9 days left!

Kickstarter has been a huge asset to me in the process of publishing The Door to Canellin. I never thought the funding would be as successful as it has been so far! It's winding down now, with nine days left until the funding deadline, and I'm sitting at $1693! Not bad, considering my original funding goal was $1200!

When I made the decision to self-publish this past winter, I only had a vague idea of what I wanted to accomplish. Honestly, my main motivation was simply to publish the book, and get it out there and available for sale. I haven't made a secret of the fact that one of my driving motivations for self-publishing was my failing vision and sense of mortality as I get older. I didn't want my life to pass me by without ever having been able to share The Gatehouse! My aims were small... an ebook, with a print copy available at Amazon, and as little money spent out of pocket as possible.

And then I remembered an article I read way back when on Newsarama about a cool website called Kickstarter, and suddenly a world of possibilities opened up. With additional funding, I could accomplish a lot more than I originally intended. Making my book available in more venues, getting review copies out there, getting professional cover design and work done. I could actually do a print run! What's more, I could get my book noticed by more people, and really get word of mouth going, which is the best marketing for a small project like this!

Throughout all this, there have been a lot of changes in my goals. From making the decision to switch printing and distribution methods, to lowering the price, to deciding to go with professional design on the cover layout, things have grown from a tiny, no frills release to something that I hope might get some notice!  With over 40 paperbacks going out thanks to Kickstarter, and around 20 hardcovers, there will be a lot of people reading my book prior to release.  If all goes well, this will get people talking, get some reviews, and in general just get the book noticed.

Kickstarter has made all this possible. As it stands, with the rewards going out, I'll have over $600 to go toward the costs involved with all those things I want to do. Matching that out of my pocket, and I've got almost everything I need to do covered! Do I expect to get rich from this? Absolutely not. I think I've been clear about that as well. If I can sell enough copies to make back my out of pocket money, I'll be satisfied. If I can make enough to finance the publication of book 2, even better! My dream, though, is to get a good following, and sell a small but respectable number of copies a month, either ebook or print version or any combination thereof. That, in my opinion, would make The Door to Canellin a success!

I'm definitely going to use Kickstarter again. I am considering going through Kickstarter to get the first issue of my comic book Rocket Girl completed. And even if The Door to Canellin makes enough money to finance book 2, I may use Kickstarter to get funding once again, because it's such a great way to build buzz! If I do, I'll be certain to make the pledge levels come in at or under the price of the book when it is released, as I tried to do this time around, so that those who pledge will be certain of a bargain.

I guess what I'm trying to say here is, Kickstarter has been a great experience for me so far, and as the project deadline nears, I'm getting more and more excited! I can't wait to start sending out the paperbacks, hardcovers, posters, ebooks, and everything else that the backers have earned! Thank you all for your support, and I hope you enjoy The Door to Canellin!

Collaborate!

I thought I’d take another break here and talk about working with collaborators. In all my efforts, with all the different projects I’ve worked on and am working on currently, I’d accepted the obvious fact that there are just some things I can’t do. Take my comic book projects, for example.

A few years ago, I heard about the Comic Book Challenge (which I believe is now defunct, but if I’m mistaken about that, I apologize) from Platinum Studios. I had an idea for a comic book that had been tumbling around in my head for quite some time, and I figured I’d give it a shot. Problem One: I can’t draw. Or paint. At all. I have no talent with graphic art. So I started making some friends, getting to know some people in the indie comic and art community, and I met a very talented graphic artist name Erick Marquez.  Erick and I hit it off immediately, and I ran my idea by him. He was into it, and very excited about putting it together for the challenge.

I won’t go into the Comic Book Challenge here, because as it turns out, it’s probably a good thing that we weren’t selected. What I do want to talk about is the experience of working with a collaborator.  It was a revelatory experience. I was able to bounce ideas off Erick, and he was able to bounce his off me. Seeing my characters and creations come to life in the form of character sketches and artwork was incredible! And honestly, I still feel our submission was a winner and could have gone farther.

Later, I had another idea for another comic book, this one more in the traditional super hero realm, based on a fun character I had come up with called Rocket Girl. Erick had become increasingly busy with his own graphic design business, and wasn’t available to do the artwork. So I talked to another friend I had made, Raquel. Raquel is an amazingly talented artist, and we worked together for several months to put together a 5-page submission. But Raquel had to drop out, and I was forced to start a search for a new artist. And this is where the story takes a turn.

Over the next two years, I worked with five different artists besides Raquel, all of whom wanted to work on this project as collaborators rather than for up front pay. I won’t name them here, because I don’t think that would be right, but over those two years, each and every one backed out of the project. Two had very good reasons that were beyond their control, and three simply made promises they couldn’t, or didn’t, keep. It began to look as if Rocket Girl would never see the light of day.

Finally, I decided I had to take a different path. I placed an ad for a paid artist, and received a lot of submissions. After I was able to review the submissions and talk to the artists, I finally settled on Sebastian Piriz. And finally, I had the experience I was looking for! Sebastian did the five pages of artwork in record time, and I couldn’t have been happier with the result. At this time, I’m still looking for a colorist to help me finish Rocket Girl, but the project has now been kept alive for almost four years, and I’m determined that she will one day see print!

Working with collaborators can be a great experience, but it can also be a nightmare. I have had both. But I’ve also made a number of great friends that I love to work with, and made a lot of progress on making my work a reality. Erick and I still chat occasionally, and he’s made it clear that he’s available at very reasonable rates if I need any work done. He’s also one of my backers for The Door to Canellin! Raquel and I still chat almost every evening. She is designing the title logo and doing the cover layout and design for The Door to Canellin. I very much enjoyed working with Barnaby Bagenda, the cover artist who drew the wonderful dragon you see in the background of this website. And Sebastian Piriz will definitely be doing the rest of the Rocket Girl artwork, once a home is found for her.  These good experiences far outweigh the bad, and I heartily encourage every creative person out there to explore these types of collaborations. Find people who are interested in your work, and work with them!  It’s definitely worth it.

Challenge... unmet.

Well, for the first time since I began the Kickstarter project, a challenge has gone unmet.  I challenged everyone who had pledged to find one other person and get them interested enough to pledge at $10, $18, or $25. So far, I've only had one additional pledge since stating the challenge.

I know you all have done your part, and I appreciate it! I am still calling on you to go one step further! Everyone who has pledged, find that one other person to reserve their copy! Everyone who hasn't pledged, do it now! I want you all to be excited come release day as I am!

And remember, no money is deducted from your credit card until AFTER the Kickstarter deadline, so there's no need to wait!

And check back tomorrow for a new blog post about collaborating with other creative types!

How I Got Here

Writing a novel sounds like an easy proposition to a lot of people. Generally, they’re people who’ve never written a novel, but that’s beside the point. I confess, I was one of those people a long time ago.

Back in my early twenties, I dreamed of being a famous author. I had read hundreds, maybe even thousands of books by that time. Sci fi, fantasy, horror, crime novels, mysteries, I read it all. My favorites by far were fantasy and sci fi novels. Raymond Feist, Jack Chalker, Peirs Anthony, Anne McCaffrey, David Eddings, Andre Norton, and dozens more.  I could practically quote their books. Their stories rattled around in my head, and I found that I had stories of my own that were struggling to get out.

So I bought myself a little Brother word processor and a copy of the writers’ market annual publication. I had a story in my head that I thought would be incredible. It was all about a man who was raised in a government facility, where he was experimented on until he developed psychic abilities. He would eventually escape, be pursued, find more of his own kind, and they would defeat the evil government agency that wanted to use them as weapons.

Yes, I know.  You’ve heard that story before.  It’s just as well I couldn’t write it.

The problem wasn’t that the story wasn’t fully formed in my mind.  It wasn’t even that I wasn’t interested in it. It was simply that I had no idea how to write a novel.

Eventually, life crept in, the need for a real job, a real paycheck. I also went through some troubling times, but we don’t need to go into all that here. But my writing fell to the wayside, and I almost forgot I’d ever had the dream.

When I started writing the Gatehouse books, I wanted to do it differently. Instead of reading books, I read about writing books.  I researched how successful writers worked. Peirs Anthony was quite a bit of inspiration for me. His Author’s Notes in the back of his books, and his autobiographical works, revealed a lot to me about the world of publishing and writing.

Obviously, I was successful, at least in finishing a novel. I went from having no idea how to write a book, to having successfully completed two novels. And you know what? It really was easy. Not easy in the sense that it didn’t take any effort. Easy in the sense that I enjoyed every moment of the process, and although the work was hard, it was incredibly rewarding. So really, what was different?

Other than the obvious, which is ten more years of life behind me, the main difference was technique. Every writer has a different technique for writing. When I started out, I was trying to just write the story.  No organization, just sit down at the keyboard and start typing. That works for some people, but it doesn’t work for me.

What did work was exhaustive outlining. I sat down with a basic idea, and a scene.  A small scene, and one which is surprisingly still in the book. Using that scene as a starting point, I started writing an outline of the entire novel.  I planned out each major scene, and then planned out the scenes that would connect them. I jotted down very detailed character bios, so that when I was writing dialog and actions for my characters, I would be able to predict them accurately.  I outlined each scene in fairly high detail, and then laid them out into chapters, with notations as to how long each of them would be. Initially, I worked in pages, but later changed to working with word count, as that’s a far better guage.  Once I had the entire novel outlined, I sat down with my outline for chapter one and started turning the notes into prose.  By hand, in pen, in notebooks. About a dozen notebooks, by the time I finished the entire book. I would pause every once in a while, type up what I had written so far, editing and expanding on the fly, and then give the manuscript to my sisters, who acted as my first readers. Step by step, scene by scene, a novel unfolded.

Was it good? First draft, not really. But as I edited, the story became better and better, and yes, by the time I was done, it was good. I’m not tooting my own horn; honestly, I always feel the book could be better. But I go back and re-read it, often, occasionally throwing a little polish and a little editing at it, and yes, it’s a good book.  It’s one I would recommend to a friend, even if I hadn’t written it.

So what’s the point of all this? The moral of the story? Don’t give up.  I gave up for ten years, and when I finally got around to it, I learned that I could have done this all along if I’d only known how.  I’m not saying I’m a great writer. In fact, I’ll be more than satisfied if I sell a few hundred books and get a reputation as a passable writer. But I am saying that, at long last, I am a writer.

My technique might not work for everyone, but there are dozens of writing techniques out there to learn from, and ways to find those techniques. The Internet especially has made this an entirely new world for writers, publishers, and readers. Join a writers’ group. Find writers online and start up conversations. But the most important thing, the most valuable advice, is simply to write, and to not give up. Write every day, even if it’s crap.

Who am I to give advice about writing?  I’m nobody. I’ve had one professional publishing credit in my entire 38 year life. I’m a wannabe.  But I’m someone who loves writing, and believes in it as both an avocation and, for some lucky folk, a career. And I’ve learned a lot about writing in the past five years of trying to get the book published!

Oh, and remember when I said I’d recommend this book, even if I hadn’t written it? Well, I did, but that’s not going to stop me.  Read this book! I really believe you’ll like it! Reserve your copy now at my Kickstarter site!

https://www.kickstarter.com/projects/ehjones/help-publish-the-door-to-canellin

Self-Publishing vs Micropress

A couple weeks ago, I did a post on my views of traditional publishing compared to both vanity presses and self-publishing. Look back and read it, it’s fairly interesting. But now, I’d like to take it a step further, and throw micropresses into the mix.

My definition of a micropress is somewhere between a small press and self-publishing. Micropresses want to be small presses, but operate on an even smaller scale. Often times, it’s a writers’ group, or a family, or a loose association of collaborators, who get together and publish their own work and occasionally other peoples’, using the same methods as a self-publishing author would use. Some of them, due to the fact that they do accept solicitations and works from outside the group, could be considered small presses. Generally, though, their market penetration is very, very small.

Are there advantages to getting involved with a micropress? Most definitely. In the first place, they probably already have a name established, and can add some legitimacy to your efforts. They generally do provide professional editing. Usually, at least one member of the group is an established professional in the industry. And in some cases, they have made partnerships with other small presses or even larger publishers to help get more visibility.

Are there disadvantages to working with a micropress? Of course. There are disadvantages to every publishing model, even tried and true traditional publishing. One of the disadvantages is that, as with any publishing effort, the micropress is granted certain rights to publication of your work. This might not seem to be a bad thing, and in most cases it’s not.  But what if your work doesn’t sell well through their channels, or they don’t market your work to your satisfaction? What if you’re not happy with the results? With a micropress, you can’t simply pull your work back and go the self-publishing route. They’ve invested their time and in many cases money into your work, and thus have certain rights to it. It’s the same risk you take going with a small press or a large traditional publishing house.

A second thing to consider is, what do you hope to gain from your work? Are you hoping to make much money off your book sales? Are you hoping to get noticed, and possibly picked up by an agent or a larger publisher? With a micropress, the chances of that are slim. An agent won’t be interested, because the micropress already owns current publication rights, meaning that neither you nor the agent can negotiate and sell them to a larger publisher. A larger publisher won’t be interested, because it will put them in partnership with the micropress.

But, are you just wanting to get your work out there, with a publishing credit under your belt? Do you want your work to be in book form, but don’t have the time, skills, or inclination to do all the work yourself preparing it and self-publishing? Do you want the experience of working with industry professionals? In those cases, a micropress might be exactly what you’re looking for.

And that’s another reason one might choose a micropress: for the experience. Working with a micropress will give you the experience of working with a professional editor, working under a deadline, and working with other creative people. These experiences can be invaluable.

A while back, I had an opportunity to work with a publisher that was somewhere between what I would consider a small press and a micropress.  They were partnered with a larger small press for distribution. The experience was excellent. It was my first professional publication, a short story, and it was very well-received. Did I make much money on it? Well, I made enough for a trip to McDonald’s with my son. Would I work with them again? Absolutely. I have a short story in the works right now that I intend to submit to them, if I can ever finish the thing. I have the utmost respect for their work, and I look forward to a chance to have my words in another of their anthologies.

So what’s the verdict? Self-publishing vs Micropress? It depends on what you hope to accomplish. The Gatehouse series is very near and dear to me, and I have certain goals I want to achieve that a small press or micropress would be unlikely to meet. But my short stories, experimental work, or forays into other genres? Absolutely. It’s a great way to work with others in the industry, and get that experience of being published.

By the way, “micropress” is not a term I just pulled out of a hat, it’s an actual term used in the industry. Wikipedia has an entry on small presses that also defines the term “micropress”.  http://en.wikipedia.org/wiki/Small_press#Micro-presses

A New Challenge!

First off, let me announce that the birthday challenge was met and exceeded! So the extra rewards for all the backers at the $25, $50, and $100 levels are now official!  Thanks, everyone, for helping this project to hit its stride!


And now, I'm here to announce a new challenge. So far, I've made a challenge every weekend since I started the Kickstarter project, and every weekend, the challenge has been met and exceeded! So this weekend, it's a simple one. First, I'm challenging everyone who has pledged, or is planning to, to find at least one other person, get them excited about this project, and get them to pledge $10, $18, or $25. Everybody knows someone who would be interested in being involved in a project like this, even if you don't realize it!  An avid reader, a fantasy, sci-fi, or super-hero junkie, or just someone who would be interested in seeing a creative project like this really break out. Get them talking about The Door to Canellin! Get them excited to read it! And get them to use Kickstarter to pre-order their paperback or ebook copy now! The goal is to have ten more $10, $18, or $25 pledges by Monday, March 21st, but this challenge is ongoing! I'd love it if every single person who has pledged can bring in another backer!

And the second part of the challenge... pledge now! I've you've been holding off until the project is closer to the end date, or if you're waiting for that next paycheck, don't! Each pledge moves me further toward the main page of Kickstarter, and gets me noticed. There is no charge to your credit card until after April 8th. So there's no reason to wait, and every reason to jump in there and get your paperback copy ordered!

Birthday challenge is trucking along!

As of today, The Door to Canellin is 98% funded with $1179 of the $1200 goal pledged. That's over $200 pledged in the last three days! Thanks for your support, everyone!

But we're not there yet.  As I mentioned before, $1200 is only part of the real funding needed, and every dime over that will be put back into making The Door to Canellin a successful release. I can fund the rest out of pocket, sure, but the more funding I receive now, the more things I can do toward really making the release something to be proud of. Anything from professional editing and marketing, to being able to get professional reviews in magazines that can be placed on the cover and in marketing materials. Actually being able to do a small print run for local sales and book signings. Commissioning interior illustrations for the chapter headings. These are all things that I would like to do, but hadn't planned to unless the funding really took off.

So as always, tell your friends! Pass the word! Help make The Door to Canellin the best indie book release this year!

https://www.kickstarter.com/projects/ehjones/help-publish-the-door-to-canellin