My Freebooksy Promo Results for His Frozen Heart (A Rocky Point Wedding Book 1)

I did a Freebooksy on July 17 for the first book in my series to try to jumpstart some sales. Here are the results:

First I spent a little more time with the ad:

I really wanted to make sure that readers knew what they were getting. It’s a holiday romance, so it takes place in the winter. It’s got kind of a Beauty and the Beast type theme, and I wanted to bring that home because not every reader likes that kind of trope. Damaged heroes, yes, but damaged on the outside, not so much. Plus I wanted to highlight that it’s first in a series that’s complete because indies have burned too many readers with series that aren’t done or won’t be finished for many years. Readers are smart enough to know not to get invested. I’ve seen Chris Fox do this too, in his ad copy on Amazon. Plus it’s a great way to let readers know there is more than one book available.

I didn’t care so much about the ranking since potential read-through of the other books is more important. But I think I did okay in the free list in Small Town Romance:

Eleven was as high as I got, but I did go up to number 2 in Holiday Romance:

So that was fine. I don’t think it means much, to be honest–I kind of feel like anyone can give away a book. Especially if you’re paying to do it.

So the promo ran on July 17th, and the first day of the promo I gave away 3,866. I always give away the book the next day in case someone opens their email late and by chance looks to see if the book is still available. On July 18th I gave away 915. I did give away some on the 19th probably because of a time zone thing: 51. So in all total my promo gave away 4,832.

The first couple of days didn’t earn me any read-through, and that’s to be expected because a lot of people download a book but don’t/can’t read it right away. Twelve days later, I am getting some read-through and I’ve made back what spent on the promo.

Here are the stats for each book in the series this month. And if anyone wants to know, more than half of my royalties come from KU page reads.

It thrills me I’m getting read-through. I was so full of doubt when the first few reviews of book one came in and they were bad. Now, hopefully with Amazon ads I can have long tail off this promo. And if the people reading the whole series would review, that would be fantastic too. I need a few good ones to wipe out the negative ones on Amazon and Goodreads.

So all in all, I had a positive experience with Freebooksy this time around. If I could give you advice it would be this:

  • Make your ad copy in the Freebooksy newsletter count. I tried to add as much information as I could so the reader knew exactly what they were getting.
  • You’ll get more bang for your buck if you’re promoting a series. If you’re not, at least fix your back matter and offer links to other books so if your reader likes your book they have something else they can immediately read when they’re done. Don’t make them hunt–make it easy to read your books. All my books in the series link to the next. That did mean going in and adding the buy-link after publishing the next book, but the extra effort is very much worth it.
  • Make sure you have a good cover that conveys your genre.
  • Make sure the blurb is well-written.
  • Make sure if you’re promoting a first in series, that all your books look like they belong together.

Obviously, I haven’t made what I could have if those 4,000+ giveaways had been sales. And I’m not really sure what’s going on with more books. The books I’m writing now are different from these, and I think I”m going to be publishing them under a pen name. Does that mean my next book is going to be in 3rd person past? Or do I want to write in first person present? If I’m going to keep promoting these, then I should eventually have something new readers can move on to. On the other hand, if I have to fight like a trout upstream for sales, then I need to stop beating my head against a brick wall. Writing first person present is fun, and if I can find a foothold writing that, I would be content to let my 3rd person past stuff rest for a while.

Lots of choices!

Tell me, have you done a pomo lately? Let me know!


Adding subtitles to your ebook on Kindle Direct Publishing

A year or or two ago, indies started adding subtitles to their books. Not to say any subtitle that pertained to their book in a way we would think. Particularly in nonfiction like:

This isn’t an endorsement. I’ve never read this book before. Shown for example.

Something like that. You have to wonder what “well” means in this instance. He publishes beautifully put-together books? Or he’s making money? Or both? Not sure. But I am glad he’s not trying to sell fake advice. So many people are these days. (Cue laughter.)

If you think about it, a fiction novel doesn’t need a subtitle, especially when you publish on Amazon where they give you space for a series name and book number.

But indies started adding subtitles to their books, and I resisted for a long time. I thought it looked tacky and I always felt if you have a specific-to-genre cover, a good blurb, and the actual title of your book makes sense, a potential reader will know what your book is about.

“Oh you poor summer child!” you’re saying. And you’d be right!

Did you ever notice that if the majority starts something, it’s difficult, if not impossible, to make them stop?

Subtitles for fiction books aren’t going away and even though I don’t like the look of them, the consensus has turned into, if you can’t beat ’em, join ’em.

Some authors started doing it to improve the discoverability of their books, but adding a subtitle may not do as much as adding pertinent keywords to your books when you publish. What a subtitle does do is tells a potential reader what subgenre your book is in, or what tropes the book has inside.

Recently I added subtitles to some of my books like All of Nothing.

What I have also seen authors do as well is add if their book is a standalone–which is actually smart and something I could/should add, too, but then you run the risk of having a lot of gobbledy-gook at the top of your product page.

If we know anything about people, it’s that they are lazy and if they see a ton of words blaring at them, that could be a turn-off, too.

Long story short: I see the value in adding a subtitle to your book–just keep the adjectives to a minimum.

If I were looking for a mystery/thriller, should I buy the one that’s only enthralling, or is the totally enthralling book better? It has a stunning ending, but the one that’s slightly less enthralling is full of twists. It’s such a hard choice!

The subtitle can’t do the heavy-lifting of a well-written blurb, but when you’re writing in a genre that has plenty of tropes, it makes sense to use a subtitle to quickly indicate what’s inside your book.

It’s a bit wordy, and I wouldn’t want to add anymore to the subtitle. It’s also a holiday wedding romance, but HIS FROZEN HEART: A STEAMY, SMALL-TOWN HOLIDAY CONTEMPORARY ROMANCE seems a bit much. Besides, I don’t play up Christmas, don’t even play up the wedding, and I figured the small-town aspect of it holds the most weight in the plot. I do like that Amazon lets you add the word STEAMY to indicate that there’s going to be sex. I’ll never get a bad review from a reader who thought it was sweet or clean.

Whether you agree with something like this or not, and whether indies are to blame for this or not, this is an area where you don’t want to be left behind. We are training readers to expect the subtitle to reveal subgenre and tropes the book holds and if your doesn’t have it, you could be setting your book up for readers to pass by.

Not everyone is going to resist as strongly as I did at first, and some of you are probably heading to your KDP dashboard right now. But if you’re having second thoughts, maybe consider the fact that traditionally published books are starting to add subtitles too.

Lisa Jackson’s books are both riveting and heartbreaking. That’s good to know! (I’ve read some of her books, and they’re also a little wordy if you ask me.)

If you want to add a subtitle to your book, you can add it to your ebook only. To add it to your paperback you have to republish your book, so it’s not worth the time (or the expense if you buy your ISBNs.) I was able to add some subtitles to a few of my books without any hassle. I also assign ISBNs to my ebooks and that didn’t prevent me from doing this. If you happened to have protected your work that way and need to know. Keep in mind this is for KDP. I have no idea how you would add a subtitle if you fulfill your orders with IngramSpark and I don’t know if this craze has bled over into other platforms like Kobo and Nook. I don’t read on those platforms and I don’t publish there.

Please remember you publish changes and you’ll be locked out of that book for about 48 hours. It has been taking KDP a little longer to process requests than it has in the past.

How do you feel about subtitles? Are you going to add them to your books? Let me know!


Writer Burnout. Three surprising causes.

We talk a lot about burnout, and in these times, it’s even a more important topic. We need to take care of ourselves because this is our passion, our calling, our gift to be able to give our stories to the world, and we don’t ever want to have to stop.

I listened to a podcast episode of The Six-Figure Authors, and they talked about burnout. We all know what it is, but what causes it? I’ve written about it before, but I never thought to look at the reasons why a writer would have burnout besides the simple explanation of working too hard. Jo Lallo, Lindsay Buroker, and Andrea Pearson gave a few of their reasons why burn out occurs and it gives me a new perspective, and also, new ways to combat it.


One of Jo’s reasons for burnout is not seeing results. I didn’t realize how much I related to this until he said it. I jumped headfirst into the publishing industry, and sometimes I feel like I jumped into the wrong end of the pool. Instead of an easy dive into the water, my head met concrete and I’m flailing. This isn’t uncommon for a lot of first-time authors. They think they’re going to make a huge splash with their first book, or they put out a series to the sound of crickets. So they do it again, and again and again all to achieve the same meagre results. I feel that way, especially when I know I can’t sell books unless I buy ads, and then I only sell in books what I spend in ads. If you don’t see some kind of progress, that can create burnout.

Doing the same thing over and over again and expecting different results is also the definition of insanity. We all think writers have to be a little bit insane to take on a career like this, but I don’t think that’s what we have in mind when we call ourselves crazy.

What can you do?

I have to remind myself that this is a long game. A very long game. I mean so long I want to do this for the rest of my life. Success may not have found me yet, but one day it will. Reward yourself for small accomplishments. I’m always on to the next book and I don’t give myself credit for finished projects. I published 300,000 words this year and didn’t do anything special. When book four released, I was already knee-deep in the next book. That’s an awesome mindset, but also consider that writing and publishing a book is no small feat. You should celebrate it – even if it doesn’t sell.

Also realize that things can change and a promo that worked really well last year may not get you the same results now. Indies need to be flexible. We need to try new things. Frustratingly, this may result in losing a bit of money. No one wants to do that, but when you run a business it’s always a risk.

Take a break and assess why you aren’t making any headway. Is the genre you chose to write in not having a moment and therefore there’re no readers? Maybe your covers are off. Maybe you skimped on editing and reviews show that. Maybe you need reviews, period. Running on a hamster wheel won’t encourage you to keep writing. Jump off and try a new path.


Andrea mentioned her health. You can burn out quickly if you don’t feel good. Maybe you don’t want to take a nap because in two hours you can write 2000 or 3000 words. But remember, if you’re exhausted, if you can’t think straight, how good are those words going to be?

Even though you can’t see it by looking at someone, a lot of people have chronic pain they’re dealing with. Back pain, carpal tunnel. Auto-immune disorders and fibromyalgia. Some have depression, some have so much stress in their personal lives it manifests physically.

What you can do?

Keeping up your health is important. A lot of people are high risk if they catch Covid. A lot of us are sedentary — sitting at our desks 10 hours a day, and it might be even fair to say a lot of us could stand to lose a couple pounds. Burnout can happen if you’re writing when you aren’t feeling well enough to write. Take care of yourself. Eat well, go for walks, stretch your arms to prevent carpal tunnel. Meditate. Your writing will sound better if you feel better.

If you have a chronic illness, know your boundaries. Andrea says she needs lots of sleep, and we know that’s always easier said than done, especially if we have children or pets to take care of. She has to work out to keep her weight at a manageable level to help a condition she has from getting out of control, and we know even if you don’t have a health issue that exercise can help; it’s good for you regardless.

Use adaptive equipment. I use voice-to-text a lot more than I have in the past. Stand while you type instead of sitting if you can. Take frequent breaks and drink lots of water. We don’t talk a lot about ergonomics, but if you have a bad back or neck pain, sitting properly can make a difference between getting those words down, or having to stop. I know as a woman without a room of her own in which to write, it’s a constant struggle to find a comfortable way to type every day.

I’ve mentioned Aidy Award a few times in my blog posts. She’s a successful romance writer, and she posts in the romance group I’m in. Recently she shared a video of carpal tunnel stretches that have helped me. Since I’ve had surgery on my left arm, I may not ever feel 100% because I’m of the mind that getting cut open can do more harm than good. So far while it hasn’t taken all of my pain away, I feel better now than before but not perfect. But I do these stretches every day, and maybe you can make them part of your routine too. They help!


Lindsay brought up one reason for burnout that I never thought of before — doing parts of the writing business you don’t want to do. Not everyone can afford a virtual assistant and we’re stuck doing things we don’t want to do. Writing a blurb, formatting books, running promos, setting up ads. It’s drudge work and nothing turns an offer author off faster than knowing you have back matter to change. It’s a bore checking and answering email or keeping up with social media when you’re just not feeling it.

What can you do?

Take a day and get it all done. Lindsay call these admin days. Know you aren’t going to write. Make a list, make a cup of coffee, turn on some music and just get it done. We love to procrastinate and bury our heads in the sand, but that won’t get that blurb written or a Facebook ad set up. Sometimes you have to set aside a couple of hours to go through stock photos, because not every indie can afford to hire out for covers, or if you can, you want to give your designer an idea of what you like.

I haven’t updated my website in a while, and I haven’t added my new books to my Books page. I have over 600 emails sitting in my inbox. It’s such a drag. But reward yourself when you’re done. Dig into that new book. Order your dinner in. Take a bath. Go for a walk.

Having to do admin work over and over again comes with the territory, but there will always be days when there is more to do than others, like a book launch. Sometimes when I blog I’ll do two or three at a time and that will free up my week. Scheduling tools can be a big help, and when I go heavy with Twitter, I use Hootsuite. Sometimes you do have to pick and choose where you want to put your energy and just add what you’re putting off to the next to-do list.


Listening to the podcast was eye-opening and interesting. When we think of burnout we automatically think we’re working too hard, but that’s not always the case. Being able to pinpoint what’s going on can help us take care of the issue, or go about it in a different way. Try a promo site you haven’t tried before or kill your ads and cleanse your palate. Find new keywords and try again.

There are aspects to being an indie writer we just are not going to like. Recognizing the cause of burnout is one step in the right direction.

What causes your burnout? Let me know!

If you want to watch the podcast for other ideas and tips to keep burnout at bay, you can watch it here. Thanks for checking in!


Thursday Musings, what I’m up to, and what’s ahead for the month.

Well, it’s July and saying the world is crumbling around us is an understatement to say the least. COVID-19 is going crazy, we have a president who doesn’t seem to care, and the whole thing is really scary. My fiancé was supposed to move up from Georgia this summer, but he can’t if he can’t get a job up here. He has something steady where he’s at, and we’re thinking he won’t move until this coronavirus stuff is under control. And who knows how long that will take? I try not to be political on this blog–there are authors who will say anything they want and if you don’t like it, deal with it. I’ve never been that kind of author to treat my social media that way. It’s always more fun to share pictures of baby skunks anyway. But this COVID stuff is . . . people are dying, people don’t have jobs, people don’t know where their next rent payment is coming from. It’s terrifying, and it feels almost petty to go on and talk about books. But I keep trying to find the light at the end of the tunnel. When all this is over (and “over” means different things for different people) I don’t want to look back and realize that I didn’t get anything done. I’m trying to press through the best way I know how, and that’s keeping my mindset in the publishing game.

This image is from For Fox Sake Wildlife Rescue in Tennessee. I pulled it off their FB page. They rehab animals and put them safely back into the wild. I love looking at their photos and give when I can. You can support them here.

Why isn’t my book selling?

This question bothers me so much because it’s usually obvious. There’s someone on Twitter and he constantly laments that no one is buying his book. But his book doesn’t meet industry standards. The trim size is wrong, his book doesn’t have a professional cover–to the point the book’s title and his author name aren’t even on it! The insides are a mess. I don’t understand this because I have told him what he needs to do to fix it, and he says it’s his first book and didn’t expect anything from it. THEN STOP TRYING TO SELL IT. He seems to have plenty of people on Twitter who would be willing to help him, for free, even, if he would just ask for a little help. His tweets are a bore. Put in the work, or don’t bother.

But I like it this way.

I ran into someone else in a FB group who said she doesn’t full-justify her paperbacks because she doesn’t like how it looks. I’m having a hard time wrapping my head around that since first of all, it shouldn’t matter what you like or don’t like–full-justification is industry standard for a paperback. When an indie won’t follow industry standards (like the person on Twitter up above as well) it makes them look petty and immature. Are you really running your business while being so trite? And then we still wonder why there are people who won’t buy indie. It’s rather ridiculous to me that a person chooses to go indie for the creative freedom, and that’s what they’re going to do with it. I’ve read lots of indie books and their paperback books look AMAZING. Why not strive for that instead of cutting corners then complaining about it? Just a thought.


In other news, because this isn’t going to be a bitch session, I’m 35k into the 4th book of my series. I was scared to start this book, and I took me a week to hunker in, do some outlining, and actually start. But now that I have, it’s going well, and as always, I didn’t need to worry about word count. I usually do, but first person takes up a lot of room, if you know what I mean, and it’s a lot easier to meet word count. I understand the appeal of indies writing first person. It’s quick, it’s easy, it’s not complicated. I’ve even gotten some feedback that says my first person sounds better than my third person books. What? I’m flattered, and I like writing in it, but I started this first person stuff on a whim and I’m not sure if it’s what I want to keep writing. It’s interesting, though.

June Amazon Ads

I turned my ads off on June 26th because I was in the red four dollars. I wanted to see if I could catch up with page reads and I did:

My ad spend was $79.85. I am selling some books, which is fun, but you can see that most of my royalties are from KU, which is fine; that’s why I’m in the program.

And I have to say, changing out the cover to The Years Between Us was probably the smartest thing I ever did. I never would be selling so many books with the old cover. Just a lesson to never be so set in your ways or what you think should be working when it’s easy to try something else.

I’m interested in seeing that people are reading the last book in my series, so I decided to look at my KU read-through for A Rocky Point Wedding for the month of June.

For His Frozen Heart, the first in the series had 1,557 pages read.

His Frozen Dreams had 361.

Her Frozen Memories had 355, and Her Frozen Promises had 5.

Lots of people have told me that it’s too soon to decide if the series is a wash. Especially since the last book has only been out a month, and I haven’t done much promo for the series as a whole. But while I was finishing it up, I knew books one and two weren’t as strong as books three and four, and that’s such a bummer. I’ve heard it’s common, though. As you get to know your characters the writing is deeper and richer and the plots get a little more involved since the readers know the characters better and you are more comfortable as a writer to draw them into the conflict. It’s definitely something I’ll keep in mind if I write another series. The first person one feels different and I can’t explain how. Maybe because the first three books follow the same couple and I don’t have to worry about introducing new characters.

Anyway, if you’re going to fumble along, you can expect to scrape your knees.

I think I’ll end here and get some writing in. I hope you all have a wonderful weekend ahead!


What do you NEED to be a writer/author? Pick and choose at your own peril.

So if any of you follow Mark Dawson or you’re concerned about marketing strategies, or you were thinking about taking an ads course, or if you’re in any writing groups at all on Facebook, you know that Mark Dawson’s Ads for Authors course closed last week. Whenever Mark opens up his course, I have a huge case of the nerves. Why? Because everyone raves about this course. How helpful it is. How it’s a lifetime pass to ads and all your questions and all of the answers until you die. You can’t be an author and learn how to sell your books without it. After hearing it’s God’s gift to sales, you’ll run out and sign up, right? Well, the next time it opens is in the winter, and you’ll need that time to save up the fee, because you know why I haven’t signed up? It’s $849.00. You read that correctly. It’s almost a $1,000. And if you take the cheapest payment plan, it does cost over $1,000 dollars payable over two years’ time.

You know how indies say, “I can’t afford a cover, or a professional edit, etc, etc, etc, because I’ll never earn my money back?” Yeah. That. How many books would I have to sell to earn back $849? That’s the whole point of the ads course, right? To learn how to make that kind of money? Sure.

So how about this one? In Mark’s SPF University, there’s a course on how to write a bestseller by Suzy K. Quinn. People have raved over this, and I’m always wanting to work on the craft part of being an author. Some would say working on craft is the most important part of being a writer because it always starts with a good book. But her class is a whopping $297.00. People say they learn so much from that class. But hey, that’s two car payments for me. Or half a month’s rent.

And I’m not picking on Mark Dawson. John Truby also has a writing class. He gave a intro talk about it at the 20booksto50k conference in November last year. And you can watch it here.

His course is $397.00. You can check it out here if you’re interested.

My favorite Amazon Ads School guy, Bryan Cohen, runs an Ads Course, too, and his costs $397.00. During his ads challenges (the next one is in July) he’ll throw in some blurb writing or something a little extra to entice you to sign up. And that’s great. A lot of these indies who are offering courses try to throw in a little something for nothing. But where does it stop?

Adam Croft, under his Indie Author Mindset brand offers courses under $50.00. You can check them out here. I love his Facebook group, and I encourage you to check that out, and his podcast, too. Andrea Pearson, one-third of the Six Figure Authors podcast and Facebook group offers classes too, also in bite-sized fees, and if you listen to the podcast she just recently gave out a code for a percentage off. Her classes range anywhere from $5.00 to $50.00. Jane Friedman offers classes, as well. I’ve taken a couple and they are usually about $25.00. You can look on her blog to keep up-to-date on the courses she offers.

And that’s just classes. We haven’t talked tools yet.

Bookbrush. A platinum yearly fee with them is $250.00. Canva. A yearly membership with them is $120.00 a year. But if you compare the two, you get quite a lot more with Bookbrush, as you should since it’s double the cost. There there’s Vellum, and if you don’t have a Mac you have to run it through Macincloud, and if you do want a Mac, well, everyone knows how much they cost.

Then there’s ProWritingAid (lifetime is $224.00), the Hemingway App ($19.99 one-time fee), Grammarly (the premium is $139.95 a year).

Scrivener ($49.00).

Publisher Rocket ($97.00).

Let’s do promotions: A Freebooksy with Written Word Media is all over the map, with the popular genres around $100.00. E-reader News Today is between $50.00 to $140.00 depending on the price of your book. Book Barbarian runs about $50.00. Fussy Librarian is isn’t terrible, but you still have to sell books to make a profit.

Never mind paying for clicks on Amazon Advertising, and the same goes for running Facebook ads and Bookbub ads. (Don’t bother with running ads on a platform you don’t understand. You might as well give me your money. I’ll use it to buy promos.)

Can we add newsletter providers too?

Oh, I forgot about website hosting and a domain name. Maybe a business upgrade on WordPress.

A yearly subscription to Microsoft Office 365.

Forgot coffee. And booze. Are you even a writer if you’re not drinking something like a fish?

Let’s just say that indies have a lot of resources and not all of them cheap, ah, budget-friendly.

How much does it cost to be a writer? Well, nothing. I mean, literally 0 dollars. It takes no money to be a writer. Maybe two dollars. Grab a pen and notebook from the dollar store. Or scrounge your kids’ school supplies for things they didn’t use after everything moved to online learning because of COVID-19.

There’s a joke in the running world that running is the most expensive free sport there is. Shoes, race fees, GPS watches, the rest of the gear. The list is almost as long as what a writer needs to be an author. Being an author is the most expensive free thing you can do right? Tell that to my $150.00/pair Brooks running shoes so I don’t get tendonitis in my ankles.

But how much money does it really take to invest in your business?

The problem is, not anyone is going to know but you.

I had a friend step back from writing. She’s focusing on her family. That’s great; she has to do what’s best for her. And while she’s never said she won’t come back into the writing/indie space, what she did invest in will just sit while she decides what she wants to do. She bought a Mac, she purchased Vellum. She bought a yearly subscription to Canva Pro. Granted, that can run out, but I don’t know how much of her paid year will go to waste while she’s not using it. She purchased her domain name for a blog she took down. I gave her a free developmental edit of her book, so there’s something, but she paid for a cover for a book that will sink in the Amazon store because she won’t be promoting it (and by promoting it, I really mean writing the next book) while she takes a break.

So how much money should you spend? Start small. I pay for Word. I don’t use a writing software like Scrivner. But you don’t have to purchase Word, either, though the .docx is compatible with Vellum and other conversion websites as well as KDP. There are free options like Open Office or Google Docs.

There are some things indie professionals say you can’t skimp on like a professional edit, or a decent book cover. And that’s true. You don’t have anything if you don’t have a good book. That’s why there’re craft classes out there. But you don’t have to pay $300.00 for a class. There are a ton of craft books, and all you need is to invest some time into reading them. In fact, there are a lot of free resources on YouTube if you learn better listening to a speaker. Brian Sanderson has a set of lectures on Youtube people say are really good, and you can get started here. And over the years John Truby has spoken about craft and you can watch those YouTube videos for free. I’ve shared several talks I’ve enjoyed from the 20booksto50k conference in Vegas last year. The group puts those on YouTube for free too. Chris Fox’s channel is valuable, as is David Gaughran’s new channel.

I suggest narrowing down what you need at the moment you need it. If you only have one book out, probably you don’t need an $800.00 ads course. If you only have one book chances are working on craft would suit where you are in your career a lot better than learning an ad platform or any kind of marketing strategy.

I have fear of missing out, and a lot of writers I know do too. It’s tough not to want the newest brightest thing. Especially when all your groups on Facebook are raving about it. I can’t afford Mark Dawson’s class, and if you can’t either, there’s no point in feeling bad about it. It is what it is. I’ve learned a lot taking Bryan Cohen’s free ad challenges, and he doesn’t push you to pay for his class. I break even with my ads, and that’s okay. I’m not losing money and I’m picking up new readers. At this stage in my career, that’s a win for me.

Having all the tools and technology won’t make you a writer and I have a feeling that was what my friend was aiming for. She was collecting the tools of the trade, but in two years wrote only 60,000 words. For some indies, that’s a word total per month.

Think about what your goals are, what you want out of your career and when you want them. My fiancé bought me a Mac and purchased Vellum for me. I format a lot of books, and pay my fiancé’s kindness forward and will format free for others. Like I said, I pay for Word. It’s my main (umm, only) writing software and I use it every day. I pay for Canva. I bought Publisher Rocket because I do experiment with ads (and right now those small ads are my main source of sales). I’m ashamed to say I threw $40.00 at something I don’t even know what it is or how it will help me. All I know is she said it was her final offer because she wasn’t going to sell it anymore, and I swallowed it hook, line, and, sinker. Some kind of author toolbox website that I probably will never be able to find because I was too busy throwing money at her to pay attention to what I was buying.

It happens, and probably more frequently than we want to admit. The panic sucks. The fear of missing out on something that will make us a bestseller. And we especially panic when we think everyone else but us has the magic bullet.

A good rule of thumb is to exhaust all the free possibilities before going to paid. Newsetter providers have tutorials. So do lots of people on YouTube wanting to help you. Podcasts have been a great way to learn things, and I like to multi-task. Listen while you’re doing chores, or running errands, or taking a walk. I use my phone to take notes if they mention something of interest I don’t want to forget.

No matter how you learn what you learn, probably the one thing you’re going to need to invest is time, and in a lot of cases, that time is better spent writing.

How much does it cost be a writer? Nothing.

Okay. Two dollars.

Tell me what you think!


Writing with tropes in mind. What I learned from reading Zoe York’s Romance Your Brand

Last weekend I read Romance Your Brand: Building a Marketable Genre Fiction Series by Zoe York.

I love reading nonfiction by indie authors. It’s like being able to pick their brains without actually bothering them. An author shared a screenshot of the books on her Kindle in one of the Facebook groups I’m in, and Zoe’s book caught my eye. Zoe is a well-known in the indie publishing space as a contemporary romance writer. I first heard of her when she was a contributor of the now defunct podcast Self-Publishing Round Table, one of the first podcasts I listened to about self-publishing.

I was excited to see that she started writing nonfiction and I purchased her book right away.

I’ve written two series: one trilogy and another with four books. They don’t sell that great, but though to be fair, I don’t promote them much, either, and I thought Zoe could share some things that worked for her.

She goes through the reasons why a series is good–namely read-through and creating a world fans can fall in love with. I already know that, which is why I tortured myself all of 2019 writing one. It’s not to say I didn’t enjoy it, but there are things you have to consider like consistency and bringing other characters into the story of the main couple because they’re all friends and people simply don’t disappear when you don’t need them at the moment.

Zoe goes into some of the planning, encouraging you to draw a map of where your series is going to take place. She writes small-town romance, and my Rocky Point Wedding Series is placed in a small town, too. I knew my series wasn’t going to be very long — I don’t have an attention span for several books, so I trusted myself to keep Rocky Point’s details in my head without writing them down. But if you plan to write 5+ books, it may be advantageous to treat your setting like a character and write a detailed sheet to keep facts straight.

Other tips she offers are keywords, naming your series, and plotting out the books. This is where my ears perked up so to speak because Zoe is a genre fiction author. She subscribes to the Venn Diagram where you need to write to market while writing what you love and finding that sweet spot to sustain a lucrative, but happy and satisfying, career for yourself.

When I plotted my series, I started with setting first. For me that’s the easy part. I set the books in a fictional small town in Minnesota based on my hometown. I even gave my town the same attributes — along the Canadian border, a shut-down paper mill, and a similar Main Street. I’ll probably always set my stories in Minnesota. I love the seasons and the variety they can bring to the plots.

Then I move onto characters. I think this is where I dropped the ball and Zoe opened my eyes that actually when I plan out my books I don’t keep tropes in mind.

Every romance novel is based on a trope or two, and while you might scoff or want to deny it because your books are better than that drivel, I need to remind you readers love tropes. The kind of trope the book contains is why the reader chooses to read your book.

While plotting my series I forgot that, and it’s why my books aren’t as strong as they could and should be. Of course my books contain tropes, but I assign the tropes after the fact when I should be planning my stories around them. Knowing the tropes I want to include beforehand will give my books a stronger spine.

What are some romance tropes? These are from Zoe’s book:

  1. friends with with benefits
  2. married to the enemy
  3. marriage of convenience
  4. enemies to lovers
  5. fish out of water (new town, fresh start)
  6. forced proximity
  7. bad boy
  8. ugly duckling
  9. unrequited love
  10. friends to lovers
  11. strangers to lovers

There are more, these is only a sample. A Google search can come up with a couple more:

  1. forbidden love
  2. age gap
  3. secret baby
  4. fake date
  5. fake marriage

You can have a lot of fun with tropes. Take forced proximity. Maybe two strangers have to share a shelter during a tornado, or the elevator stalls (that’s pretty popular) or there’s only one bed (another that’s popular). Anything where the characters need to spend a lot of time together in a close space with no chance of escape. Like a cabin during a blizzard.

Zoe encourages you to list the tropes as you plan the books in your series and I’m going to start doing that with all my books. For now I can list the tropes that my books do contain (I can list them for marketing and ad copy purposes) and going forward use new tropes as I plot.

Knowing what tropes your books includes can help with blurb-writing and writing ad copy. As Jami Albright says, tropes sell. If you can make the tropes easy for readers to see, you’ll be more apt to make a sale.

Writing a series takes a bit of planning. At least the first few books so you can fit the pieces of each book together like a puzzle. Some series can go on for a while see (Robyn Carr) and there is no way to plan twenty books at one time. But if you can list the elements you want to include in the first few hopefully consistency won’t be too big of an issue and you (and your characters) can find a groove.

Zoe’s book gave me a new perspective and I feel there are things any genre writer could benefit from. I encourage you to pick it up. You’ll be glad you did.


A note about sub-genre and tropes.

Some writers blur the line between sub-genre and tropes. The easiest way to explain the two is to give an example.

Take Aidy Award’s books. She writes curvy-girl romance. That’s her sub-genre. You know when you grab one of her books the heroine will be voluptuous. But that can’t be the plot. The plot will contain tropes that pertain to genres that aren’t only curvy-girl. Like close proximity or enemies to lovers.

Billionaire romance is another example. Maybe every single male character an author writes will be a billionaire, but those characters will have their own plots that contain their own tropes.

I have noticed that some of the bigger in the writers like Aidy focus on one sub-genre. Then they have fun with the tropes. They have an easier time branding their books and that helps marketing and sales. It’s something to think about moving forward.


If you want to grab Zoe’s book, look here. She has another book related to this one, and I’m going to grab it as soon as it’s available.

To check out her Amazon author page, and take a peek at her contemporary romance books, look here.


Thanks for stopping by!

Amazon Ads Adventures: how did my May go?

Because I have nothing else to talk about, let’s see how my ads did for the month of May. Right now I’m running ads for four books: All of Nothing, Wherever He Goes, The Years Between Us, and His Frozen Heart. I actually came in ahead last month, making about $60.00 after ad spend. That’s not terrible–breaking even for me so more than acceptable at this point–and I’m aware that it’s more than what some people are making on their books right now.

Before I get into the numbers, I’ll tell you that my daily ad budget is always $5.00, and that my bid per click is always between .25-.35. I never EVER go with Amazon’s suggested bid. I know click bid can depend heavily on genre, and everyone always says how competitive romance is. But I’m not willing to up my bid on the off chance that it will make me more money. Right now all I’m concerned with is tweaking my covers, blurbs, and look inside so that my books are profitable, and my lower bid per click is working. I get impressions and I get clicks and that’s more than enough for now. There is plenty to worry about without hoping Amazon’s suggested bid won’t blow your grocery budget for the month.

My ad spend for the month of May:

Don’t let the spend versus sales fool you. If your books are in KU, the sales don’t include KU page reads. Sales are readers who buy the ebook/paperback. And in this case, I didn’t sell any paperbacks.

Here are the royalties:

Using the royalties estimator from the KDP reports dashboard is the easiest way to look at your royalties. Some people use BookReport, a Google Chrome extension, but I haven’t put Chrome on my Mac.

I took screenshots of the royalties vs. ads for each book individually. I don’t normally look at that–so long as I’m not wasting money, I don’t mind which book is making more than the others. You can see All of Nothing made the most–and also spent the most. Wherever He Goes is the unpopular one of the group, and maybe a new blurb could help. But I’ve already rewritten it, and at this point I’m done going back.





My numbers might not add up 100% just because I do make a couple cents here and there on other books, but these are the main four I run ads for. You can see that All of Nothing is the leader in sales. Sales for that book allows me to lose money on ads for the others. Is that smart? Probably not–all your ads should run in the black, but I’m just playing around and experimenting.

I’m happy to see that The Years Between Us is doing better with the new cover and blurb. People are actually reading it and in the past few days I have been selling the ebook; people aren’t only reading it in KU. I wish they’d buy the paperback because the new cover looks gorgeous in print.

Anyway, so that’s how I’ve done for the month of May. So far for June I’m in the black, but just by a few dollars. I may not be making a ton of money, but I’m picking up new readers, and that feels good. The last book in my series launched at the end of May, so I don’t have any reports yet on how my read-through is for the four books. I think next month I may plan a Christmas-in-July promotion and buy a BargainBooksy promo and see if I put His Frozen Heart on sale for .99 if I can get some read-through for that series. I’ll be playing around with ads for the next little while because I won’t have anything coming out for a few months.


What I know I learned from Bryan Cohen’s free ad challenge that he does every once in a while. He gives out such useful information, and he’s even usually around to answer questions. I can’t say enough good things about the guy, and I really encourage you to sign up for his challenge in July. It makes a big difference if you know how to use an ad platform before plunking down the money on experimentation. Trust me, there’s a lot to experiment with (like ad copy) without worrying about wasting money on ad spend because you don’t know what you’re doing. If you want to sign up for the challenge next month, you can find Bryan’s sign up link here. I don’t get anything if you sign up. I learned a lot from his classes and homework, and I know you will too!

Thanks for reading, and I hope you’re all having a wonderful June so far!

Letting go: stopping the search for perfect.

By the time you read this, I’ll be done going through my backlist. The loss of some of my Vellum files spurred me on to the idea that if I was going to reformat them to get my files back, I might as well re-edit them too.

While I haven’t written anything fresh in quite some time, I’ve re-edited and reconstructed the Vellum files of seven books. It was a lot of work, but I’m glad I took the time. I found tiny inconsistencies, typos, and in some earlier books, hammered out telling, and for some reason in On the Corner of 1700 Hamilton, lots of passive voice. (That is a weird speculative fiction kind of book, and I’m not sure where my mindset was when I wrote it. The other day someone borrowed it in KU, read one page earning me .01 cent, and returned it [I’m assuming they returned it because they didn’t read anymore.] I can’t say that I blame them any.)

I can see how I’ve grown as a writer and where I can still improve.

But probably the hardest thing for me is finally letting these books go. They are the best they are going to be. It’s a little scary because no writer wants to put subpar work out into the world, and when we put out books with spelling errors, typos, or plot holes that’s what we do.

My anxiety comes from thinking my books have them (even though they could be 100% clean) and I need to let that worry go. I had a moment of panic when I was fixing something in Wherever He Goes. I thought I fixed it and moved on. Later, I went back to reread what I had edited and I discovered autocorrect had changed a word I misspelled to something completely different than what I had intended. Even the word misspelled would have been better than what autocorrect inserted instead.

Suddenly, my life flash before my eyes and I envisioned my whole book full of autocorrected words rendering my pages to a book full of gibberish.

That isn’t likely to happen, but it’s enough to give any author hives. But no matter how many times we go over our books with a fine-tooth comb, chances of putting out a 100% error-free book are slim to none.

There will always be something to change and you get to the point where it’s not a change for the better–it’s only different.

There is a certain peace in knowing these books are as good as I can make them for the skills I have right at this minute. I fully believe that as writers we will never stop growing. We’ll try for twistier plots, more points of view, we’ll get better at breadcrumbing backstory and clues, and we won’t info dump at the beginning of stories. Our eyes will get sharper and we’ll catch more of our own mistakes and we’ll realize we have crutch words and weed them out before handing off our stuff to an editor.

We’ll refine our editing process and grow more efficient. Our first drafts will be cleaner.

When I was editing my Tower City trilogy, I came to two realizations: my writing from two years ago wasn’t as bad as I had thought, but my story (particularly the first book) was just as lackluster as I’d try to deny myself.

To be kind, you can call these books “quiet.” Internal conflict, some stuff going on, but not a lot of character growth, if you know what I mean, and if you don’t, in editor-speak that means not completely formed character arcs. I didn’t understand how to tie in past demons with the present story. What I did know came from instinct and a lifetime of reading romances. Sometimes the “beats” are ingrained and you know by feel what needs to go where. Some might say that’s skill, or talent, but I call it luck and it’s what made Don’t Run Away a half-way decent read as my first contemporary romance book.

In the second book, I had “Let’s meet an ex in a public place” scene like in the first book, and I don’t know if it was bad memory, or if I didn’t care, but at least I stopped that in my other books.

Part of the reformatting included doing a new box set for the trilogy and I wrote a “Where are they now” novella for the end. It was easy to write because I was fortunate to have written what I did in the original books. The novella practically wrote itself.

Now, even though the novella won’t make up for the slow start of book one, at least I can confidently brush my hands of that whole thing. They are re-edited, I changed the covers last year, and all the couples have a new happily ever after. There’s nothing more that I can, or even want, to do with those characters.

They are finally on their own.

Chasing perfect will never end well. Sometimes you’re at a point in your writing life where you can’t give it to yourself no matter how hard you try. Sure, I could write a better book one now, but what is the point when I could use my developing skills to write an entirely new book? If it were part of a ten-book series it might be worth it for the read-through, and if that’s you, then maybe it would be worth your time.

Like anything, your mileage may vary.

Some may see the time I took as a waste, but I disagree. If I found peace of mind in these two and a half months of going back and making sure my books were the best I can do as of Spring 2020, then it was worth it to me, but the trick now is to leave them alone and focus on the new.

My books aren’t dumpster fires. Maybe they aren’t 100% perfect, but no book is. I need to accept that, let my anxiety go that there are things that could be fixed. There probably are, but I need to forget about that and market my books with confidence.

Chasing perfect is an unattainable goal.

Maybe there are tiny fires in the form of an errant apostrophe, or a number I typed out that didn’t need to be, but I need to shrug those little things off, pull up a log, and grab my marshmallows.

A little fire doesn’t have to be a bad thing.


If you want to hear a talk about chasing perfection, Kristine Kathyrn Rusch has a great one she gave at 20booksto50k Vegas last year in 2019.


Also, just by chance, my friend Sarah also wrote a post on her blog a few days ago about her own struggles with perfection, and you can find it here: https://sarahkrewis.com/survivingperfectionisminwriting/


Pointing fingers: Who’s fault is a bad book?

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Taken from Stephenie’s website, stepheniemeyer.com

There was a lot of hoopla on writer Twitter last week when Stephenie Meyer announced that she would be finally releasing Midnight SunTwilight only from Edward’s point of view. Twelve years ago, halfway through writing it, someone leaked it, and heartbroken, Stephanie didn’t finish it letting the half-done manuscript sit on her website.

The vitriol on Writer Twitter started immediately. I even saw someone make a parody of the cover of Midnight Sun which features a pomegranate. In the parody, the designer used a peeled banana. It didn’t take me long to get sick of the scathing remarks.

Coincidence, or maybe not, I saw on Instagram that E L James is starting to write the last 50 Shades book from Christian’s point of view.

Screen Shot 2020-05-16 at 8.53.52 PM

And a few days ago, someone on Twitter posted a poll: Who is the worst best-selling author among Ken Follett, Nicholas Sparks, and Dan Brown. It was an unnecessary and meaningless post. I told her so, and we got into a little catfight until ultimately she told me to grow up. I found that funny because I wasn’t the one tearing down best-selling authors in public.

Screen Shot 2020-05-16 at 6.39.16 PM

But all this mud opinion slinging, all these disparaging remarks, begs a question: whose fault is a bad book?

It’s easy to pin in it on the author. Readers take passages from a book to make fun of it, they make gagging noises when reading the Look Inside of a book on Amazon, they live tweet their reactions to books hoping to start a mob of dislike. (Public Twitter shaming is big in YA, especially if the topic of racism/race is involved.)

Is it always the author’s fault when a bad book is published?

In the indie world, it sure is. Whether indies don’t hire an editor because they can’t afford it, or don’t think they need one, or they hire one then ignore everything that editor says because it’s “their book and they can do what they want,” when an indie self-publishes, everything from cover to cover is their responsibility.

Some say it’s not really fair. Finding resources, resources that are affordable and trustworthy, is hard. I totally get that and it’s why I’ve stopped reviewing indie books. Sometimes no matter how hard an author tries, their book isn’t going to be good enough. When it comes to Stephenie Meyer or E L James, their best obviously wasn’t good enough for some people, either.

Though, when an author gets picked up by an agent, when that agent sells work to a publishing house who employs several editors, when does the responsibility shift from author to publishing house? Is there no differentiation? When you publish a book, your name is on it. It belongs to you. You’re responsible for the outcome, good or bad, and I guess when you’re a reader, you don’t stop to consider that a “bad,” traditionally-published book has been looked at by probably close to five sets of eyes–one belonging to an agent who deemed it sellable in the first place. Twilight was actually found a slush pile by agent assistant at Writers House who passed it along to a senior agent, Jodie Reamer.

If you get picked up by an agent, and she sells it, and an editor edits it, the house publishes it and puts a few thousand dollars at marketing it, are you that remiss in thinking that your book is good or that you’re a decent writer? Agents are gatekeepers after all, and it’s why some writers still query and never self-publish even if they never find an agent. They need the validation. They need to be told their writing is good.

And all these musings beg another question: When an agent, editor, publishing house says an author is a great writer, but the readers say she is not, who is correct? The house who pays the author an advance, or the readers on Twitter who tweets live what a piece of shit it is?

Is it the author’s fault they believe the agent, the editor, and the publishing house? Of course not. Is it the author’s fault the editor skimped on edits and pushed the book out to meet reader demand and take advantage of social media momentum like in the case of 50 Shades of Grey? I don’t think so.

So why all the finger pointing at the author when the book is taken out of their hands?

I mean, do you think E L James’s editor pulled her aside and told her to join a writing critique group? Probably not. Erika didn’t have time anyway, she was too busy rolling in money and watching Jamie Dornan strip on set.

The thing is, as writers, we’re bound to get better. I read The Mister and it was definitely a change from 50 Shades. She got better. Now, we’ll probably never know if she took some creative writing classes or read some craft books, or if that time around her editor took more time with her and The Mister went through more rounds of edits than 50 Shades.

I tell indies on my blog and on Twitter all the time–it’s not your editor’s responsibility to teach you how to write. If you get a 1,000 dollar editing bill from a copy editor, you’d be better off investing in two English/creative writing classes. Which do you think is the better investment? The classes that could help you for your entire career, or the edits from one book?

If you’re an indie and your editor highlights every single sentence because of grammar, punctuation, or it simply doesn’t make sense, you need to take the future of your writing into your own hands. Not every writer is going to have an MFA, but if you don’t understand tension, conflict, stakes, plot, and character arcs, you best figure it out or you’re always going to have problems and your books will never sell.

That’s a big difference between bestselling authors who use too many adverbs and an indie who doesn’t know how to plot–story. Stephenie’s and Erika’s agents knew a good story when they read one, and so did their publishing houses, and most importantly, so did their readers.

Maybe it’s not fair of me to blame an indie for their weaknesses and not a traditionally published author. In the case of a “bad” book, though, it’s not an author’s fault if their agent and editor tell them that their book is good. Those people are supposed to be in the know–and they didn’t end up wrong–numbers of copies sold proves that.

As Grace Metalious said of her runaway bestseller Peyton Place, “If I’m a lousy writer, a hell of a lot of people have lousy taste.” A sentiment I’m sure E L James shares, and a sentiment that brings the literary versus commercial fiction argument full circle.

You’ll never change your life until you change something you do daily

If books like Twilight and 50 Shades of Grey are so offensive because of sparkling vampires, horny main characters, and typos so abundant that even the free version of Grammarly would meet its match, why do so many people read them? In one of my tweets to the writer with the poll, I told her she can read who she likes. No one is forcing her to read Nicholas Sparks.

There are a lot of ways a book can be “bad.” The story can be well-written but more boring than hell. The author may not know her grammar and punctuation, or subject-verb agreement, or maybe she has a crutch word issue like the girl from Tik Tok pointed out making fun of Stephenie’s use of the word “chuckled.” (An editing failure, in my opinion.)

We all aspire to write “good” well-written novels and we chafe when we do so (or we think we have) and we’re not recognized. That’s luck and what’s hitting the market at any particular time, and you’e not proving anything to anyone showing off sour grapes because an author you deemed “not worthy” has found that luck and niche in the market.

What can you do besides wasting time with useless polls?

Work on your craft. Read books that won’t offend your high-society taste. Query your heart out or learn marketing because, honey, that’s the only way your book will see the light of day.

You’ll never change your life until you change something you do daily-2

So, who’s fault is a bad book? I suppose after such a long blog post hashing out the question, we can determine there are no bad books written, only bad matches between book and reader. The only difference is some readers are more vocal about their unhappiness and some aren’t.

I wish Writer Twitter weren’t so vocal about it. It’s not like a lot of those writers have anything to brag about. Sometimes I find the reader who complains the loudest is only making themselves feel better because their books fall into the same camp they’re trashing online.

I wish Stephenie all the success in the world with Midnight Sun. And I hope Erika’s critics never stop her from writing.

There are books out there for everyone. Read what you like and leave the rest of us alone.


Resources I used for this blog post:

The Bestseller Code: Anatomy of the Blockbuster Novel by Jodie Archer and Matthew L. Jockers


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The authorpreneur I am versus where I was five years ago.

It’s never fair to compare yourself to where you were five years ago, or more precisely, four and a half years ago, unless you haven’t changed and you can’t see in your rearview mirror through all the regret of wasted time.

16114241When I joined Writer Twitter, I was writing a huge epic fantasy and I thought I needed to be on social media to sell those books. Independent publishing was always a no-brainer, even when I didn’t know exactly what it was, and how I’d heard of it, I have no idea. Probably the one thing that pushed me along was a friend from work who was majoring in publishing at our local university. She gave me one of her textbooks, APE: Author, Publisher, Entrepreneur–How to Publish a Book, by Shawn Welch and Guy Kawasaki. It was my first taste of independent publishing, and being independently published fed into my control-freak nature. (I try to keep that under wraps, so don’t be surprised if it’s the first you’ve heard of it.) I don’t recommend the book now–this industry moves too fast for a book that’s eight years old to hold much relevance.

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These are delightfully naughty stories, and I highly recommend them!

Back then, I was a wide-eyed, starry-eyed girl. People were publishing, they knew a helluva a lot more than I did, and they made the industry sound exciting. I wanted in. I read indie. Lots of indie. Bought lots of indie paperbacks, some from people who don’t write anymore or who have dropped off the grid because other things got in the way. I held books in my hands from people I knew, actually talked to online, and I wanted to hold my books too. One of the very first books I read was by Jewel E. Leonard, Rays of Sunshine. She did everything herself. Her husband helped her with the cover, but she wrote it and edited it, formatted the insides. She was my inspiration, and I started 1700 to publish like she did. (And can you read a blog post I wrote about writing to write and writing to publish here.)

Except, I had no idea how much work it would be to be let in. Because if it’s something that I’ve repeated on this blog for as long as I’ve been blogging, is that behind the cover designers and editors, the huge Twitter accounts, behind the shop talk, and Twitter chats, and blog tours and cover reveals, is this very one important thing. None of that matters if you haven’t written a good book. 

And this isn’t going to be another one of those blog posts. Everyone is going to publish crap. No one is immune from it, and very few are exempt. I’m no exception.

But the thing that probably saved me was the fact that I didn’t know it was crap. I went on my merry way, writing and writing and writing, and publishing and publishing and publishing and blogging about it, too! It was cool. I was a loser who didn’t know I was a loser.

Eventually, I got better. It’s just something that happens if you write enough words. You get better. Since I’ve started publishing, not including the fantasy still on a memory stick that I go back and forth between deciding to edit or not, I’ve written 1,227,000 words. Some of those aren’t published yet, as they belong to a first person trilogy that I haven’t edited. I’m going to write the sister trilogy to that before I release them. But they are written, and I’ll include them in my word count.

That figure isn’t to brag. I know I have a lot of time, and I do use the time I’m given.

But I think back to almost five years ago and how much the industry has changed. I did my book covers in Word. I used a free photo for The Corner of 1700 Hamilton, which I learned is a huge no-no. I formatted my documents myself using the templates KDP still has available though Vellum is so easy to get your hands on these days.

Besides the few people I had help me in the beginning, once I got the hang of writing again, I started editing my own books and for others.

There is something to be said for going back to basics. I learned a lot. I learned what a cover consists of, what bleed means. I can spot extra spaces between words in sentences in a manuscript and how not to put two spaces after a period. I know how terribly a Tab can screw up formatting, and even still today, I’m still learning how important it is to back up files (thanks disappearing Vellum files).

I’ve always moved forward, never gone back too often. Dean Wesley Smith calls this “overwhelming” your book. I call it burying it. But that’s hard to do if you want all your books to count. I say The Corner of 1700 Hamilton and my erotica novellas don’t count toward my backlist, but they have my name on them. They count. Even if I’ll never promote them. I put them out there, they are mine, and I own them.

For me, the glitz and glamour of being an independent author has gone away. You can scroll through writer twitter and maybe see some of those writers who haven’t published yet interacting with other writers with the same wide-eyed look. It’s not that I’ve become jaded–I still get teary-eyed whenever I finish a book and press publish–but it’s not long after that I’m on to the next thing, because there will always be another story.

What is this blog post about? It was supposed to be about how I revamped The Corner of 1700 Hamilton, but I’ll save it for another day.

I guess being quarantined has made me a bit nostalgic. I’ve come a long way in four and a half years. I’ve cried over lost files and bad reviews, I’ve virtually high-fived other authors and shared in their successes. I’ve shaken my head at others who keep making the same mistakes, and I feel bad for them because I don’t see their careers going anywhere. I know authors who are still working on the same story as the one when we met. This isn’t the career for those who can’t be tenacious, who can’t look ahead, who can’t see what they want in ten years and put in the work now. This industry isn’t for the faint of heart. Or for the weak.

I’ve come a long way in the almost five years I published 1700, and I plan to go even further in the next five. I WILL have a bestseller. Just wait and see.

What have you accomplished in the last five years? How has the industry changed since you’ve joined the writing community?

Let me know!


I read more than just Jewel’s book when I first joined Writer Twitter. Take a peek at the books I read that I very much enjoyed, and that I still recommend today. If you’re interested, click on the cover and it will bring you to Amazon. Some of them are in KU if you have a subscription. Some of the publishing dates reflect earlier dates, and I can only take that to mean that the authors have gone in, made changes, and republished. That’s one of the perks of being your own publisher. 🙂

I can’t link you to What Boys Are Made Of and the other books in the series because I think Stephanie is redoing them. It’s too bad she unpublished while relaunching them though, because they were really good. Probably some of the best indie work I’ve ever read. I hope she gets them put back up really soon. They deserve to be out in the world.

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Entropy is the first in a trilogy, and I’ve read them all. I’ve mentioned before Joshua helped me by beta-reading Don’t Run Away, and we formed a friendship after meeting on Twitter. He has quite a few books in his backlist now, and if you want to read his next book, Perplexity, he’s blogging the scenes for a little entertainment due to COVID-19. You can find his blog, Perplexitybook.com, here.

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I love Aila with all my heart, and she knows her stuff. She introduced me to Canva, knows her way around IngramSpark, and is all around a fantastic writer. Sex, Love, and Technicalities is the first in a duet, and I helped her edit the second (which is why I’m attached to it, not because I helped her write it). Aila and I have been friends for a really long time.

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One of the first indie books I read was David’s Lonely Deceptions. Originally published as a novella trilogy, Austin Macauley squished them together and published them as a whole. Not that I would recommend going with a vanity press, David was fortunate and they paid him, not the other way around. Just recently he wrote the sequel and sent it off to Austin so the books would be consistent (they gave him an advance for that book also). Right now he’s working on something new that will be published under a pen name because he says he’s tired of people thinking he’s a doctor. LOL

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Tom is another writer who kind of fell off the grid, though I think he’s active on Goodreads. I haven’t spoken to him in years, but I’ve read all of his books, and he was one of my first Writer Twitter friends. I think Jewel introduced us. His books are hilarious, but dark, and I recommend empathetic all the time. It’s laugh-out-loud good.

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