Today’s Publishing World by Natalie Cannon

Hello again! This is the third installment of Natalie’s Notes from Ventura County Writer’s Weekend. The first post on Social Media for Authors is here. The second post on Book Marketing 101 is here.

As has been said and will no doubt be said again, today’s publishing world is a mess of opportunities. There are so many things you could be doing that the only visible truth is that there’s many ways to go about publishing a book these days. The main problem plaguing writers isn’t that their book can’t be published: it’s garnering enough attention for readers to slow down their fast -paced, digital lives to read your blog post and buy your book, no matter what format it’s published in. And you have to do that while everyone else is vying for attention as well.

Ignoring the minor stomach ulcers and groaning from everyone who knows what I’m talking about, the Ventura County Writer’s Weekend panelists did a broad sweep of what every sort of writer could do to get published, and I’ll try to organize their thoughts.

Making a book is a three legged journey: writing is only the beginning, and the second leg is producing the book, and the final leg is marketing the heck out of it until everyone you want to know about it, knows about it (and hopefully has a copy). Writing and marketing are their own things and discussed in previous blog posts. The panel wanted to focus on the production aspect of the book-making process, which you should focus your energies on when you’ve finished writing and revising. First, we’ll speak about what it takes to produce each portion of a book (cover, pages, back cover etc.), and then I’ll go into different ways to go about this production.

Note before we begin: what you take away from this blog post will depend on how you answer the following two questions: why are you making a book and what do you hope to get out of it? The panelists repeatedly said writers should ask themselves this question, and it’s an excellent starting point.

The answers to these questions vary greatly and determine what you’re going to do with your manuscript. Writing for money and fame is very different from writing for the enjoyment of a group of family and friends. Let’s examine what the perfect book looks like, piece by piece.

Front Cover—This is where an author’s going to make the majority of their first impression. The average browser spends 7 seconds looking at the front cover, 15 seconds reading the back cover, and, if still impressed, will go on to the first paragraph. You’ll want to be completely obsessive about your covers: have an eye-catching title; make the font fit your story and easy on the eyes; don’t put “by Author Name” but just “Author Name;” have a tagline for your novel discretely in the corner. Another thing most professional covers have is reviews. Once your story is polished, ask a magazine, newspaper, blogger, friend, fellow writer, or anyone with recognized reading authority to review your book. Make sure to give them at least three months to read it, and, assuming they get back to you put positive quotes from their reviews on your book jacket. These mini-reviews can go on the front, back, or even on the first few pages of a book. It lends authenticity to your book and encourages doubtful buyers. Moving on, the images on your cover say a lot about your book. There was that whole #Coverflip shindig about gendered covers, but, whatever you have on there, make sure it suits your book and is suitably eye-catching. For the digital age, it’s good if your image looks recognizable in thumbnail size—or at least not an incoherent blob.

Copyright page—Make it look as professional as possible. Even if it’s just a Smashwords copyright, it’s yours and you don’t want people messing with it. If it looks professional, then people will assume you’re a professional. Sketch copyright pages make your book look sketch, and so help me I will blackmail any plagiarists.

The part you wrote—Overall, the quality of your writing is your best business card and your best insurance for future business. You can have fantastic ideas, but if you can’t coherently get them down on paper, then no one will be able to read it. Hit the reader with your best shot—no matter what manner you publish in, have someone you trust give your manuscript a once over. Besides having your best writing foot forward, you want to be internally consistent. The chapter heads, page numbers, page headers etc should all look professionally neat and clean. Chapter heads must be in a larger sized font, if not a different font altogether. Page numbers. Please have them. (Charlotte inputs that if this is an e-book you shouldn’t have page numbers because it will be different on every device and is distracting if they’re wrong.)

Back Cover—This is similar to your front cover in that you want it to be aesthetically pleasing and nicely designed. A brief, cliffhanger summary of the book—called a blurb in the pub biz— should be on it. In traditional publishing houses, copy editors write your blurb because they have more distance from your book and an eye on the market. Reviews can also be on the back cover. One thing you’ll also want if it’s not already on your book’s back pages is an author bio and photo. As discussed previously, your name is your brand and attaching an image to that name will make it all the more memorable. Depending on your photography chops, you may want to have your photo professionally done or at least professionally retouched. If you want an example of a good author photo, just think of your favorite author—do you remember their face? Then they had a successful photo.

Book Jackets & Other Formats—Above are the basic bits and pieces for a good cover. They may be moved around depending on the specific book—hardcovers’ book jackets usually have the blurb, author picture, and author bio on their flaps and reviews on the back cover. If you’re looking for guidance or need an example, go to your local bookshop or Barnes & Noble and examine the book covers you like, want to emulate, and/or are in your same genre. This can generate ideas for cover images, font style/size, and overall design and formatting. The same goes for e-books too—notice how they’ve transferred the traditional book format to the Kindle or Nook. If you have a series, having the cover of the next book at the end of the preceding one is a great marketing tip, as it encourages the happy reader to immediately purchase the sequel.

The above is the anatomy of a book’s production, and there are many achieve all the different parts. The author has an unprecedented about of say and choice in the process, and I’ve tried to lay them out in an easy-to-reader manner. I’ve also summarized the cost and benefits of each choice at the end.

Traditional—This is a very familiar, well-trodden path. It’s also the most difficult to get going. Traditional publishing means a book with the Big Six aka Penguin, Random House, HarperCollins, Simon & Schuster, Scholastic, or Macmillian. These powerhouses also own 20+ “imprints” that specialize in publishing a certain type of book or genre, but are still owned by their parent company. For example, HarperCollins owns Amistad Press, which specializes in works by or about people of African descent. To garner the attention of these publishing gods, you can send a cold query to their acquisitions editor, but your best bet is to find yourself an agent who has established personal relationships with the publisher’s editors. Agents will make sure your manuscript is as polished as possible and present it with a few marketing ideas for the company, which makes the publisher’s job much easier. For any press, it costs around $5,000 to print an initial order of your book and $1 after that, so publishers are only interested in books that are more or less guaranteed to sell a minimum of 10,000 copies. This means that only authors appealing to a broad audience will do, and preferably these authors already have connections on the web or in large communities. However, the Big Six will do most of a book’s production and marketing for you: they’ll polish your manuscript even more, design your covers, get your reviews, put your book on the right shelves, organize book tours and author appearances, pay for adverts, organize/pay for your copyright, deal with publishing rights, manage your image/publicity, and the thousand other little things that make for a monetarily successful book. If your book does well, they’ll ask you for another and even organize a writing timetable. Some authors become disgruntled over profit percentage or their lack of say, but these companies will work hard to get the best bottom lines.

Cost: It’s really difficult to get in, they are very concerned with bottom lines, and the author’s percentage of the profit is lower.

Benefit: Most of the marketing and production is done for you, they’re very concerned with the bottom line (that’s a cost and a benefit, depending on how you look at it), and the amount of copies sold & therefore profits accumulated is high for a successful book.

Small/Indie/University/Specialty Press—Small presses are basically publishing companies not owned by the Big Six. There’s hundreds, if not thousands online and in real physical places. They can digital, print, or some combination thereof. Academic presses like Columbia University Press ( and presses that strictly publish a certain type of book fall under this category. For those not wanting a huge amount of pressure to be instantly super successful, they have lower expectations—they’d ideally like 3,000-5,000 copies sold. Their size also means authors are given more say and individual attention, which is a plus, though in turn the author is expected to be more involved in promotion and marketing. The thing to watch out for with these is they are the definition of mixed bag. Some are fantastic and lovely, their staff filled with talented designers, editors, and publicists, but others are plain scams. LearningIsland ( is an excellent digital children’s book press, filled with pleasant, hardworking people that will do their best for your book. iUniverse and Xlibris have been known to ask you for $3,000 and then do nothing to help you sell ( Before you sign anything or agree to give your book to these presses, make sure its run by people who know what they’re doing and have a long track record of happy authors. There are excellent small presses out there, but be careful.

Cost: They have less promotional and marketing resources, you are expected to do more, and you must watch out for scams.

Benefit: It’s more hands on with the production process and perfect for books meant for smaller audiences. There are many presses to choose from.

You & Freelancers/other groups/Print-on-Demand—Alternatively, you can mostly do everything yourself. There’s a near endless amount of freelancers looking for work (says the freelance editor looking for work). You can be your own small press and do as much of the book production process as you like and hire other people to do the rest, from manuscript editing and publicity to graphic/cover design and the actual printing. You can even hire book shepherds like Ellen Reid to guide you through the whole process ( Again, make sure the people you hire know their stuff and are worth their salt. See if they’re listed anywhere, part of an association, or have a record of happy customers. For example, here’s the website for an Editorial Freelancer’s Association If you’ve been following Charlotte for a while, you know she went this route with Those We Trust—she hired a freelance editor (me) to polish her manuscript, enlisted some help from the Invisible Ninja Cat ( with the initial cover design, and then put that fantastic, heartbreaking novella up on Amazon ( ,, iTunes, and Smashwords ( herself.

Cost: You have to pay the people you hire, and there’s varying amounts of author involvement, depending.

Benefit: All profits go to you, and you’re the boss.

All by myself & Print-on-Demand/Online Platforms—Alternatively, alternatively, you can do everything yourself. Really. Once your book is written and revised, and your cover is set, you send it to a print-on-demand company and/or post it on Amazon, Smashwords, iTunes,, or any other selling online platform you wish. Make sure to check out the design/formatting guidelines for submitting to these places.

Cost: It takes lots of time and everything is on you to sell this book. You do all the writing, marketing, and promotion yourself. Some people become wildly successful with this, but most do not, sadly. Please consult this article:

Benefit: You receive 100% of the profits, and you do all the writing, marketing, and promotion yourself (some people like it).

Whoo! Long post is long. Next time’s notes are from the Literary Agents Panel. Hope to see you then!


Exciting News!

Those We Trust is available on Amazon!

That’s right, if you were waiting for the Kindle version, or would really like it on paperback, it’s now up for both on Amazon! Get your copy today!

Also, if you really want the book and don’t feel you can afford it, contact me via my email or Twitter and I’ll get you a coupon code on Smashwords for an agreed-upon price.




Review: The Slaves of Solitude

Through reading for class I have discovered one of the unsung greats of all of literature: The Slaves of Solitude by Patrick Hamilton.

I’ll deal with the obvious question first. Why, if so great, unsung? Well, that’s because time and anthologies are cruel to all but Shakespeare, and to all in varying degrees, naturally. Hamilton has gotten the short end of the stick in my opinion, and if you want a more intellectual reasoning on this, get the version with the David Lodge intro and he’ll tell you all about it. He even gives spoiler warnings partway through the intro, isn’t that lovely?

This story is set in a boarding house during World War 2, a strange sort of place in the best of times, perhaps, but with all the people driven out of London by the bombings, there’s quite a cooky bunch gathered at the Rosamund Tea House (which is not, in fact, a tea house, but rather a boarding house). It’s pretty short, it’s hilarious, it’s profound…. I really can’t think of a reason anyone would NOT read this book other than not having heard of it.

My personal favorite character is Mr. Thwaites, the boarding house bully who’s so absurd that the reader at first wonders if such a person could exist. And then the reader calls to mind several such people, laughs out loud, and realizes that he’s so absurd he HAS to exist. I’ve gotten to the point where I laugh every time he’s mentioned, just on reflex. He’s a very Dickensian character. Actually, the whole thing is very Dickensian, apart from not being Victorian.

Maybe that’s why it’s so wonderful.

Seriously, check this out. ALSO for the rest of this week, you can get my ebook for $1.00. Just go to Smashwords, search for Charlotte Blackwood’s Those We Trust, and enter the coupon code REW75. ENJOY!



Social Media for Authors, by Natalie Cannon

So, this is a lovely little morsel for you all by my wonderful editor, Natalie Cannon. As I promote her primarily for her editing prowess, I sometimes neglect to mention that she is also a fabulous author. This post is something she’s been working on for a while, making great for you guys, and I really hope you get nuggets of golden information out of it, because there’s lots of great stuff here! Enjoy!




Hello all!


Whether you follow my blog or Charlotte’s you’re probably interested in publishing. Ages ago, I attended Ventura County Writer’s Weekend, which featured hours of panel discussions about what authors can (and shouldn’t) do today. It was vastly helpful, and my first tip for this whole blog post is to go to conferences such as these. Preferably armed with resumes, business cards, pens, and a notebook. It really was a wealth of information.

And when I say “wealth of information,” I mean, wealth of information. I attended most of their publishing panels, and for sanity’s sake, I’m going to split up the posts by panel. As part of my preparation for post college-life, this series of posts will be a more organized version of my notes from the Writer’s Weekend. There should be around 5 posts total and first is…

Electronic Social Media for Authors

Okay, so it wasn’t the first panel, but I want to promote Charlotte’s twitter and my own brand spanking new one. In any case, self-publishing is on the rise in our day and age, and, as Charlotte said in her previous blog post/entire blog, the author has to be an artist for creation and a businessman in promoting their work. The panel encouraged the author to think of themselves as creating and selling a product.

For this business, you need a brand. For authors, they are their brand. Neil Gaiman’s brand is Neil Gaiman. It’s his name. Charlotte Blackwood’s name is hers and mine is mine. You also need to think about what you want your name to be associated with, what adjectives or nouns you want people to use to describe you. These are known as keywords and are the words you want people to type in to Google to find you. At it’s most basic, Charlotte wants her brand to be associated with “writer” or “writing.” In a larger scope, I personally want my adjectives to be things like “writer,” “editor,” “historical fiction,” “fantasy,” “queer romance,” “The Bound Chronicles,” “writing/publishing tips,” and “poetry.” I’d also like to be known as that-quirky-one who knows about historical medicinal practices and poisons. And that I’m a Sherlock Holmes fan. Those all would be nice. But I’ll focus on this for now.  On all your social media platforms, you must be clear on who you are and what you do. You never get a second chance to make a first impression.

Once you have some of these words, you need to do research. Search people who are doing what you want to be doing, like the top authors in your book’s genre. Observe how they promote themselves: for example, Charlotte has a model twitter account for a growing author. My friend Ann Mayhew’s twitter is designed specifically to get her a job in the traditional publishing industry. What groups are your models joining on LinkedIn, what sorts of things are on their facebook pages, how do they manage their blog or Youtube account etc etc etc. For blogs, what tags are they using to garner attention? On WordPress, use lots of tags. Seriously. Lots.

With social media, it’s not so much that you’re everywhere as it is about being on the places that matter and being active on them. Post well and post consistently. Do things that evoke those keywords.

Choosing places to post comes from where you think your target audience hangs out. If you’re writing realistic fiction about tech-savvy teens with dreams of entering the television industry, get a Youtube account for instance.

Now that’s you’ve thought and researched, you’ve got to set up the accounts. The vast majority of authors are on more than one social media site. Just make sure to have links everywhere to your other posting-places. I’m working on setting those up myself, but Charlotte has all her stuff interconnected, from her Youtube, and Twitter, to her blog and Facebook page. For this next section, I’ll separate out tips for each social media platform.


  • Personal Blog. Whether it be on wordpress, tumblr, or elsewhere, most writers have a blog of some sort. It’s here where your posts must be the most consistent, and your keywords are transformed into your tags. Ideally, you post twice a week. One panelist recommended spending a day writing as many posts as you possibly could. Then, you can post them easily later, or queue them up. Once/if you have money, purchase your own url and turn your blog into a website. Have your homepage not be your blog, but more a ‘Welcome’ page that contains a page link to your blog. Use your homepage to splash pictures of your work, links for purchase, news on upcoming books/events (the straight up facts/dates so it’s different from your blog), and brief blurbs on the stories/who you are. Survey your model author websites and copy what they do. Some other ideas for pages on your website are an About page, one page for each book, Future Projects, Products (non-book ones, like if you hold a contest and winners receive buttons or art associated with your book), or music playlists that you like to listen to as you write (particularly if music is a major theme in your work). One last thing: get a hit counter. It should be free, and when it reaches those high numbers, makes you feel totally awesome.
  • Facebook. Most authors have either an entire Facebook account dedicated to their business or a Facebook page. Facebook pages are more popular because you can have them and a personal account of just your friends separate, and the ‘like’ option is an easy and quick way to track your number of followers. Facebook has a ton of marketing information for their pages: it tracks how many ‘likes’ you have, how many people have seen each specific post, how many people your page was ‘exposed’ to etc. You can even get down to names of people who liked it, and create adverts for yourself. After you reach 50 likes, they give you $50 for adverts, completely free. You can also connect this page to your Twitter. For posting, feel free to post pictures, videos, links to interesting events/articles: anything that will evoke your keywords and brand. At the very least provide updates on what you’re doing with your personal projects. Unless you’re aiming for Bukowski/it’s part of your keywords, keep those hard partying pictures to your personal account.
  • Twitter. The panelists spent the most time on Twitter & Facebook, saying that these are the most used social media platforms. For Twitter, your keywords take the form of the hashtags that you use. Use your author name as your username, rather than a book title, so you can use the same account for all your work. During the set-up for your account, twitter will ask you to pick at least 5 people to follow. For business purposes, you want to follow people you think will provide tweets that your ideal future followers will want to read. For example, I followed a bunch of publishing companies, some literary magazines, authors, and a writer’s group so they can provide me with publishing/writing tips. You can also follow things that make you giggle and friends: I’m following my friends Jason and Erin as well as Sherlockology, Mark Gatiss, & Steven Moffat. Your picture can ideally be your face or your book-cover. My face is too derpy for public use, so I’m settling with a friend’s painting, which I also use for icons elsewhere. After setting up the account, listen, learn, and participate. Like anytime you enter a new environment, try to learn the rules. See how your model Twitters run things. While twitter seems like it’s designed for quick updates, I’ve spent as much as 10 minutes crafting the perfect tweet. You don’t want the character limit to make you ineloquent. You should tweet things relevant to your keywords, and worm your way into the corner of conversation where people like you and your audience are. One Twitter cultural thing you can participate in is Follow Friday where you go out and follow people and they’re supposed to follow you back. However, don’t follow a ton of people–100 at most when you’re first starting out–because people look down on that, apparently. Lastly, and this is a bit weird, but watch out for porn stars. They often target new accounts, and you’ll want to block them rather quickly. If the group of them notice you accept them, you’ll get a virtual flood.
  • Youtube. Since Youtube searches especially run on keywords, the major thing for Youtube is associate your keywords with everything. Your channel title, your channel description, your video titles, your video description etc. Keep your videos–or vlogs–short and sweet, and if you do anything at all relevant, put it on there. A word of warning with Youtube is to keep it professional since Youtube is a pretty casual place: everything online is your resume. Your videos can also be posted on your blog, facebook page etc. A great example of a successful Youtube author John Green, and, by correlation, Hank Green. They’ve established their own fandom of Nerdfighters.
  • LinkedIn. This is basically a professional Facebook. Keep everything as neat-looking as possible. Bullet points in your Experience section to mirror your resume looks much better than paragraph. The Experience section can also be longer than your resume: put all your experience there. In your summary, put in something catchy, and what you want rather than what you are. Ask your friends to endorse your skills, and write you recommendations (and so for them in exchange!). For connection invites, write a personal message whenever possible. The other major networking boost from LinkedIn is the groups. Charlotte has spoken of them before. If you attended one, your college probably has a group, and there are various other ones that will fit your interest. For adding people to your network, only do so with people you know because, with the professional manner of LinkedIn, if one of your connections goes down in the flames, you might burned a bit by association. People can become rather attached to their connections and groups, and some authors have used solely LinkedIn for their entire book promotion campaign.
  • Amazon (or other book website). Not only do you want to be up on what these venues for your project are saying, but you also can build your reputation as a reliable reviewer for other products related to your keywords. If it has a public profile option (like on Smashwords), type up a killer bio/author description. Have your reviews be thoughtful and useful. If you want an example of some well-crafted, snarky reviews, check out the “BIC for her” site. It’s humorous, but also demonstrates how witty, awesome, and attention-getting these reviews can be.

Excellent! Again, authors are on multiple social media platforms that all connect to each other. If the platform as any sort of following capability, make sure it’s easy to see and accessible to everyone. You can also partner with other authors, and work on promoting each other. Charlotte and I have this sort of relationship: if you Google me, the first link you get is Charlotte’s interview with me. I try to return the favor and link my things back to her.

I know putting yourself out there can be confusing, but persevere! Professionals are available for guidance, and publishers appreciate an author who’s willing to work their way around the web. Agents love it too: really, it makes their jobs much easier, and they can use your already established resources to better promote your work.

Thanks for sticking through this long post and see you next week!


Related Links:

Charlotte’s Twitter:

Ann’s Twitter:

My Twitter:

The Vlog Brothers Youtube Channel:

Charlotte’s Youtube:

Charlotte’s LinkedIn Profile:

My LinkedIn Profile:

Charlotte’s post on LinkedIn’s Writer’s Forums:

Charlotte’s Smashwords Bio:

My Smashwords Bio:

BIC for Her on Amazon:

What’s REALLY Going to Happen in the Publishing Industry?

First you hear to traditionally publish, then you hear that self-publishing is the way to go. Print will always be the best, then e-books are vastly outselling physical books.

With Borders out of business, Barnes and Noble following, and who knows what going on where actual publishing companies and agents are concerned, it’s a very relevant question: What is REALLY happening in the publishing industry, and what does it mean for writers?

Though I don’t really have an answer to this question, I will give two answers actual authors I have met in the past month have given to this question, and why I think one of them might be right.

Firstly is one Joyce Carol Oates, famous writer of a variety of fictional works, writing instructor at Princeton University, and winner of several life-time achievement awards in the work of fiction. These credentials, of course, mean that she is excessively well-versed in the publishing industry. She’s published time and again, and with much success. What did she say about the idea that e-books might put print books out of business?

Well, of course, e-books would never fully replace print books, she said. The great masterpieces of print wouldn’t likely have been made, she argued, if all they’d had to show for their work was a digital copy, and not a massive tome of paper and cover and binding that would fill bookshelves and be collector’s items, of sort. Similarly, she said, the great directors weren’t likely to put as much effort into their works if all they had to show for it was simply a inch-by-inch screen version.

I’ll talk about my thoughts on this later, and she was thoroughly, if a bit inarticulately, lambasted by a student who felt that she was completely wrong.

The second writer was one Amy Sterling Casil, well known to the Claremont Colleges, as she was a distinguished graduate of Scripps College, which was why she was there giving a talk during Parent’s Weekend. The talk was about, naturally, the way the publishing industry is heading.

Very simply, she was of the firm belief that non-traditional publishing, as it is often called today, is the way of the future. In fact, if she’s right, it is not too far off to be the only way of the future, and that the traditional publishing houses and the agent system are relics of the past, eventually to die out as self-publishing and e-publishing overtake them. In such a world as this, Smashwords, Amazon, and iTunes are likely to thrive, as well as the likes of Kobo and Diesel. Conglomerates of authors working together to benefit from each other’s publishing strengths and boosting each other where one has a weakness are not only advisable, but the most logical, profitable strategy for all parties. If one is good with covers and a friend a crack-hand at formatting, why not give each other a hand to save time and frustration?

I did tell her about what Joyce Carol Oates said, and we both agreed that she, herself, is a bit of a holdover from that previous era of the traditional workhorse that is finally meeting its end. After all, she was born in the thirties, published quickly out of college. Of course to her it seems that the physical book is the best representation of a work. However, Dickens wouldn’t necessarily agree, living in a time where the serial publication was king. We’ve already seen that publishing format die out, effectively. Why is it so strange to think that traditional publishing will die out too?

That’s not to say that I won’t try to be traditionally published, at least once, before the ship sinks. It’s a vestige of my childhood that I feel is an important part of the cultural history that will be studied by future generations, just as we study the serial today, and I want to be a part of it. But Natalie and I have already started talking about creating our on author conglomerate to help each other in the world of self-publishing, as well as our own literary magazine (because we’d be great at it). Sticking a toe on a sinking ship isn’t so bad. Jumping onto it when the dock is still very stable is foolish.

I’m preferring, at this time, not to put all my eggs in one basket, but I do think that self- and e-publishing are the way of the future. But just in case I’m wrong, it doesn’t hurt to be prepared for traditional publishing sticking around, now, does it?

What do you guys think? Where will the publishing industry be in the next ten, twenty years? How are you preparing for this?



Another Rejection and my Latest Project Idea

So Pithead Chapel turned me down. It’s a polite albeit clinical refusal, but I’m sure they’re very busy. “Soon” is apparently a tough sell, but I can’t say I’m altogether surprised. I’m still pushing it through my list. The Cincinnati Review is next and we’ll see what we get out of it!

Also, I’ve begun to think about a massive project that will take years to undertake, and here’s why: It’s a compilation! 😀

This will probably be a self-pub opportunity, as I really want full say on what makes it into my compilations and what doesn’t. This means it will be an ebook, almost certainly published through Smashwords, and Natalie and I will go through and decide things like whether I’m going to publish only short stories or whether a novella or a chapter from a novel will also be considered. I’ll put something up here, and on Facebook, and I will say that there is an opportunity for fan recommendations, so if there’s a chapter or work of mine you think ought to be honored by being set into this compilation, you can let me know! I’m even considering taking some of my fan fiction and adapting it to non-fandom related in order to actually include it in the compilation. So if you read my fan fiction, that’s up for grabs as well!

So keep your eyes peeled for more news/information on this, and if I can’t get something published via traditional channels, it may/probably will be in the compilation! 😀

Thoughts on this? Advice? Personal anecdotes? Leave a comment! 😀



A Quick Plug

I don’t know if any of you have actually purchased my novella (barring Natalie, who I know has bought it), but this is just a bit of a plug. It explicates the novella in a way that is hopefully enticing and tells you where you can buy it. AGAIN, if you can’t afford the novella, let me know and we can work something out. Just email me at charlotteblackw at gmail dot com and we’ll figure out a way to get you a copy for a reduced price!

Harmony Boyd, a typical college student, has what could be seen as a perfect life. She has great friends, a boyfriend who’s ‘going places’, and a quirky but mostly-caring family. But she’s terribly unhappy. So when her professor helps her see what she’s missing in her seemingly-perfect life, it was bound to make waves.

They grow closer and find the happiness both were missing, until it catches the attention of someone else: a stalker who is one of the people she trusts most.

As the stalker removes obstacles to his posession of Harmony, who will get hurt? Who will get blamed? And most importantly, what is the price of misplaced trust?

So check it out at Smashwords, Diesel, Kobo, iTunes, and Barnes & Noble. Charlotte Blackwood’s Those We Trust.

Please, please, please, check it out!