The painful birth of a mystery writer

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CHECK OUT THE LINK

Cover

My new mystery, The Second Oldest Cold Case in Port Cabrillo, has been accepted by the Kindle Scout Program. If you will check out this link
https://kindlescout.amazon.com/p/L6YC6H7NFGT0

You can help me win a contract with Amazon.

The whole process is fairly painless—you only have to read 5,000 words, and then decide whether or not to nominate my book for publication.

I hope I can count on your support.

Kindle Scout is reader-powered publishing for new, never-before-published books. It’s a place where readers help decide if a book receives a publishing contract. Selected books will be published by Kindle Press and receive 5-year renewable terms, a $1,500 advance, 50% eBook royalty rate, easy rights reversions and featured Amazon marketing.you c

IF A PICTURE IS WORTH A THOUSAND WORDS, WHAT ABOUT A BOOK COVER? PART DEUX

Cover

Okay the cover I created for the digital copy of The Second Oldest Cold Case on the KDP cover creator was REJECTED by the Kindle Scout Contest people. I made THIS cover using little old Power Point. You can actually read the text on the thumbnail. So there you creators of cover creators!  I’ll let you know if my submission is going to run in the Kindle Scout Contest. Fingers Crossed. Winners get $1500 advance and Amazon does all your marketing.  I can live with that.

If a picture is worth a thousand words, what about a book cover?

DIGITAL_BOOK_THUMBNAILBookCoverPreview

The author’s choice of a cover for her book is extremely important because that’s the first thing the reader sees.  Apparently studies show that most folks decide to purchase a book just because of the artwork used on the cover.  So the old saw about not judging a book by its cover has certainly lost its credibility in the publishing world.

I have to admit, I had a great deal of fun designing the cover to The Second Oldest Cold Case in Port Cabrillo.  It’s a different sort of creativity than writing, but the image, colors and typeface all play a role in creating a cover that is both attention-getting and able to provide a visual peek into the content inside. The willow tree is pivotal to a major story arc in Second Oldest Cold Case, but don’t worry,  I”m not going to give the whodunit ending away.  A photo of a sea cave might have also worked but could’t find one next to a pickle-covered sand dune hiding the entrance.

You would be surprised how restrictive using the Amazon cover design applications can be.  I know this is a beta cover creator and that experts have programmed these apps to produce successful covers but I found the locations of title, subtitle and author name totally inappropriate for my book.  With the digital cover, my primary goal is to create a cover that’s readable—especially as a tiny thumbprint used to sell books for the Kindle or the Nook.  For the digital copy I had to crop the photo severely.  I deliberately left only the left hand side of the tree, where the branches were sufficiently thick that you didn’t get the reflection of the pond interfering with the text.  With the Oldest Cold Case in Port Cabrillo, I used a personal photo of the Port Hueneme  pier—in silhouette against the backdrop of a vividly red and orange sunset.  The black pier provided the perfect space for the subtitle.  But with the second book, no such an ideal space for a subtitle existed.  After a hundred attempts with different fonts and colors, my only option seemed to be running the subtitle as part of the title.  Because of the largely red and yellow background, the only color choice was white.  Sheesh.  At least you could read the letters on the cover.

I had a much greater latitude creating the cover for the print edition.  The format that immediately caught my eye was the one that allowed me to use the entire photo of the tree.  In this format, the image flows from the back to the front of the book—with no title on the spine to interrupt and the back cover blurb floats over the photo like this blog photo.  I chose bright yellow as the background color and black lettering to maximize contrast.  There was even a tiny location on the back cover to add my publishing company logo—the Victorian chandelier with the words “Get-a-Clue Publications.”  Again the variety of fonts available was not satisfying but I selected the closest choice to the font that I used on my first book. BTW, for the first book I created my cover in GIMP by following the excellent directions given by Joleene Naylor.

The photo I selected for the cover of Second Cold Case, since I was using CreateSpace and not GIMP, not only had to be copyright-free but also at least one thousand pixels high.  I couldn’t use my own photograph this time since the only willows around Ventura County are Australian willows, which may be drought resistant but the slender drooping branches are never very thick with leaves and they never touch the ground (like the willow in my imagination). Given the size and providence limitations, I was delighted to find a weeping willow whose branches formed the green feathery hoopskirt that  I had described in the book.  But alas, for you willow purists, the leaves on this tree would not be destined to stay green,  I used Photoshop to  turn them bright crimson—the color of freshly shed blood, of course.

Let me know what you think.

Joseph Heller: “Every writer I know has trouble writing.”

That’s the last line of my email signature, and it’s absolutely true. Furthermore there are no lengths to which writers—well, I should only speak about me as a writer—will go to in order to keep from sitting down at the computer and facing a blank new document.

Would you believe submitting to two complete knee replacements? I like to say that writing my second murder mystery had to be postponed because I was recuperating from two knee replacement surgeries in 2013, which was true, but not completely true. I have to admit that what was being replaced was my knees, not my typing fingers.

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I was blocked. I had a terrific idea for a plot but I just couldn’t get around to composing the opening line. Allow me to return to 2012, as I was finishing up The Oldest Cold Case in Port Cabrillo. The characters of Carina, Anne and Charlotte were already very real to me, but I didn’t really know much about Emily—that is, not until I met and got to know Kathleen Sheehan.

She was, in fact, the first female police chief in Ventura County, and a larger-than-life figure, you will never meet. Everybody fell in love with her—from her officers to residents of Port Hueneme. She wasn’t afraid to pitch in if she saw a need. I remember the first time I made her acquaintance—at the Friends of the Library High Victorian Tea. As I recall, it was taking forever to get the raffle prizes to the winners.

Like all volunteer organizations, the Friends of the Library board was rapidly aging out. Most of the members’ ages ranged from the late-sixties to mid-eighties. Well, Kathleen didn’t wait to be asked—she jumped up, and started to pass out prizes. The following year, she purchased a tea service, and volunteered as a hostess.

And it wasn’t just our little non-profit that benefitted from Kathleen’s boundless energy. All of the local service organizations found themselves with a new board member or volunteer worker. She had no desire to hide behind her police chief title—she was all about helping others.

She also built up our K-9 unit—she did adore dogs, just as Emily does, and the German Shepherds she found funding for did a superb job or patrolling the Port and assisting the sworn officers. She did also offer to train Chloe, when she saw how much the six-pound Yorkie yearned to become a K-9 officer. Unfortunately Chloe couldn’t sniff out drugs. The only thing she could discover with her Yorkie nose was liver sausage.

Over lunch, one day, Kathleen told me about a cold case that became the inspiration for The Second Oldest Cold Case in Port Cabrillo. When she was working in another jurisdiction, a relative of Sharon Tate asked her to reopen a death that had been ruled suicide in that town. A young man was shot in a locked motel room in what looked like, to the former investigator of the death, to be a self-shooting. The young man was also judged by the investigator to be a worthless hippie and druggie.

Interestingly enough, the young man had been living at Spahn Movie Ranch with Charlie Manson. He had been ordered by Manson to drive the car with Charles “Tex” Watson, Susan Atkins, and Patricia Krenwinkel to the home of Sharon Tate and Roman Polanski. Instead of complying with Manson’s request to bring a weapon and his driver’s license, he ran away. He had told his mother that Manson had put out a hit on him. Some fifteen years later, a close relative of Sharon Tate’s requested that Kathleen reopen the case as a homicide. No physical evidence existed at that point in time. The death had been ruled a suicide. The motel, in fact, had been relocated several miles away, and had been completely refurbished. The case quickly went cold.

I wanted to use this case in my second book because of the link to the Manson Family killings but I had a really big problem. The Tate murders had occurred on August 9, 1969. The date of the murder that served as the basis of my first book was August 18, 1971. If this homicide was going to be the second oldest cold case, I would have to either fudge the date, or allow the young man to expire several years after he had been shot.

I am a big believer in serendipity. When I read an article in the New York Times I realized immediately that I could solve my problem with respect to the discrepancy in dates. The article was about a ninety-seven-year-old Brooklyn man who died on September 16, 2014 from a stabbing that occurred in either 1958 or 1959. You don’t have to be a whiz at math to determine that he didn’t buy the farm for fifty-five years after he got knifed in the back.

In fact, the New York City medical examiner determined that Antonio Ciccarello died from a bowel obstruction related to medical treatment for the stabbing. According to family lore, Ciccarello was stabbed for no apparent reason as he was walking to his job as a porter in Midtown Manhattan. He went to the hospital but never filed a police report. His death was reclassified as a homicide by the medical examiner, and the New York Police Department included Ciccarello’s death in its 2014 homicide statistics.

I decided to change the cause of death from a shooting to a stabbing for two reasons: first, although a gun was used during the Tate murders, Sharon, herself, was stabbed, and, second, I planned to have Woody ultimately succumb to tetanus, so a knife through a dirty sleeping bag seemed more appropriate than a bullet.

It wasn’t until I conferred with Dr. D. P Lyle, a former medical examiner and author,  that I discovered tetanus could not be Woody’s cause of death. I had to find some other opportunistic disease that might take advantage of his tetanus-ravaged immune system. After considerable research, I chose Valley Fever as a credible cause in San Perdido County (which is actually Ventura County). Many residents of Ventura County contracted Valley Fever during the time our neighborhoods were being developed. Sheep used to roam the hillsides on which our homes were being constructed. The only deaths that resulted were older folks who were saddled with compromised immune systems.

Also I know nothing about guns. My firearm expert is Douglas Breeze, and he knows everything about firearms. I asked him about a possible .38 caliber weapon—something a female police chief would carry. He suggested a Smith & Wesson Chief Special. The gun also has an interesting history which I planned to work into the dialogue. I told him that the current police chief in town carries a .40 HK but I said that it sounded like too much gun for me. What I really meant was that it was too much gun for my character, so I didn’t blame him when he mistakenly thought I might be thinking about getting a gun. Me firing a gun is something that has yet to happen but I can assure you that it’s presently not on my bucket list.

I also was fascinated by the history of Summerland. I wanted to explore the culture that existed during the pioneer days when most of the population was made up of Spiritualists. We had also enjoyed a number of meals at the nearby Big Yellow House where we had heard fascinating stories about all the ghostly presences that haunted the place. I had already introduced a touch of the paranormal in the first book with the diary of Claire Berylwood, where the broader theme was overcoming estrangement, and I wanted to see if I could contrast spiritualism and Christianity as a broader theme in the second book.

The unfinished business from the first book still needed to be dealt with as well. First, I had devoted a chapter to the first murder by our serial killer but only the reader knew about what had happened because of limitations on the word count. I wanted to find a way to give the Hunter triplets this information as well. I also wanted to put the murderer on trial. Most murder mysteries end with the scene in which the detective lays out all the clues and explains how he or she solved the crime. The lessons Charlotte, who is our professional prosecutor, could teach were never dealt with. I wanted to show that despite all the evidence and testimony gathered, the final outcome is invariably in the hands of a jury, who can be, unfortunately, manipulated. It’s the law part, in “Law and Order,” that is MIA in most murder mysteries.

Finally, my own son, who is an Asperger’s adult, inspired the character of Anne. The psychologist, who prophesied that my son would never graduate from college, get a job, buy a house, and have a successful interpersonal relationship, was wrong about everything except the interpersonal relationship. I wanted to see if Anne could succeed in the romance department—maybe because I still dream about future grandchildren.

I use the words, “I wanted to see,” because I don’t always know what is going to happen with my characters. To be absolutely truthful, I’m just taking dictation most of the time. I give them a subject to talk about, and I can’t shut them up. I just try to get all the words down on paper. Also, I have no idea how my mystery is going to end. Honestly, there is no outline to my book—just brief biographical sketches.

I wish I could be like J.K. Rowling, and create incredibly detailed outlines. My feeling is that if I already know what’s going to happen, I’m going to telegraph it, somehow, to the reader. What I do is just keep introducing obstacles. I tend to be a very linear person, so I need to challenge myself with questions like, “How could things go terribly wrong, now?” I subsequently paint myself in a corner, and then brainstorm possible solutions. It’s how I work best, so that’s what I do. I know I’m on the right track when I tell my husband about the characters as if they were real people in my life.

The first book was pretty straight ahead—very much in the style of Agatha Christie. I concoct the usual red herrings and have my three detectives discard possibilities until they get down to the killer by the process of elimination. My major goal in the first books was tell a story that was character-driven. The villain is easy—mine are always toxic narcissists because that’s the kind of person who has always given me the most grief in life.

I once had lunch with Sue Grafton because her son was one of my students at CLU. She was going through a horrendous divorce and she said she could think of at least twenty-six ways she would like to murder her ex-husband. Hence her Kinsey Millhone alphabet series was born.

Somebody once told me that I have so many narcissists in my life because I have never learned how to deal with them—other than try to stay far, far away. I was disappointed and saddened to learn the people affected with narcissistic personality disorder will never be cured. No amount of therapy seems to help since the No. 1 symptom is denial.

In the meanwhile, narcissists attempt to destroy the people who try to live with them. I now think of them as “crazy-makers” with whom any semblance of reason does not work. Their reality is so different from ours simply because everything is always about them. I think of them as living on their own planet with very few people willing to apply for visas—since the cost of the visa is total co-dependence. They are also plagued with serious anger management issues because they feel compelled to protect and preserve their version of reality, no matter what the cost. When they are crossed, they are certainly capable of murder.

Like marathon viewers of such television series on Netflix as “Mad Men” or “House of Cards,” I’ve read everything ever written by Elizabeth Peters and Dorothy L. Sayers. I’m drawn to both of them because they are passionate about research, work and play well in academia, but they can’t help teaching.

I take solace in the fact that both were criticized for boring their readers with details that may seem fascinating to academics, but are not essential to the action. For example, Edmund Wilson wrote a savage attack on Sayers in a New Yorker article entitled “Who Cares Who Killed Roger Ackroyd?”

In his review of The Nine Tailors, a detective novel by Sayers that won a “Best of the Thirties” British Crime Writers award, and was adapted as a four-part BBC series, Wilson wrote, “I set out to read [it] in the hope of tasting some novel excitement, and I declare that it seems to me one of the dullest books I have ever encountered in any field. The first part is all about bell ringing as it is practiced in English churches and contains a lot of information of the kind that you might expect to find in an encyclopedia article on campanology. I skipped a good deal of this, and found myself skipping, also, a large section of the conversations between conventional English village characters . . . ”

Wilson continues, “I had often heard people say that Dorothy Sayers wrote well . . . but, really, she does not write very well: it is simply that she is more consciously literary than most of the other detective-story writers and that she thus attracts attention in a field which is mostly on a sub-literary level.”

Wilson also hated Lord Wimsey, the fictional character so beloved by readers that he was the subject of nine books, has his own Wikipedia page, and fan clubs and societies dedicated to Peter Wimsey have proliferated all over the world. “There was also a dreadful stock English nobleman of the casual and debonair kind,” Wilson wrote in the same article, “with the embarrassing name of Lord Peter Wimsey, and, although he was the focal character in the novel . . . I had to skip a good deal of him, too.”

I relish learning new things—especially in mystery novels—and while too much trivia might bog down the story, most of it is necessary to give depth and richness to the plot and dialogue as well as evidence the clever ability of the detective to read clues invisible to everybody else.

Elizabeth Peters is the pseudonym that real-life Egyptologist Barbara Mertz used when she penned the Amelia Peabody, Vicky Bliss and Jacqueline Kirby series. Since I’ve always been fascinated by ancient Egypt, I devoured all nineteen volumes of the Peabody series before tackling the chronicles of Medieval Art specialist Vicky Bliss and librarian Jacqueline Kirby.

As with Sayer’s Oxfordian Harriet Vane, Amelia Peabody Emerson shares, unashamedly, many personal characteristics with Barbara Mertz. Both Amelia and Harriet are unconventional females. They have acquired advanced degrees, possess Sherlock Holmesian minds, and seem to be ardent feminists who would prefer being admired for their minds but don’t object to being sexually desired as well. Both the Peabody series and the Harriet Vane books qualify as historical fiction these days. Sayers’s novels, written during the thirties, were set after WWI, while the Peabody books satirize the Victorian era.

Cold cases inherently take the reader back two or three decades. In order to give verisimilitude to the narrative, I employed so-called hippie slang, dressed the characters in period clothing (no Beatles tee shirts because they didn’t exist until the next decade) and worked in such historical cues as Woodstock, the return of Vietnam vets, and the mainstreaming of psychiatric hospital patients.

Thomas House, the Victorian mansion brought back to life by Carina and Anne, may have been a figment of my imagination, but it enabled me to indulge my interest in the history of Eastlake furniture as well as to explore the early history of Port Hueneme, which included the impact of two generations of the Bard family.

I deliberately disguised the Bard family name because I didn’t want to risk a lawsuit, so I used the name of their mansion, Berylwood, instead. Thomas Scott, who is camouflaged as Scott Thomas, was the railroad executive who employed Thomas Bard to develop his oil interests in California. He never built a mansion for his son in Port Hueneme. In fact, there are no Victorian houses in this sleepy little beach town.

Thomas Bard (Berylwood), however, would become the Father of town (Port Hueneme) as well as Hueneme Wharf. His son Richard, who built the Port of Hueneme, actually decided to name his port after the town, rather than Juan Rodriguez Cabrillo, who explored this portion of Pacific coast in October of 1542. While an automated lighthouse still functions in Port Hueneme; there is no statue of the explorer.

Including a couple of historical figures in my first novel just whetted my appetite for more. I learned a great deal about grounding the narrative in time by including actual historical figures from the Amelia Peabody books. Barbara Mertz was quite skilled at organically inserting such real-life personages as Sir Evelyn Baring, Howard Carter, William Flinders Petrie, Gaston Maspero and Wallis Budge, without sacrificing any credibility in the narrative.

In the second novel, I had to mask the real life names of members of the Tate family, Roman Polanski (Cynthia Haas suggested the lyrical French name, Armand Duval), the Manson killers as well as H. L. Williams (the founder of Summerland) for obvious reasons. I believe I was able to successfully embed such actual historical figures as Abraham Lincoln, Nettie Colburn Maynard, Harriet Beecher Stowe, and Susan B. Anthony as well.

While I was able to write the first book by basically weaving two stories together—separated in time by forty years—I knew the second book would be much more complicated. I was going to be dealing with five different arcs—Woody’s, Traveler’s, Francine’s, Penny and Phoebe’s and the Hunter Triplet’s. I wrote each arc separately, and then braided them together. Again I used dates at the beginning of each chapter to establish a timeline.

I also thought it would be fun to use Beatles’ song titles (when possible) to head each chapter since Manson was so heavily influenced by their so-called “secret” lyrics. I avoided, however, “Helter Skelter” as too obvious. Also I wanted to avoid being sued. That’s also why I sidestepped most copyrighted names of products. The owner of Get-A-Clue Publications is allergic to lawsuits.

I am terribly grateful to my beta readers—they are a diverse trio, and they provided me with lots of useful feedback. It’s always tempting to fall in love with your own creation, and critics, while they aren’t always right, do tell you what you need to know. At some point writers have to decide if one is writing for oneself, one’s audience, or some sort of combination one can live with.

Writing totally for yourself will only get you so many readers (people like you). Writing totally for your audience may get you lots of readers (ask Dan Brown) but your creation no longer looks like you. Can you still love such a commercial creation? That’s the question. You can always love the money your creation brings you if that’s why you are writing. I write because I can’t not write. Furthermore, I still believe that Deception Point is a much better novel than The Da Vinci Code, but then, that’s my humble opinion, Dan.

So now it’s time to get to the point of this essay—to talk about the writer’s block that took me more than eighteen months to overcome. I didn’t start churning out the totally disciplined, three to four pages a day, until I was struck with the most debilitating pain I’ve ever experienced.

I’ve had sciatica before, but this didn’t go away—no matter how much I exercised, how many massages I got, how many pain pills I took. It just got worse. Every day, for almost six months, I was in agony. The only time I could distract myself from the hurt was to write. I wrote and wrote and wrote. In the meanwhile, my doctors kept trying to figure out what was wrong.

Finally, I was told to get an MRI. That was certainly a picture that was worth one thousand words. Here was incontrovertible evidence that an extruded disc was the sole cause of the problem. The disc material had not only pushed out but it was pressing against the sciatic nerve. Fortunately there is a treatment that works eight-five percent of the time. It’s called a micro-discectomy. Just one day in the hospital and all the pain is gone. I’m not ashamed to tell you that tears of joy rolled down my cheeks that day as I guided my sexy red walker down the hospital hallway.

The best part was that the book was finished, and in the hands of the beta readers the next week. I was now free to do spell and grammar checks; reconcile punctuation, abbreviations, and all that other copyediting stuff with the Chicago Manual of Style. I was also free to design the book’s front and back covers.

I decided to enter the Amazon Scout program, not just because of the fifteen hundred dollar advance but also because they do a supersaturated advertising campaign. They’ve done right by me with the first book. A little check arrives in my checking account every month, and I don’t have to do anything but keep working on the next book in the series.

By the way, I’ve had three well-respected, non-fiction books published and purchased by hundreds of libraries as a reference. I made more money, however, on my first murder mystery, than on all three academic books together. What does that tell you about the publishing business?

Check out this video on YouTube:

CHAPTER AND VERSE BEHIND E-BOOK SELF-PUBLISHING

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BOOK COVER

So you want to become an author? I hate to break it to you, but what you really want is to become a publisher. Relax, it’s not as impossible as you think.

While my last book, “Reelpolitik Ideologies in American Political Film,” achieved “respectable sales” (the average U.S. nonfiction book now sells fewer than 250 copies per year), I was little comforted when a royalty check for 66 cents arrived in the mail.

I then started researching self-publishing, which has tripled, according toBowker since 2006.

Readers are being seduced by the lower cost. A traditionally published fiction trade paperback averages $16.92 and a fiction hardback at $28.73. Contrast that with an indie fiction paperback averaging $6.94 or an indie e-book at $3.18.

Moreover, self-publishing is no longer burdened with the negative vibes of the vanity press. Today, such established authors as Pulitzer-prize winner David Mamet or romance novelist Eloisa James have decided to publish themselves.

First, veteran writers are simply fed up with the lopsided division of royalties. While independent author/publishers get no advance, they now typically end up with 70 percent of sales. A standard contract with a traditional house not only stipulates that advances must be paid back, but also that royalties can only amount to 25 percent of digital sales or 7 percent to 12 percent of the bound book list price.

Second, there’s virtually no marketing for any but top-tier authors. Publishers stayed solvent in this deteriorating marketplace only by shifting more and more responsibility to authors. In fact, most book proposals now require an extensive section detailing the author’s platform, reader community and social media profile.

Third, traditional publishers insist that an author surrender too much creative control. A mystery house that shall remain nameless would have published “Oldest Cold Case in Port Cabrillo” had I deleted sections that reviewers now identify as the book’s most compelling scenes.

Luckily for folks like me, the Big Six New York publishers created a vacuum when they decided to price their e-books too high. Jeff Bezos, never one to muff a financial opportunity, stepped up with KDP (Kindle Direct Publishing) and Createspace (his print-on-demand operation).

Bezos’ dirty little secret? He demands that the author/publisher do all the work. But he also returns almost all of the profits.

So merely penning a 90,000-word manuscript is only the beginning, dear author. While Microsoft Word’s bells and whistles makes life easier for the amateur scribe, all those nifty shortcuts to style or structure must be manually removed before your magnum opus can morph into an e-book.

And while in a perfect world all e-readers would employ the same format, sadly this is not the case today. If you want to make your book available for the Nook, Kindle and Apple e-reader, your manuscript must be converted three ways — and flawlessly. Are you ready to tear your hair out yet?

Yet, no indie author/publisher stands alone in this brave new world. While I was laboring on “The Oldest Cold Case in Port Cabrillo,” I ran across a blog that doggedly argued for taking one’s Word manuscript down to bare bones before coding the paragraphing, italics, bold, diacritical marks, chapter headings, title page and photograph insertion into proper HTML.

While HTML was not the only four-letter word emanating from my mouth during the challenging procedure, Guido Henkel () was right. After my editing program ground out the final product — it was mistake-free. No gibberish appeared in the text, no gigantic print suddenly sprouted up, and all of the hyperlinks between chapters and the table of contents operated seamlessly.

Next, when my cover artist dropped out, I stumbled on step-by-step instructions for creating a single-image cover in an online post by Joleene Naylor.

My murder mystery takes place — don’t tell anybody — in a sleepy little beach town that coincidentally resembles Port Hueneme. All I had to do was dip into my iPhoto archives for a sunset shot of our pier, manipulate the color balance, superimpose the title and voilà, a sufficiently creepy cover at zero cost (not counting the Oreos I devoured to ease my ensuing frustration).

But no book can be a total DIY project. My best advice? At least hire a professional proofreader. Reviewers, you see, will call you on any typos or misspellings. Don’t let subsequent sales suffer for a few measly dollars.

If you decide to invest in a print version of your book, which the majority of author/publishers still forgo for reasons either philosophical (to harm no trees in the print process) or economic (print-on-demand setup costs can range from $300-$800), Createspace, the most popular player (57,602 titles), provides a viable option.

And just to let you know, my royalties from “The Oldest Cold Case in Port Cabrillo” have already exceeded 66 cents.

Beverly Kelley, PhD, who writes every other week for The Star, is professor emerita in the Communication Department of California Lutheran University in Thouand Oaks. Email kelley@clunet.edu

 

ITS REALLY HAPPENING!

Amazon tells me that The Oldest Cold Case in Port Cabrillo will be available for purchase in 12 hours.  Those of you who will be the first to purchase have my heartfelt gratitude.  When you finish reading it, please consider giving your feedback to Amazon.

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