Author Solutions, authors, book marketing, book selling, helpful hints, Indie book publishing, self publishing, writing

4 Reasons Why Attending a Writer’s Conference Is a Really Good Idea

GLAWS presentationOver the past few years, I have had the opportunity and privilege to attend and speak at writer’s conferences in the US and abroad. I find it to be one of the more enjoyable activities I perform as part of my duties.  I think if you are in the midst of a manuscript, or trying to understand what it means to be an author today, attending a well-run writer’s conference can be a good investment of time and money.

It can be overwhelming, but worth it.

If you have never been to a conference, or if you are new to the publishing world, or if you have been previously published through a traditional publisher, attending a writer’s conference can prove very helpful for a number of reasons.

You will be inspired and encouraged by like-minded people.

Writing a book can be a lonely process. Many times, it is you and your notepad and keypad, working through the excitement and doubts of finishing a manuscript. While in most cases, you can find support with friends and family, it is not the same as sharing the experience with someone who knows the joys and struggles of writing a book. But at writer’s conferences, you will find people who know exactly what you are going through. They can provide tips and suggestions. In fact I am always amazed at the relationships, connections and even friendships that can be built in a weekend at a conference.

You will learn about all the options you have as an author.

Speaking at GLAWS

Always enjoy the Q&A at conferences. Spoke recently at the West Coast Writer’s conference. 

It is the best time in history, but it is also the most confusing time to be an author because you have more choice and opportunity than ever before. So it is important you have a clear understanding of what options you have and what publishing path is the best one for you to pursue for your book or project. That’s why it is important to check the keynote and breakout sessions for the conference. If they are only focused on one area of publishing, such as agents, I think that is less optimal.  Look for a schedule that includes a variety of perspectives and experiences. I think that is most beneficial.

You will hear tips on how to improve your skill as a writer.

Writing is a craft and it is work. So it is important to learn from those who have experience and success. As with any skill, you can learn from others and they can help you get better at what you do. For example, one of the best tips I ever heard at a writer’s conference was a successful author shared that she took acting classes. Not because she ever wanted to become an actress, but because she thought doing that would help her write better dialogue in her books. I thought that was brilliant when I heard it and showed what type of commitment it takes to improve your skill.

You will develop a better understanding of marketing.

Most first time authors do not always understand what part they will have to play in marketing their book. In fact for many authors, marketing is a mystery. I personally enjoy speaking about marketing to authors so they can better understand what they need to do to build a platform and a following for their book. Good conferences will include a variety of workshops on marketing so look for those in the schedule in the mean time, I have written a whitepaper titled, The 3 Phases of an Effective Book Marketing Campaign that many authors have found helpful.

So which conference should you attend?

Over the years I have had the opportunity to attend and speak at a number of conferences. I am sure there are more than what I have listed and linked to below, but I can say each of these offers writers  a great opportunity to improve their craft, make some great connections and be inspired to get to their goal. If you plan to attend one of these let me know. I have already committed to speak at some of them and look forward to meeting you in person.

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Author Solutions, AuthorHouse, authors, book marketing, book selling, Ebooks, helpful hints, Indie book publishing, Publishing, self publishing

3 critical design ideas to make your book interior look great

If you search, you can find lots of information on how to design a killer book cover. In fact, I have written a number of blog posts on the topic.

Six tips from wicked good book cover designers

How to make your book cover attract readers: A conversation with book designer Adam Hall

While your cover is certainly vital, you do not want to neglect the importance of the interior of your book. As one writer put it, “It’s your cover’s job to flag down readers, but it’s the interior’s job to put on a show.”

So what should you keep in mind as you design the interior pages of your book.

Make it readable

While it is tempting to get “creative” with your type face and try to be different for the sake of “standing out”, the most important thing to remember is your book must be readable. Readability depends on a number of factors.

The Oscilating Brain by Timothy Sheehan M D title page

A clear title page is a good start for any book.

First is the font style used for the body text. There are many good options, including popular fonts such as Garamond, Caslon, Electra, Palatino, Fornier, ITC New Baskerville, Bembo, Futura, Myriad, and Helvetica. The main font used in a printed book is typically a serif font. However, san serif fonts are easier to read on a screen so they may be preferred for e-books. Serif fonts have little ‘serifs’, or feet, at the ends of the letters and san serifs do not.

Another factor in the readability of the text is the font size. A typical novel uses a ten to twelve point font, depending on the font style, genre, book length, and audience. You may choose a larger font if your book is targeted at an older or a very young generation. Line spacing, or ‘leading’ as it’s called in the design world, impacts readability too. Generally books are spaced slightly more than single spacing, about 120–125 percent of the font size. For example, a twelve point font would have a line spacing of about fourteen or fifteen points.

“It’s your cover’s job to flag down readers, but it’s the interior’s job to put on a show.”

A third factor that affects readability is the presence or absence of white space on the page. The margins (the white space that exists between the text block and the edge of the page) vary from book to book. Reducing the margin size condenses the book to fewer pages, but it can also make the book feel more claustrophobic and difficult to read.

I always recommend you start to collect sample pages of books that have very readable designs to use as a guide when designing the interior pages of your book.

Be consistent

Another key element that makes a great book design is consistency. From chapter starts to dashes and ellipses, maintaining a consistent style throughout the book helps the reader flow through the book more easily. Remember the design is not to draw attention to itself, but rather help the reader move through the book. When there are jarring, out-of-left field design elements introduced on the pages of the book, it can actually interrupt the reader’s enjoyment of the story.

Follow industry standards

Creating a professional book layout takes more than simply throwing a title page and some page numbers on your manuscript. There is an order to things that tell readers this is a professionally designed book. Even more important there are certain standards that readers, book buyers, retailers, and librarians expect in a professional book.

Chapter start

An interesting opening page can draw readers into the story.

The inside of your book is divided into three main sections: the front matter, text, and back matter. Front matter introduces your book to your readers. Appearing before the main text, front matter is comprised of pages that include information about the book, about you, and about the publisher. Next is the text, which is the main narrative that makes up the meat of the book. The back matter falls after the main text and includes any supportive material to the text, such as the glossary and index. Let’s look at each of these individually.

Front matter

The front matter is found before the main text of the book and may include the following sections. Your book should at minimum include a copyright page and title page.

Half title page: The half title page is the first page of your book and contains only your title. This page does not include a byline or subtitle.

Series title page: Use the second page of your book to list any of your previously published books by title. It is customary to list the books chronologically from first to most recently published. Listing the title only is standard, but in nonfiction works, you may also list the subtitle if you feel it is essential. A common way to begin this page is, “Also by [author’s name]…” For authors who do not have previously published works, this page may be left blank or feature a frontispiece, which is a decorative illustration that is opposite the title page.

Title page: The title page is the part of your book that displays your full book title, subtitle, author, and any co-writer or translator. The publisher’s logo is featured on this page as well.

Copyright page: The copyright page contains the copyright notice, which consists of the year of publication and the name of the copyright owner. Depending on your publishing path, the copyright owner may be the author, an organization or corporation, or your publisher. This page also lists the book’s ISBN, and if applicable, the book’s publishing history, permissions, and disclaimers.

Table of contents: A table of contents lists the chapters, pertinent front and back matter, and the corresponding page on which these sections can be found. Typically, only nonfiction books require a table of contents. Additionally, all e-books must include a table of contents regardless of the genre.

List of illustrations: If your book includes several key illustrations that provide information or enhance the text in some way, you may need an illustrations page. However, if the illustrations are simply for comic relief or visual aid, the listing may not be necessary.

List of tables: Similar to the illustration listing, this page provides you with the opportunity to list any important tables and the page on which they can be found.

Foreword: The foreword contains a statement about the book and is written by someone other than the author who is an expert or is widely known in the field of the book’s topic. It is most commonly found in nonfiction works.

Preface: The preface usually describes why you wrote the book, your research methods and perhaps some acknowledgments if they have not been included in a separate section. It may also establish your qualifications and expertise as an authority in the field in which you’re writing. Again, a preface is far more common in nonfiction titles.

Acknowledgments (if not part of the preface): An acknowledgments page includes your notes of appreciation to people who provided you with support or help during the writing process or in your writing career in general. This section may also include any credits for illustrations or excerpts if not included on the copyright page. If the information is lengthy, you may choose to put the section in the back of the book, as the first section in the back matter.

Creating a professional book layout takes more than simply throwing a title page and some page numbers on your manuscript.

Body Text

Within the pages of books, you commonly find elements such as page numbers, running heads, and chapter-start pages. Here are some of the standards related to these standard design elements.

Page numbers

Unless you are publishing a very short children’s book, it’s essential to include page numbers. E-books do not require page number since the idea of a “page” isn’t static from one e-reader to the next device. Page numbers are most commonly found at the top of the page on the outer right or left corner, but can also be found at the bottom of a page.

Running heads

Many nonfiction books include running heads, which is the text at the top of pages that identifies the author, the book title, the section, or the chapter. Novels rarely use running heads unless there is some helpful purpose to the reader. There is some leeway in how the running heads are used, so there are many combinations of what the running head features. Some examples are: part title, chapter title; chapter number, chapter title; and chapter title, subhead.

Chapter starts and subheadings

The treatment of your chapter starts is a chance for your book design to be more expressive. While the font of your main text should be highly legible as its top priority, the chapter starts can be a bit more creative. It is common to see chapters that start on a new page from where the previous chapter left off, and the chapter starts one-third to halfway down the page.

Nonfiction books also use subheadings to further divide chapters. While the chapter starts can be more stylized, the subheads should be rather straightforward, although they can play a complementary role to the font used in the main text. 

Back Matter

The back matter of your book includes sections that support the main text but are outside of the main narrative.

Appendix or Addendum: An appendix includes any data that clarifies the text for the reader but would have disrupted the flow of the main text had it been included. It could also include information that was gathered too late to be included in the main body of the text. Some items included in the appendix could be a list of references, tables, reports, background research, and sources, if not extensive enough to be included in a separate section.

Notes: The endnotes section allows you to amplify or document certain passages throughout the main text. Endnotes are typically divided by chapter.

Glossary: A glossary comprises alphabetically arranged words and their definitions. Many nonfiction books include a glossary if terminology is used that is not generally known to the average reader.

Bibliography or reference list: The bibliography section, typically used in works of nonfiction, lists the sources for works used in the book. For samples and guidelines on proper layout, refer to the Chicago Manual of Style, 16th edition.

Index: The index is an alphabetically ordered list of words and terms used for referencing your text. Indexes are important pieces to a nonfiction book.

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Author Solutions, authors, book marketing, creativity, helpful hints, Hollywood, Indie book publishing, Publishing, self publishing, writing

3 Key Reasons Why Hollywood Will Reject Your Self-Published Book

In my last post, I outlined three reasons why Hollywood is interested in self published books more than ever before. As promised at the end of that post, I also wanted to share reasons why I see Hollywood not pursuing deals on self published books.

Hollywood sign

Entertainment execs are looking at self-published books more than ever but some authors aren’t able to take advantage of the opportunity for three key reasons. 

The three reasons that follow have come from what I see in my role with Author Solutions. Over the past five years, we have built relationships and first-look partnerships in Hollywood and created events like the Book-to-Screen Pitchfest, which have given hundreds of authors a chance to put their books in front of people who are making decisions about what makes it to the screen.

From that vantage point, I have witnessed authors pitch their books and even be offered deals, but not be able to take full advantage of the opportunities before them. Why is that

1.The story is missing one or more key elements of what makes a great story

In my most popular post, The 5 Essential Elements for Every Good Story, which was inspired by many of my conversations in Hollywood, I list what every great story needs. I would encourage you to read the complete post, but for reference, those elements are

  • An inciting action
  • Protagonist
  • Antagonist
  • Conflict
  • Resolution

Too often first time authors leave out one of these elements or do not develop it fully. Another mistake I see is the elements are all included, but it is difficult to see how they relate to one another. For example the story might be resolved, but the resolution comes out of left field. There was no foreshadowing of it or it does not tie up other details of the story. The result is an unsatisfying and confused outcome that leaves both readers and viewers, wondering, “Huh?”

For this reason, I have seen many books get interest, but not result in a deal. So if you have a story you think would play well on the screen, pay attention to the craft of telling a good story. It could be the difference between your book being optioned or not.

2. It is derivative of another work

Hollywood is sometimes criticized for recycling the same stories, but my experience is they really are looking for fresh ideas. However, if they are going to acquire a new property, they will shy away from ideas that are simply a different flavor of an idea that is already out there.  Now that doesn’t mean if you have an interesting take on a crime or police drama that hasn’t been done, they would pass on it. For example, at one of our Book-to-Screen Pitchfest, one of the authors pitched a book about what it was like to be the first African American police officers in Atlanta during and shortly after the Civil Rights movement. It was a police drama, but told from a perspective that has not been used yet. Very interesting biopic with all the elements that make for an intriguing story.

On the other hand, there was an author who pitched an idea that was simply like the Disney movie Cars, but all the characters were trucks or construction equipment. In this case, it made for a really cute series of kids books that the author was even selling through truck stops, but as a movie it was too close to Cars so everyone passed.

3. The deal you want is not in line with what the industry typically offers a first time author of a self- published book

This makes me frustrated more than anything else which is why we really try to educate authors on how the business side of Hollywood works. In each case where there is a shopping agreement or option offered, we advise authors to seek legal counsel, but make sure that person has some experience with entertainment contracts. Without that, lawyers ask for too many things or too much money at the wrong point and the deal goes away.

Red carpet

Most authors don’t see big paydays for screen rights till the movie gets made, not when an option is offered. 

Typically, there are three opportunities for authors to earn money for their books. The first is when the book is optioned. What that means is you are giving an exclusive opportunity to one producer or director to develop the property for the screen. Typically, options are for a year to 18 months and pay anywhere from $500 to $1,500. Once it is optioned, the next opportunity for an author is when the movie gets “set up”. That means the script is finalized and usually the director and actors are attached. Financing and a shooting schedule is usually also in place. At this point payment to the author could be anywhere from $50,000 to $100,000. Then the final payment usually comes when the movie is shot and released. That payment can be a fixed amount or a percentage of receipts. It too can be anywhere from $50,000 to $250,000.

The key is to understand what amount of money is reasonable at certain points in the process. Too many authors don’t get the option because they ask too much for the first phase. They get bad advice from counsel who doesn’t understand how deals in Hollywood work.

I trust this and the previous post has been helpful as you think about the increased opportunities for self-published authors in Hollywood. If you have other questions, please use the comment section to post your question and I will do my best to answer it.

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authors, creativity, helpful hints, self publishing

4 words that will help you unleash your creativity.

Creativity is a very interesting and often debated topic. Is it something you are born with or something you can develop? Is it something that only happens when limitations are removed or is there a process you can follow to foster creative ideas?  From my experience some people may have a greater propensity to come up with new ideas, but we all have the capability to be creative. I say that because I believe creativity is essentially seeing or ordering the relationship between existing elements differently and perhaps in way that you had not seen previously. Therefore I believe you can use a process to help ideas flow more freely. It is a process I have used to fuel my own creativity and train others to use.

It is really quite simple and only requires you to remember four words:

  • Subtract
  • Add
  • Combine
  • Substitute

With these words in mind, you ask the question, “what if?” You can utilize this process in just about every area where creativity applies, but for this post, I want to focus on how an author might use it.

By subtracting the ability for characters to chose their future, the Divergent series provides an interesting plot twist and sets up the conflict for the main character.

By subtracting the ability for characters to chose their future, the Divergent series provides an interesting plot twist and sets up the conflict for the main character.

Subtract

One of the first things you can do with your story is “subtract” something. In other words, ask the question what if the main characters did not have sight? Or in the case of Divergent, what if they could not chose their future, but it was pre-determined. By taking away that simple choice, a major plot line unfolds. So what can you subtract from your characters or world and what ideas would that spawn.

Add

The opposite of subtract is add. So in the same way you subtracted things from your characters or plot, do an exercise where you add something. They could have a special power or previously unknown child. The environment in which they live could have some additional feature as well. The key here is that addition is the goal.  The goal is to make your story or characters more interesting by adding something that is a bit unexpected or launches the plot into a completely different direction.

Combine

This exercise involves taking two elements that you would not normally associate with each other and combining them. One of my favorite examples is the series, Abraham Lincoln, Vampire Slayer. Here the author took a well known character from history and combined him with the idea of vampires. It is a bit campy, but quite memorable and certainly a twist you did not expect.

Combining ideas in relationships that might not normally be seen can create some interesting ideas like Abraham Lincoln, Vampire Slayer.

Combining ideas in relationships that might not normally be seen can create some interesting ideas like Abraham Lincoln, Vampire Slayer.

Substitute

This last technique involves taking a common element and substituting something else in its place. So for example instead of communicating by sentences and speech, perhaps the characters in your book only communicate by song. Or instead of living on land, they live on water. Again the key here is to use this method to create a twist that makes your story or characters more unique and somewhat unexpected for the reader.

What do you do to stir your creative juices?

I trust you will find these simple exercises helpful as you strive to make your book as interesting as can be. Is there something else you do to help your creative process? If you are willing to share that, use the comment section on this post to let us know.

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Author Solutions, book marketing, helpful hints, Indie book publishing, Publishing, self publishing, writing

How to make your book cover attract readers: A conversation with book designer Adam Hall

Over the past year, I have gotten to know, Adam Hall, who is a book designer for indie authors. His website, www.aroundthepages.com  is a showcase for his work, but Adam also does design for a variety of diverse projects and audiences. He has worked with both first-time and experienced authors on one book or a series. I asked him to share some of his insights recently about designing for books. His answers to my questions follow below.

Type is as important as the image on a cover.

Type is as important as the image on a cover.

How did you start designing book covers? 

I got my start by doing a favor for a friend, Ernie Lindsey. He is an indie writer who has made the USA Today Bestseller list with his series, Sara’s Game. A few years ago he needed some help tweaking a cover. Ernie and I have now collaborated on about 10+ projects. Through his, and other’s encouragement, I decided to make it my focus in my design career.

“……a good cover won’t always make you want to buy a book, but a bad cover will most definitely make you not buy one”

 From your experience what are the keys to making a book cover design work really well?

The cover needs to convey the genre, and give a clue into the story. It doesn’t need to tell the whole story, but create enough intrigue to catch the readers’ eye. Focus on typography as much as the images. If the art is brilliant, but the title text is all wrong, the whole piece falls flat. The art and typography have to work together.

How does book cover design differ from other design projects you do?

In addition to book covers, I work with musicians and bands on artwork and websites. With music design you are basically marketing the individual or group. With book covers you are telling a story. It is fun to find that nugget in the story that you can use in artwork to capture that the idea in the book in one image. That makes book cover design more challenging than doing design for music, but that’s part of what makes it fun.

The thumbnail is what they will likely see first if they search online, so it is critical the thumbnail makes a good first impression.

What design mistakes do you see most often on book covers?

One common mistake is not considering all formats when doing the cover design. You have to make sure the cover looks great in thumbnail size AND full size. You only have a split second to catch a potential reader’s eye as they’re searching out that next book. The thumbnail is what they will likely see first if they search online, so it is critical the thumbnail makes a good first impression.

Finding the one image that captures the story is a key to good book design.

Finding the one image that captures the story is a key to good book design.

What tips would you give to first time authors?

I think two of the most important people an author can find are a good editor and designer. You have to trust both to make your work the best it can be.

When it comes to working with a designer, do your due diligence and look at a designer’s previous work. A friend of mine has said “a good cover won’t always make you want to buy a book, but a bad cover will most definitely make you not buy one”. I thought that was a brilliant point. Find a designer who can help make your cover one that motivate readers to buy your book.

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Author Solutions, authors, helpful hints, Indie book publishing, self publishing, writing

3 brainstorming techniques that can help you capture the best ideas for your book

One of the keys to writing a good book is making sure your manuscript contains the best of ideas or story you want to brainstorm ideaconvey. That means you need to make sure you include all the main ideas and supporting concepts for a nonfiction book and all the key plot points and characters in a fiction book.

Brainstorming before you begin writing can help you capture scattered thoughts and explore new ones you might not have considered. You can brainstorm about your book in general to get started, or you can brainstorm something more specific, such as a particular character, the setting of your story, or a chapter. There are several brainstorming techniques that are useful for writers. Here are a few to try that could help make your book even better.

Ask Questions

Instead of focusing on the answers and what you know, think about questions you could ask about your topic or plot or a character. “What if” is a great place to start. What if the character was from another planet? What if no one spoke the same language? What if you wrote a workbook to accompany your non-fiction book? “What if” can lead to a number of new ideas.

Another way to approach this technique is create a sheet that has six categories: who, what, when, where, why, and how. Then start writing down questions that need to be answered. Who are the antagonist’s allies? What is the one thing the main character cannot live without? Where will the story unfold? Give yourself a time frame, and write down as many questions as you can. At the end of the brainstorming session, dig deeper into some of the interesting questions that arose.

Create a Mind Map

Mind mapping can help you explore new directions and new ideas for your book.

Mind mapping can help you explore new directions and new ideas for your book.

To expand your basic idea, try the technique known as mind mapping. Mind mapping is a technique used to organize your brainstorming ideas. Start with a circle in the center of a blank page (use a large sheet of paper, a whiteboard, or even a sidewalk and chalk). In the middle of that circle, write your main idea or initial thought, and then branch off from there. Draw other circles branching from the first one, filling them in with related ideas or subplots. Continue expanding on each subsidiary idea and then on ideas subsidiary to the first sub-idea. Continue quickly, creating more branches and associations. At the end, your page will be filled with a mind map of ideas that will help you develop your story.

Make a List

The first two brainstorming ideas are intended to create a breadth of ideas around a topic, but making a list will help you explore the depth of a topic. To start set a number as your goal for your list. It could be ten, or 20 or 50. The number doesn’t matter as much as the commitment to create the list. Then write a statement or idea at the top of the page. For example, at the end of the book, the main character will ______________. Then start making a list of all the possible things that could happen to the main character. Most of the ideas on the list won’t be viable, but the goal is to just open up your thinking to find that one really killer idea on the list. Don’t worry about the quality or order of the items you are listing, just get them out onto the page. Then go back and review your list when you are done. You will probably be surprised at some of what you listed, but look for that one idea that can make your book really special.

Have you used brainstorming techniques?

I trust these three simple ideas are helpful to you, but perhaps there are other techniques you have used in your writing process. If so, please share those in the comment section and I will post for the other readers to see.

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Author Solutions, AuthorHouse, authors, helpful hints, Indie book publishing, Publishing, self publishing

Essential info on how to work with an illustrator: An interview with Jamie Cosley

Recently I had a conversation with Jamie Cosley, who makes his living as an illustrator. While Jamie’s web site show cases a wide range of illustrations, his portfolio features work for a number of children’s books. Given the number of aspiring authors I speak with who are writing a children’s book, I thought it would be helpful to hear from an experienced illustrator like Jamie to know what to expect when working with an illustrator to make your book as good as it can be. What follows are Jamie’s answers to some questions I posed to him.

Illustrator Jamie Cosley shares tips on what to expect from working with an illustrator.

Illustrator Jamie Cosley shares tips on what to expect from working with an illustrator.

How did you start doing illustrations for books?  My first picture book was Poppy’s Planet by author Russ Brown.  He was looking for an illustrator on Twitter. I found his initial post and sent him a link to my website.  We’ve also worked on two other books since then. I like being able to work with first time authors and self publishers.  Most of my connections at first were made through Twitter, but now a lot of projects come from referrals.

“It’s real easy to crowd a page. You need to make sure that everything the reader will see on the page is necessary to the story.”

What advice would you give on the best way to work with an illustrator?    I would just like everyone to know that it is a lot of hard work!   Illustrating a picture book (depending on the amount of detail the story requires) can take anywhere from 6 weeks to 6 months to complete.

Make sure you don't crowd the page. Everything on the page should be essential to the story.

Make sure you don’t crowd the page. Everything on the page should be essential to the story.

How do illustrations for a book differ from other illustration projects?  The main difference is consistency.  You have to learn to draw certain characters over and over again without changing their size or appearance.  If you have a little girl with a bow in her hair and it’s on the left side of her face, you need to remember that throughout those 32 pages.  That can be very tricky so I think it’s important to develop a model//character sheet that shows your characters from all different angles before you even begin.  If you do a lot of prep work up front it will be easier on you in the long run.  When you do a spot illustration for a magazine or newspaper article you will probably only have to draw it once :)  It’s a lot different.

“There is nothing like holding that finished product in your hand….”

What design mistakes do you see most often in books that have illustrations?  Composition is really tough.  It’s real easy to crowd a page. You need to make sure that everything the reader will see on the page is necessary to the story

What tips would you give to first time authors?  Be patient.   This is never easy.  When you start to see your dream take shape it’s easy to become impatient and want to speed things along.  Maybe even cut corners.  There is nothing like holding that finished product in your hand but take a deep breath and make certain that there aren’t any mistakes first.  Let more than a few eyes see it so you only have to print once!

Consistency in characters, tone of voice and reading level are key to a good children's book.

Consistency in characters, tone of voice and reading level are key to a good children’s book.

 Anything else you think would be helpful for readers to know.  It’s an exciting time to be a creative person.  You have sites like Kickstarter and Patreon where you can go out on your own and make things happen!  So do it!  Make things happen!  Don’t be afraid.  Dream big!

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