Boost a Book

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You, the reader

When you read a good book, you want to tell people about it! But aside from trying to convince your friend that they’re really going to like this random book you just found, what can you, as a reader, do to help an author?

How To Help

Word of mouth is of course really helpful, but did you know that just by leaving a review, you can make a book more visible to other readers? The review can be on Amazon, Barnes & Noble, your blog, Goodreads, Shelfari, it doesn’t matter. If it’s where readers can find it, you’re helping. The more times a book shows up on the internet, the more people hear about it.

You can click the “like” button at the top of the book’s Amazon page

or use the “Tags People Associate with This Product” at the bottom of the page. These help the book come up in search results and the “Readers Who Bought...” section.

You can also tweet about the book, mention it on facebook or Google+, or request the book at your local library or bookstore (if it’s in paperback).

The Good Stuff

The Boost a Book authors have some great fans and we know you all do some of these things already. So as a thank you, we’d like to offer some free ebooks. And, as an added bonus, we think it’d be fun to offer more books and more contest entries for each book you boost.

Books You Can Win

So grab your free entry below (starting June 1) for a chance to win a free ebook from one of our Boost a Book authors. And if you want to discover even more new authors (by winning free ebooks) you can let us know how you've boosted a book and get extra entries.

Find out more about these books

Good luck!

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The Fairy Tale Trap is ready for you to read.

The Fairy Tale Trap is officially available for download!

Thank you SO much to everyone who helped make this book. I got some amazing support from all of you and I appreciate it.

Get the book from Smashwords (you can get it in any e-format here)

Get the book in Kindle format from Amazon or donate to make The Fairy Tale Trap a paperback.

Be sure to look for the bonus material at the end, including how the original fairy tale inspired the book, a copy of the story Beauty and the Beast, and what to expect in Ivy Thorn Book #2: The Fairy Tale Twist.

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Getting Your Novel Pitch-Ready: What I Learned at Pennwriters

I mentioned in an earlier post that CJ Lyons gave an amazing seminar on pitches. Basically, she told us to whittle our books down to as few words as possible. This helps us to understand what our book is really about.
There are different kinds of pitches. I gave a ten-minute pitch at the conference to an agent. That's a pretty long time. With those, it's important to let the agent ask questions and let it be more like a conversation. Otherwise, the agent will probably lose interest. (I'm not sure I would want to listen to myself for ten minutes straight.)
But you may have also heard about elevator pitches. These are pitches that are so short, you could give them to an agent if you were caught in an elevator with them--maybe 15 seconds. The goal is to give them just enough that they want to know more. CJ said,

The trick with elevator pitches is to use something universally known (like Indiana Jones) or something current and trendy. You need to use comparisons your audience will understand, nod their heads and say, oh yeah, that sounds like something I'd read

Start with your tag line/log line/hook. This is one sentence, as few words as possible, while evoking as much emotion and imagery as possible. If you're familiar with archetypes, this would be perfect. For example, we had one guy give his pitch, which included "creationism" in it. CJ said "God exists" is more powerful. Everyone has some idea of what God is, where creationism takes thought. Many don't know what it means. Keep it simple.

The hook that CJ helped me make for Shadow Bound is:
A ghost comes back from the dead to save the girl he loves.

Okay, so you have a hook line. Sometimes that's all you need, the conversation will evolve naturally from there. [It did for me.] Other times you use it simply to attract attention and move into a more detailed description. This is where that 15-25 word story summary mentioned above comes in handy. The hook line hooks the reader into wanting (or asking to hear) the short summary.

CJ Lyons loves to help writers, so she gave us a handout with a ton of useful resources. First, she listed some books (the comments in parentheses are from me):
Noah Lukeman THE FIRST FIVE PAGES (read it. loved it.)
Stephen King ON WRITING (a must-read)
Christopher Vogler THE WRITER'S JOURNEY
James Frey THE KEY
Donald Maas WRITING THE BREAKOUT NOVEL (another must-read)
Dwight Swain TECHNIQUES OF THE SELLING WRITER (this, for me personally, is my all-time favorite, most helpful book.)

Next, she gave some great websites:
Association of Author Representatives (check out the FAQ for great questions to ask potential agents)
Publisher's Lunch (industry news)
Buzz, Balls, and Hype (book marketing advice)
Backspace (writers forums and articles)
Publishers Weekly: news, blogs, features, deals, reviews
QueryTracker (an absolute must for anyone submitting to agents and now publishers!)
Nathan Bransford (an agent at Curtis Brown, great blog, wonderful links to everything!)

About CJ:
As a pediatric ER doctor, CJ Lyons has lived the life she writes about in her cutting edge suspense novels. Her award-winning, critically acclaimed Angels of Mercy series (LIFELINES, WARNING SIGNS, and URGENT CARE) is available in stores now with the fourth, CRITICAL CONDITION, due out December, 2010. Her newest project is as co-author of a new suspense series with Erin Brockovich. Contact her at cjlyons.net

Show vs. Tell: What I Learned at Pennwriters

YA author Maria V. Snyder gave a great seminar on Show vs. Tell. I asked if I could post her handout and she said yes! So, here it is:

A common writing mistake is to tell the reader the events of a story or tell the reader how a character is feeling. Journalism is an acceptable method of telling, of presenting the facts, but fiction creates the illusion of being there in the story, seeing events happen without the writer telling you.

For example:

Valek was angry. (Telling)

"Valek took a gray rock off his desk and hurled it toward me. Stunned, I froze as the stone whizzed past and exploded on the wall behind me." (Showing)

 There are five techniques a fiction writer can use to avoid telling the reader:

 1.Using Point of View (POV)

2.Using dialogue

3.Using all the senses

4.Using picture nouns and action verbs

5.Writing in scenes

USING POINT OF VIEW (POV):

POV is the character who is relating the story. The readers see your fictional world through this character's eyes. Usually the POV character is the main protagonist, but not always (The Sherlock Holmes mysteries are told from Dr. Watson's viewpoint).

There are many different POVs:

1. First person - The POV character tells the story as "I." Strong reader identification with POV character. Readers discover story events as character does. Remember - POV character must be present at all main story events. Example:

 "I averted my eyes from the flickering light as they led me down the main corridor of the dungeon. Thick, rancid air puffed in my face. My bare feet shuffled through puddles of unidentifiable muck."

 --POISON STUDY, Maria V. Snyder

 2. Second person - The POV character is referred to as "You." Demands reader identification, technically challenging. Example:

"You avert your eyes from the flickering light as you are led down the main corridor of the dungeon. Thick, rancid air puffs in your face. Your bare feet shuffle through puddles of unidentifiable muck."

 3. Limited third person - A single POV character is referred to as "he" or "she." Allows writer to get out of the POV character's head and tell the story. Provides some distance from POV character while still fostering strong identification.

Example: "Yelena averted her eyes from the flickering light as she was led down the main corridor of the dungeon. Thick, rancid air puffed in her face. Her bare feet shuffled through puddles of unidentifiable muck."

 4. Multiple third person - Multiple POV characters, each referred to as "he" or "she." Flexibility in covering spatial and temporal events. Less reader confusion when one POV character is used per chapter. Same writing style as limited third, but the writer is not restricted to one character's thoughts and actions.

 5. Omniscient - No single character, jumps from POV to POV, with authorial comment. Freedom to make major points without too much reader identification with primary characters. Example:

"Sam had a very sharp sense of clothes style - quite as sharp as a "mod" of the 1960's; and he spent most of his wages on keeping in fashion. And he showed another mark of this new class in his struggle to command the language.

 By 1870 Sam Weller's famous inability to pronounce v except as w, the centuries-old mark of the common Londoner, was as much despised by the "snobs" as by the bourgeois novelists who continued for some time, and quite inaccurately, to put it into the dialogue of their cockney characters."

--The French Lieutenant's Woman, by John Fowles

 USING DIALOGUE:

  Dialogue is fast paced, it's easy and entertaining to read, it advances the plot and shows characterization, and it involves the reader. We all like to eavesdrop on conversations (if you're a writer it's practically a job requirement!). Dialogue is also a great way to "show" what is happening in your story.

 Example:

Valek poisoned Yelena's drink with Butterfly's Dust. (Telling)

 "While we're waiting, I though maybe you could use a drink." Valek handed me a tall pewter goblet filled with an amber liquid. Raising his own goblet, he made a toast. "To Yelena, our newest food taster. May you last longer that your predecessor."

 My goblet stopped short of my lips. 

"Relax," he said, "it's a standard toast."

I took a long swig. For a moment, I thought my stomach was going to rebel. This was the first time I drank something other than water.

"What does it taste like?" Valek asked.

"Peaches sweetened with honey."

"Good. Take another sip. This time roll the liquid around your tongue."

I complied and was surprised by the faint citrus flavor. "Orange?"

"That's right. Now gargle it."

"Gargle?" I asked. He nodded. Feeling foolish, I gargled the rest of my drink and almost spat it out. "Rotten oranges!"

He laughed. "Correct." He opened my folder and picked up his pen. "You just had your first lesson in food tasting. Your drink was laced with a poison called Butterfly's Dust. The only way to detect Butterfly's Dust in a liquid is to gargle it. That rotten orange flavor you tasted was the poison." (Showing)

--POISON STUDY, Maria V. Snyder

USING ALL THE SENSES:

Don't just use visual imagery for description. In addition to colors, sizes, and shapes, use smells, sounds, tastes, and textures. Smells can be very effective in provoking a response in your reader. Example:

"I selected four squares. They were each about the size of my thumbnail. If I hadn't been told they were a dessert, I probably would have guessed they were pieces of brown candle wax. My fingernail left an impression on the top, and my fingertips felt slightly greasy after handling them.

I bit into the hard cube, expecting it to turn to powder between my teeth. Thinking wax, I anticipated tasting wax. Instead of crumbling, the dessert melted and coated my tongue was a cascade of flavor. Sweet, bitter, nutty and fruity tastes followed each other. Just when I though I could say it was one of them, I would taste them all again."

--POISON STUDY, Maria V. Snyder

 USING PICTURE NOUNS AND ACTION VERBS:

 Use specific, concrete nouns instead of vague ones like happiness, kindness, arrogance, and courage. Instead show characters being happy, kind, arrogant, and courageous. Also use the most vivid, active verbs, and avoid the passive or linking verbs. Limit modifiers. Examples:

• There was a robot working behind the counter. (Telling)  
• A glittering, magnificent, and spectacular robot was working behind the vast, shiny, smooth counter. (Modifier overload! and passive voice)
• An X-14 Postal Robot sorted envelopes behind the customer service desk. (Showing)

Passive Voice: The car was speeding down the road.

Active Voice: The car raced down the road.

Passive: The report was read by Karen.
Active: Karen read the report.

Passive: The crash was witnessed by a pedestrian.
Active: A pedestrian witnessed the crash.

WRITING IN SCENES:

For any story length, scenes are the building blocks of the story. The word "scene" is a theater term. It describes action that occurs in a single place or setting. It can be as short as a paragraph or as long as a chapter. Focus defines a scene not length. Each scene in a novel has a specific focus or reason that the author chooses to show the reader what's going on at that time.

Here are some reasons to use the scene:

• to give information to further the plot of story
• to show conflict between characters by using dialogue and action
• to show a particular character by focusing on how he/she deals with a situation
• to create suspense.

 The beginning of a scene should hook the reader and make him/her want to keep reading. The ending should create some type of suspense - emotional or physical so the reader will want to continue reading.

 There are seven ways to begin a scene:

• In media res (beginning in the middle) -- start with action or at a point in the protagonist's life where there is change or conflict
• Dialogue -- starting with dialogue is another form of in media res, but this method starts in the middle of a conversation. This is an interesting and fast-paced way to open a scene. Dialogue also shows characterization, background information, and plot conflict all without the reader noticing the technique.
• The Jump Cut -- starting with an action or dialogue that has nothing to do with prior scene. This creates suspense as the reader has to read on to find out what happened after the last scene ended.
• The "Big Promise" Opening -- start the scene by making a big promise to the reader about what the scene will entail. Example: "When I stepped onto the commuter train that afternoon, I had no idea that it would be my last train ride."
• Setting -- only begin with setting if it is a crucial part of the story. By starting with setting, the reader knows this aspect of the story is very important.
• Time -- Begin the scene with the time of day. Waking up in the morning is a popular place to start -- although this can be weak if nothing significant happens. Avoid the waking to the screaming alarm clock and pounding door cliches.
• Character Description -- opening a scene with a description of a character. Not a dry list of physical features, but rather a sense of the character's personality, focusing on some trait that will influence the plot.

Ms. Snyder left us with some writing exercises that should help with show vs. tell. I thought it might be fun to leave our answers in the comments section.

Using all the senses, describe one of the following three scenarios:
A. Waiting in line for the Drop of Death rollercoaster
B. Riding on the Drop of Death rollercoaster
C. Getting off the Drop of Death rollercoaster after having ridden it.

Correct these three sentences to show rather than tell (can expand into a paragraph):
A. The hotel was crowded.

B. Doug was handsome.

C. He wore a suit and thought he looked good.

D. Mary hated working for Frannie.

E. The little boy was afraid of the dark.

F. Kari was angry at Tom.


A special thanks to Maria V. Snyder for giving a great seminar, a thorough handout, and for letting us share it!
She has a lot of great sources for writers in her Publishing Labyrinth, but I think this post is long enough! :)

Contest: Win A Signed Copy of Fairy Tale by Cyn Balog

Cyn Balog was kind enough to sign two copies of her book--one for me, and one for one of my blog readers!

I'm in the middle of Fairy Tale and it's amazing. I'm totally hooked. (And don't think I'm not mining it for tips on YA craft!)

Amazon's Product Description of Fairy Tale:
Morgan Sparks has always known that she and her boyfriend, Cam, are made for each other. But when Cam’s cousin Pip comes to stay with the family, Cam seems depressed. Finally Cam confesses to Morgan what’s going on: Cam is a fairy. The night he was born, fairies came down and switched him with a healthy human boy. Nobody expected Cam to live, and nobody expected his biological brother, heir to the fairy throne, to die. But both things happened, and now the fairies want Cam back to take his rightful place as Fairy King.

Even as Cam physically changes, becoming more miserable each day, he and Morgan pledge to fool the fairies and stay together forever. But by the time Cam has to decide once and for all what to do, Morgan’s no longer sure what’s best for everyone, or whether her and Cam’s love can weather an uncertain future.

(This is a hardback, by the way. The paperback version of Fairy Tale will be released in a few months. If you've already read Fairy Tale and loved it, Cyn's book Sleepless is coming out July 13.)

Okay... the contest rules...

To win this signed copy of Fairy Tale, you have to be a follower of this blog.You automatically get 5 entries. To enter, fill out the form below. (Comments don't count as entries.) You have to fill in the form to be counted.


You get extra entries for...

Tweeting about the contest (+2)

Posting about the contest on Facebook (+2)

Blogging about the contest (+3)

Putting this contest on blog roll/side bar of your blog (+5)

For being referred (+2)

Each person who says you referred them (+2)

Remember, if you use twitter or facebook or a blog, please include the URL in the space provided. Otherwise, I can't verify and it won't be counted.

The Skinny on Agents at Pennwriters Conference (plus some other little tidbits)

On Tuesday, I got home from the Pennwriters Conference in Lancaster, PA. This was my first conference and it. Was. Amazing. And guess what? You get to read all about it.

We had several seminars a day (three days) where I learned a TON. I asked permission to post the handout from Maria V. Snyder's seminar: Showing vs. Telling. Amazing stuff in there. I can't wait to share it. (And I think I may have to buy her books now.) I'll also post a little about what editor David Pomerico said about the fantasy/sci-fi markets and whatever notes I can scrape together. Mostly, I just wanted to sit and absorb.

The food was pretty good, the hotel was beautiful, and the people were some of the nicest you'll ever meet. I couldn't believe how easy it was to talk to everyone. I heard a couple of agents say this was one of the most prepared, educated groups of writers they'd ever met at a conference. The price was reasonable, too. So overall, the conference was an epic win. There were about 250 people there and over 50 of them were from outside the state of Pennsylvania.

I got to meet some interesting people and I know you all want to know what they're like in person. So here it is: the dish on the agents. I'm hoping I can give you some insight into these people so you can make a more informed decision about whom to query.

Janet Reid: way funny, brutally honest. She cracked jokes left and right during her seminar on social media. Unfortunately, it was late in the conference and I think her audience was a little too tired to keep up with her. But seriously, she's hilarious and is interested in helping writers to get better. I didn't go to her read-and-critique, but from what I heard, she's like the Simon Cowell of the literary world. She gave some very helpful advice, but if she didn't like something, she told you. (I like that.) Unfortunately, she doesn't represent my genre.

Emmanuelle Alspaugh: very nice, professional, direct and honest. (Don't worry about getting false hope from her. If she requests pages, she's really interested.) I hear she didn't ask for many partials. She was perfectly polite and seemed interested in my book, even after declining representation. (She doesn't take on very much YA.) I didn't see much of her around the conference.

Jennifer Jackson: down-to-earth, genuine, dry sense of humor, personable. I really liked her. She wasn't larger than life like some of the other agents. She was... normal. She was funny and her presentation on queries was very entertaining. She spent time with the writers and shared what she knew.

Jenny Bent: I only met her briefly. She's really cute and has a sense of humor. From what I heard she's sweet and very nice. Most of the writers who pitched to her told me they were nervous going in, but she put them at ease right away.

I also met author Cyn Balog. She writes young adult urban fantasy, so I was especially interested in what she had to say. She is so cute and very approachable. I really enjoyed talking to her. I bought an extra copy of her book Fairy Tale, which she signed. I'll be giving it away in a contest soon, so keep an eye out for that. (I'm reading my own copy now. It's fantastic.)

Author CJ Lyons is apparently a regular at Pennwriters. She's spunky, funny, confident, and she knows her stuff. I can't believe how helpful she was. My first seminar was her class on pitching. She challenged us to boil our books down to 25 words. Then 15 words. Then 5. Seriously, give it a try. The goal is to use words that immediately bring up an image and/or emotional response.
So, though my book's main character is Rachel, I used the word "ghost" in my short-short pitch: A ghost comes back from the dead to save the girl he loves.
CJ also led our general read-and-critique, so she helped me with the first page of my manuscript (along with author Jonathan Maberry).

Jonathan Maberry was also incredible. He knew so much about craft and is obviously well-read. He seemed to know something about every genre. He was the perfect choice for the general read-and-critique. (By the way, he'll be the keynote speaker for next year's conference, so mark your calendars!)

The keynote speaker this year was adventure thriller writer James Rollins. (He's also dabbled in YA and Fantasy.) This guy is so funny. I don't think he had any prepared material for his speech, he just talked to us about his career, how he got his start, and how anyone can be published if they keep at it. He actually was a veterinarian for 15 years before officially pursuing writing as a career.
When asked if he still does veterinary work, he said he does some volunteer stuff and mentioned that he traps, neuters, and immunizes feral cats. "So basically," he says, "On weekends, I remove genitals. It's a hobby." Great guy and so inspiring!

That's all I can think of without delving into my notes. Feel free to ask questions. (And if you were at the conference, I'd appreciate your commments.)

Like I said, look for future posts on what I learned at these seminars, my own personal experience at the conference, and the contest where I'll be giving away a signed copy of Cyn Balog's Fairy Tale!

The Big Ten Books

I'm on a mission. I want to find 10 books that are magical. Ten books that I can't put down, that make me a self-proclaimed bookworm. You know the type. We all have them, I think. Some of us don't read as much as we used to, so our "magical books" are from our childhood. (As a side note, I think a lot of kids today don't read. I don't know that they have magical books and that breaks my heart.)

There are a few that were magical for me in my childhood. The one that stands out the most in my mind is Ella Enchanted by Gail Carson Levine. That book made me stay up all night, laugh out loud, and sob like a baby. Ms. Levine is the person who encouraged me the most to start writing. So yeah, Ella Enchanted is on my 10 Magical Books List.

What is this list for? Well, as writers, we can learn by reading. But we can learn a TON by reading like writers. I want to find ten books that are amazing, for one reason or another (or several) so I can pick them apart and find out what makes them tick. What about this scene brought out an emotion? Why do I love/hate this character? Why do I root for that character? Why do I feel as if this world is a real place? Why do I care so much about what happens next?

I want books that I wish I had written, books that can help my writing. Right now, I write Young Adult Fantasy. I want some books on my list that are classics, some that are brand-spanking new, and some that are just my personal favorites or hopefuls. I want a wide variety of books with a wide variety of strengths.

So far, here are the books on my list (and the biggest reason why):

1) Ella Enchanted by Gail Carson Levine (emotional impact, relatable characters, romance)
2) Harry Potter and the Sorcerer's Stone by J.K. Rowling (world building, sympathetic protagonist)
3) The Lightning Thief by Rick Riordan (voice, humor, worldbuilding)
4) The Goose Girl by Shannon Hale (creating constant conflict and raising the stakes, romance)

Books I have in my To-Read Pile that I hope will be magical:

1) Graceling by Kristin Cashore
2) Hush, Hush by Becca Fitzpatrick
3) Gossamer by Lois Lowry
4) Immortal by Gillian Shields

Books on my tentative/maybe list:

1) Twilight (character building/showing but not necessarily the characters themselves)
2) Fairest by Gail Carson Levine
3) Harry Potter and the Order of the Pheonix (action sequence, emotional development)
4) The Ruby Key by Holly Lisle (fantastic plot and world building, how to create doubt and emotion by showing, best ending ever, but not the most fantastic example of YA fiction, in my opinion. Also, I've learned a lot of Holly's techniques from her course, which may save me some trouble)
5) Something by Madeleine L'Engle
6) Something by Bruce Coville (another childhood favorite)

I have a lot more maybe books, but I want to get through the four to-reads I listed above before I delve into those.

What magical books make your list?

Wait! Don't Sign that Contract!

Most writers would do anything to get published. (Sometimes for the wrong reasons, but that's another post.) Aprilynne Pike, author of Wings, posted about her Firsts -- the book that got her an agent and the book that got her published. And no, they weren't the same book.

In this post, she discusses the importance of landing the right publisher, not just the first publisher who likes your book. Signing with a smaller publishing house can hurt your career.

So here are some Tips to Avoid a Publishing Dilemma that I thought might be equally helpful. :)