Our World By the Numbers by Vonnie Davis

I've shared my plight with you in previous posts. An editor who wanted me to dummy down my writing for the millennials. Is it that I don't know my market or she doesn't? Stick with me ladies, there's more to my tale.

Perhaps too much attention is being paid to the numbers. Publishers want books that are overnight best sellers. You know, the ones that hit the USA Today Best Seller list the first week after they're released. Dream on, I tell myself. I'm lucky if I break the top one-hundred on Amazon.

I'll never be a best seller out of the gate or after a long stroll. My books take awhile to build a following. But eventually, they do. I just got a gift card in the email for a restaurant from a reader who says she's read my books several times. I cried. My sales might not be fabulous, but my readers are. My publisher, however, wants instant success, a mercurial rise to the top of the ratings. With me, that's not happening.

For example, take my Black Eagle Ops series. Based on pre-orders of just over 120 for book one, my publisher had decided the series wouldn't do well. Book two had already been turned in, so they told me they wouldn't want book three unless they were surprised by sales. Shortly after that, I got an email from my editor that over 500 reviewers/readers had requested book one, HER SURVIVOR, on NetGalley and wasn't that awesome? I'd have close to 500 reviews. I just scoffed. What world does she live in? These people were looking for a free read, what reviews they do post are super low and downright nasty. My book released with 26 reviews. Where were the other 474? Sales have been poor and have just topped a thousand copies (would they be higher if 500 copies hadn't been given away on NetGalley?). Whatever. In my publisher's eyes, this series is a failure.

I need a book to fulfill my three-book contract. As I told you before, our flight home from granddaughter's wedding provided me with a story idea. I submitted it to the publisher. I was told to keep the plot thin. I did.

I was told to keep my humor down. I tried.

I was told to submit every chapter to my editor so she could see I was keeping on track. I bristled. Oh, ladies, I was mad as hades! I'm not some errant child to be constantly checked on.

After I'd sent in my sixth chapter, my editor called me. She and her superior didn't think I could write this book per their guidelines. What I'd written in her superior's words was "a parody of every erotic book out there with a hero that was a hoot!" NOW, I was in bitch mode. My jaws ached from keeping them closed. I wanted to voice my opinion so much, I'd kicked off my flip-flops, ready to do battle.

She continued, "We're doing you a dis-service by making you write in a different way. Your humor is your voice. But your humor doesn't work well in contemporaries where readers expect reality." I thought of my Wild Heat series with another publisher that's doing fairly well, even with my off-the-wall sense of humor...and kept my big mouth shut.

"We'd like you to write more bear shifters. We checked your numbers and were shocked. You've sold over twenty thousand of each book in the series. Your sales are slow, but steady. You've got a following there. Besides, in paranormal romance you don't have rules to follow. Your humor fits that sub-genre."

I was thrilled! I could keep Effie alive, my readers' favorite character. I'd always planned for Highlanders Beloved to be a longer series. I had my heroes already in place. My ear may have been pressed to the phone, but my mind was racing ahead with plotting and planning.

"This will be a spin-off, you can use the romantic couple you'd set up in book three of the original series, but place them in another location. You won't be able to use Effie," my editor continued. I could hear the hissing of air escaping my red balloon of excitement. "I know how you love to create secondary characters, but keep the plot focused on the heroine and hero. Okay?" More hissing of air. "Oh, and no magical elements. Only bear shifters." Empty, floppy balloon fluttered to the floor.

I submitted my vision for the series and four paragraphs about each book as requested. It was approved, although the titles were changed. So, I'm working on chapter one of SHIFTERS OF SONAS ISLE: Kendric. Now Kendric was a police detective in the original series and will be a law enforcement officer in this series, as well--a sheriff. So, knowing I can't use Effie or many side characters...hehehe....well an idea occurred. A sheriff needs a deputy. Right? Right! Enter Arlo Rogers, the Highland version of Barney Fife. Have I got a lot planned for this American character with an eye for any sway of a skirt.

If you'd like to read how my humor doesn't work in contemporary romance, FOR THE LOVE OF A FIREMAN is only 99cents. http://a.co/0qAhfNn 

My Profound Thoughts On Editing by Jannine Gallant

Sorry, folks, I'm ditching the monthly topic. Giving it the boot. It's gone with the wind...

I've been thinking a lot about editing lately and decided to share my profoundness. I've had quite a few editors, most of whom have been a complete joy. I've also been an editor, though not officially working for a publisher. Doesn't make the process any different. These erudite thoughts of mine have revolved around why some editors are a joy to work with and others--not so much. I came up with a few consistent points.

1) Basic Human Kindness: Let's face it, when we ask for an editor, we give someone permission to criticize us. It's for our own good (like medicine), but it's still tough to hear our plots and characters aren't perfect. So, mixed in with all the points about where we went wrong, it's heartening to hear we did something right. A "Great line!" or "This made me laugh." or "I love this conversation." in the comments area goes a long way. Nope, we don't learn from constant praise (that's why we have mothers not editors), but a few words of encouragement does keep us motivated to make all those changes when we realize everything we wrote doesn't completely suck. I know I get into an editing zone, looking for problems, making corrections and suggestions, but it doesn't take much to add a positive comment when I catch myself smiling. I'll try to do more of that in the future.

2) Don't Beat A Dead Horse: When I find a problem with a character or a plot point, I'm tempted to keep pointing it out--over and over and over. STOP! From now on, no more nagging about the problem issue. Authors aren't stupid. We all get the idea. All repeat criticism does is create resentment. There are a few exceptions. Dialogue tags. Sometimes we don't notice them in our own writing. They need to be pointed out. Same with telling words. I miss them all the time--though not as often as I used to. Makes me crazy. When editing, I like to simply highlight the phrase--she watched, he felt, etc.--then put in comments (telling). Same with tags. Easy-peasy. My smart author friends get the picture, and so do I.

3) Don't Try To Change An Author's Voice: This hasn't been a big problem for me, but I know it has given others fits. Constant rewording can make sentences unrecognizable as belonging to the writer. Noting grammar issues is an editor's job--no question about that. But just because you wouldn't say it exactly the same way doesn't mean the author's way is wrong.

4) No Preaching: I don't want to hear the scene is unbelievable because YOU wouldn't do that. Everyone is different. The world would be pretty boring if we all reacted the same to a given situation. I'm 100% fine hearing that my editor doesn't understand my character's motivation. A request to make it clearer or explain the character's actions more thoroughly is A-OK with me. A lecture on why the character is wrong isn't going to make for a positive working environment.

Being an editor is tough. It isn't pleasant to dish out criticism. It isn't pleasant to be on the receiving end of it, either. I can only say thank you so much to the editors who were so kind and considerate in their critiques and made me love them. Ally, Kathy, Stacy, Margo--you guys rock. I appreciate you more than I can say. I hope the authors I've edited for feel the same way about me. If not--I'll try harder.

What about you? What makes you happy to work with an editor--or want to take out a contract on her? Dish the dirt! Did I miss any major points?

You can find all my well-edited books on my Website. I hope you'll check them out.

Mistakes Can Make Us Smarter by Vonnie Davis

We learn by our failures--if we're smart.

If we're not so smart, we're close to the other end of the mental spectrum. Or so Einstein claimed when he said, "Insanity is doing the same thing over and over again and expecting different results." Granted, he was probably speaking on a scientific level. But the same concept could be applied to life in general. 

If I keep planting the same flowers the deer, that daily meander through our yard love to eat, then I'm not using my brain cells to their fullest capacity.

If I go on a diet, except for Oreos and potato chips and pizza, and still can't lose the weight, well, I'm not the smartest dieter, am I?

And if I keep buying the same size shoes that pinch my feet, then by golly I deserve a good foot pinching. Why? Because I'm not learning from my mistakes.

The same applies to our writing. My first book was written in omniscient point of view. As an English major, I'd studied the masters who often wrote using that method. But that was back in the day before editors' and readers' tastes changed. I had to learn from my mistakes and change too.

Over the past four years, different editors have pointed out weaknesses in my writing--God bless them all. My failure to deliver a better quality manuscript became a learning experience at the hand, or pen, or tract changes of teaching editors. By being open-minded, I learned and grew.

I'm always saddened to hear other writers refuse to work with editors to improve a story. Some tend to feel they've written a masterpiece that should not be touched or changed. Yes, there does come a time when an author has to protect her characters, her plot arc and her voice. But, more often than not, if you communicate with your editor, a workable compromise can be made. That teachable moment can still exist. And failures, or weaknesses within the manuscript, can lead to success.

I've done a bit of remodeling at my website to announce my future releases with Loveswept/Random House and Harper Impulse. I hope you'll stop by www.vonniedavis.com and check it out.

Dear Readers: What Do You Want?

By Glenys O'Connell

Readers, what do you want?

In the words of the Spice Girls (which dates me, no doubt) tell me what you want; what you really, really want?

I mean, take books for example. We writers sit at our computers, or pens and notebooks, or chalks and slates, and we pour out our hearts and souls. Then we send those words out into the world, after fussing over them like mother hens, and wait. And wait. And wait. Sometimes there's a kind word from an editor or a publisher; sometimes there's a contract.

And all too often, there's a rejection.

Which, try as we might, we do take personally. Who could help but do so, after all we've given up – time with family, lazy days in the sun, movies and tv, reading other writers' books, dinner dates and trips out – in order to write those words that are so unappreciated.

And the worst of it is that those editors, publishers and agents that we rely on so heavily for a yeah or a nay, these people are only human. Stories are subjective – I might love a particular writer's work, someone else might hate it or worse, be indifferent.

Stephen King, my hero, was told his work was 'not commercial'. That not commercial writer has sold millions of books, and his work has been made into television shows and movies.

J.K. Rowling, creator of the breathtakingly popular Harry Potter books, was told that kids today weren't interested in dragons and wizards and magic. 'Nuff said.

Somewhere, out there in the Great Unknown, are editors or editorial assistants or publishers' purchasing committees who are crying into their beer for turning down the next great thing. At least I hope so.

So it seems these days that it is the readers who have the final say; the readers who spread the word about King and Rowling and many other bestsellers – once a publisher decided to take a chance on an unknown writer.

You see, readers know what they want.

There's a story about George Sands that says she began to write because she couldn’t find a book that interested her. The same is said of Louisa May Alcott, author of my girlhood favourite, Little Women and the sequel, Good Wives. But just like Rowling, they kept right on writing. The readers found them, and the rest is history.

So, readers, what do you want? What stories light up your lives, or leave you afraid to go into the dark basement alone? What inspires you? Makes you laugh, makes you weep? Lifts your mood and makes you feel better when your world is in chaos? A Love that makes your toes curl?  What, in fact, would you say are the ingredients of that Next Great Thing? Or even a book that you'd love to read?

The Internet is full or how-to advice for writers. I'm as guilty as any other blogger or article writer; I teach creative writing to would-be writers. I'm glad to say that quite a few have gone on to be published.

But to me the burning question isn't what is selling today; not what formula works to make a book successful – the very existence of such a formula is a fallacy.

The real question can only be answered by you, Dear Reader: What do you want?

Right about now you may be wondering what this has to do with the current theme of this blog: Organization.  The answer, of course, is absolutely nothing.

I always wanted to be a rebel!

Glenys O'Connell is the author of several mystery & romance novels with good reader reviews; her long-awaited (in her dreams) book based on her creative writing course: Naked Writing: The No Frills Way to Write Your Book, will soon be published. Her 'brand' is Romance Can Be Murder, which tells you a lot about her.... Learn more here.