useful anyway (which is precisely why it displaced an old meaning). As Jan Freeman said, “We don’t especially need a term that means ‘kill one in 10.'”

9. Simply bungling the rules. If you’re going to chastise people for not following the rules, you should know those rules yourself and be able to explain them clearly. You may dislike singular they, for instance, but you should know that it’s not a case of subject-predicate disagreement, as the author of this list claims — it’s an issue of pronoun-antecedent agreement, which is not the same thing. This list says that “‘less’ is reserved for hypothetical quantities,” but this isn’t true either; it’s reserved for noncount nouns, singular count nouns, and plural count nouns that aren’t generally thought of as discrete entities. Use of less has nothing to do with being hypothetical. And this one says that punctuation always goes inside quotation marks. In most American styles, it’s only commas and periods that always go inside. Colons, semicolons, and dashes always go outside, and question marks and exclamation marks only go inside sometimes.

10. Saying that good grammar leads to good communication. Contrary to popular belief, bad grammar (even using the broad definition that includes usage, spelling, and punctuation) is not usually an impediment to communication. A sentence like Ain’t nobody got time for that is quite intelligible, even though it violates several rules of Standard English. The grammar and usage of nonstandard varieties of English are often radically different from Standard English, but different does not mean worse or less able to communicate. The biggest differences between Standard English and all its nonstandard varieties are that the former has been codified and that it is used in all registers, from casual conversation to formal writing. Many of the rules that these lists propagate are really more about signaling to the grammatical elite that you’re one of them — not that this is a bad thing, of course, but let’s not mistake it for something it’s not. In fact, claims about improving communication are often just a cover for the real purpose of these lists, which is…

11. Using grammar to put people down. This post sympathizes with someone who worries about being crucified by the grammar police and then says a few paragraphs later, “All hail the grammar police!” In other words, we like being able to crucify those who make mistakes. Then there are the put-downs about people’s education (“You’d think everyone learned this rule in fourth grade”) and more outright insults (“5 Grammar Mistakes that Make You Sound Like a Chimp“). After all, what’s the point in signaling that you’re one of the grammatical elite if you can’t take a few potshots at the ignorant masses?

12. Forgetting that correct usage ultimately comes from users. The disdain for the usage of common people is symptomatic of a larger problem: forgetting that correct usage ultimately comes from the people, not from editors, English teachers, or usage commentators. You’re certainly entitled to have your opinion about usage, but at some point you have to recognize that trying to fight the masses on a particular point of usage (especially if it’s a made-up rule) is like trying to fight the rising tide. Those who have invested in learning the rules naturally feel defensive of them and of the language in general, but you have no more right to the language than anyone else. You can be restrictive if you want and say that Standard English is based on the formal usage of educated writers, but any standard that is based on a set of rules that are simply invented and passed down is ultimately untenable.

And a bonus mistake:

13. Making mistakes themselves. It happens to the best of us. The act of making grammar or spelling mistakes in the course of pointing out someone else’s mistakes even has a name, Muphry’s law. This post probably has its fair share of typos. (If you spot one, feel free to point it out — politely! — in the comments.)

Jonathon Owen is a copy editor and language writer with a master’s degree in linguistics from Brigham Young University. He blogs about usage, editing, and linguistics at Arrant Pedantry, where this post first appeared.
Follow Jonathon Owen on Twitter: www.twitter.com/ArrantPedantry

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How & Where Social Media Users Get Their News

Reposted from Folio.

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Facebook leads in volume, but other portals have stronger demos.

Michael RondonBY MICHAEL RONDON 
11/14/2013 -16:44 PM

Twitter has gotten more attention lately, but Facebook still has massive advantages in content consumption.

The latter is a news portal for close to a third of all American adults, according to latest study from the Pew Research Center’s Journalism Project. Used for news by 10 percent of Americans, YouTube is actually a more-viewed source than Twitter (8 percent).

That’s good news for publishers with a lot of “likes,” but it doesn’t mean the other channels can be ignored—content probably isn’t going to reach people on multiple channels. Two out of three of U.S. adults get news from one, and only one, social network.

Younger, richer, lefty: Most of the platforms in the study skew younger with mid- to high-level income users who are predominantly left-leaning politically, but distinctions did emerge.

Notably, Facebook’s user base is 58-percent female, while YouTube (57 percent) and LinkedIn (67 percent) cater to male audiences; Twitter is 50-50. LinkedIn also stood out in age—half of its users fall in the 30-49 year-old demographic; just 18 percent are under age 30—and income—63 percent of LinkedIn users earn at least $75,000.

Where else do they look: Twitter users are the most insular when it comes to consuming news content, according to Pew. Out of all social network users, they’re the least likely to turn to print, TV or radio.

Twitterers will look down at their phones when they want news though—54 percent “often” consume their news content via mobile devices. LinkedIn was the second-most mobile news source (51 percent), with Facebook (38 percent) and YouTube (37 percent) failing to crack 40 percent.

reddit…America’s No.1 source for news: By one measure, reddit was the most popular news site of all—more than 60 percent of its users get news on the site, Pew says.

Despite the high percentage of news consumers, its small base—Pew puts the figure at about 9 million users; for comparison, they say Facebook has 202 million and Twitter has 50 million—means that just 2 percent of the U.S. population gets its news there.

Michael RondonBY MICHAEL RONDON — Michael Rondon is associate editor of Folio: magazine.

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Can You Include Song Lyrics in Your Book?

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Publisher – Aggregator – Master Distributor

By Jason Boog on October 30, 2013 3:42 PM
Originally on GalleyCat!

recordplayerHave you ever quoted song lyrics in your book? Music can set the mood, evoke a certain setting or channel a particular emotion.

However, writers need to be aware of copyright issues surrounding music in books. We caught up withCopyright Clearance Center‘s author and creator relations director Christopher Kenneally, discovering the key questions authors should ask before including a song. Kenneally explained:

Consider not quoting the song. Lyrics, like all creative expression, are copyrighted. Copyright gives the author or creator the exclusive right to republication of the work. Any writer who wishes to quote lyrics, or for that matter, passages from another’s book, must obtain permission first. It’s probably worth asking how necessary or vital such quotation is to any particular creative work.

Kenneally added:

If it’s used to set a mood or establish a period, it’s easy enough to refer to song titles, which, under U.S. law, are not copyrighted. However, some novelists and short story writers – Ann Beattie is perhaps the most famous example – find it essential to quote from song lyrics as a way of establishing credible characters or settings.

We posed the same question about self-published books, and received this answer:

Just because you’ve made yourself the publisher, doesn’t mean you have the right to make up your own copyright law. Self-publishing has, in many respects, freed authors to express themselves as they wish. But it has also added greatly to their responsibilities. Today, self-published authors must not only write, but also market, sell and obtain rights permissions.

Finally, Kenneally explained the steps authors need to take to get permission to use song lyrics:

For any permission request, the first step is to identify the copyright holder. This is not as easy as it sounds. Look for the copyright symbol on the CD sleeve and the name of the publisher. However, in an increasingly digital world where downloads are more common, this sort of “metadata” is not always immediately available.

If you contact the publisher, don’t expect a fast reply. He or she will usually need to contact several different rightsholders who may be on tour or (as it happens in rock) have recently climbed the stairway to heaven. Do expect that for all but the most obscure artist, the reuse fees may be significant. If you run into a roadblock, there are organizations that will provide assistance. Such “content management organizations” include ASCAPBMI, as well asCopyright Clearance Center.

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Twitter trains writers to focus

Proofreading Explained

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An awesome guest post over at Catherine, Caffeinated!

As promised, today we have another guest post from editor Robert Doran, whose ‘copy-editing explained’ post on Tuesday gave this blog a visitors spike. (As did his previous guest posts on the subject of all things editing –Structural Editing for Self-Publishers and Why Hire An Editor?). This morning, his focus is on proofreading…

“There exists a common misconception that if your manuscript isn’t in great condition, it needs a structural edit; if it is in reasonable condition, it needs a copy-edit; and if it’s in pretty good condition, a proofread is all that is required. Well, I have some bad news. The truth is rather different, and it goes something like this: every manuscript needs all three, because each of the three contributes something distinct and valuable to the project. OK, Ian McEwan or John Banville will get away with skipping the structural edit, but there are very few manuscripts that wouldn’t benefit from one.

Copy-editing and proofreading, on the other hand, are both essential if you want your book to reach the minimum industry standard. I think that bears repeating – the minimum! In previous posts we’ve looked at structural editing and copy-editing; now we’re going to take a closer look at proofreading and its place in the publishing process.

hardcover-books

The clue is in the name, really: the original function of the proofreader was to read the typeset manuscript (proof) and check it against the copy-edited one. They made sure that the copy-editor had marked up the manuscript correctly and that the typesetter had interpreted those marks as intended. Essentially, they were the quality controllers, ensuring that the editor and the typesetter had done what they were supposed to and correcting any errors that remained.

Today, this quality-control function continues to be central to the role but the manuscript is generally read ‘blind’ (i.e. without reference to the copy-edit). Checking the typeset manuscript independently speeds up the process and also, in my opinion, takes greater advantage of the proofreader’s skills: less time checking one script against another means more time spent finding errors and inconsistencies.

In addition to correcting any typesetting errors and any errors that have slipped through at copy-edit stage, proofreaders are responsible for making sure that the layout and design, pagination, cross-referencing, images and captions, front and back matter (acknowledgements, imprint page, contents page, bibliography, index, etc.), headings and basically everything that goes into making a book are present, consistent and correct. That’s quite a long list, and it’s not even an exhaustive one. It’s also a list that clearly distinguishes the proofreader from the copy-editor, who is more concerned with the correctness and effectiveness of the author’s writing. Much of what the proofreader is responsible for checking didn’t even exist at the copy-editing stage, and it’s not uncommon for the copy-editor to never even see the typeset manuscript before publication.

You can see where I’m going with this: these are different jobs, so don’t expect your proofreader to copy-edit your book. Proofreading is not a lesser function, it’s a different one, carried out at the end of the publishing process.

Your manuscript should already be both complete and very clean by the time it reaches the proofreader (i.e. it should be edited). There are several reasons for this. First, it is expensive to make changes to a typeset manuscript (typesetters don’t work for free), so the proofreader is generally instructed to stick to correcting errors and to make only the changes that are absolutely necessary. This means that it is not the time to rename characters, to introduce a new plot element or to rewrite the introduction. All that should have been put to bed before the copy-editing stage.

Also, any substantial changes or rewriting need to be carefully checked, not just to make sure that they are correct but also to establish that they fit within the context of the paragraph, the chapter and the book. I have worked with authors who have made last-minute changes that introduced a glaring contradiction because they forgot to make a corresponding change in a later chapter. Essentially, such changes create the need for a new copy-edit, but because nobody is prepared to pay for that, things get missed.

The greater the number of errors that remain in your manuscript the more likely it is that some won’t be corrected. If you didn’t have your work copy-edited, and the proofreader is faced with, for example, page after page of incorrectly punctuated dialogue, that is likely to become their focus – to the detriment of other issues.

So it’s important to think of proofreading as a final check, not as an opportunity to make your manuscript better – that’s the purpose of editing. By hiring a proofreader you are accepting that you have moved beyond this point and are ready to publish. And it’s important that you proofread your own manuscript too. Although you are likely to have a degree of copy-blindness by the time it gets to this stage, you should never publish without having parsed the final version yourself. To that end (and to show that this slightly ranty post has a practical purpose!), here’s a list of things you should look out for:

Spelling

  • Be particularly aware of homonyms. ‘Your’ and ‘you’re’; ‘compliment’ and ‘complement’; ‘their’, ‘there’, and ‘they’re’, etc. These slip through easily.

Punctuation

  • Check that full stops, commas, colons, semicolons, etc., are used correctly.
  • Quotation marks and apostrophes are sometimes reversed. Check them carefully.
  • Check for double spaces, particularly after full stops.

Typesetting [for print books]

  • Check that the font is consistent throughout the text.
  • Check that the leading (space between lines) and kerning (space between characters) are consistent. Because the text is justified, the tracking (space between words) will vary, but it should be neither too loose nor too tight.
  • Ensure the paragraph after a section break is not indented.
  • Paragraph indents ought to be consistent throughout.
  • Mark any orphans and widows (a single line at the bottom of a page or part of a line at the top of a page).
  • Running heads need to be consistent and have the proper information, e.g., book title, chapter title or author name. It’s easy to make a mistake with these, so check them thoroughly.
  • Chapter openers should also be consistent. Does each chapter start in the same place on the page and contain the same elements in the same order?
  • Check that subhead spacing and alignment are uniform. Also, check that chapter numbers are in sequence and word ‘Chapter’ is used (or not) consistently.
  • Check that page numbers are present and in sequence. Odd-numbered pages should be on the right. Check that numbering is consecutive.
  • Blank pages should have nothing on them – including no folios or running heads.
  • Check page references. If you refer to something as being in Chapter 3 or on page 98, is that still correct in the final version?
  • Check that all necessary information on the imprint page is present and correct, including ISBNs.
  • Check that the page numbers on the Table of Contents correspond to the chapter openings. Check the vertical alignment of the page numbers.

Cover/Blurb

  • Check that the title, subtitle and author name are correct on the cover and the spine, if applicable. Check the direction of the text on the spine.
  • Check that there are no typos or inconsistencies in the blurb.
  • Check that the ISBN is correct, if applicable.

Authors have come to expect an awful lot from proofreaders, and proofreaders sometimes go far and beyond their remit. The rise of self-publishing has broadened the scope of the function, pushing the proofreader into areas traditionally occupied by the editor. I’m not sure this is a good thing. It’s worth remembering that proofreading developed as a specific editorial function for a reason, and that it should be carried out as an individual task because it’s an essential part of the publishing process that consolidates the work of the author and the editor.”

Robert Doran works as a freelance editor and is Editorial Director at Kazoo Independent Publishing Services (www.kazoopublishing.com), a one-stop shop for indie authors who want to publish industry-standard books. He has nearly twenty years’ experience in bringing books to market and has worked as an editor, project manager, sales manager, and bookseller in Ireland and in the UK. He is a big fan of the Oxford comma. Follow him on Twitter @RobertEdits or visit www.robert-edits.com .

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Making the Switch from Nonfiction to Fiction Writing

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Another great post by JOANNA PENN SEPTEMBER 29, 2013

I started out writing non-fiction with no thought of even trying fiction, mainly because I thought I had to write like Umberto Eco in order to be considered a literary success.

penBut, I decided to give it a try for NaNoWriMo 2009, and I haven’t looked back! In this article Jodie Renner, editor, author, & speaker, talks about how to make the switch.

You’re already confident with writing nonfiction, so making the transition to fiction should be no big deal, right? Not. There’s actually a significant learning curve to recognizing and mastering the essential elements of writing fiction that captivates readers, sells well, and garners glowing reviews.

As an independent editor specializing in popular, fast-paced fiction, I often receive manuscripts from professionals and others who write a lot of nonfiction and are attaching a draft of a novel or short story. They often assume that since they’re used to writing, the transition to fiction will be easy.

Not so.

Nonfiction writers and first-time novelists often don’t realize the importance of issues they’re simply not aware of, so they ask me for “just a light copyedit.” When I start reading their manuscript, I often notice right away the story seems to lack sparkle. It doesn’t engage me and make me want to keep reading.

The writers, although accomplished in their field, have little or no concept of the critical aspects of point of view and showing instead of telling.

Other issues I see are writing that is just too “correct” and distant for storytelling, with stilted dialogue, too-frequent author intrusions, and bland, neutral narration. Finally, the writing often meanders along at too leisurely a pace, lacking sufficient conflict, tension, intrigue, and general zing.

The following tips, for anyone wanting to master the art of storytelling, will help you bring your characters and story world to life by loosening up your language, getting up close and personal with your characters, lettingthem tell the story, and showing their emotions and reactions. Of course, you’ll need to start with a charismatic protagonist, a critical problem, plenty of conflict, and an intriguing plot.

1. Get into your character’s head – and stay there.

Start right out in the point of view of your protagonist and show the events through his eyes, with his internal reactions. Forget omniscient point of view – it’s no longer in favor, and for very good reason. Readers want to get “up close and personal” with the main character, so they can become emotionally engaged and sucked into the story.

Show your character’s thoughts, perceptions, and inner reactions to what’s going on right away, so readers can identify with her and bond with her. Don’t head-hop to other characters’ thoughts within a scene. To get into the head of others, like the antagonist or love interest, give them their own viewpoint scenes.

2. Stay out of the story as the author.

Let the characters tell the story, in a natural way that is authentic to the story world you’re creating. This will keep the readers immersed in the fictive dream. Don’t interrupt the story by stepping in as the author to explain things to the readers. In other words, avoid info dumps and other author intrusions.

3. Make sure your story has plenty of conflict and tension.

Conflict is what drives fiction. No conflict = no story. Not enough conflict and tension = boring. Every scene should have some conflict and a change. Every page should have some tension, even if it’s just an undercurrent of unease, disagreement, or resentment.

4. Loosen up your language.

Again, “let the characters tell the story.” Forget perfect English, complete sentences, convoluted phrasing, or fancy-schmancy vocabulary. Use direct language and strong imagery, in the character’s thoughts, colored by their personality, education, background and attitudes. In other words, stay in your character’s mood and voice, using words and phrasing they would use, which also fit the overall tone of the story, rather than a more correct, neutral language.

5. Show, Don’t Tell

Don’t step in as the author to tell your readers about your characters or their background or to relate something that happened. And don’t have one character tell another about a critical event that occurred offstage. Show important scenes in real time, with action and dialogue.

Also, to bring your characters alive, be sure to show their emotions, internal and external reactions, and physical sensations.

Evoke all or most of the senses. Don’t just show what the character is seeing. What is she hearing, smelling, feeling? Even tasting?

6. Use snappy dialogue.

Dialogue needs lots of tension and attitude. Be sure your dialogue doesn’t all sound the same – like it’s the author speaking. Each character’s words and speech patterns need to match their personality and background.

Avoid complete sentences and perfect English in dialogue. Use frequent partial sentences, one- or two-word questions and answers, evasive replies, abrupt changes of topic, and silences. Read your dialogue out loud, perhaps role-playing with someone else, to make sure it sounds natural and authentic.

Also, skip the “Hi, how are you?” and other blah-blah lead-up and filler. Cut to the chase in your dialogue.

7. Even your narration should not be neutral.

Avoid bland, authorial narration.

Any backstory should be the character’s thoughts, colored by their feelings about it, and keep it to a minimum, preferably with flashbacks in real time. Even your description, exposition, and narration should not be neutral – these are really the POV character’s observations, and should reveal their personality, goals, attitude and mood.

Do you have any more tips to share for nonfiction writers or anyone else just getting into writing fiction? Please do leave a comment below.

Jodie RennerJodie Renner, a freelance fiction editor specializing in thrillers and other fast-paced fiction, has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: WRITING A KILLER THRILLER and STYLE THAT SIZZLES & PACING FOR POWER, both available in e-book and trade paperback.

For more info, please visit Jodie’s author website or editor website, or find her on Facebook or Twitter.

Image: Flickr Creative Commons pen by Gregory Wake

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5 best book reading apps for iPhone and iPad

Marvin for iPad featured image

Marvin for iPad

There are a lot more book reading apps for iOS than just iBooks and in this short overview you’ll find my top 5 recommendations.

There is no iBooks in the list and I did it in purpose. Its unique feature is that you can shop iBookstore directly within the app. That is not a result of an outstanding app development, but Apple’s policy (30% cut from any purchase) which prevents competition from adding in-app purchase option.

Most popular book reading apps are tied with particular ebookstores. Kindle, Kobo, Nook or Sony are designed to let users of these ebookstores access books they bought there and manage their personal bookshelves.

In this overview I’d like to focus more on what app offers rather than what ebookstore does. So, “millions of titles” is not the reason to include the app in the list below. Instead, you’ll learn which app has a feature others don’t, and why it’s good to try it.

5 best book reading apps for iPhone and iPad

Kindle

Kindle for iPhone iPad

Kindle app is one of most advanced book readers in the iTunes AppStore. You can read not only books, but also newspapers and magazines that you subscribe via Kindle Store.

The app supports enhanced ebooks, the ones described as Kindle with Audio/Video – something you can’t read on your Kindle e-reader.

Kindle for iPhone iPad logoOn of the most convenient features Kindle app gives is the ability to send own ebooks to an email address that is specific to your Kindle app (and different for Kindle apps on each and every of your iOS devices).

To find this email, slide the top bar to the right to reveal Docs section. Right below you’ll see “Send documents to” and the email address.

Every time you send a file with an attachment in mobi format (DRM-free), it will appear in the relevant Kindle app right away, so there is no need to download it from the cloud library.

The way dictionary works is also very specific – and much more useful than in other apps. When you jump to a full definition of the word in the dictionary, you are still able to get the definition of words there. Thanks to that you can further explore word’s meaning, as it’s not a one-step lookup, like in other apps.

Some books from the Kindle Store have a great feature enabled which is called “X-Ray”. It allows to better understand the book’s structure, and helps a lot if you’re lost in a plot. The feature comes together with Book Extras, powered by Shelfari. It’s editable book encyclopedia – a list of most important facts about the book.

⇢ Kindle Free

Google Play Books

Google Play Books for iPhone and iPad screenshots

Kindle app, however, is missing one feature. This feature is offered by Google Play Books and it’s the reason why Google’s app is in this overview. It’s instant translation.

Google Play Books for iPhone and iPad logoIf English is your mother tongue, you may not understand why translation is so important. If you speak another language and still learn English, looking up for the meaning of a word in a dictionary may not bring the immediate association of what this word is in your mother tongue. Translation is a quick help in every case like that.

You can get a translation in just two two taps. Tap on a word or select a passage, and a pop-up window will appear. Tap on Translate and set up language-to-language translation flow (you’ll have to do it only once).

Translation is powered, obviously, by Google Translate. You’d be surprised how accurate it is, not only for words but entire sentences.

I’ve found a workaround to translate words in the Kindle iOS app, using Google lookup as a tool. Anyway, Amazon should include it if they seriously care for international customers. Translation seems to be not a big deal. If eBookMobi app can have it, why not Kindle?

If you need a quick language dictionary lookup, Google Play Books is for now the best option.

⇢ Google Play Books Free

Kobo

Kobo for iPhone and iPad screenshots

Besides very friendly customization options, Kobo app offers an experience that makes the most of social reading in the digital age.

Kobo’s set of social features is called Reading Life. You can not only read the book, but join a conversation about it at any time.

Kobo for iPhone and iPad logoThere is a Kobo Pulse indicator at the bottom of the page. It get brighter on pages with more comments and reader activity. When you tap on it you’ll see what other readers think about what you’ve just read.

You can also share your own notes and thoughts. Simply, highlight the passage and write down your comment.

By connecting with your friends’ Reading Life on Facebook you’ll know what they read, as well as view and compare their awards and stats.

Awards and stats are two other features that lets read a book in a more dynamic way. Any time you can check out how quickly you read: how many pages per hour or how many hours per book.

There are also several awards to win while you use the app. These awards ”help celebrate fun milestones in your Reading Life”. You can become a Scout Leader or Deep Thinker or Night Rider, depending on how and when you read and use the Reading Life.

If you’re curious about what to expect from social reading, download Kobo app and explore what Reading Life has to offer.

⇢ Kobo Free

Readmill

Readmill for iPhone and iPad screenshots

The three apps above are devoted to get access to particular ebookstores, but if you prefer independency you should check out Readmill app.

You can start using the app by signing in with your Facebook credentials. The app supports popular file formats, epub and pdf – also the files with Adobe DRM.

Readmill for iPhone and iPad logoReadmill’s Adobe DRM support lets you read with this app books bought in Kobo, Barnes & Noble, Sony Ebookstore. Remember to authorize the iPhone or iPad with your Adobe ID, before you start downloading the files to Readmill.

The app is a clean and simple combination of a book reader, book discovery tool and social reading. You won’t feel overwhelmed with too many features, and can start reading right away after downloading the app.

What’s the strongest side of the app is it’s sleek interface. It’s definitely the most beautiful book app in the iTunes AppStore. In fact, Readmill’s minimalist design had the iOS 7 look long before iOS 7 was announced.

Making ebooks beautiful is very difficult, because the design comes as a result of two factors: how the ebook is formatted, and how the book reader is designed. Readmill does the second job perfectly.

Although Readmill is an independent app, it lets you sync your library via the cloud. You can download books directly to the app on the iOS device: (via email, cloud service app like Dropbox, Safari, or in-app catalog), but you can also add books via Readmill.com website.

⇢ Readmill Free

Marvin

Marvin for iPad screenshots

Kindle is one of the most advanced book readers for iOS, because the most advanced one is Marvin. The app is available only for the iPad, and that’s because you can only see on a larger screen how much it can offer.

Marvin for iPad logoMarvin app gives you the most advanced personalization panel ever. You’ll not only change the font type and size, but can set up a different one to text and a different one to heading.

You can define your own theme (different for a day and night), but best of all you can also set up your own gestures, for instance swiping to control brightness, or page turn directions, or snapping to bookmarks.

Marvin supports DRM-free epub files only, but it lets add new books right within the app: via built-in browser, Dropbox, or OPDS catalog.

Most importantly, Marvin app lets you analyze the book the way Kindle’s X-Ray does – and you can have it for every book, not only X-Ray enabled.

Marvin intelligently looks up extended information on Wikipedia without leaving the app. You can look up characters or places in the book you’re reading to see biographies, articles, or photos.

The app supports metadata and Calibre book management. The ways you can search your library of books are extensive: by tag, topic, vocabulary and even by number of words.

⇢ Marvin Free

* * *

Ebook Friendly

About Piotr Kowalczyk

Founder of Ebook Friendly. Ebook enthusiast, technology geek, iPhone artist, and self-published author from Poland.

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How to find a hungry agent

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Great post from The Book Deal!
Here’s a literary agent who’s very specific about the kind of book she’d like to see in her inbox:

“I love books with some kind of psychological element, like if the MC has a mental illness or if they can’t trust their mind.”

Working on anything like that? Or something close? Want to know more about this agent? Well you can find her on Twitter. She’s Annie, of the Annie Bomke Literary Agency, tweeting as @Abliterary

Twitter: Start here

Commercial publishers, agents, editors and publicists have for years relied on Twitter as an important element in book marketing. It’s also an essential tool for agents looking for new writers to build their client lists.

Annie Bomke, for example, is included in the Writer’s Digest Oct. 2013 cover story 28 Agents Seeking New Writers. Twenty of those agents are active on Twitter.

Bomke tweets regularly not only about what she’s looking for, but also about how to submit a book to her: “If you’re going to attach your synopsis/sample chapters, make sure you still put your query in the body of the email.” Here she is on the art and craft of writing: “Avoid descriptions that are obvious, like ‘the yellow sun’. The only time you should mention the color of the sun is if it’s not yellow.”

Not bad. Wish I’d said that. She packed a lot into the official Twitter 140 character limit.

More tweeting agents:

Lori Perkins at L. Perkins Agency (@loriperkinsRAB) writes that she’s looking for “time travel novels with female protagonists who change the world (without looking for love).”

Brandi Bowles of Foundry Literary & Media (@brandibowles) reminds authors, “Don’t neglect your platform while searching for an agent. We browse magazines, newspapers, and journals for great writing all the time!”

The biggest little agent-author conversation in the world

In a previous post called Strategic Tweeting for Authors, I described Twitter as a huge, noisy cocktail party, packed with publishing insiders, agents, editors, journalists, book bloggers, reviewers, your readers, potential new readers, other writers – just about everyone you’d ever want to connect with — there and waiting for you to drop in and mingle your heart out.

Now that more agents are using Twitter to build their client lists, it’s gone way beyond marketing to become a treasure trove of useful information for authors about what agents want and how to find them.

Remember that it’s OK to lurk on Twitter. You can search this resource as much as you want without ever posting a tweet yourself if you’re not ready or willing to jump into the fray. That’s some of the advice in a highly recommended primer for the uninitiated: 10 Must-Learn Lessons For Twitter Newbies .

Quick and easy ways to start your search

• Go to Twitter Search and insert #literaryagents in the box See what’s happening right now. You’ll be rewarded with a long list of tweets to and from literary agents. The scroll is in reverse chronological order, often beginning with a tweet only minutes old. The participants offer a bounty of useful chatter and links.

• Or try searching #MSWL, which stands for manuscript wish list, another Twitter address used by agents and publishers to let people know what they’re looking for. For a very useful archive of MSWL tweets organized by agent (and editor) names, go to this Tumbler page.

• Check out Galley Cat’s list Best Literary Agents on Twitter . You’ll find a terrific collection of agents with links to their Twitter feeds, from not only the generation of hungry new faces but also veteran agents like Jason Allen Ashlock, Stephanie Evans, Jennifer Laughran, Meredith Smith, Scott Waxman and Rachelle Gardner.

Twitter etiquette

As in all forms of social networking, certain rules apply.

• Don’t try to submit to an agent via Twitter. It won’t work. Go to the agent’s website or blog and pay close attention to the instructions on query letters, proposals, and sample pages.

• Be service oriented. Your tweets should offer a helpful comment or link to something relevant and useful. Try to be positive, altruistic, and empathic. Keep it upbeat.

• No hard sell. Never come right out with “Read my book” or “Please be my agent.” As per above, follow their rules about sending anything. Refer back to your own website and blog, which of course you’ll have by this time, right?

Be cool

Finding good agent matches on Twitter for your project might take a little time and patience. When you’ve located the agents you’d like to focus on, register on Twitter so you can restrict your own tweets to your targeted audience.

Then follow these agents and everyone relevant they link to. Check out how they want to be approached and be ready with the best possible query letter, proposal, sample pages or, in the case of most debut fiction, the entire manuscript.

And remember, agents are deluged with submissions, so once they reject a project (or ignore the submission) you won’t get a second chance. So be sure your manuscript is in the best possible shape before sending it in.

Some great advice

Listen to agent Rachelle Gardner, who advises writers to work with a professional developmental editor to “Get an experienced set of eyes on it to help you identify problems and figure out how to fix them… It’s a terrific learning experience and can help you grow as a writer… almost like having a writing tutor.”

Hear hear.

What about you?

Is Twitter already one of your sources to track down good potential agents for your book? If so, how is that working for you?

If this is a new idea for you, give it a try, and let us know how it goes. We welcome stories of your experience and your tips for fellow authors.

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– See more at: http://www.alanrinzler.com/blog/2013/08/29/how-to-find-a-hungry-agent/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+AlanRinzler+%28Alan+Rinzler%29#sthash.zvXBrxc4.dpuf