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Yesterday an amazing and kind man left this earth.

Benjamin Somerlot was only 28 years old.

He bravely fought a rare and painful form of bone cancer called Ewing’s Sarcoma for the past two years. The last few months of this life were spent in excruciating pain, but he never complained. He was always more concerned about his wife and his family, all who cared for him selflessly during that time.

Benjamin is survived by his equally courageous wife, Catherine, the talented artist who designed the beautiful cover for Avalon Revisited.

She does not want gifts or flowers, but please send her words of loving support @catarionna or via email.

Twelve years ago today Ethan proposed to me.

He stood in the tiny kitchen in our little cabin in the woods of Northern California and asked me to be his wife. He presented me with this teeny tiny emerald ring. All nervous, he was so adorable.

I, of course, said yes.

Sometimes I look back at my life and I see how many awful decisions I’ve made, both in matters of business and matters of the heart, but marrying Ethan was not one of them.

In fact, marrying Ethan is likely the single best decision of my life.

Twelve years later we are still in love. Still adore each other. Still take care of each other. We’re closer than we’ve ever been, and our lives keep getting better. Mostly, because we have each other.

Throughout the pain and disappointments life often hands us, we have each other.

Perhaps it’s not in my cards to be a great author. To be a bestselling novelist. To be an extraordinary teacher or an inspiration to others. Perhaps I won’t ever do something that will make the world a better place.

Perhaps none of these things are in my future because I already got my great life’s wish: Love.

True unwavering love.

And I’d rather have that than any of the rest.

To my world, my heart, my breath, my soul, my other self, my everything:

Ethan Rose, you are my miracle. I love you.

Writers write what they know. Even if your story is set in a fictional, futuristic dystopian society, the characters’ behaviors and traits reflect what the writer knows. What the writer has experienced or witnessed.

This past Christmas, my mother gifted me with a tea towel that reads “Careful, You’ll End Up In My Novel,” and I loved it. Likely my favorite gift because it is so true. My agent, Louise Fury of the L. Perkins Agency, gave this advice to writers:

1) Be nice. Be gracious. Keep your cool and try not to get involved in the cattiness of online bickering.

2) You cannot write in a vacuum, so get out into the world and work, meet people and interact with other writers.

3) Sometimes the best writing can originate from an overheard conversation. But you have to experience the world in order to write about it. I believe that you have to live in order to write. You have to live. Period!”

The basis for the most despicable character in my Rowan of the Wood series, the young protagonist’s foster father Frank, came from two highly unpleasant individuals.

The first is a man who I never officially met. He sat next to me in one of those boring, mandatory corporate meetings when I worked at Dell. The hatred and prejudice he spat normally would’ve inspired me to engage in a pointless debate with the man, but as fortune had it, I was in the middle of writing my first book. Grasping my mighty pen, I started taking notes of how he looked and what he said. His words sparked my imagination and armed me with serious fodder, things I couldn’t have invented because I just don’t think that way. Other people do, and it’s important to be able to write them realistically. Frank began taking shape.

The second man I worked with briefly at the Cannes Film Festival. He was a walking stereotype. Rich. Powerful. Cruel. Condescending. Abusive. He wore the remains of his deceased dog pressed into a gem around his neck. $10,000 that cost him. He told me. His repulsive mannerisms served to emphasize his special brand of misogyny, and many of those physical habits found their way into Frank, rounding him into the most loathsome character in our books, even more contemptible than the main antagonist.
These character traits mixed with some dramatized events from my husband’s own foster home upbringing created a memorable character, albeit a minor one.

On top of these examples, betrayals and rude behavior witnessed in everyday life have found their way into my books–as have people who touched my life in profoundly positive ways. Even a conversation overheard at a coffee shop inspired a short story.

As writers, we strive to capture the human condition, and only through experiencing or observing human interaction can we effectively do this.

Writers write what they know.

So, yes. Be nice to me or you’ll end up an evil, soul-sucking vampire in my next novel.

<This article first appeared on The Best Damn Creative Writing Blog on January 19, 2011>

“I’m A Writer.”

Guest essay by Maxwell Cynn to appear in the Author Essay section my forthcoming book on publishing & marketing realities for the aspiring author.

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“I’m a writer.”

A lot of people say that. But I don’t write to make a living, I live to write. It’s like eating, sleeping, or sex. Being a writer is more akin to being a sculptor than an accountant. It’s something that comes from within, unbidden, uncontrolled. Though it is possible to learn the technical aspects of writing, there must be a spark that transforms writing into literary art. But none of that really matters toward being published, and being published is the aspiration of most writers.

Publishing is a business. Publishing revolves around packaging, marketing, and selling books. That’s a hard lesson for many writers to learn. Like many aspiring authors I naively believed that the words are what sells books. Unfortunately, that is rarely the case. Some of the best writing sits unwanted in slush piles, or is published in short runs by small presses, while mediocre scribble hits the best seller lists.

Great writing is still great writing, but many great artists have died in obscurity, their genius only recognized later, and literature is in its essence a form of art. Yet, great writing stands the test of time, while many best sellers are forgotten in a few months or years. As artists, writers seek the sublime heights of classic literature, but writers also need to make a living.

Writers, all artists really, live in two worlds; following the call of their muse, while seeking recognition for their hard work. The two are, unfortunately, mutually exclusive and they must be addressed separately. Though the art of literature is very personal and cannot be learned, writers must train the skills which allow them to transfer to the page what they hold inside. I cannot emphasize enough the importance of learning the technical aspects of the craft.

As a writer, I’ve taken many creative writing courses, and attended seminars on writing, but the best courses, the ones that improved my writing the most, were journalism courses. Journalism focuses on the tools of the trade, more than the art of writing. But all of the creative writing courses in the world cannot teach someone how to be a writer, and as I said before, the greatest writer remains unread unless they are published.

A writer must come to terms with the other side of writing, the business side. Many writers spend a great deal of time developing their art and very little developing their knowledge of publishing. Again, and I can’t say it often enough, publishing is a business. Once a reader buys a book the writing becomes important. If they love the writing, they look for more, they tell their friends, they stand in line to meet the author, they become fans. If they don’t like it, they can also be virulent detractors. But first they must buy the book.

Readers buy books for many reasons, most of which have little to do with the writing. They may have heard about the author from friends, liked the cover art, or were intrigued by the back-cover blurb or reviews, but they are buying the book without knowing whether or not it is well written. They buy because of marketing, that dark side of writing which literary artists don’t care to think about. It is the business of publishing to sell books, not to provide literary art.

Granted, it is important that, once a reader buys a book, they like it. The good reviews and word of mouth sell more books. That’s good marketing, but we need to separate marketing from art. A good salesman can sell a bad product, but a poor salesman couldn’t sell Shakespeare. At the level of sales, quality only effects future sales, and business is focused on now. The product must reach the consumer before the after-effects of good writing can be realized.

A writer must stay true to their art and make it the best it can be, but they must also become market savvy if they ever want to see their work in print. Great literature, after all, does not sell itself. Even on the level of pitching to agents and publishers, most projects are undertaken without a full reading of the work. The editing process can do wonders, even with a mediocre manuscript, if the concept and author are marketable.

Even after an agent has agreed to represent a writer, and a publisher has bought the rights to publish one or more of the writer’s manuscripts, the dichotomy continues. A writer is at once working with an editor to produce a work of literary art, and with a marketing team to sell themselves and their work. And that duet of responsibility doesn’t end once the copy goes off to the press. There remains promotion of the book, and of course, writing the next manuscript.

As a writer, it is disheartening to realize more and more of my time is spent marketing, leaving less time for writing. Yet as a writer, selling my work is the work at hand. It is the business of writing that pays the bills, but more importantly to the artist, it is the business of writing which allows literary works to reach an audience.

With the realization of the business aspects of being a professional writer come many options and decisions, and making informed decisions requires knowledge of the publishing business. As I said before, readers buy books for diverse reasons; agents and editors do as well. A writer’s greatest asset, and one they can build and nurture, is a fan base. But how does a writer build that base before their book is published?

A writer’s primary tool is words and there are many levels to being published along with many outlets for a writer’s work. The novel is perhaps the most difficult to sell, and expensive to produce, form of literature. When a publisher buys rights to a novel, it is a huge investment with an uncertain return. But when an editor acquires a piece for a magazine it is less of an expense, and the magazine itself has a certain readership, so the editor is willing to take more risk. That simple fact of business means it is easier for an unknown writer to publish in magazines.

Today there are limitless outlets for short stories and articles, from blogs and e-zines to major print magazines and anthologies. Many such outlets offer no pay, or token payment, but a writer’s name and work is made available to the reading public, which builds a fan base. Others pay quite well, for more established writers. But it is the writer’s name and reputation on the byline, whether it is a short blog post or a high paying feature article, so it must be a work of literary art. That reputation brings me to the subject of self-publishing.

Vanity presses, those who publish at the author’s expense, have always been looked down on in the publishing industry and many consider self-publishing to be equivalent to vanity publishing. But self-publishing can get a writer’s name out to readers, and writers can even make good money at it. Yet, as I’ve pointed out, it is the writer’s name and reputation on the byline. A self-published work must be as good, or better, than what the big houses in New York produce. And even then, some print publishers will look askance at a self-published author.

Another concern with a writer self-publishing is they must take on the responsibility of being the publisher. That responsibility includes professionally editing, designing, and marketing a book. Some writers do quite well wearing both hats, as writer and publisher, but it is often difficult enough for artists to think like businesspeople and a publisher must be completely comfortable with the business side of publishing. But the modern ease of self-publishing, in my opinion, is the greatest development for writers since the printing press, and it is bringing about a paradigm shift in the art of writing, and how literary art reaches the public.

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Maxwell Cynn is the author of two e-Books, ArchAngelxx and CybrGrrl, available on Amazon Kindle. He has also published a number of short stories and essays, both online and in print, including stories in recent issues of The Absent Willow Review and Fissure Magazine. He currently writes for several literary blogs and continues to write novels and short fiction. Max, his books, and all his social networks, can be reached through links on his website, MaxwellCynn.com.

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You’ve just gotten your first speculative fiction work published, and now you need to get it out there to potential readers. Whether you are self-published, published by an independent press, or published in New York, marketing your book is up to you. Since you are a writer of speculative fiction (SciFi/Fantasy, or SFF), you have an excellent option to get your book directly into the hands of your niche market: SFF Conventions.

Fantasy conventions occur nearly every weekend somewhere in the USA, so it all depends how far you want to travel and how much you want to spend marketing your book. Over the past two and a half years, I’ve participated in many SFF Conventions (Cons), art shows, Celtic Festivals, and Renaissance Faires to promote my fantasy novels and my Steampunk romance novel.

SFF cons can be a lot of fun for a working author if one sets their expectations at the right level.

Superman. Expect Superman: at least one middle-aged Superman in sky blue spandex and a very tight red speedo.

No kidding.

In fact, you will see many amazing costumes at SFF cons. These people take their fantasy seriously, and that’s exactly the kind of person you want to be passionate about your book(s). It would behoove you to dress up in a costume as well, especially if you write Steampunk. It’s still new enough that you will get countless people stopping at your table just to take your picture or ask you about how you are dressed. Perfect opportunity to pitch your book and hand them a bookmark full of your information and social networks. I’ve sold more than a few books just because of my corset and bustle.

Expect long hours. Most SFF cons run 10-12 hours a day, and that’s not including the parties in the evenings, where much of the networking takes place.

Expect little time to eat. Bring snacks to nibble on because invariably as soon as you take a bite a customer will magically appear.

Expect to barely break even on expenses, if you’re lucky. Fantasy conventions can be expensive to do, but a working author must look at them as a marketing expense. You will have to cover travel (air or gas), hotel, and the table fee. Table fees in the Artist Alley (for artists and authors) generally run anywhere from $25 to $200. If you break even, you’re doing very well. If you make a profit, assume it is an anomaly and don’t expect it to happen again.

TIPS

Signage & Table Display

• Make sure your table is attractive and professional.
• Bring a table covering, as many cons do not provide one. This can be as simple as a few yards of black velveteen.
• Having some sort of poster, vinyl banner, or a window shade-type display is essential, and they are well worth the investment for all your marketing events. A window shade display can be pricey and a poster can be bulky. Vinyl banners are great because they pack well. If you can make some sort of collapsible stand (I have one made from copper pipe & connectors), a vinyl banner can work well as a backdrop. Check out etsy.com for handmade displays and support other independent artists.
• Create a vertical display on the table itself with a book stand or easels, as it’s much more eye catching.
• Have a lot of books. I mean it. You want stacks and stacks of books. You do not want to sell out. Selling out looks really great on a press release, but selling out means you could’ve sold more books had you been better prepared.
• If you can, have something other than books for people to look at. It’s very easy for people to see a table of books (especially if it’s all just one book) and say to themselves “I’m not looking for a new book.” If there are other things to look at, especially if they relate to your book in some way, it slows them down enough to look. Then you can pitch. Also, if they all relate to your book, then you have a great segue. Create some art or buttons or something. If you aren’t artistic in that way, then team up with an artist friend.

Engage Potential Fans

• Make eye contact.
• Have something ready to stop them if they look over at you for more than one second. Many people need to be engaged to stop. They don’t know you, so you have to introduce yourself and tell them who you are.
• Start with something, perhaps a question. I’ve heard authors ask “Are you a reader?” or “Are you familiar with Steampunk?” If they are in costume, start by complimenting their outfit. They likely put a lot of work into it. Even ask if you can have your picture taken with them. Then you can hand them a card and tell them you will post the picture on your blog.
• Then pitch your book. Have your pitch down. You will say it a dozen times an hour, if you’re lucky. Short, to the point. You want them to pick up your book and look further.
• Tell them that you will happily sign it for them. Most celebrities at cons charge a fee for their autographs, so many con-goers are thrilled to get an author-signed book for no extra charge. People LOVE author-signed books. Several times I’ve had a new reader tell me that it was their first author-signed book. They will never forget that.
• Hand out business cards, or preferably, bookmarks. Bookmarks are less likely to wind up in the recycling or on a pile of other cards on someone’s desk. Bookmarks will at least end up in a book, which ensures that the reader will see your information more than just once. One side of the bookmark should have the cover art of your book(s), the other should have your social networks (including Twitter, Facebook, Goodreads, etc,), you website/blog, your email address and a short synopsis. Even if they don’t buy a book, make sure everyone walks away with one of your cards. I use NextDayFlyers. Their prices cannot be beat. I find their 1/8 page “club flyer” and “bookmarks” work quite well for this.

<This post first appeared on The Best Damn Creative Writing Blog on January 10, 2011>

In the writing business, we often get conflicting advice from our readers, other writers, and industry professionals like agents and editors. Agents advise us to write what’s in our hearts, but they can only sell what the editors want. The editors want more of what is already selling, limiting their risk in this fast-changing business. I’ve overheard readers in bookstores scoff at yet another new vampire novel. Other writers have told me that vampires are overdone; prophecies, tired. Yet this is exactly the opposite of the advice from New York. Vampires sell, so they want more vampires. Steampunk is popular, so they want more Steampunk.

They are the ones writing the checks.

This is the paradox. For what is in our hearts is not always what New York wants to buy. It’s not always what readers want to read.

And the bills keep coming.

Do we stay true to our readers? True to ourselves? Or do we sell out, as it were, to what the industry wants in some desperate and usually futile attempt to make a living?

First of all, being true to our readers isn’t part of this choice. Readers either relate to our written word or they don’t. The only choice for writers is either to write what’s in one’s heart, New York be damned, or to sell out and try to write something that New York might want to buy.

For those of us who are full time writers, as the bills pile up and the money remains scarce, we sometimes lose our way and try to force something, somehow merge the two. We scramble for a way to write what’s in our hearts, what our soul demands to be released, in a fashion that will also be attractive to editors, journals, magazines–anyone who can help us make ends meet.

But in the words of Kurt Vonnegut, “Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.”

And so on.

This year I’m working on a book of Publishing and Marketing Realities for aspiring authors. It will be an extension of my Publishing 101 blog series.

As I’m a huge believer in cross-promotion, I will be looking for a handful of short (300-1000) word essays on published authors’, agents’, and publishers’ experiences in this changing industry. I will be taking this book to workshops and speaking engagements across the country to writer groups and conferences to teach aspiring authors about the options and realities of publishing and marketing.

Your essay will be printed in the book along with your book information, book cover, and websites/social network links. It will be seen by thousands of writers/readers.

I’m also looking for short tweet-like (140 character) DOs and DON’Ts for Twitter, which will also be published in the book along with your twitter name in a section of “WHO TO FOLLOW.”

Please comment below if you are interested in contributing. Leave your website, email, and twitter name. Alternatively, you can email me directly.

Please share with your networks. Thank you!

Years ago, more than I’d like to admit, back in my twenties I read something in a self-help book that really gave me a loud wake-up call.

It was this (and I paraphrase):

Take a look at the man you are with. Would this man be good enough for your mother? Your sister? Your daughter? No? Then why is he good enough for you?

A tweet by my dear friend Olivia sparked this memory yesterday. She tweeted: “Be the kind of man you’d want your daughter to marry.”

I retweeted it.

We all struggle with difficult decisions, and we’d like to think we are doing what is right, that we are making good decisions. Only through serious introspection and work can we know if we truly are. Unfortunately, so many of us are just trying to get through the next day and find ways to pay the bills that we spend too little time on self-reflection. Others of us spend way too much time analyzing what we’ve done or what little thing we could’ve done differently.

But if we can find a healthy balance, we can become the man or woman our children (or our dogs) think we are.

It’s well worth the effort.

May it bring you love, light, laughter, and success.