Diane Rinella

Rantings, Ravings, and Shameless Self-Promotion from an eclectic, and sometimes controversial, author.

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My Battle Against Cyberbullying

Someone once told me there is truth tucked into every joke, comment, and piece of fiction. If this is true, fiction and reality go hand in hand.

After releasing Scary Modsters… and Creepy Freaks, getting traction on a new story seemed impossible. I strive to be original, and it felt like every time I sat at my computer, the same old love story popped out. Tried as I might to produce something I could sink my teeth into, the universe had not yet spoken.

Then suddenly the universe screamed.

I was chatting with a friend—a grown woman—who was being cyberbullied over her physical attributes—by a grown man. Worse, the guy thought he was being clever (or maybe he actually wanted to be indiscreet) and bullied her in (an obvious and decipherable) code—on Facebook, right on his wall, using the public setting, for her and the rest of the world to see. He directly mentioned a group she was a part of and the friends she had. He even mentioned their personal activities. Then his friends joined in—friends who were also (alleged) adults. Their childish behavior, and to whom their jokes were aimed, could not have been more obvious.

Little did he know, his target is a survivor who knows how to roll with the punches. She could have fought back, and while I do feel there is a time and a place for that, it was clear these people just wanted to pick on someone in the interest of making them feel superior. In the end, the victim felt it best to ignore the idiots. Naturally, once she decided not to fight back, the attackers called it quits. After all, the hallmark any classic bully is to give up when victims are no longer producing their own bait.

That incident drove me to write, and while it took a lot of other elements to make Something To Dream On more than a book about getting bullied for being overweight, a fire had been lit. I came to see that while bullying hurts, we can teach kindness through bullies by looking at the underlying causes. That is why Something to Dream On is not only a book about recovering from addiction and abuse; it is also a book about forgiveness and the place it holds in our lives. We need to find our paths to understanding both others and ourselves; however, not forgiving someone has its place as well. What is truly important is that in the end, we all have the ability to both overcome our insecurities and to use our passions to make the world a better place.

So in returning to the concept of truth in fiction, Something to Dream On came out of a real event that was brought on by someone being a real jerk to someone who took the high road, thus making the world better by not feeding the bully machine. Sadly, the guy who did the teasing still seems to be an ass; however, his victim taught me how to be a better person. For that, I will always be grateful.

My Battle Against Cyberbullying was originally published on Diane Rinella, Author

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Paranormal, Romance, and Chemistry

How the paranormal and romance go hand-in-hand.

On June 27, 1966, a warning shot announced that both television and paranormal fiction would soon make a huge splash into mainstream pop culture, thanks to the premier of Dark Shadows. At first, audiences were underwhelmed by this Gothic soap opera based on a wealthy, eclectic family living in a haunted mansion. Although both the gloomy setting and rumors of looming ghosts made the show’s tone different than that of the average soap opera, the storylines were still pretty run of the mill. But when the ghost of Josette Collins walked out of her portrait in episode 70, the show’s supernatural theme became credible. However, Josette’s appearance was almost too little, too late. Audiences wanted more, but the subsequent storyline of Roger’s estranged ex-wife secretly being a Phoenix did not pack enough punch to offset the long blocks of episodes where nothing out of the ordinary occurred. Nearly one year later, the show seemed destined for cancelation. However, episode 211 not only changed the show’s trajectory, it also helped America fall in love with vampires.

The timing chosen for vampire Barnabas Collins (portrayed by Jonathan Frid) to rise from his coffin was perfect—both in how it gave the show a critical ratings boost and the time of day the event occurred. Dark Shadows aired Monday through Friday at 4 p.m. on ABC, right after the highly successful Where the Action Is, a Dick Clark-produced music show aimed at teenagers. Teens who had little interest in soap operas, or who had been underwhelmed by the infrequent appearances of lack-luster supernatural characters on Dark Shadows, were wowed by Jonathan Frid’s inaugural appearance. In fact, their infatuation with Barnabas was so intense that Jonathan Frid became a staple in teen magazines.

Yes, teen magazines.

Did I mention Frid was over forty years old at the time?

By the summer of 1968, this forty-something man also received over 2000 pieces of mail each week from teenagers and housewives, many of whom openly expressed that they were willing to become his thralls. This proved that the sex appeal of a vampire was so strong, teenaged girls were drawn to someone their father’s age.

To deepen the attraction, Josette just happened to be Barnabas’s soulmate; thus, Dark Shadows not only gave us an alpha-male vampire who exercised control over others, it gave us a hopeless romantic whose love had been lost to the ages. (Hmm… this sounds a lot like Vampire Diaries. Katherine and Damon anyone?) Now that Dark Shadows packed the double punch of being a romantic Gothic soap opera, the rating sky rocketed.

The show’s producers had no choice but to build on the momentum that the vampire/tortured soul/lost love storyline had given it. As the Josette/Barnabas storyline played out, David Selby came on the scene as werewolf Quentin Collins (episode 646). While his character did not garner as much attention as Frid’s, Selby’s first appearance did have a similar effect. The younger Selby (26) seemed a tad on the rugged side to be in teen magazines, yet teenagers managed to give him a place in their hearts among the baby-faced likes of Davy Jones, David Cassidy, and Donny Osmond. The show’s writers and producers also employed a similar formula as they had with Frid. Much like how Barnabas had stepped out of 1795, Quentin’s storyline originated in 1897. Not only did the romantic lure of the past deepen both Quentin’s and Barnabas’s mystiques, the then-current revival in Edwardian fashions made their period attire seem both timeless and modern.

Quentin also had a romantic past; however, the contrast between his and Barnabas’s was great, as Quentin’s involved an affair with his brother’s wife, which in turn drove Quentin’s own wife insane. Now Dark Shadows had both a bona fide romantic (albeit a dangerous one) in Barnabas and a playboy in Quentin. These two characters added both romantic and sexual aspects to the show, thus ensuring Dark Shadows appealed to those who wanted to swoon, those who wanted to be controlled, and those who wanted to tame the beast. Add in that these character’s supernatural backgrounds brought a sense of mystery, and Dark Shadows had a formula for sex appeal that could not miss.

While a fascination with supernatural beings was certainly nothing new, it is indisputable that Dark Shadows was at the forefront of bringing the sex appeal of these types of characters into our lives on a consistent basis. Additionally, before Dark Shadows, most supernatural beings were portrayed as either comical (Teen Wolf) or downright scary (Dracula). However, Dark Shadows gave us a chance to actually get to know these supernatural beings more for the humans they were born as than the creatures they became, thus giving them the opportunity to be endearing. In general terms, women love endearing characters. Many women also love one or more of the qualities Quentin and Barnabas possessed (control, mystery, the need to be tamed, the desire to be good despite a natural inclination to be evil, and most importantly of all, the tortured soul wanting to be loved). Fast forward fifty-some years, and these types of characters are more prevalent and loved than ever.

When it comes to the supernatural, mystery always follows. And since mystery is a key component in romance, the two easily go hand in hand.

Paranormal, Romance, and Chemistry was originally published on Diane Rinella, Author

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Accepting Fiction As Reality & The Mandela Affect

How the CW’s TV show Supernatural gives plausibility to fiction.

It turns out watching that first episode of Supernatural and falling for Sam and Dean Winchester was the initial link in a chain, and I’ve no idea where it will go or when it will end.

Chains of events are interesting things. You rarely see the chain while it is being forged. In fact, it is usually only in retrospect that you notice the chain in the first place. Think about how you met your best friend or spouse. What chain of events led you to the destination? Had you set out to be somewhere else, or had you meticulously planned for days, or even weeks, to be at a certain place at a certain time, only to have an unexpected encounter?

In Voices Carry, Brandon ponders how life is a chain of events. Recently I saw how the events that led to writing Voices Carry, along with the rest of the Rock and Roll Fantasy Collection (metaphysical fiction), started by watching the TV show Supernatural. It was then I also saw how Supernatural gives fiction the feeling of reality.

Anyone who has read any of my books knows I have deep loves of both rock and roll and the paranormal. When I wrote my first novel, both music and rock trivia just sort of found their ways in–almost as if by, dare I say it, magic. When it came time to pen Scary Modsters … and Creepy Freaks (note the play on a Bowie album title), a metaphysical fantasy where a central character/love interest is the ghost of a rock star, fictionalizing reality set a relatable scene for audiences who do not necessarily seek out ghost stories.

Music is a universal language, especially when you delve into popular genres, artists, and songs. Think about how Supernatural uses “Carry On (Wayward Son)” as a de facto theme song. Since it is both catchy and classic, the song was already a part of people’s lives. Using it in Supernatural not only brought familiarity, it also meant the supernatural world the show is set in feels that much more real. Once we accept part of something is real, the rest becomes less intimidating.

Imagine entering the home of someone you have never met. Maybe they smoke and you don’t, so the air feels off—almost strangling. Next, instead of offering your usual Coke, your host serves you Pepsi. It’s the middle of the day, yet the house is dark. Since things don’t quite seem right, you are consumed with intimidation and a “We are not in Kansas anymore” feeling. Then a familiar song comes on the radio. Your feet start tapping to the beat. You even find yourself humming. Suddenly, things feel less foreign. The newfound comfort warms you. A smile crosses your face, and you eye the room. Little things grab your attention, such as how the curtains are similar to the ones your mom has, or how the coffee table has a nick in it in the same place you put a ding in the one in your parent’s house when you were a kid. Now these little things have made you more accordant with your surroundings, and you begin to feel at home—all because a familiar tune brought a bit of your reality into what once felt like an alternate universe.

Writers have long used little touches like these to bring readers into a story. In Scary Modsters, Peter Lane was inspired by Small Faces’ front man Steve Marriott (born Stephen Peter Marriott) who worked closely with their guitarist, Ronnie Lane. Merging the names of two well-known contemporaries created a Mandela Effect by making a fictional character feel so real that readers often swear there really was a rock star named Peter Lane. Add in that some of the things that happened to Peter were inspired by real events in Steve’s life, and those loose bits of reality shine through.

To take this further, because our familiarity with music has already made readers a part of Rosalyn’s world (Scary Modsters), slowly introducing other concepts, even though they may be outlandish to some, makes them feel natural. For example, if non-believers are only told reincarnation is real, there is no reason for them to buy into it. However, if non-believers are shown that Rosalyn has the tendencies and traits of someone who passed on before she was born, and it is done in a way non-believers can see how some of the their own, unexplainable traits make sense, non-believers can accept reincarnation as real, even if just while reading the story.

Similarly, in Voices Carry, when Brandon is consumed by a voice no one else hears, he compares it to the universal phenomenon of earworms (getting a song stuck in your head). In Moonlight Serenade, a humming ghost that bears a resemblance to Frank Sinatra follows Dale. The familiarity of both the tune and the classic look makes it so we hear the song along with Dale, whereas if the ghost hummed a tune that didn’t exist outside of the book, the spirit would be even more foreign and instantly harder for those who do not believe in ghosts to relate to, let alone find credence in.

All of this leads back to Supernatural and how its ability to make the unreal seem authentic equates to excellence in storyselling. The more bits of familiarity brought into a fictional world, the more real the fantastic seems. In cases like the Rock and Roll Fantasy Collection, where I wanted readers to believe ghosts and reincarnation exist in our world, music was the perfect way to bridge the gap between fantasy and reality. Judging by the legions of viewers that love Supernatural, apparently others feel that way as well.

Stepping back now it is easy to see where my love of a TV show taught me a lesson about writing that in turn spawned a collection of novels. Supernatural showed me that, in order to present fantasy in a realistic way, I need to hook people through familiarity.

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Accepting Fiction As Reality & The Mandela Affect was originally published on Diane Rinella, Author

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Writing Well-Developed Characters --Vernacular

Using Vernacular and Speech Patterns to Write Well-Developed Characters

While reading, have you ever found yourself scratching your head, completely lost as to who was speaking because all of the characters “sounded” the same? Have you read more than one book by an author, only to find that the new characters sound exactly like different ones from a previous book? And although dialogue tags exist for a reason, isn’t it nice when writing is so strong, you can tell which character is speaking without the standard he said/she said tags?

In acting school, I learned that little details turn everyday characters into fascinating ones. Using unique manners of speech, which can range from under-developed grammar skills to scholarly prose, is an excellent tool to bring characters to life. Truth be told, there are so many ways to express personality through dialogue that there is little reason for characters to sound alike.

So how do you avoid creating vernacular clones without turning humans into cartoons? While there are a lot of tricks writers use to convey character, the big secret is—it’s in the little things.

When designing Love’s Forbidden Flower, it was important to me that readers could absorb little things that made the characters seem real. Lily and her brother, Donovan, frequently use contractions when speaking. Their parents, however, rarely use them–if ever. This was one subliminal way of conveying how the liberal Lily and Donovan were different from their conservative parents. It also showed both how comfortable they were with each other and who they were as people. If Lily and Donovan used slang that was common to their generation, it would further set them apart from others, but it could also make them seem less savvy and mature then they were; thus, I kept their use of slang to a minimum while I liberally used contracted words to imply a level of comfort, both in dialogue between two characters and as Lily told her tale to readers.

Donovan is often cocky—sometimes a little too much so—but to say he is cocky and leave it at that is not enough. Donovan is also a romantic, so his actions needed to be supported by dialogue reflective of his personality. The following segments illustrate this.

*“His hand graced her cheek as he gazed soulfully into her eyes. He told her that he loved her and that he would never hurt her again.”

*“His hand graced her cheek as he gazed soulfully into her eyes. ’I love you. I’ll never hurt you again.’”

*“His hand graced her cheek as he gazed soulfully into her eyes. ‘I’ve always loved you, and I promise with every bit of my being that you will never hurt again.’”

The first example does not let the character speak. The second merely gives him words. The third is what makes Donovan who he is.

The most obvious example of voice difference in Love’s Forbidden Flower is found in Christopher. The fact that he goes by the name “Christopher” and not “Chris” already sets him apart from the norm. Since I wanted to show a chivalrous and gentlemanly side of this rather roister-doister young man, he never refers to Lily other than by her full name, Lilyanna. (Donovan often calls her Lil, another intentional distinction that shows their comfort level.) The reason for Christopher calling Lily by her full name is more than whimsy and is therefore explained towards the end of the book.

Christopher is a bit of an off-kilter character. He is (possibly a little too) proud of his British upbringing, and he frequently uses British slang. So instead of saying “Damn it!” he would say “Bugger!” Since he was usually the only Brit around, the vernacular made it obvious that Christopher was the one speaking. Also, his incomparable voice provided richness that he would elsewise lack. When the aspects that have influenced Christopher’s vocal mannerisms are revealed, they not only round him out, they also add paint onto the canvas in the reader’s mind.

Occasionally, I did need to write in aspects of his dialect, such as how sometimes Mancunians like him often say “me mum” instead of “my mom”. This enriches the character because me and mum are real words. However, if taken it too far, characters could sound like Elmer Fudd. While reading “wrascally wrabbit” once is amusing, leaving readers to decipher paragraph upon paragraph of accent will likely have them exchanging your book for a remote control. In fact, many seasoned writers suggest not writing in an accent and simply using descriptors to convey the sound. So instead of, “Y’all ned ta git yurselves ta bed”, it is better to state, “When he said, ‘Y’all need to get yourselves to bed’ his thick Texas accent commanded my attention.” The later sentence is easier to read, softer on the “ears”, and still conveys character. Taking it a step further to, ‘Y’all need to git yourselves to bed’ also allows the character shine through without overplaying the written accent.

While descriptors are a great way for readers to picture characters, when it comes to getting the full experience, it is equally important to “hear” characters as well.

Writing Well-Developed Characters –Vernacular was originally published on Diane Rinella, Author

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Valley of the Dolls - Glitter, Glamour, Fame, & Self-Destruction

“You’ve got to climb to the top of Mount Everest to reach the Valley of the Dolls.”

~ Jacqueline Susann, Valley of the Dolls

What makes a book a classic? Does it need an intense plot that keeps you on the edge of your seat? Are multidimensional characters required? Must it sprout eloquent prose that enlivens your senses?

No, because if it did, Valley of the Dolls would not have sold over 30 million copies. That’s a huge number for a trash novel no publisher wanted to touch, and yet this gem has shown staying power by remaining in print for over 50 years. How could it be that a book so many saw as a piece of garbage that never should have been published won over the masses? Doesn’t this sound a little like another runaway bestseller that also turned the publishing world on its ear? Yep, I’ll say it. The ground Valley of the Dolls broke paved the way for the success of Fifty Shades of Grey.

Let’s dive deeper into this gem of a trash novel and see what makes it a classic.

Hmm…Valley of the Dolls! It’s cliché. It’s hackneyed. And it’s important because glitter, glamour, fame, and self-destruction add up to the most brilliant piece of rubbish you will ever read!

The cliché plot: A small town girl escapes to the big city where she befriends two kindred spirits. The three of them hit the heights of fame while on a path to self-destruction. They are also awesomely catty! (Cattiness makes for fun reading.)

The stereotypical characters: Anne, a secretary who becomes the face of a large cosmetics company while having a troubled relationship with a man who turns the heads of too many. Neely, a star whose career (along with her temper and dependence on “dolls”) becomes larger than life. Jennifer, a showgirl who turns to making “art films” for money to support her child as well as her addiction. (Who doesn’t love to read about the scandalous?)

The cultural legacy: Valley of the Dolls spawned a major motion picture, a BBC radio series, a TV mini- series, and a regular TV series. To this day, there are talks of it returning to television. The book even influenced numerous pop culture references, including a 1970 film modernization, Beyond the Valley of the Dolls, written by Roger Ebert and Russ Meyer. This parody was as titillating as the novel from which it spawned and included a deranged, crown-wearing music producer who sported prosthetic breast. “Z-Man? There is no Z-Man, varlet. And indeed, it is not a game we play. I am Superwoman!” (Seriously, how outrageous is that?)

The bitter reality: Susann based her story and characters on personal experiences while working in 1940s Hollywood, thus not imitating but

exposing reality. Americans love wealth, fame, and beauty. This book has it all. (A woman who is willing to sleep away part of her life to wake up thinner! How awesomely horrific does that sound?)

The gritty meaning: Women are vain bitches. Men are vain assholes.

If a classic can be defined as a ground-breaking novel that is filled with scandal, spawns outrageousness, exposes us to our own bitter truth, and is a fun read while influencing pop culture and having a staying power that spans generations, then Valley of the Dolls is about as classic as you can get. Let’s face it, Jacqueline Susann was a writer for our times that will be looked back on as a fictional historian for her faux portrayals of real people.

Valley of the Dolls is also the perfect institution for those like me and Rosalyn from Scary Modsters who love the outrageous and strive to embrace a world outside the norm, which is exactly why I made Valley of the Dolls one of her favorite books and Beyond one of her favorite films.

In other words, a classic is what grips you and holds. It breaks ground and gives you something to chew on, even if it is just bubblegum.

Don’t go into Valley of the Dolls while sitting on the beach and sipping white wine. Dive in hard and fast while lying poolside, sporting a stylish bikini and a ton of sparkly jewelry. Remember your sunscreen, large sunglasses, and titanic-sized hat. And for heaven’s sake, don’t forget that cocktail! That way you can blame the brain cell loss on the booze and not have to admit what you spent your time reading.

No matter how much you hate it, I can guarantee a part of you will love it! That is what makes Valley of the Dolls a classic.

“Give me back my hair, you little bitch,” Helen yelled. “It cost me three hundred bucks!”

Diane’s love of 60s and 70s pop culture shines through in the Romantic Comedy Scary Modsters … and Creepy Freaks, winner of the 2017 International Body, Mind, Spirit Award for Excellence in Visionary Fiction.

Valley of the Dolls – Glitter, Glamour, Fame, & Self-Destruction was originally published on Diane Rinella, Author

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Soulmates and the Freedom to Love

Sibling soulmates battle with their forbidden emotions in Love’s Forbidden Flower.

In the last few years, despite releasing nine books, winning awards, and making the USA Today Bestseller list, the question I have gotten most revolves around why I wrote Love’s Forbidden Flower. While my reasons are many, the biggest is that I believe people who only seek to do good and enjoy happiness should not be discouraged from doing so. This belief is deeply personal in a way that goes beyond basic human and civil rights. While I do not subscribe to Greek mythology, part of its canon leads to an interesting point.

In my novels, the concept of soulmates is a recurring theme. It not only plays heavily in both Love’s Forbidden Flower and its sequel, Time’s Forbidden Flower, but it also makes a guest appearance in my visionary fiction novels, Scary Modsters and Voices Carry. I not only love the idea of soulmates—that the people whom we are closest to are ones with whom we have traveled before—I also firmly believe in it.

At a young age, I was told we travel in groups of people who find each other time and time again. Occasionally when I meet someone, it seems as if we have known each other for years. Maybe we have.

I also believe that we have no control over our birth circumstances. Why would we choose to place ourselves into a less-than-ideal situation? For example, would anyone choose to be born into poverty? Probably not. Would you choose to be born into a situation where society dictates you are not allowed to marry the person with whom you have been connected throughout the ages? I am betting no. Therefore, why is it shameful if you are the victim of birth circumstances?

In Plato’s The Symposium, Aristophanes tells us that humans were originally each two complete people who were attached. Since humans had great strength, they were seen as a threat to the gods. Zeus split them in half, thus weakening humans while creating twice as many followers. Although Apollo then reconstructed their bodies, each one remained as two. It is said that when two haves find each other, they will know no greater joy than reuniting.

How can we ever deny two people the joy of being complete? I don’t understand why we make love laws, let alone why we shame people for whom they love. In my mind, there is no greater insult to humanity than attempting the (thankfully) impossible task of stopping love.

Soulmates and the Freedom to Love was originally published on Diane Rinella, Author

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Desperately Seeking Sixty-Nine audiobook tour

DESPERATELY SEEKING SIXTY-NINE

by JD Frettier

Genre: Spicy Paranormal Humor

The year is 1969. Though there is war and unrest in the world, on August 15th, on a farm in upstate New York, a little concert will go down in history as the most famous music festival of our time: Woodstock. It also happens to be the day Bonnie McMillan and Peter Hampton meet and begin their free-spirited love-filled journey with each other. Fast forward forty-seven years. Bonnie unexpectedly passes after a night of hot sex and is whisked up to Purgatory, ‘The Green Room’ as they call it. Bonnie’s best friend meets her at the pearly green gates and the fun begins, from body sculpting to channeling. Follow Bonnie on her erotically incorrect quest to re-connect with the love of her life. Or at the very least, make sure the sex toys are hidden before the kids start sorting through her things!

Hollie Jackson

How long have you been narrating?

Professionally? I’ve been narrating for over 3 years now. But I’ve been reading stories out loud for as long as I’ve been a reader. I was the kid in class first to raise my hand when the teacher asked for someone to read aloud. And I’m not ashamed to admit that I read out loud to my cats and my husband all the time. Usually in a silly accent.

What is your favorite genre to narrate and why?

Currently, my favorite genres are Urban Fantasy and just about anything Paranormal related. Horror, fantasy, sci-fi… I love all of these genres because the stories take you out of your norm and you have to suspend disbelief to get lost in the worlds. I particularly adore UF because it takes the element of the familiar (our world-ish) and asks “What if <xyz> was real?” I love the ideas behind a hidden world within our own where magic and non-human beings exist.

When you ‘get into character’ what movitates you?

That’s a good question! It truly depends on the character, to be honest. I try to find something to connect with in that character’s experience. Like, most of us can relate to the pain of having your heart broken by someone you love, or being embarrassed about something, feeling like you don’t belong… I try to find the human element and connect with it to make that character feel like a living, breathing being. I put myself in the character’s shoes and use that as the base.

Do you like input from your authors?

Always. I love when an author gives me characterizations for their creations. Accents, a little back story, how *the author* sees the characters. It gives me a jumping off point when I go into it because I know what the author is thinking in regards to their characters. That way, when I do the read through, I at least have an idea of what I should be expecting out of that particular character, if that makes sense.

On the flip side, I hate micromanagement. By that, I mean… give me your characterization, but let me interpret the performance, if that makes sense. A lot of authors fall into this trap where they envision themselves as both script-writer AND director, but forget that the best directors usually give their performers the autonomy to “perform”. You have to have the courage to let go and trust that I’m going to do right by your work, even if it isn’t exactly as you anticipated in your head while writing.

So, you got the audition request for Desperately Seeking Sixty-Nine. What made you accept it? Was there something about the story line that drew you in?

I was drawn in by the concept first, and the characters second. The first chapter hit me in such a visceral way. Even during the narration, there were two points specifically where I had to stop to recompose because the emotions of Pete just hit me in such a primal place I was literally in tears. But it was the balance of that with the humor that really drew me in. I love silly, over-the-top humor and was intrigued by the idea of playing an “older” character, as it were, with the same lust for life as someone much younger.

What drives Hollie Jackson?

Aside from my perpetual cheerleader Dragon? LOL. Honestly, I’m motivated by my fans, both authors and listeners. I feel like there are so many great stories out there that deserve to be experienced, but are only hitting one part of the market. There are a growing number of people who love the concept of reading a story and getting immersed in a world, but don’t have the time (or the abilities) to do so. My goal is to make sure that they get that chance. We live in a society founded by storytelling. History itself is a set of stories passed down. Oral storytelling is an art form, one I’m honored to be a part of.

Do you have a career outside of narrating?

Actually, aside from being co-author with Dragon on our own series, The Nemesis Chronicles, narration IS my career. I quit working my former job 3 years ago to go full-time with this, and I’m still going strong. I love what I do and honestly cannot see myself doing anything else.

How many audio books are in your repertoire?

Presently, almost 400, spanning 4 different companies. With another 100 or so in queue.

What is Hollie’s favorite thing to do?

Oh, man. If you ask Dragon, it’d be playing video games and surfing the web. But my favorite thing will always be reading. I always have a book or something nearby, not just the projects I work on.

Tell us something about yourself and your hobbies.

Something about myself… I have my bachelor’s degree in Psychology. It’s come in amazingly handy when dealing with society at large and the intricacies of human interaction. Hobby-wise… I do a lot of reading, I write, I edit. I’m a crafting hound. SO many crafts. I have, what has been affectionately dubbed around here as “Crafting ADD”. I knit, crochet, create polymer minis. I love video games, comics, general geekery. I have a thirst for learning languages (even if it feels like I never retain the info lol) and accents… I never thought I’d adore learning accents as much as I have, but I do. I love to cook and bake, and exploring new areas. Yeah, I’m an “Ooh, shiny!” brain kinda gal.

What does the future hold for Hollie Jackson?

Hopefully, more projects. But I would love to branch out into doing video voice over work. And, y’know, a commercial or two might be fun. I’ll always come back to audiobooks, though, because they’re where my real passion lies.

What is your favorite holiday and why?

This one is difficult because, generally? My favorite holidays encompass all three biggies between October 31st and December 25th. Halloween has always been my first love because it’s the one night a year you can truly be *anything* and no one really bats an eye. Plus, free candy. C’mon. Thanksgiving is the one day a year you can really spend time cooking and eating yourself into a food coma… and not feel guilty about it after lol. And Christmas, well, my birthday is 2 days before, my anniversary is 5 days before, and any holiday where I’m getting a gift is a bonus in my book. (Also, I’m a total Autumn/Winter fangirl… so… yeah.)

After narrating Desperately Seeking Sixty-Nine, would you consider narrating more titles by J.D. Frettier in her Green Room Chronicles?

Absolutely! It was a fun project and I’d love to see where the others go in the continuation of the series.

Audible ✯ Amazon ✯ B&N ✯ Booktopia ✯ Goodreads

JD Frettier is the nom de plume of USA Today Bestselling Author Jennifer Theriot. Being a child of the 1960s and Woodstock era, she was elated when a quirky couple spoke to her, requesting their love story be told. It was an offer she couldn’t refuse, so she decided to venture into the world of paranormal via ‘channeling’ with her debut novella, Desperately Seeking Sixty-Nine. JD’s laptop and mind are now open to new characters. She’s already interviewed and selected one for the next installment of her Green Room Chronicles….so stay tuned!

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Desperately Seeking Sixty-Nine audiobook tour was originally published on Diane Rinella, Author

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Passive vs Active Sentences

Disclaimer: I am not an English professor. These are notes I’ve gathered on passive voice and dissected to a level I can understand. Maybe they will help you, too.

  Recently, my editor told me to rework a scene because I had written too much of it passively I wrote it in the passive. Gah! Gripping the term “passive voice” may have been the most frustrating part of writing. The term “passive voice” was hard for me to grip. After all, the passive voice puts emphasis on an action, yet it slows the action (pace). Huh? How can something that emphasizes action slow it down?

  What is a passive sentence?

A passive sentence focuses on the action instead of the subject. It usually contains the subject + some form of “to be” (such as: is, are, was, were, am, be, been, being) + a past participle (often ending in “ed”).

Example: He had exorcised the demons.

The demons are the subject, yet the focus is on the action. (Some guy removed those demon things.)

  What is an active sentence?

An active sentence focuses on the subject.

Example: The demons were exorcised.

The demons are both the subject and the focal point. (Their butts were kicked out!)

  Why we are told to “kill the passive”?

For the most part, killing the passive makes sense. Passive writing can be bulky and pace killing.

Passive Example: A song is being written by Paul.

Kind of trips you up, no? Also, when I hear this, I figure Paul is off somewhere and will get to that song at his convenience.

Active Example: Paul is writing a song.

Now we have used four words instead of seven. Also, the sentence has more impact because Paul is actively writing—maybe even right in front of us.

  Setting tone via active or passive versions of a sentence.

The following examples show how using the active versus the passive can affect a scene’s tone.

  Example: My puppet was stolen.

The focus is on the act of stealing. [Note:1) the use of “to be” (was) 2) the use of a past participle.]

Example: Someone stole my puppet.

The focus is on the subject.

  How do these sound to you when read without additional context? Here is how I hear them:

My puppet was stolen. = Yeah, someone took it. Whatever.

Someone stole my puppet. = Someone stole my puppet! Get her!

Notice how the passive version feels like someone is giving you an FYI, you know, passively, whereas the active one could be shouted as the act happens?

  Consider this scene:

“Bob, why are you late for class?”

“Someone stole my puppet.”

  Doesn’t this sound like a “The dog ate my homework.” moment?

  Now consider this:

“Bob, why are you late for class?”

“My puppet was stolen.”

  Now it feels like an “Oh no! Poor Bob!” moment.

  So while it is often best to cut the passive and thus pick up the pace, passive sentences have a time and a place.

  Examples of Passive versus Active. (Warning, some of these may make your brain hurt.)

  Active: Paul writes a song.

Passive: A song is written by Paul.

  Active: Paul wrote a song.

Passive: A song was written by Paul.

  Active: Paul has written a song.

Passive: A song was written by Paul.

  Active: Paul will write a song.

Passive: A song will be written by Paul.

  Active: Paul can write a song.

Passive: A song can be written by Paul.

  Active: Paul wrote a song for me.

Passive: A song was written for me by Paul.

Passive: I was written a song by Paul.

  Paul is a busy guy!

          Passive vs Active Sentences was originally published on Diane Rinella, Author

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Converting A Novel Into An Audiobook

This post was originally titled “Taking The Audiobook Plunge” and appeared on Writers Helping Writers.

I love audiobooks. Many find the convenience of listening to them nearly anytime and anywhere a virtue. But for me, the appeal is how I get to listen to another person’s dream.

For years, hearing your book come to life was a fantasy reserved for top-selling authors. But we live in an amazing age where technology makes yesterday’s imaginings today’s reality. Not unlike how Amazon helped drive the Indie ebook revolution with Kindle Direct Publishing, they are at it again with Audio Creation Exchange. However, much like the trials of ebook publishing, sharing your book with listeners is not as simple as reading it aloud. Thus before hiring a producer, or biting the bullet and self-producing, a few things are worth considering.

Before moving forward, let’s define a few roles:

Producer – The person who records and masters the material. This may be the same person as the narrator/voice actor.

Narrator – The general term for the person performing your book.

Voice Actor – May also be referred to as narrator. However, this person can also bring multiple voices to life and expresses emotion.

  DON’T RUSH INTO THINGS

Take a deep breath, because there are a few things to consider before you look for a producer. Remember everything you did (such as editing and formatting) to give consumers the best reading experience? Now you need to determine how to give them the best listening experience.

  Pay Per Finished Hour or Royalty Split

Just like any other project, what you can afford will guide your decisions. ACX offers a great program called Royalty Share. The author provides the book, the producer records it, the author approves it—both split the proceeds. However, some producers will only accept projects paid by the finished hour. (If the producer spends forty hours on a project that comes in at eight hours long, you pay for eight hours.) All sales proceeds go to you. However, a finished hour can range between $50 and $200. Most novels are eight to ten hours long. Will your budget cover $400 to $1600? If not, you might consider a royalty share or self-production. (We will return to that can of worms later.)

  Narration versus Acting

Would your book benefit most from narration, or should a voice actor bring the characters to life? Are you dead set about how the narrator, or any of the characters, should sound? These questions led me to a dilemma. Scary Modsters … and Creepy Freaks, was written in three, first person POVs, two of which are male and one of those is from East London. I wanted multiple actors, not to mention a proper accent. However, I quickly found my dream scenario required hiring four people and heavy editing. Since the price tag would be at least a hefty $400 per finished hour, the only cost-effective option was to go with one, very talented producer. Fortunately, Hollie Jackson came to the rescue. Hollie is a partner worth her weight in gold. Partners can make or break a project. (More on partnerships later.)

  Books are meant to be read, not heard.

Writers often give visual clues that do not translate into audiobooks. Are you willing to consider changes that improve the experience, or must the audio version match the original text without fail? Some things can enhance the listening experience, either by adding or removing them. One of those is dialog tags.

  The visual characteristics of a quoted sentence ending and a new paragraph beginning with another quoted line is an accepted cue a new person is speaking. If the conversation is two-sided, a dialog tag may not have been deemed necessary. If an actor uses vocal changes to represent new characters, a dialog tag may still be unnecessary. However, in the case of straight narration, where all voices sound alike, adding one would eliminate confusion.

  Conversely, when a character’s speech spans multiple paragraphs, writers often add the clue, “he continued.” However, when a character is read with a distinct voice, not only do these clues become unnecessary, they become pace-breaking distractions.

  Italics are often used to stress a word or to reflect deep thought. Stressing these items is part of a narrator’s job. However, quoted italics can reflect hearing a person’s thoughts, such as during telepathy. If you did not use dialog tags such as, “he thought”, translating the idea of telepathy into audio may be difficult, and changes should be considered.

  Consider making listening-enhancing revisions before submitting your manuscript.

  DIVING IN!

Let’s get to the fun stuff! There are many ways to create an audiobook. To keep this simple, I will focus on two methods; using ACX to hire a producer, and the self-production method—both of which I have experienced.

  Making Hiring Or Partnership Decisions

Whether you seek a royalty split or to hire someone per finished hour, here are some things to keep in mind when pursuing talent and when listening to auditions:

  Reputation – Simply stated, never jump into a partnership without ensuring it will be a strong one, and never hire a person you don’t want to work with. I turned down numerous offers for many reasons—some of which were less than stellar reputations for delivering the basics. Do not be afraid to ask your friends for recommendations or producers for references.

  Voice and Characterization – Does the narrator have an appealing tone? Does she “feel right” for the part? Is the accent appropriate yet understandable? Determining voices and narration style before signing a contract is key. While the writer must be comfortable with the presentation, nitpicking over a performance is best saved for the actor. Both need to set realistic expectations. My partner, Hollie Jackson, summed the characterization process beautifully. “I truly think the absolute biggest thing is to trust your narrator, particularly in regards to characterization. If an author can provide notes to give us a direction to point our voices, it takes a huge load off of us trying to figure out how a particular character sounds. But by that same token, sometimes a character will strike a particular reference chord, and things might sound a little different compared to the voice in the writer’s head. Being able to work with that is a huge part of the process.”

  Quality/Mastering (hiss, pops, clicks, timing) – Inadequate mastering can ruin a brilliant performance. While ACX has strict submission requirements regarding noise floor (the level at which hiss is heard) and level variation (a whisper and a yell need to be close in volume), there are no stated requirements regarding pops and clicks. Listen for these, along with timing. Timing is not only the pace at which a book is read, but also how lines are delivered. For comedy, the outstanding timing of Robin Williams and George Burns had us rolling in the aisles. Dramatic timing is just as important. The demo’s timing should fit the book’s genre.

  Eliminate Surprises – If part of the audition seems unfitting, yet you still suspect the voice actor could be a match, express your concerns and request a new audition. Re-reads are not unreasonable and may save both the writer and producer many headaches.

  Building A Partnership – I cannot stress the importance of this enough, especially if you wish to do multiple projects with the same person. I tell Hollie all the important things up front and then let her work magic. As a fellow actress, I completely agreed when she said, “Micromanagement is the hugest creative buzzkill around.” However, she also respects my concerns and will quickly make changes when things go awry. The bottom line is, if you are concerned that a producer will not give you the end results you desire, either find someone else or self-produce.

  SELF-PRODUCTION

I will preface this by saying I have decades of acting experience—stage, screen, and voice. Since my husband is an Indie film director/producer, resources are at my disposal. Still, it took quite a bit of working with sound engineers before I could produce a solid audiobook.

  The absolute basics to home recording include: a room with a low noise floor (I lined the quietest room in my house with moving blankets.), proper equipment (A good microphone, a pop filter, a pre-amp, a Mudguard, and a stand will cost several hundred dollars.), and editing software (I pay $20 a month to use Adobe Audition.).

  In a nutshell, recording two takes without outside sounds (birds, pets, kids, cars, planes) generally gets you what you need. Edit these into one good take before removing pops, clicks, and rustling. In my case, I also have to remove background hiss. Top all of this off with balancing the levels. (By the way, you might want to consider that it takes Hollie about two hours to record and master one finished hour while it takes me three or four. Be prepared to invest some time.)

  Have I scared you out of the self-production method yet? Learning the recording and mastering process is a hurdle, yet producing audiobooks is simple compared to other types of sound engineering. While I highly recommend ACX’s video series on recording, the installment on mastering falls short of providing usable information. Thus, you might want to consider hiring someone to master your files. However, if you really want to give it a go, ACX does have an Audio Masters class.

  Self-Production/Hiring A Producer Combo

ACX does not offer the option to hire a producer only to master files. Thus, you will need to pay someone outside of their system. Professional sound services can be expensive and offer more than you need for an audiobook. I strongly suggest contacting local filmmaker groups (Here in San Francisco, we have Scary Cow.) or colleges to seek immerging talent at a reasonable rate. Though there are also services that will perform this task for you, I’ve yet to find an author who has done this, thus I cannot make a recommendation.

  This is a lot to digest, but once you get your head around the process, it’s actually a lot of fun. I have to say that having done this with a partner and now producing myself, I prefer the partner route. Then again, I struck gold with Hollie. With a little determination to find the right person, you can too. Either way, bringing your book to life is a rush akin to the time you held your first novel in your hands!

  The benefits to partnering with an experienced producer are no learning curve, a faster turn around, often better talent than an inexperienced performer can provide, and a built-in audience, as many often have their own fanbase. The con is you may not get the creative control you desire.

  The benefit to self-production is full creative control. The cons may include steep learning curves in voice acting, recording, and mastering.

      Diane Rinella

Enjoying San Francisco as a backdrop, the ghosts in USA Today Bestselling Author Diane Rinella’s one hundred and fifty-year old Victorian home augment the chorus in her head. With insomnia as their catalyst, these voices have become multifarious characters that haunt her well into the sun’s crowning hours, refusing to let go until they have manipulated her into succumbing to their whims. Her experiences as an actress, business owner, artisan cake designer, software project manager, Internet radio disc jockey, vintage rock ‘n’ roll journalist/fan girl, and lover of dark and quirky personalities influence her idiosyncratic writing.

    Hollie Jackson

Taking her own love of storytelling, not just for her own work, but that of others, Hollie (aka Narratrix) found her true calling in the vocal booth. From the innocent to the risqué, the snarky to the serious, Hollie’s voice brings characters of all types to vibrant, compelling life, letting you sit back and allow the words to wrap around you and work their resonant magic.

  She grew up getting lost in the rich worlds of poetry and prose, and truly enjoys sharing that with others through the spoken word. Stories are, after all, meant to be spread by any means necessary, right?

  With over 300 audiobooks narrated and produced to date, she’s worked with authors/publishers both Indie and NYT/USA Today Bestselling, Hollie enjoys an eclectic range of genre and likes to carry that over into the studio: from contemporary romance to paranormal thrillers, historical fiction to epic fantasy, from steamy erotica to tamer YA titles.

  Converting A Novel Into An Audiobook was originally published on Diane Rinella, Author

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Once Upon A Midnight benefit for Epilepsy Foundation

Includes Moonlight Serenade, the latest standalone book in The Rock and Roll Fantasy Collection!

  ONCE UPON A MIDNIGHT 

Genre: Paranormal Romance

ALL PROCEEDS BENEFIT THE EPILEPSY FOUNDATION

Just in time for Halloween 

20 New York Times, USA Today & Amazon Bestsellers deliver one sizzling anthology to meet all your romantic heat requirements. Jam-packed with alpha males, paranormal hotties, vampires, werewolves, shifters, Greek Gods & More. This limited edition set is sure to be THE box set of the year, so don’t miss out!

  Amazon US ✯ Amazon Int’l ✯ B&N ✯ iTunes ✯ Goodreads

  Dakota Cassidy – Fangs Of Anarchy: Forbidden Alpha

Worlds and forbidden love collide when vampire biker Irish McConnell and werewolf librarian, Claire Montgomery hunt for a killer.

Stephanie Rowe – Dark Wolf Rising (Heart of the Shifter)

Shifter Cash Burns vanished from her life ten years ago, but when an assassin closes in on Brynn McKenzie, Cash is her only chance to stay alive.

Renee George – A Shade of Midnight (Midnight Shifters Book 4)

With the lives of her two loves on the line, will Mina be forced out of the light of her new life and back into the shade of her past?

Melanie James – Fur Ever Yours

The Fates etched Rafe & Mina’s destiny in stone long ago. Now, one twisted wolf seeks to destroy them both. Will he succeed or will Mina and Rafe’s bond be strong enough to survive?

Claudy Conn – Lady X

Lady X has to escape her Dark Warlock father. To do so, she travels into the past and slams into a hunky wizard with an agenda.

Toni Aleo – Broken Pieces

From the moment Oceanus von Stein, second-in-command to the Patchwork family, caught sight of Taegan Conner, daughter of the leader of the Wolves, he knew he would never love another. Only now, she has been promised in marriage to another, an arrangement to strengthen her family’s alliances–and she gets no say in the matter. Can they find a way to be together, or will they both always be two Broken Pieces?

Kelly Cozzone – Fated by Fire

Gareth Cadell fights to save the survival of his red dragon clan. He -didn’t expect to find his soul mate in the process. Can he end up saving them both?

Tracey Jane Jackson – Bound by Secrets

Brodie has waited centuries for his mate and Payton is more than he could have ever expected, particularly when she challenges him at every turn.

A.D. Justice – The Grudge

Two brothers. Best friends. Immortals. One woman – the subject of their mutual obsession. Immortals can hold a grudge for a very long time.

Julia Mills – The Fate of Her Dragon

Sleepless nights, a man haunting her every thought, his voice calling, begging, needing…her…

Not even the Universe has the answers and time is running out…

The Fate of her dragon may be the death of them all!

Gena D. Lutz — Created Darkly, a Kris Chase novel

Necromancer Kris Chase’s purpose is simple. Blindly raise the dead for the primary elite, selfnecro-governed group, the Center. The problem is, she couldn’t care less about what the Center expects from her. Instead, she is more content with snuffing out the life-force from every vile creature she can get her hands on; the same monsters her brethren indiscriminately create… for the right price.

Diane Rinella — Moonlight Serenade

Instead of leading Dale to the woman of his dreams, a psychic guides him to a lucky charm–Glenn Miller’s guitar pick. Does the key to Dale’s happiness lie with the famous bandleader or the deceased rocker of the same name? Maybe the ghost in the grey fedora knows …

Aubree Lane — Catamount Ridge 

Exactly what’s happening up on Catamount Ridge was a mystery, but with the mountain lions acting so strange, it fell Jessie and Derek to track down the elusive beasts. The cats odd behavior was troublesome, but Jessie has a bigger problem on her hands. For in the light of day, Derek seems far more dangerous than any normal mountain lion.

A.K. Michaels — The Black Rose Chronicles, Deceit and Lies

The Black Rose is a highly trained assassin. Her newest assignment is the mysterious, enigmatic and deadly Vampire, Cassius Allarde and she has to decide if he warrants her execution. Will she survive her meeting with the mighty Vampire?

PM Briede — The Fate of Demons

Her entire reality is threatened when Octavia Howard is forced to work with the one creature she fights to protect her home from, demons.

Jami Brumfield — Bear-i-licious Cowboy

Ashlee has given up on love, despite her best friend’s insistence that she get back into the game. When she is forced to attend a dating mixer she discovers a world that was hidden from her, a dangerous world full of supernatural creatures she never imagined were real. Tucker is an alpha bear more concerned with protecting his pack than finding a mate, but his goddess has other plans and forces him to choose a woman to call his own.

Amanda Washington – Lucky Blow

When an enslaved demigod earns her freedom, but loses the one thing that matters more, she’ll have to join forces with an old flame and steal from a cast of powerful gods to get it back.

Wynter Daniels — Spirited Seduction

Ryan’s murdered sister’s ghost appears to him to warn him that her friend Emily will be next. Emily shunned her psychic abilities after she became the target of a killer while working with the police years ago, but she can’t ignore her friend’s dire message from beyond the grave. Despite their differences, passion sizzles between the couple until sinister, unseen forces threaten to tear them apart forever. *previously published

Nicole Garcia – Reckless Descent

Will one fallen angel’s drastic mistake result in spending the rest of his eternal life in damnation, or will he be set free from the shackles of Hell and finally experience the love he has always been waiting for?

Michele E. Gwynn — Darkest Communion

Torn from his beloved by jealousy, and cursed to walk the night alone for eight-hundred lonely years, a dark and twisted love triangle comes full circle in Bucharest, Romania for a vampire, a gypsy, and the woman they both desire.

Dakota Cassidy ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Stephanie Rowe ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Renee George ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Melanie James ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Claudy Conn ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Toni Aleo ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Kelly Cozzone ✯ Twitter ✯ Facebook ✯ Amazon

Tracey Jane Jackson ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website 

A.D. Justice ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Julia Mills ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website 

Gena D. Lutz ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Diane Rinella ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Aubree Lane ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

A.K. Michaels ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

PM Briede ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Jami Brumfield ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Amanda Washington ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Wynter Daniels ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

Nicole Garcia ✯ Twitter ✯ Facebook ✯ Amazon

Michele E. Gwynn ✯ Twitter ✯ Facebook ✯ Amazon ✯ Website

  Amazon US ✯ Amazon Int’l ✯ B&N ✯ iTunes ✯ Goodreads

    MoB Promotions

  Once Upon A Midnight benefit for Epilepsy Foundation was originally published on Diane Rinella, Author

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The Rural Setting Thesaurus

As we storytellers sit before the keyboard to craft our magic, we’re usually laser-focused on the two titans of fiction: plot and character. Yet, a third (and often ignored) element impacts almost every aspect of the tale: the setting.

The setting is so much more than a stage for our characters to tromp across during the scene. Used to its full potential, the setting can characterize the story’s cast, supply mood, steer the plot, provide challenges and conflicts, trigger emotions, and help deliver necessary snippets of backstory. So the question is: how do we unleash the full power of the setting within our stories?

Well, there’s some good news on that front. Two new books released this week that may change the description game for writers. The Urban Setting Thesaurus: A Writer’s Guide to City Spaces and The Rural Setting Thesaurus: A Writer’s Guide to Personal and Natural Spaces look at the sights, smells, tastes, textures, and sounds a character might experience within 225 contemporary settings.

Swing by and check out this hidden entry from the Rural Setting Thesaurus: Ancient Ruins.

My review of The Rural Setting Thesaurus: A Writer’s Guide to Personal and Natural Spaces

Generally, I find books on the craft of writing dull and filled with the same concepts. A few years back, The Emotion Thesaurus changed my perspective. Angela Ackerman and Becca Puglisi’s thesaurus books are so invaluable, they reside both on my desk and on my Kindle. Whenever a new one comes out, I buy it blindly.

To a creative person, it might seem the contents of these books are unnecessary. Thinking in multiple dimensions is supposed to be second nature to writers. If my setting includes a wine cellar, I should only need to channel one and write what I see. Shoot, I even have one in my home, so why would I need The Rural Setting Thesaurus to tell me about them?

When I put this book to the test, I envisioned various wine cellars, ranging from the one in my modest home to the massive, professional ones in the Napa Valley. While most of the sights listed seemed obvious, as did the scents and tastes, many items had not crossed my mind, such as the possible sources of conflict you could find there and whom else you might see in one (which leads me to question who I should not see, and the conflict that could arise). Then I read a list of sensations, and the mention of struggling with a frail cork sent my mind reeling again. Before I knew it, a who-done-it plot was brewing in my mind. Yep, just like all the other Thesaurus books, simply flipping through the pages jumpstarted a new story.

The ebook formatting is also quite wonderful. Each section is hyperlinked to others that might be relevant (that wine cellar section links to a basement, kitchen, a mansion, and a winery) and most importantly, back to the Table of Contents. With this book, it is easy to pop around and let the story create itself.

I tried to uncover what this book lacks, but none of my resulting ideas were based on structure or content. Instead, I simply thought of more sensations and plot devices because my mind was now locked into a setting. Thus, these books do exactly what they are designed for—get your mind going in original directions.

Need some help getting those creative juices flowing? Just grab any one of Angela Ackerman and Becca Puglisi’s books and a pen. Your words are about to fly.

And there’s one more thing you might want to know more about….

Becca and Angela, authors of The Emotion Thesaurus, are celebrating their double release with a fun event going on from June 13-20th called ROCK THE VAULT. At the heart of the Writers Helping Writers site is a tremendous vault, and these two ladies have been hoarding prizes of epic writerly proportions.

A safe full of prizes, ripe for the taking…if the writing community can work together to unlock it, of course.

Ready to do your part? Stop by Writers Helping Writers to find out more!

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The Rural Setting Thesaurus was originally published on Diane Rinella, Author

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Free Book Promotions That Make Sense

When I posted about how Indie authors are undervaluing their work, reactions poured in via Facebook, Twitter, post comments, and email. After gathering all of the information, I drew some interesting conclusions.

Reader Reaction

Readers were quick to support my stance that authors should not feel obligated to give away their work. However, readers were also quick to point out that because of free book promotions, they have gone on to buy several other books in the author’s catalogue. This is exactly what authors hope will happen.

There was an odd takeaway though. One reader stated that an author she found through a free promotion tends to rotate which book she gives away. Because of that, the reader admitted to never buying any books from that author—she just waits for them to be free. While this is disheartening, can anyone really fault the reader?

So, even though I have heard many readers say, “I’ll get it when it is free,” the ones who do not share that opinion were quick to stand up and support the authors they love.

Author Reaction

The reaction among authors varied. Authors who had released only one novel unanimously said that giving away their work was not very helpful. Some got a few reviews out of it while others did not. Since few readers leave reviews, giving away books in hope of getting them was a crapshoot. (Getting reviews is hard. You can sell a hundred books and be lucky to get one review out of it.)

Writers who had released more than one book told me that their free promos worked much like paid ones. They got a high number of downloads, followed by an immediate boost in sales for their other books. The boosts ranged from a couple of copies to around a hundred. This was largely dependent on either the number of free copies downloaded or the author’s popularity. Regardless, once that boost was over, sales flatlined.

The best results, and the most insightful comments, came from authors I already knew to be successful. These authors have strong (some would say jealousy-inducing) followings. They don’t just throw books up on Amazon and hope for the best. They cross-promote with other authors, they interact with their fan base, and they have a ton of books out. For them, free promotions help dramatically, provided they use the right method. The authors give away either a novella (often related to another book) or the first book in a series, which nudges newly acquired readers to buy more.

The Takeaways

Free book promotions work best when done strategically.

If an author has only released one book, there is nothing left for the reader to buy; therefore, getting a few reviews and gaining a bit of buzz is the best they can do.

Successful writers tend to give away novellas, side stories, prequels, or the first book in a series. In other words, they usually give away something intended as an ad. More so, their giveaways are temporary. When it isn’t promo time, those books have a price tag. So, when readers get it for free, they score a real deal.

In other words, successful Indie authors understand how to run a business. They leverage promos, products, and prices. They show the value of their work, and they know how to offer deals.

The bottom line: Always make sure there is something left on your shelf for readers to buy.

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Free Book Promotions That Make Sense was originally published on Diane Rinella, Author

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Ebook Pricing Guidelines for Indie Authors

What if Indie authors, as a community, developed a method for fair ebook pricing?

Have you thought you would save paper and money by purchasing an ebook, only to find it is almost the same price as the print version? Have you noticed that this price inflation usually happens with traditionally published books, yet Indie authors get grief for charging $2.99 instead of $.99? If a Big Six publisher can charge $9.99 for an ebook, why do Indies get flack for charging $4.99? Why is it some Indies charge $4.99 for a 150-page book while others charge $1.99? It seems like an ethical pricing structure is overdue.

Most Indies consider the standard pricing structure for ebooks to be 99 cents for 0-99 pages, $1.99 for 100-199 pages, and $2.99 to $4.99 for larger works, depending on size and demand. For big books without filler, $4.99 is not unreasonable. Even at $4.99, an Indie author would only charge about half of what a traditional publisher does.

If we are going to talk about pricing, we should also talk about a lack of it, such as in the form of free promos. And we should not be afraid to do it frankly.

If a deeply discounted book is considered a bargain bin deal, what is a free book considered?

If a store offers a book at 66% off, it seems like a great deal. After all, they are practically giving it away! (They aren’t. Everyone is still making something off of the sale. Also, they are charging something for it because it has value.) Putting a $2.99 ebook on sale for $.99 is the same, deeply discounted deal as throwing your book in the bargain bin, but at least you are making something off of that sale because the book has value.

Why does Amazon allow you to give away books if they don’t make money off of them? Actually, they do make money. If that book is given away elsewhere, the customer will follow the deal; thus, if Amazon does not also offer the book for free, they could lose out on other sales. Amazon understands that even if the author doesn’t make a penny, they still can. The author, a.k.a. the one who did all the work and paid to create the product, is the one who loses.

When you give away your book, you give away your entire product.

Since it can easily cost a thousand dollars to write, edit, format, and create a cover, charging $2.99 for a 300+ page ebook is not unreasonable. An occasional sale of $.99 is fine, but do we need to lower ourselves by giving away our hard work? How many times have we seen resulting reviews like, “This book is terrible. Normally I would not have picked it up, but it was free”? Don’t forget the infamous, “I want to read that book so badly, but I will wait until it is free.” Really? For a book that costs less than a Starbuck’s fix? People will buy a liquid candy bar, and maybe even tip the staff for a minute of work, but they won’t spend less money on a book that will take them hours, possibly even days, to read. Why are we authors encouraging this behavior?

Yes, this is our fault. We are enablers. If we would stop giving away our work, people would stop expecting to get something for nothing. They would also stop leaving bad reviews based on how much they hated a book they normally never would have considered opening but did so because we made it too easy.

Many authors are concerned about exposure, and offering something for nothing is a great way to get attention. But in the case of a $.99 sale, consumers will actually read the blurb before buying the book instead of clicking because they like the cover, not to mention then leaving a bad review because the book did not gel with them. An undeserved bad review is not the kind of attention any author wants.

If you still want to try a free promo, there is another option. By offering a short story related to one of your books, readers will get a taste of your writing along with a reason to buy something. And while you had to work to make that promotional short story, thinking of it more as investing in an ad takes the sting out of giving away your work.

The system needs to stabilize. Charging even a small amount shows that we believe our product has value. Indies are often seen as people who produce bad work in an effort to swindle a fast buck. Imagine how uniting under a code of quality that reflects our value would help lift the stigma of being an Indie. We deserve to be taken seriously.

I’d like to thank Tracey Lyons for pointing out something on Amazon’s site:

What price will Kindle Worlds charge readers for stories? Amazon Publishing will set the price for most works between $0.99 and $3.99.

Amazon is setting the price, and I don’t see the word free there. Amazon wants you to always pay for fan fiction. We should learn from this.

Ebook Pricing Guidelines for Indie Authors was originally published on Diane Rinella, Author

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How to Self-Edit

  Self-editing. Gah! Just those two words being in the same sentence can freak people out. I can hear some of you now. “Don’t do it!” “Are you crazy?” “These self-published authors think they can do anything!” (Well, yes, we can do anything, because there is no one to stop us. Are you jealous? Don’t worry, your Big 6 editorial team can miss errors too. I’ve seen it. So have you. You just don’t have the opportunity to fix the problem. I do, which means I have a level of responsibility that you don’t. Just breathe a second, okay?)

At some point before you release a book or publish a blog post, you need to edit it. Yes, even if you pay an editor, (Please see the companion post, published before this one, on Selecting The Right Editor.) you still need to review it. I know that sounds ridiculous, and it sort of is, but you would be amazed at the number of editors I have hired that made layman mistakes. (Lamppost is one word.) Also, some editors use comma guns, which makes me crazy! Too many commas can change the power, or even the meaning, of a sentence. It is not acceptable for an editor to do anything that alters the strength of your work.

Now, I know this makes you wonder if you should hire an editor in the first place. I’ll spare you the commentary about that. However, if you do not understand the difference between a well-structured sentence and a run on sentence, you definitely need an editor. I’m betting you’ve heard the rest a million times already. So, let’s move on.

Once you have decided not to hire an editor, have hired Lit majors, or have found a bonafide editor and gotten your book back, it is time for you to review your document. Yep! Remember how I said that as an Indie, you could do anything that you want? That means you are responsible for the end product, even the parts that involve work for hire.

Here are my tips for reviewing your own work from a proofreading standpoint. They are not foolproof, but then again, what is? Keep in mind that your ability to review work is only as good as your skills. I can’t stress enough how important it is to understand the basics. If you don’t know what the most common grammar errors are, you are likely to make them. I highly recommend reading Grammar Girl’s Quick and Dirty Tips For Better Writing. Also, check out the free grammar lessons and quizzes at English Grammar 101. While no one is perfect, the more armed you come in to battle, the greater your chances for success.

Step away from the project!

Clear your head. Forget everything you can about the project so you come in with a fresh mind. This is not only good for finding typos, but also for finding holes in your story. The less you remember about your project when you begin to review it, the better.

Do a key problem search.

Take a look at my Self-Editing Checklist for guidance on how to search for common, pesky errors—like though vs. through, further vs. farther, and you and me vs. you and I. It is time consuming, but boy is it worth it!

Two birds, one stone. (Do these simultaneously, and do them at least twice.)

Bird One: Switch formats. Seeing a document in Word looks different than seeing it in Scrivener. Seeing in on paper is an even greater contrast. The change in format helps your brain see the project as being something new, which keeps you from glossing over the errors that have existed since you first started writing.

Bird Two: Hear the text. Do not read it aloud yourself! You know how once you look at something for a long time you read it as you think you wrote it and not as you actually did? Hearing the text helps you catch those errors. If you read it aloud yourself, you will recreate those errors audibly. Instead, make your computer do the work. Listen while reading along. This is a great way to find the pesky stuff, like transposed words, repetitive word use, or accidently using though instead of through. It is also ridiculously easy.

If you are a Mac user, select some text (about a paragraph at a time is good) and click Opt + Esc. Resist the urge to have the computer speak quickly. Using medium speed is slow enough for your brain to register that you heard and error. If the computer reads to quickly, your brain may not process the error. (You can adjust the speed in the Preferences.)

Use this method at least twice. If you are like me, when you hear the story aloud you will want to make some changes to sentence structure, because this method makes those errors clearer as well. Repeat this method until you no longer find errors.

Have someone else read it.

Now that all is said and done, hand it over to someone for a final pass. Even if you do not know any super geniuses, have someone read it with a fresh set of eyes. He may not know the difference between lay and lie, but at least he can make sure you didn’t miss anything obvious. After all, one last pass can’t hurt, right? You might be surprised by what is discovered.

Then again, at some point you have to see that beating a dead horse is just plain cruelty.

Happy editing!

How to Self-Edit was originally published on Diane Rinella, Author