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                    W R I T I N G   W O R L D

A World of Writing Information - For Writers Around the World


Issue 12:19         13,375 subscribers           October 4, 2012
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THE EDITOR'S DESK: One of the 55 Percent, by Moira Allen 
by Victoria Grossack 
FEATURE: TV Watching Does Not Waste Writers' Time, by Noelle Sterne 
FREE STUFF FOR WRITERS: Kindle Author Resources Part 1, 
by Aline Lechaye
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One of the 55 Percent...
When I read the news item about how 55% of young adult books are
bought (and read) by not-so-young adults, I felt like punching my
fist in the air and shouting "Yes! Yes!  I'm not alone!"

That's right, I'm one of the 55%.  I admit it.  I can stop hiding
my Meg Cabots in brown paper wrappers when I'm in the doctor's
waiting room.  I don't have to mumble how my kids just LOVE Eva
Ibbotson when I stumble across a new treasure at my favorite used
bookstore. (I'm sure they would, if I had any, but I don't.)  I can
stop feeling silly wondering when the next Tamora Pierce will come

But... why?  Why would an otherwise sane, normal adult (OK, I grant
that both those adjectives might be a stretch in my case, but you
get the idea) read... gasp... "kids" books?

Actually, I can think of quite a number of good reasons.  The first
that comes to mind is that there's a heck of a lot of good
story-telling going on in the YA market.  YA books abound with
enjoyable characters and fast-paced plots.  They are not burdened
with the need to be laden with "adult" themes, "modern" realism,
"true-to-life" situations, or the latest fashionable literary
tropes.  There are days (quite a lot of them, I notice) when I'm
just not in the mood for yet another dose of sex and violence.  YA
authors, more than perhaps most other genres, are free to tell a
good story, where the primary purpose is simply to entertain the

Quite some time ago, I decided that there was no reason why I
should ignore these wonderful storytellers just because my age
group no longer meshed with the "target readership."  Lots of great
YA books were written when I was a teen.  Lots more have been
written since.  Why should I miss out on so many wonderful books
written in the past, um, few decades just because I "grew up"? 
(Assuming, again, that I ever did!) For that matter, why miss out
on so many books that I never got a chance to read when I WAS a

I also couldn't help but notice that quite a few of my favorite
"adult" authors also wrote YA.  Why miss out on a Terry Pratchett
book just because it's allegedly aimed at a "younger" audience? 
Conversely, I'm sure I'd never have read any of C.S. Lewis's works
for adults if I hadn't fallen in love with Narnia! 

Of course, I can always play the "author" card.  Awhile back, I
took another look at the fantasy novel in my virtual sock drawer,
and realized that part of the reason I'd never managed to transform
it into a world-bending, 1000-page-per-volume trilogy is that all
my main characters are YOUNG.  With a sigh of relief, I realized
that what I held was not the next Robert Jordan mega-opus, but... a
young-adult fantasy.  And of course, if you're going to WRITE young
adult fantasies, it's vitally important to READ them!  It's called
"research" -- and that makes a wonderful excuse.  

But it is, after all, just an excuse.  Think about it -- YA is
written by adults.  Thousands of YA novels are written every year
-- by adults!  Those adult writers aren't just churning out books
to meet some sort of marketable demographic; they're writing out of
love for the subject, and for the audience.  So it should come as
no surprise that adults must also be reading YA!  We're the same
folks who laugh at all the "inside" jokes aimed at adults in
supposedly "YA" movies like "Bolt" or "Cloudy with a Chance of

We, the brave, bold 55%, read YA because we LIKE it.  Because it's
entertaining, fun, sometimes educational, and sometimes some of the
best darn fiction on the planet.  We read it because we've reached
a point in our lives where we realize that life is too short to
miss out on what we like, or waste time in books that we DON'T like
just because they're on someone else's "must read" list.  

With apologies to Jenny Joseph,* "When I am an old woman I shall
read YA."  And I suspect it will continue to help keep me young.

-- Moira Allen, Editor

Copyright 2012 Moira Allen 

*"Warning," by Jenny Joseph, with the famous opening line beloved
of the Red Hat Club, "When I am an old woman I shall wear purple." 
Read it here: http://www.poemhunter.com/poem/warning/


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A Study in Sidekicks

Sherlock Holmes and Doctor Watson. Batman and Robin.  Frodo Baggins
and Samwise Gamgee.  Mary Richards and Rhoda Morgenstern.  Achilles
and Patroclus.  Gilgamesh and Enkidu.  Lucy and Ethel.  
Storytelling -- whether comic book, serial stories, novels, epic or
TV -- is full of protagonists accompanied by sidekicks.  In this
article we'll take at the functions sidekicks serve in fiction, and
discuss different ways you can develop them to enrich your own

What Is a Sidekick?
According to Wikipedia, a sidekick is "a close companion who is
generally regarded as subordinate to the one he accompanies."  Why
should you create one in your story?

Sidekicks make dialogue easier to write for your main characters. 
Sometimes a hero in a fast-paced action story needs no partner for
conversation, but often, the best way to convey your protagonist's
thoughts and feelings is through discussion and interaction. 
Without passages of dialogue, your readers' eyes may glaze over as
you devote too many paragraphs to internal monologues and thoughts.

Even lesser characters and villains often have companions (when
they're on the bad side they're often termed "henchmen" or
"lackeys").  The hobbits Merry and Pippin, when separated from
Frodo and Sam, still have each other for a good portion of "The
Lord of the Rings" trilogy.  This makes the conversation much
better!  My favorite example of bad guys can be found in the 1965
slapstick film, "The Great Race" with the great Jack Lemmon playing
the evil Professor Fate and with the just-as-great Peter Falk
playing Max.  The interactions between the two are hilarious, and
the movie would not have worked as well if Jack Lemmon had to be
nefarious all by himself.

Sidekicks' Functions in Stories
Besides conversation, how do sidekicks enhance stories?  Let's
examine some examples:

NARRATION.  A sidekick may serve as the narrator of the story.  The
best-known example is Doctor Watson in the Sherlock Holmes stories,
in which Doctor Watson writes down and publishes the exploits of
the great detective.  By having Doctor Watson relate these
adventures, Sir Arthur Conan Doyle achieves several things that
would have otherwise been either difficult or impossible.  

Most importantly for these detective stories, Doctor Watson SHIELDS
THE THOUGHTS of Sherlock Holmes.  If Holmes narrated them in first
person, or if Doyle used third person, readers might feel cheated. 
The readers would expect to have immediate access to all of
Holmes's observations and assumptions.   But if Doyle gave us this
information upfront, the mystery -- the main reason for reading
Sherlock Holmes stories -- would be gone.

ADMIRATION.  Doctor Watson can devote paragraphs to praising
Sherlock Holmes for his cleverness.  If Holmes used the same number
of words to admire himself,  readers might find him insufferable.  

NORMALCY.  Compared to the super-intelligent, violin-playing,
abrupt and mostly misanthropic Holmes, readers can relate to Doctor
Watson.  They can have fun reading about Holmes but feel
comfortable with Watson. 

HUMANIZING.  Although Holmes is arrogant towards many, his kindness
to Watson makes him more likable.  

DIFFERENT POINT OF VIEW.  A sidekick offers a chance for a
different interpretation of whatever is happening in the story. 
The sidekick often serves as a sounding board for the main

the same opportunities as most other characters.  

Developing Your Sidekicks
Like the rest of your characters, your sidekicks need names and
traits and possibly even arcs.  However, as a sidekick is so close
to your main character,  a few additional issues require attention.

How does your sidekick complement your hero?  Your sidekick should
bring something to your story that your hero lacks.  How are their
backgrounds different?  How do their abilities differ?   Perhaps
your hero is usually optimistic, while the sidekick is pessimistic.
 Perhaps your hero is a really good fighter, while the sidekick is
a great lover.  Perhaps your hero always tells the truth, while
your sidekick frequently fibs.  The choices you make in the
development of your sidekick depend on where you want to take your

How does your sidekick compliment your hero?  Does the sidekick
virtually worship the hero, and praise him or her incessantly? 
Familiar examples include our friend Doctor Watson,  and Sam Gamgee
in "The Lord of the Rings."  Or are there cracks in the
relationship?   How does the relationship change?  If the sidekick
does not like your hero, then why does s/he hang around?  Money? 
Blackmail?  A different agenda?      

What do your readers need to enjoy the story more?  Humor? 
Sympathy?  Kindness?   Witty remarks?  Your main character provides
certain elements of entertainment, while your sidekick can provide
what is missing.  

Can your sidekick help your main character grow?   The arc of your
main character is often a huge part of your story.  How will your
sidekick contribute to it?

What perspective does your sidekick offer to the story?  As
sidekicks participate in many of a story's events, if not all, they
offer a chance to perceive those events differently.  In "The Lord
of the Rings," Samwise Gamgee and Frodo Baggins have very different
opinions of the actions of Smeagol (Gollum).  The different points
of view add depth to the book.

Sidekick Opportunities and Temptations 
Some authors use a sidekick to retell an old story, giving us fresh
insight into the familiar.   Homer's epic "The Iliad"  was recast
by Madeline Miller as she retold the events surrounding the Trojan
War by using the sidekick Patroclus as the narrator in "The Song of

Sometimes sidekicks threaten to seize control of a story.  One of
the characters in our "Children of Tantalus" trilogy is tormented
by the ghost of a man he killed.  The scenes in which the ghost of
Myrtilos the charioteer goads Pelops flowed so easily that we
always had to pare them down.  Sidekicks should not be allowed to
hijack a story -- or if you do yield, you must realize the story
has changed, and you need to decide if the sidekick is ready to
take on a starring role.  I believe that J. R. R. Tolkien finally
found Sam more appealing than Frodo and so showed, towards the end
of "The Lord of the Rings," more scenes through the eyes of the
lower-class hobbit. 

Alternative Approaches
What if you don't want a sidekick?  Are there methods that work? 
Here are some options:

FIRST PERSON.   You can dispense with sidekicks if you write in
first person.  A magnificent example of this is Daphne Du Maurier's
"Rebecca," in which the first person narrator's emotional isolation
and self-doubt characterize the story.  

SEVERAL SUPPORTING CHARACTERS.  A second method to avoid having a
single sidekick is to create several supporting characters.  Some
would claim this is simply having multiple sidekicks (making
categories of anything in fiction is challenging as so many
examples defy being pegged).  In the Harry Potter books, Harry has
not one, but two close companions: Ronald Weasley and Hermione
Granger.  The series is long enough -- as are the books! -- to
fully develop these two as well as many other lesser characters.

OTHER.  In some novels, the author uses multiple points of view and
so sidekicks are unnecessary, although they can still be useful. 
Other works may be too short to allow the development of a
sidekick.  In still others, the emphasis is plot or action and the
author feels no need to concentrate on character development.      

Great sidekicks can give your stories depth and open them up to
many possibilities.  They may even lead to spinoffs that are more
rewarding than your original narratives.  So, once you have made
progress imagining your main character, ask yourself what sort of
person would s/he attract?  With whom would s/he share thoughts,
ideas and adventures?  


A version of this article appeared at the Coffeehouse for Writer's
Fiction Fix. Victoria Grossack studied Creative Writing and English
Literature at Dartmouth College, and has published stories and
articles in publications such as Contingencies, Women's World and I
Love Cats. She teaches a variety of writing classes at 
http://www.coffeehouseforwriters.com/courses.html.  Victoria
Grossack is the co-author of the Tapestry of Bronze series
(Jocasta; Children of Tantalus; The Road to Thebes; Arrow of
Artemis) based on Greek myths and set in the late Bronze Age. 
Besides all this, Victoria is married with kids, and (though
American) spends most of her time in Europe.  Her hobbies include
gardening, hiking and bird-watching.  Visit her website at 
http://www.tapestryofbronze.com, or contact her at tapestry (at)
tapestryofbronze (dot) com.   

Copyright 2012 Victoria Grossack


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55% of YA Titles Bought by Adults
This was the finding of a recent study by Bowker Market Research
that discovered that in the US, most purchasers of YA titles are
not the target readers.  28% of those buying YA books were aged 30
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Expenditure on Books Set to Fall Over Next Four Years
A report by a private investment banking firm has predicted that
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Unsurprisingly, given the previous news item, publishing group
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FEATURE: TV Watching Does Not Waste Writers' Time

By Noelle Sterne

As writers, we probably won't feel guilty about watching primetime
television shows if we've written eight straight hours and churned
out 50 pages. If we haven't, we feel (a) we should be writing
instead of watching, (b) choose only educational programs
(research), (c) at least multi-watch, knocking off anything on the
massive list of undones we've neglected for writing, or (d) punch
off the TV completely and force ourselves back to the computer. 

If we can't ditch the guilt, we have a great rationale for watching
TV. As I've learned from my own (admittedly guilty) primetime TV
watching, it can teach us a lot about what to avoid in our writing.
Some TV dramas and movies are well-crafted and hold our interest.
Others offer many lessons. Here I'll share examples, lessons, and
remedies for six: unbelievability (two types), overlingering
attention, heavy-handed foreshadowing, lazy language, and groaning

Unbelievability A: Where Did She Learn That?
Everything that happens, especially in crises, must be prepared
for. Otherwise, credibility is sorely strained. Maybe you don't
consciously realize it as you're watching and become engrossed in
the plot and/or characters' struggles, but your inner editor is
ever lurking. 

Sometimes, well after a two-hour TV movie ends, I've got questions
popping up: "How did he know that?" "Where did she learn that?" 

Case in point: A Hallmark movie called "Mending Fences"(2009) takes
place on a ranch. One of the main characters is the grandmother,
whose eyesight is seriously failing and who has little use for
today's electronic gadgets, including cell phones. When she and her
city granddaughter take a horseback ride out to the edge of the
property, they encounter a violent storm. The granddaughter has
just learned to ride and her horse spooks, throwing her to the
ground and knocking her out. The grandmother, panicked, reaches
into the girl's pocket and grabs her cell phone. 

In the dark, with rain pelting, the grandmother holds the phone
and, with one press of a button, reaches her daughter, the girl's

Help arrives quickly.         

Okay -- how did the grandmother (a) know how to use the phone, (b)
know that a speed button would connect with the mother's phone, and
(c) see the right button in the dark with her failing eyes?

Lesson: The writers gave no preparation at all for the
grandmother's day-saving actions. 

Remedy: Plant, plant, plant. For example, early in the movie, when
the granddaughter first arrives from the big city, the grandmother
can grudgingly admire her cell phone. The girl admonishes her,
"Like, it's the 21st century, Gram. See, it's easy." And with a
flourish she shows off, pressing the speed-dial button and
instantly hearing her mother answer. 

Unbelievability B: Too Much Talk
A major technique of hour-long shows is the last-minute figure
out/tie-up/confessional, especially mystery shows. Murder, She
Wrote is famous (or notorious) for these. I confess I'm a Jessica
addict and still marvel that I haven't seen all twelve years of the
late-night reruns.  In the crucial three and a half minutes before
the hour's end, Jessica always nails the murderer with a nonstop
exposition that rivals an auctioneer's spiel. 

It generally goes like this: With the local police ready nearby,
Jessica surprises the murderer breaking into the office to destroy
the incriminating file or evidence. When she confronts him or her,
the murderer denies it boisterously ("What a wild imagination!"
"This woman is crazy!" "You have no proof!"). 

In her gentle but firm way, Jessica replies, "No, Cliff, you're
wrong. You . . . ."  And she begins the long, involved narrative of
what really happened, her confident voiceover recounting every
detail while the screen shows every step of Cliff planning and
carrying out the deed.  

How in Holmes' name did she figure all that out?

Lesson: The parallel in your writing to all this talk is too much
exposition. You need some, of course, at the start of your story or
novel and a few points along the way. But don't rely on a
stuffed-in, long-winded, over-detailed explanation at the finale.
It just ties everything too neatly and, as with Jessica's
soliloquy, strains reader credibility. 

Remedy: Like the previous version of unbelievability, one solution
here is to keep planting. Granted, it's a challenge and an art to
plant enough clues subtly enough so the viewer or reader doesn't
guess the murderer too early. 

Possibilities: Show the murderer interested as if naturally in the
victim's life or possessions -- a special ceramics class, a
custom-engraved pen, an old beloved upright piano with a wobbly leg
(but show other characters interested too). Brush on these
potentially important pieces of evidence (broken bowl shard for
throat slitting, pen for chest stabbing, piano leg for head
clobbering) once or twice near the beginning and at the middle. But
see next flaw. 

Overlingering Attention  
In an episode of another series, as the attractive young woman
enters her hotel room, the camera pans in and remains on a folded
envelope on the coffee table. As she leaves the room, the camera
follows her but stops again at the coffee table, honing in on the
envelope. When the maid comes in to clean the room, in dusting she
knocks the envelope to the floor. The camera hovers over it. Why
didn't that envelope get star billing?

Your viewer or reader has more than gotten the idea, and even the
whole plot. Sure enough, the envelope will figure materially in the
killer's unconvincing alibi. 

Lesson: In your narrative, watch how long you linger. 

Remedy: If you absolutely need that envelope to further your story,
tread lightly. Don't describe it at length ("a crisp white
envelope, addressed in flowing, definitely feminine script,
postmark barely showing, the only indication it had taken the
torturous route through the cross-country mails a telltale wrinkle
in the lower left corner"). 

Instead, as your character crosses the room, she could brush
against the envelope. It falls to the floor, and she absently puts
it back on the coffee table. You've gotten in the crucial envelope
but in a natural way, without undue or overlong attention. 

Heavy-Handed Foreshadowing 
This flaw, like the previous, risks early obviousness. Literary
foreshadowing has a long and vibrant history. Masters do it --
masterfully: Shakespeare in the opening of Hamlet, Shirley Jackson
in "The Lottery," Updike in "A&P." 

Back to TV. When the main character in a teen movie suggests his
buddy ask out the class fat girl, the buddy exclaims, "Over my dead
body!" Oh, oh -- you just know he'll get it in the locker room. And
14 minutes later, he does. 

In an episode of "The Closer," a drama about the Los Angeles "Major
Crimes Division," the white-haired senior squad member, Lt.
Provenza, arrives late to the crime scene, a suburban house. He
stammers that he went to the wrong address, mistaking 23rd Court
for 23rd Place. His team members shake their heads and roll their
eyes; age has caught up with him. 

I knew instantly this wasn't just a long scene of comedy relief. At
Provenza's error, I couldn't help crowing, to my husband's
annoyance, "Watch! That will be important later!"  

It was. The entire massacred family were victims of the killer's
same mistake -- the hit man went to the wrong house.

How do you lighten the heavy hand?

Lesson:  Study the masters. Analyze openings; dissect them.
Subtlety is most often the key, and not lingering too much on the
"hint." The teen protagonist could preface his suggestion with a
twist: "You may kill me for saying this, but . . . ." In "The
Closer," Provenza's mistake and explanation should have, and could
have, taken half the camera time. 

Remedy: Embed a word, a phrase, an oblique metaphor, or make the
hint integral to the action. Shakespeare does it in the first few
lines with Hamlet's opening speech, the dank winter night, and a
palace guard's unexplainable uneasiness. Jackson does it in the
second paragraph, with the children's apparent innocent collecting
of stones that will become the inescapable and ghastly vehicles of
the lottery. Updike does it in the first line of "A&P" with two
crucial words: "In walks these three girls in nothing but bathing

Lazy Language  
Once in a while, a show teaches directly. In an episode of "Raising
the Bar," a law series about public defenders, a lawyer defends
elderly twin brothers who have illegally cashed a deceased friend's
Social Security check. Instead of discussing their case and
acknowledging its seriousness, the brothers (played by actual
old-time comedians) barrage the attorney with a constant stream of

One brother rattles off a story about an old man who goes to the
doctor. When the doctor asks for samples of bodily substances, the
patient replies, "Doc, just take my underwear." The other brother
shouts, "No, stupid! Underpants! Underpants! Specific is always

Lesson:  He's right. How can you get more specific?

Remedy: Say you're writing a mystery set in winter in Chicago about
a man in dire circumstances. You've supplied enough of the
backstory to show him believably forced to rob a shipment of
expensive fur coats. You write, "Jeffrey pulled on his jacket and
headed out the door." 
Given Jeffrey's poor circumstances in a freezing Chicago night and
his motive for his choice of robbery, the story is enlivened and
our sympathies deepened when we know what kind of jacket he pulled
on. His personal situation contrasts radically with what he's
robbing: "Jeffrey pulled on his windbreaker, much too thin in the
brutal weather, and headed out the door." Or, better: "Jeffrey
pulled on his thin windbreaker, threading his hand into the torn
left sleeve, and headed out the door." 

Groaning Predictability
Even if you weren't a sensitive, incisive, editorially savvy
writer, you'd likely guess the story arc of most of the popular
shows, especially movies. Take love, a timeless, worthy subject.
The young city girl with great hair and tight jeans goes West to
sell the ranch her father left her. She encounters and battles
instantly with the gruff foreman, who's loyal to the ranch and what
it stands for and is adamant about not selling. (Of course, he's
handsome and tall in the saddle.) 

Settings may change: 
-        City department store at Christmas with lonely saleswoman (with
great hair and conservative tight suit) and out-of-work-executive
-        Novice idealistic reporter fresh out of women's college (with
great hair and tight slacks) and cynical veteran, chain-smoking
Pulitzer winner. 
-        Impassioned first-time female race driver (with great hair and
tight jumpsuit) and multi-Indie-winner misogynist team lead driver. 

Count on it. The more it's hate at first sight, the more you can
bet they'll end up in an open-mouthed clinch. 

Did you know there are only 36 dramatic situations?
Nineteenth-century French writer and critic Georges Polti
identified them and chronicled multiple examples and sub-situations
from literature, with extensive, entertaining commentary. (My
translated edition is 1945, Boston: The Writer Publications.) This
classic book, with many later imitations, is worth a place in your
library, for ideas, intertwining of subplots, and cliché-checking.
My examples above are variations of Polti's Number 28, "Obstacles
to Love," and (E) "Incompatibility of Temper of the Lovers."

How can you use them freshly?

Lesson: Love, in all its exasperating twists, is certainly worth
writing about. But when you do, although you'll inevitably be using
one or more of Polti's variations, see how you can freshen it, make
it relevant to your time and your experience. 

Remedy: Look at Shakespeare, of course, and fine films. "The
African Queen" (1952) portrays a masterful mismatching gone sweet.
"An Officer and a Gentleman" (1982) shows us clashing environments,
social classes, and lifestyles. "When Harry Met Sally" (1989)
illustrates the terror of letting love in. And the excellent and
moving "Gran Torino" (2008) shows us a broader kind of love, of
humanity, beyond prejudices, and between generations.

When you write about love, consider different approaches. College
or marriage? Which location? In the small town you grew up in near
your grandparents' homestead or on an island in Melanesia, with
unknown languages and no cable? How to balance love and its
responsibilities and follow one's bliss? How to overcome lifelong
discrimination and let love in? How to triumph over past poor
relationships and take the heady leap? What hard choices have you
or others made? How have they resolved them . . . or not? 

Talk to family members too. You may get astonishing surprises.
Often grandparents and other relatives have had remarkable
experiences of love they never shared and probably would love to
(in prison camps, wartime, poverty, other dire circumstances). Yes,
love is one of the most timeworn of plots, but it deserves to be
written about always. With your immersion in the story and deepest
honesty, you will write a love story in which the ending can't be
predicted by any regular TV watcher.  

The End 
TV is great for relaxation, relief, and escape -- and we deserve
it. But if our guilt lingers, remember that we can learn from
television. And sometimes the lessons hit us right in our
popcorn-stuffed faces. 
Next time you plop down to watch, pay a little more attention.
You'll notice a lot about unbelievable sequences and scenes,
cameras that linger too long, obvious foreshadowing, imprecise
language, and endings you can call three minutes into the show. So
when you finally force yourself to click off the remote and punch
on your computer, you'll use the lessons from your TV watching to
improve the creations on your own screen. 


Noelle Sterne is a published author, writer, editor, writing coach,
and consultant.  She holds the Ph.D. in English and Comparative
Literature from Columbia University and has been published in many
writers' and mainstream magazines.

For more advice on improving your fiction writing check out our
section at: http://www.writing-world.com/fiction/index.shtml


An publishing revolution is sweeping the industry. We explain what
is happening and show you how to self-publish your own eBooks.


Free Stuff for Writers: Kindle Author Resources Part 1: 
Places to Promote Your Kindle Deals

By Aline Lechaye

I guess there's no hiding from the truth anymore. The Kindle is
definitely here to stay. eBooks are here to stay. It's actually
going to be possible to go places without lugging around a ton of
paperbacks to keep me company on long plane, train, and bus trips.
I can read during meals without worrying that I'll lose my place
every time I leave the table. On the other hand, I'm going to have
to find something else to put on my shelves. I can no longer buy
big scholarly-looking tomes I know I'll never read and put them in
my living room to impress people: "Hey, look at this Latin eBook I
downloaded from the Kindle store" really doesn't have the same

A lot of Kindle authors like to attract new readers by setting a
few "free" days -- days when their book can be downloaded for free
-- or by offer a deal on their books for a certain period of time.
The problem with this is that there are so many other free and
"special deal" Kindle books out there that sometimes yours can get
lost in the mix. That's why it's important to make sure that as
many people as possible know about the pricing change. 

Pixel of Ink (http://www.pixelofink.com/) is a site that features
free Kindle downloads and Amazon deals. You can submit the details
of your free eBook by filling in the form at 
http://www.pixelofink.com/sfkb/. Pixel of Ink also has an Author
Corner with a list of resources for Kindle authors. Take a minute
to read the article on "How to Maximize Free Book Promotions"
It's full of useful tips. While you're there, don't miss the
opportunity to stock up on some free eBooks. You might just find a
new favorite author. 

The Cheap Net (http://the-cheap.net/), and its Facebook page,
Authors on the Cheap ( http://www.facebook.com/AontheC?fref=ts, are
great places for posting news about free eBooks or special deals.
Fill in the "Share Your Deal" form at 
They sometimes offer special free promotion opportunities, so you
might want to drop by their Facebook page every once in a while as
well: http://www.facebook.com/AontheC. You are allowed to post book
promotions on the Authors on the Cheap Facebook page as long as you
include information about your book's price, rating, and genre.
Also, the cost of your eBook has to be under $5, according to their
posting rules, which you can read here on their Facebook page. 

Free Kindle Books and Tips (http://www.fkbooksandtips.com) is
another place to post your Kindle promotions. The site is updated
daily, and includes news about free Android Kindle Fire apps as
well as free Kindle books. The apps work on both the Kindle Fire
and Android Smartphones -- it's two freebies for the price of one!
To submit details about your Kindle book, fill in the form at
http://www.fkbooksandtips.com/for-authors/. Note that Free Kindle
Books and Tips only promotes free Kindle books (so if you're just
doing a discount deal, this site may not be for you). Also, the
book you are submitting must have an average user rating of 4 out
of 5 stars. 


Aline Lechaye is a translator, writer, and writing tutor who
resides in Asia. She can be reached at alinelechaye at gmail.com

Copyright 2012 Aline Lechaye


INDIE AISLE. It's free to publish and sell. Convert to standard
ebook formats and use our unique promo tools to further market
your stories. For more info, visit http://www.indieaisle.com.

PR Newswire.com
This site for journalists is a must visit site if you write blogs
or are looking for a hook or statistics for an article.  

Crime Readers Association
If you are an avid reader of crime fiction then this is the site
for you.  It comes with a monthly newsletter, interesting blog
posts and a guide on how to write a crime novel. 

As a freelancing copywriter I love this site!  It is a useful blog
for copywriters at all levels full of tips, hints and musings on
the copywriting life.  If you subscribe to the newsletter you also
get an ebook on writing for the web. 

The Renegade Writer, by Linda Formichelli and Diana Burrell
If anyone were to ask whether I have a scientific formula for
choosing an awesome blog, I'd say "yes." It's simply this: When I
hit the blog, do I find it hard to leave? Do I read one blog entry,
smack my lips and click a link for more? Do the links keep drawing
me deeper and deeper into the (often un-navigable) depths? Do I
surface blinking at the clock and wondering where the time has
gone? If so, it's an Awesome Blog -- and The Renegade Writer
certainly qualifies! The range of topics is too vast to describe,
but I've particularly enjoyed the pieces on breaking out of
dead-end writing jobs (like content mills) and overcoming the
personal fears and excuses that keep writers from achieving their
potential. I also love the links to related posts that appear at
the end of each article; this is a great way to draw people on to
more information. (My biggest gripe about many potentially awesome
blogs is that I can't figure out where to find earlier posts!)
Visit Renegade Writer when you have time to sit down and immerse
yourself in good advice! 

SERIOUS ABOUT WRITING? Join the National Association of Independent
Writers and Editors, the professional association with a
career-building difference. We partner with you to create a
strategic online presence with genuine credibility. You get a free
NAIWE-linked website (and more) so you'll be where people come to
find writers. Join us today at http://naiwe.com!


To Win" is completely updated for 2012, featuring over 1600 contest
listings for writers worldwide.  The 2012 edition has more than 
450 NEW listings.  You won't find a more comprehensive guide to 
writing contests anywhere.  Available in print and Kindle editions.
Print: https://www.createspace.com/3778183
Kindle: http://www.amazon.com/exec/obidos/ASIN/B007C98OUA/peregrine


AUTHOR'S BOOKSHELF: Books by Our Readers
American Proverbs About Women, by Dr. Lois Kerschen

Find this and more great books at

Have you just had a book published?  If so, let our readers know: 
just click on the link below to list your book.


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Writing World is a publication of Writing-World.com

Editor and Publisher: MOIRA ALLEN (editors"at"writing-world.com) 

Newsletter Editor: DAWN COPEMAN (editorial"at"writing-world.com) 

Copyright 2012 Moira Allen

Copyright © 2017 by Moira Allen. All rights reserved.
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