Viral Book Marketing: Video Trailers

Successful self-publishing authors know that book marketing and promotion are part of the deal, and ready to hit the ground running upon publication. Today’s market provides so many new venues to get the word out, including this cool new thing: book video trailers.

This tool alone isn’t going to make you a bestselling author, but used right, could be a colorful piece in your marketing map. Check out the web some interesting dialogue on the topic, and ask your publisher about book video trailers.


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Ask the Book Doctor: Punctuation

Q: What is the correct punctuation for the following?

“You makin’ fun of my name, or you be callin’ me a buzzard?” Linus asked.
Kendra’s infuriating “Whatever” was followed by “If the buzzard-shoe
fits, lace it up.”

A: The punctuation is fine as is, as long as the sentence beginning “Kendra’s” starts a new paragraph, which didn’t seem to be the case in the e-mail, but that’s a format issue and not a punctuation issue.

Also not a punctuation issue is my concern about the use of dialect (makin’, callin’) which is not recommended, for quite a few reasons. Rarely can an author maintain the dialect throughout, and when one does, dialectical dialogue grows tedious for readers. Dialect is not only difficult to write but also difficult to read, and many publishers shun it. Instead of dropping letters to show dialect, rely on word choice to show the speaking style of characters, as was skillfully done in the last piece of dialogue, “If the buzzard-shoe fits, lace it up.”



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Bobbie Christmas, book doctor, author of Write In Style (Union Square Publishing), and owner of Zebra Communications, will answer your questions, too. Send them to Bobbie@zebraeditor.com. Read more “Ask the Book Doctor” questions and answers at http://www.zebraeditor.com.

5 Tips for Finding Errors in Your Writing

1 – Utilize an editor

The most common mistakes are minor, such as misspellings or incorrect use of punctuation. Other common errors are incorrect word use (their, they’re, there). A professional copyeditor is adept at noticing and correcting these kinds of mistakes. Do not make the mistake of relying solely upon a computerized spell-checker, which cannot tell the difference between “worse” and “worst” since they are both properly spelled words. Use an editor – a human one. Good self-publishing options will provide copyediting and other more advanced services. Be sure to ask your rep.

2 – Get a second (and third) set of eyes

Even if you do not wish to pay a professional, anyone who reviews your writing will find mistakes you invariably miss. Since you are overly familiar with your own work you are much more likely to miss obvious mistakes because your mind already knows what it is supposed to say, rather than what it actually says. When someone else reads your work, they have no preconceived notions about your writing. In addition to finding mistakes, other people may offer helpful suggestions to make your business writing stronger.

3 – Come back to it later

Do you wait long enough after writing something to begin editing it? Many writers edit their work as they write it. Not only does this slow down the creative process, it increases the chance that your mind will ignore blatant errors in deference to your intentions. Once your brain thinks a paragraph is free from errors, it tends to overlook any new errors that are introduced during the rewriting process. Put your writing away for several hours, days, or weeks and revisit it later. After some time away from your work, you will be more likely to read the words as they appear on the page, not as you envisioned them in your mind. The mind is error-free, the page is not.

4 – Read your material backwards

You are only familiar with your writing in one direction – forward. Reading your material backwards makes it seem entirely different and fools your mind into ignoring the intention and only concentrating on the reality. Furthermore, your critical view of the writing at its most technical level will not be corrupted by the flowing exposition you have massaged into sparkling prose. When you read your manuscript backwards, it becomes a collection of words. Without contextual meaning, the brain has nothing to focus upon other than the words themselves. Mistakes literally jump off the page.

5 – Read your material out loud

When you read words aloud, your brain must slow down and concentrate on the material. How fast can you read the following sentence? The quick brown fox jumped over the lazy dogs. Now how fast can you read it out loud? It takes at least twice as long, and those precious milliseconds sometimes make all the difference between a typo that is missed, and one that is caught and corrected.

As a popular Internet posting informed us in 2003, it deosn’t mttaer in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht the frist and lsat ltteer be in the rghit pclae. The rset can be a toatl mses and you can sitll raed it wtihuot any porbelm. Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe. But try raednig tihs out luod and see how far you get. An extra bonus for reading your material out loud is that you may discover stumbling blocks like awkward sentence structure and choppy dialogue.



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Self Published Book Review of the Week: Titus: The Tragic Death of an Emperor

Titus: The Tragic Death of an Emperor

by Leon Newton

This self-published book was recently reviewed by Peter M. Fitzpatrick:

“Your jails are filled with paupers, not criminals, and the gutters are filled with the heads of those who would dare to question the system.”

In an era when American soldiers have given their lives so that Iraqi people can exercise the democratic vote, when questions about Afghani presidential voting fraud get international attention, plays like this one have a special resonance. They do so by reminding us that these ideas and values have been with us for a very, very long time. Set in the reign of a fictional Roman emperor in the first century of the common era, Titus is the story of the fault lines and weakness that ran through the fabric of Roman society after it threw off republican forms of governance and law for monarchical and autocratic ones. Through economy of setting and starkly rendered characters, themes and issues of timeless power begin to emerge into the foreground of the story. Simple sounding ideas like democracy and truth, trust, mercy, justice, and the state find embodiment and representation in this short, two-act drama.

It is not an accident that this first century story of Roman political intrigue and double-dealing should have a mirroring effect for us today. Our very own concepts of checks and balances, separation of powers, term limits, and the power of veto are ultimately derived from the ancient Roman constitution. They had these ideas too. In fact, when we witness such things as pro-democracy protesters being clubbed and killed in the streets of Iran, we see elements of this play being enacted on the stage of life. They are powerful and very much living ideas. The author has done well to render them somewhat larger than life and almost archetypically. Issues such as truth and justice may seem abstract and airy. They are not to those who do not have them. That is perhaps what this play is mostly about. And in a time when torture, terror, and freedom operations are on the tips of all our tongues, it is wonderful that he has done so.

For more information or to order the book, visit the author’s webpage: www.outskirtspress.com/professorleonnewton



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