Tag Archives: Amazon

Free sci-fi novella on Amazon

New release
Before the Light – new release

A gift to my readers!

Time running out to grab your FREE copy of Before the Light, on Amazon!

The world’s most powerful quantum computer cracks the secret of the Big Bang but refuses to share this knowledge with the world. Why? Read the book and find out!

ENJOY!

Does the Novel Have a Future in this Gadget-Crazy World?

LibraryThere was a time that I was not as upbeat about the future of reading as a form of entertainment as I am now.

The desktop computer was the hot topic of the decade, driving the burgeoning games industry and a torrent of spectacular special effects movies to greater and greater heights, while book sales steadily decreased. How could the written word stand up to such a challenge?

Sure, screen and game writers were assured of a bright future, but what was to become of the poor novelist? Could she expect smaller and smaller slices of the loaf until she starved to death?

As things turned out I need not have worried. The tablet revolution, sparked by kindle, and taken up by the likes of kobo, iPad, and android devices, would be the game changer.

Suddenly, people who had drifted away from books, especially the youth, found it cool to be reading on brand new technology. It satisfied their fascination with gadgets. Tablets started popping up from a range of manufacturers. Reading was the winner, which, of course, was good news for writers, although not without hiccups.

Any major upheaval in the established order creates instability. As companies continue to experiment on how best to bring writers, readers and their products together they make mistakes. Writers are often on the receiving end.

Publishing houses, too, are having to adapt to ensure survival. The landscape is continually changing making it difficult to predict what’s next. Opinions fly around with detractors and supporters of traditional versus electronic publishing fighting it out in countless blogs and forums. My attitude is that as long as people keep reading, whatever the format, I’ll keep writing.

In the meantime, I am optimistic about the novel. After all, stories will remain an important part of life no matter what.

Summary

Stories are a necessary part of life. Write them. Read them. Enjoy them.

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Why Put Up Your Book For Free?

Book cover

The Nostalgia of Time Travel

It’s been a while since I used Amazon’s KDP option of putting up a book for free for a few days as a marketing strategy for my novels. In the old days, if your book did well in the get-for-free list, its ranking was transferred to the pay-to-read list.

But since then Amazon has tightened its algorithms. The do-well affect is not as transferable. So why offer your book, whose creation is a torturous and labour intensive task, often spanning months, for free?

Well, for one, it gets your work read. Amazon still calls the shots in the indie world in terms of spread and reach. Obscurity is akin to oblivion for a writer. Rather have people read and (hopefully) enjoy your book than have it wallow in the darkness among the millions of other books that are never discovered.

Secondly, there is always a chance that some kind souls who have harvested your book for free will find it in their hearts to review it and post the reviews up on Amazon. As we all know, reviews are like gold dust to indie writers.

Thirdly, a widely popular book on the read-for-free list, does enjoy some spill off effect. Maybe not a torrent, maybe not a gush, but definitely a leak.

It is for these and other reasons that I decided to put up my latest book, The Nostalgia of Time Travel, a novelette, for free on Amazon for a period of three days. Within two days, Nostalgia had shot up the lists — #3 in the Metaphysical bestseller category, and #4 in Fiction and Literature!

So far so good.

But, again, the nagging question persists: Will the book’s popularity endure? Time will tell.

Needless to say I’ll be reporting on The Nostalgia of Time Travel’s bid for prominence, in the near future. Watch this space, because if it works for me, it can work for you!

Summary
Offering your book for free for a few days on Amazon may help get it noticed.

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Many Lives, Many Levels, Which One is Yours?

Chair

The Level:

This short post, is, unashamedly, about the release of my new novella, The Level. I started writing it in Brisbane, Australia a couple of years ago, before pausing to complete Scarab II: Reawakening – the follow-up to my successful first novel, Scarab.

Scarab’s amazing popularity on Amazon (it reached the #1 spot both in the US and the UK in the science fiction/high tech category), persuaded me on this course of action. Mission accomplished, I returned to The Level with gusto. Whether this new novella will reach the heights achieved by Scarab, we will just have to wait and see.

Below, is a short press release of The Level, as it appears on my amazon page.

The Level

A man, suffering from amnesia, wakes up in a pitch-black room, tied to what feels like a wooden chair. He discovers he is being held captive in a derelict insane asylum haunted by inmates who are determined to kill him. Help comes in the form of a beautiful, mysterious woman dressed in a black burka who offers to show him the way out, if only he can remember who he truly is.

If you enjoy your science fiction spiked with mystery, suspense and thrilling twists…

If you’re fascinated with the pervasive nature of love, consciousness and the limits of personal freedom…

Then scroll to the top of the page and grab this brand new novella, now!

There you have it. Effective? You be the judge of that. Perhaps you can write in and give me your opinion. I’d greatly appreciate it!

Better still, you could grab your own copy of the book and write a short review on amazon!

Summary

The Level is a novella in the science Fiction/Psychological/Thriller category, which explores the nature of love, consciousness, and personal freedom in the setting of an abandoned insane asylum.

How to Write your Pivotal Characters

Embroidery

Pivotal Character:

The respected teacher, Lagos Egri writes about the importance of the pivotal character in your story.

Although Egri may have seen this character apart from the protagonist or antagonist, I believe this type is one which encapsulates the traits described below.

This character may appear in one of several guises, and may appear as the antagonist, protagonist, love interest, sidekick, mentor, and so on. In determining who is to be the pivotal character in your story, decide who will force your characters into action.

The pivotal character forces the conflict from beginning to end. He is the motivating power, the cause of conflict in your story—the driving engine of all stories. He experiences no doubt within himself about his course of action and knows immediately what he wants. Othello’s Iago is such a character. His function is to force the conflict to the bitter end, never backing down. He is relentless because circumstances beyond his control force him to be so. If an honest man steals, it’s not for excitement or gain, but because his family is starving, or he needs money for an operation for his child.

Whatever the reason, it must be an overpowering one. If the pivotal character stops forcing the conflict, the story skids to a halt. The pivotal character usually seeks change because he’s dissatisfied. She aggressively and relentlessly tries either to change or to maintain her status quo. A well-crafted pivotal character holds nothing sacred and feels that nothing can prevent her from reaching her goal.

The pivotal character knows where he’s going, and tries to bend everyone to go his will. If the antagonist refuses to go along with him, therefore, it’s not because the pivotal character didn’t push him hard enough. The pivotal character is an obsessively focused individual who sees only his own goal. He is reactionary, militant and passionate. This applies to good men or women as well as it does to criminals.

Here are some characteristics that make for fine pivotal characters:

Someone who wants revenge on the man who ran away with his wife.

Someone who loves a woman madly but must make money first to marry her.

Someone who is willing to give his life for his country, which he loves more than anything.

Someone who is greedy. His greed sprang from poverty and he exploits others because he fears hunger.

Someone who will stop at nothing and will destroy others to achieve his goal.

Someone who desperately and obsessively wants to achieve success in a specific job or profession and will stop at nothing to achieve that goal.

Summary

The pivotal character in your story (who can be drawn from one of several types—protagonist, antagonist, love interest, mentor), is the character who forces others into action and drives the story forward.

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Image: Hey Paul Studios
License: http://creativecommons.org/licenses/by/4.0/legalcode

How Good is Your Story?

Thumbs upAs an author, and a lecturer in the craft of storytelling, I am often asked, in the first instance, and required, in the second, to evaluate work that is presented to me. I am, and always have been, uncomfortable with assigning numerical values (marks) to stories. Stories are not algebra. The final product is not right or wrong. Stories are works of art, and as such, are as slippery as eels. They are, to some extent, subject to taste, to audience/readership preferences, and to the current popularity of specific genres.

Here, I am not referring to grammatical errors, faulty sentence construction, spelling mistakes—to editing. Those are all perfectly quantifiable. I am talking about the perceived worth of more nebulous concepts such as “up” versus “down” endings, relevance of theme, effectiveness of writing style, and even to such technical aspects as judging whether the right balance between characterisation and the relentless forward thrust of the story, has been achieved.

In the past few days I have had to provide guidance regarding the appropriateness of selecting one director over another for study, asked to evaluate a story-in-progress by an indie colleague, and implored to give a rating, as a number out of ten, of a completed first draft of a novel by another.

My answer to the first request was that any director whose body of work has solicited varied opinions, and is of interest to the student, is worthy of study; to the second, that the writer finish the story before seeking the opinion of others; to the third, that I would not give a mark out of ten, but I would offer my opinion as to whether I thought the story to be poor, show promise, or be ready-to-go.

This reluctance to provide a hard judgment on stories is less an indication of temerity or ignorance on my part than it is a response to the changing environment of story reception. Certainly, with regard to indie films and novels, the public is the ultimate judge of whether a story will sink or swim. I know of many instances where work has been turned down by publishers and producers and then has gone on to achieve extraordinary success on amazon, or through Internet channels such as YouTube, resulting in burgeoning writing and film making careers on the part of the writers and filmmakers.

Does this challenge the belief that some works are genuinely better than others? Certainly, not in terms of quantifiable technical aspects that are subject to proper editing; but it does acknowledge the proliferation of relativism with regards to theme and subject matter. In a fast-changing, technologically-driven world where the boundaries of nationality and personal identity (and, by implication, genre), are bleeding into each other, these aspects of a story are a lot harder to pin down, let alone, evaluate. My advise to story tellers is simply this: Write your stories to the best of your ability and let your readership or audience decide on whether they succeed or fail.

Summary

The success or failure of your stories, especially for indie writers and filmmakers, ultimately lies in the hands of your readership or audience. Solicit the opinion of experts on technical aspects of your work, but leave the judgment about your subject matter and its stylistic treatment to the latter.

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Image by Barry Solow

How to Write Your Moral Premise

Child writing

The Moral Premise:

Although I’ve blogged about this subject before, it’s such an important one that it warrants revisiting. Coming up with a good premise, after all, is the first step you take in creating your story. It is the seed from which your tale will sprout. Or, if you will, the essential core or meaning of the story you wish to write. It is also the chief theme of your tale. It is, therefore, as Lagos Egri informs us, wise to formulate your premise first, before you begin writing, because you must first know exactly what you want to say, why you want to say it, and how far you want to go in saying it.

Egri goes on to mention that if you intend to write a story about greed, for example, you need to know precisely what it is that you want to explore about it and what direction the story will take. Condensing your story to its premise, you have:

Greed leads to destruction, or greed leads to humiliation, or greed leads to isolation, or greed leads to loss of love.

Use the words that express your idea perfectly, knowing that it is the essence of your story. It may be brief and concise, or slightly more descriptive. Your premise should include the basic facts about the character, the conflict and its resolution.

It takes the form: Character/Subject + Conflict/Verb + Resolution/Object.

The first part of the premise should represent the dominant character trait. For example: honesty, dishonesty, selfishness, ruthlessness, false pride, etc.

The second and third parts should represent the conflict and its resolution: dishonesty leads to exposure, or, ruthless ambition leads to destruction, etc.

The premise entails a result. You, therefore, need to know the end of your story before you start to write it. This is because your premise depends on the outcome of the final conflict, typically between the protagonist and antagonist. Only then will you know if greed does indeed lead to destruction, humiliation, isolation, or loss of love in your specific story.

Finally, note that the premise encapsulates a moral aspect, which tends to dictate the kind of ending your story resolves into. In stories that resolve in an “up ending” good triumphs over evil. In a “down ending” evil tends to trump good. In the latter, your premise might well be: Greed can lead to a successful life devoid of suffering. You should be aware, however, that down endings tend to do less well in the realm of popular fiction, although there are always exceptions.

Summary

A premise contains the mortal essence or meaning of your story. It is the blueprint that informs the writing of your tale.

How to Merge Story Strands

Traffic sign

Merging Journeys

In seeking to find an effective way to highlight the unity that exists between the outer and inner journey in a story, both in my own writing, as well as in my teaching, it struck me that the structural pivots in a tale (the inciting incident, the turning points, the midpoint) precisely provide for such an opportunity. They are the knots that tie the outer and inner strands of the tale together.

The outer journey, we are reminded, recounts the beat-by-beat occurrence of external events as the Hero struggles against mounting obstacles to achieve the visible goal of the story—preventing the bomb from going off, winning the girl, or the boxing championship, rescuing the kidnapped victim, and so on.

The inner journey, by contrast, is the internal path the Hero takes to enlightenment or obfuscation, depending on the genre of the story, as he initiates or reacts to the outer journey’s challenges, surprises, achievements and setbacks.

The structural pivots combine an outer and inner event into a single motivated action. Lagos Egri, one of the most lucid teachers on the craft of dramatic writing explains that the inner journey is the “why” to the outer journey’s “what”. In short, ensure that your turning points, including your midpoint, describe external events of sufficient magnitude that cause the Hero to react in a way that is in keeping with his current/evolving inner state.

Is it preferable, then, to let the inner state, or, journey, trigger the outer event, or should it be the other way around? I don’t think there is a definitive answer to that question—either will do, just as long as both through-lines end up being tightly interwoven.

In Rob Roy, Liam Neeson’s character accepts his wife’s unborn child—a result of her being raped by an Englishman, because of who he is: a man of immense conviction and inner strength, just as he fights and wins a sword fight against the fop, the expert English swordsman, despite being outplayed at the end, again, because of this inner strength and conviction.

In Braveheart, William Wallace accepts knighthood at the midpoint of the story. This motivates him to move from being an isolationist who merely wants to be left alone to farm with his family, to a national leader who takes the fight to the English. The knighthood ceremony is a perfect fusion of an outer and inner event—as a knight he now has a moral obligation to fight for those who fall under his protection.

Summary

The major pivot points are the perfect place for the writer to ensure that the “why” merges with the “what” in her story. Such pivot points offer the perfect place for the inner and outer journeys to merge and support each other.

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3 Rules of Character

Three fingers

Constructing Character

In his book, Screenwriting, Professor Richard Walter of UCLA reminds us that there are three fundamental rules for creating great characters:

1. Avoid stereotypes.
2. Inject some sympathetic aspect into even the most evil and despicable of your characters.
3. Force your characters, especially your protagonist, to change and grow throughout the tale.

Stereotypes

Stereotypes are boring. Avoid them like the plague. The kind-hearted priest? Seen it. The hard drinking Irish cop? Seen that too. The pissed off police captain? Ditto.

A useful way to avoid stereotyping a character is to think of a type then present its opposite. Imagine a sheriff from the deep south who is not a bigot and a dimwit, but is bristling with intelligence and dignity, passionate about revealing the truth and delivering an even-handed justice. Or a nun who is a baseball fanatic and is a genius at game statistics.

Character Growth

Truly memorable characters start off in one place and end up in another. In Kramer vs. Kramer, Dustin Hoffman begins as an insensitive, selfish narcissist but ends up as a kind and wise father who puts the happiness of his child first. At the start of The Godfather, Michael Corleone is innocent, principled, moral. By the end he is heartless, bereaved and soulless—a power hungry murderer of many, including his own brother.

Not every character needs to change, of course. Patton stays the same throughout the movie of the same name, although his character is challenged and is explained in a way that reveals to us why he is the way he is—an inflexible but powerful warrior to the last.

Sympathy

Well rounded, complex and conflicted characters are more absorbing than facile, boring ones. But with the interest that comes from lying, scheming and conniving comes the danger of characters becoming unlikable. It is, therefore, important to ensure that some aspect remains sympathetic to the reader or audience. If we don’t like our characters, especially the protagonist, we won’t like her story.

Oedipus murders his father then performs incest with his mother: horrific actions for a protagonist to indulge in. The writer, Sophocles, ensures that Oedipus remains sympathetic to his audience firstly by showing that Oedipus is unaware of the true facts of his coupling, and, secondly, by having him show deep and genuine remorse upon learning the truth.

In a Bridge on the River Kwai the Japanese commander of the prison camp is a cruel tyrant whose humanity still manages to peep through, if even once. He violates international laws, holds his prisoners in hot boxes, tortures and humiliates them, yet the writer portrays him as an unfortunate wretch who is tapped in a harsh command structure by permitting us to see him weep.

Summary

Well drawn characters are an indispensable part of successful story telling. Avoiding stereotypes, injecting character growth and creating sympathy are some of the ways of creating engaging characters.

Review or Bust

Review or Bust

This post, requested by one of this blog’s subscribers, fellow author Joy Sikorski, deals with the task of finding reviewers for one’s books on Amazon—an often daunting task. Readers often don’t realise the crucial importance of reviews to the life of a book. Without a sufficient number of these, books languish and die.

One approach aimed at alleviating the problem is to ask readers for reviews, either at the beginning, or end of your book, and provide a link to the specific spot on Amazon. This can work, but it requires that a sufficient number of people read your work first. When your book first appears, however, especially if you are a new author, it tends to get lost amongst the millions of others on Amazon. It’s easy to miss. Few readers, few reviews. It’s catch-22 all over again.

Joining some of the various book clubs and establishing a dedicated Facebook of your novel may, and, does, help. Yet, there are many who promise reviews on such pages, but never get around to writing them—though we live in hope! One does occasionally strike it lucky through such channels, though.

Yet another method is to run a blog such as this. If you are offering a free service that people find helpful, some conscientious souls may be inclined to reward you by buying your books and offering honest but fair reviews of them. This method, for example, has yielded some success for me.

One surer way is to join a professional site such as the Author’s Marketing Club.

http://www.authormarketingclub.com/

I have subscribed to this site and have found it extremely helpful in a variety of ways. The site provides loads information and insight on how best to market your book. It develops and offers many tools that make marketing your novel(s) easier. The site offers a specific tool (reviewer-grabber tool) that identifies reviewers on Amazon in your genre and lists their email addresses for you. It even offers a template letter showing the ideal way to word your request. It is then up to you to email these reviewers, offer to send them your book as a gift, and request they review it. Because these reviewers have an established track record (which you can check with the tool), the chances are that you will receive a number of positive responses through this method. You do have to be a paid-up member of the club to benefit from this, though.

I’ve have discovered that the benefits offered through this club, more than make up for the joining fee.

These then are some of the methods that independent authors, such as myself, use to encourage reviews of their books. Taken together, they form a core strategy, which yields results.

Summary

Reviews are the lifeblood of your book on Amazon. Few reviews = few sales. This post offers methods to address the situation.

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If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.