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THE ACCIDENTAL SERIES – Guest post by Katie Oliver

Posted on March 15, 2015 by LisetteMarch 15, 2015

TweetThe Accidental Series

Lisette has graciously invited me to visit her Writers’ Chateau once again, to talk about writing a series – in my case, writing a romantic comedy series.

Confession: I’m probably the worst person on earth to address this subject…because my first three books (Dating Mr Darcy) didn’t start out as a series. They were just three novels with a few overlapping characters, characters I found interesting and fun and wanted to write about. It all started like this:

What if, I mused, a British family owns a long-established department store, Dashwood and James. Due to unforeseen economic circumstances, the store falls on hard times. And what if an arrogant but astute businessman (think Simon Cowell or Gordon Ramsay) is brought in to help the store…and clashes immediately with the family’s spoilt daughter, Natalie?

And I was off and running.

When I wrote Prada and Prejudice and the next two books, I didn’t follow any ‘rules.’ I didn’t look at any publisher’s guidelines. I just wrote what I wanted to read, but couldn’t find on the shelves – romantic comedy with some menace and/or mystery thrown in. I wrote all three books while still working full time – don’t ask me how. I look back, and I really don’t know how I did it.

(These were my working folders for the first three books in the Dating Mr Darcy series. I found the Izak Zenou folders at Target. Score! Pretty, sassy, and perfect for storing all of my story notes, photos, and editorial letters.)

It was just something I felt I had to do. The kids were grown, and I had a strong ‘it’s now or never’ feeling (with apologies to Elvis). So I let my imagination take off, and I wrote every chance I could – in a tiny pocket notebook before mass (I know, bad), on legal pads at work (again, bad), and hunched over my laptop at home. I had the fever (with apologies to Peggy Lee and Christopher Walken).

I kept track of the characters and plot points in a spiral notebook, one for each book, and I saved any articles, interviews, or research notes related to the story in folders and a three-ring binder. I bought poster boards and made a collage of photographs of people who resembled my characters, and hung it near my desk for visual inspiration whenever my imagination flagged.

Working folder for book two in the Dating Mr Darcy series, Love and Liability.

When I finished Prada and Prejudice, I began writing the second book. A few things that inspired me at the time included Mara Rooney’s portrayal of Lisbeth Salander in the film The Girl with the Dragon Tattoo; a segment on Gordon Ramsay’s The F Word program about “freegans” – people who skip-dive for a living because it’s (a) free and (b) helps reduce food waste; The September Issue, a documentary which offered a fascinating behind-the-scenes look at Anna Wintour and Vogue magazine; episodes of Law and Order UK; payday loans; and the British media’s mobile phone hacking scandal.

When I started the second series, Marrying Mr Darcy, I needed ( you guessed it) more folders. These three kept me semi-organized while writing And the Bride Wore Prada, Love, Lies and Louboutins, and Manolos in Manhattan. And they were pretty to look at. Win-win.

Somehow, all these disparate things became Love and Liability, my second book.

Once again, I saved articles. I clipped photographs. I watched films and programs related to my research. Then…I wrote. I stopped to consult the previous book whenever I needed to search for the name of Lady Whatsit or recall the birth date of a secondary character’s sister or confirm where someone went to school/got married/grew up. It was random and disorganized and it drove me batty.

And it struck me then that perhaps I had gone about this the wrong way.

I had a lot of information and plenty of research material…but no system to keep track of it all, no method for detailing my characters’ bios and backgrounds. I carried on in this haphazard manner and finished book two.

This is my “mood board” for Prada and Prejudice – it’s on the sloping wall next to my under-the-eaves writing desk.

Halfway through the third book, Mansfield Lark, an amazing thing happened. Well, two amazing things. I acquired a literary agent who sold all three books to Carina UK, who wanted to publish them as e-books. However, they wanted to tie the books together as a series. So we started in the obvious place – with the Jane Austen-y title, Prada and Prejudice.

Initially, I was a little leery about this marketing decision. The books are ‘Austen lite’ at best – they don’t so much pay homage to Jane as give the occasional (sometimes cheeky) nod in her direction – but they do deal with families, and relationships, and romantic foibles, all of which I hoped readers (and Miss Austen) would relate to, and embrace.

I caught some flack from a few die-hard Austenites early on, and probably deservedly so. But when you’re a new, unproven writer and you have little (i.e., no) say in a publisher’s marketing or book-titling decisions, you learn to smile, nod politely, and go with the editorial flow.

The second series, Marrying Mr Darcy, continued on with the next three books I’d written, but with a slightly different theme this time – the titles would each refer to a designer (Prada, Louboutin, and Manolo, to be exact). Again, I had my doubts. Would non-fashion people know who Christian Louboutin or Manolo Blahnik were? (They’re French and Italian shoe designers, respectively, for those of you who may not know.)

But when I saw the titles and the gorgeous cover art that accompanied the books, I was once again one-hundred percent convinced. And with the release of the first book in the new series, And the Bride Wore Prada, I had my first best seller. Love, Lies and Louboutins became my second…on preorder, before it was even published.

The marketing wonks were once again vindicated.

So you see, I really am a terrible person to ask about how to write a series. I came at it from the wrong way around altogether, which is not the usual way to go about these things. But then I seldom do things in the usual way

Normally, when writing a series, it’s customary for an author to plan out the story arc for each individual book, as well as the overarching story arc for the entire series. There should be a “Bible” to track the various characters and their particulars from one book (and one series) to the next. There should be storyboards and index cards, and complicated genealogies and diagrams of family trees, and a lot of colored markers.

Of course, I did none of that.

But going forward? I think – no, I’m sure – that I probably will.

Katie Oliver loves romantic comedies, characters who “meet cute,” Richard Curtis films, and Prosecco (not necessarily in that order). She currently resides in northern Virginia with her husband and three parakeets, in a rambling old house with uneven floors and a dining room that leaks when it rains.

Katie has been writing since she was eight, and has a box crammed with (mostly unfinished) novels to prove it. With her sons grown and gone, she decided to get serious and write more (and hopefully, better) stories. She even finishes most of them.

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Manolos in Manhattan Blurb:

In the city that never sleeps…

Strutting down Park Avenue in her new Manolos, Holly James looks like a woman who has it all. But beneath the Prada sunglasses, Holly has a mounting list of decidedly unfabulous problems. Right at the top? The fact that since her fiancé Jamie started spending all his time at his new restaurant (with his impossibly gorgeous sous-chef!), Holly has practically forgotten what he looks like…and started to feel a teensy bit paranoid.

…shopping is a twenty-four hour job!

So when her old flame Alex suggests they catch up, Holly jumps at the distraction. After all, what’s the harm in some window shopping? But when sinister thefts start taking place all over the city, the Big Apple begins to feel like a dangerous place…and Holly can’t help being relieved to have capable, commanding Alex so close by. Suddenly, Holly’s window shopping is veering worryingly close to an impulse buy! But would giving into temptation be an investment…or the biggest mistake of her life?

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Katie’s Writers’ Chateau Interview

GATHERING MY FORCES (Why I relaunched my memoir) by Doreen (Dody) Cox

Posted on January 25, 2015 by LisetteJanuary 25, 2015

There have been several instances in my life when I’ve woken up from some stupor and realized that it’s time to take charge of something that is important to me. Instead of continuing to be swept along by events and conditions as they were, I’d gathered my own internal forces together in order to direct my own passage through the event. Such reversals are rarely done without the influence of others met along the way. Within this past year, my gathering forces converged and swept me into making some changes regarding writing and publishing.

Adventures in Mother-Sitting was my first published book. After my mother died, I threw my heart and soul into writing a memoir for family and friends, one that told our story. At the time that it was completed, it had only been six months since my mother had died. I wasn’t even online at the time, as I was not sure yet as to what direction to take beyond getting through each day. The world of publishing was foreign to me; I’d never heard the term “indie” author. And I hadn’t planned for the memoir to be published. But then I had an unexpected encounter with an old friend who had just published his memoir. He gave me the name of his indie publisher and the rest was history, or so I had thought.

I’m grateful for all the help that I received in order for Adventures to become a published memoir. It was important at the time that I honor my mother’s long-held wish: for me to write a book. But grief is a powerful force with which to reckon. Caught up in grieving and not knowing anything about publishing or promoting, I relied more on others than I did myself. I didn’t pick up my memoir again for a long time. I did set myself up to be online, but for a while, I merely did whatever I could to make it through my days. It took me over a year to once again feel my curiosity stirring, a surge that told me I was ready to tackle something new.

(Whistling Ducks perched on the dock by Dody’s Florida home)

Throughout that next year, I began to explore the world of promoting, signing up to be on Facebook, LinkedIn, and Twitter plus some other writing sites. It was through my connections with authors on LinkedIn and Twitter, though, that I began to be educated. Tweeting became a lifeline, engaging me and connecting me with indie authors of all genres, some who wrote memoirs and others who wrote fiction. For the first time since my mother had died, I began to feel alive with excitement and purpose. Coincidentally, people were beginning to read Adventures and give me feedback on my story via reviews.

It had been easier to slip into a space of viewing my memoir only through my own eyes; that’s how it was for me after I finished writing Adventures. My memoir felt complete to me—family and friends gave me feedback that said it was. Even the initial readers gave it five stars. So I let it be. Truthfully, I really didn’t want to think about having to read the finished memoir much less do a revision. I didn’t even want to write a sequel about life after caregiving, as some had suggested. I wanted to move on with my life and continue to write, but this time, write fiction.

Because of my interactions with other authors and the fact that I was an avid reader, I began to pay attention to book covers. I’d always been drawn first to the cover of a book. If the cover caught my attention, I’d open it and read the first few pages to see if the author’s words engaged me. But I didn’t do that with Adventures. I was being like an ostrich, burying my head in the sand—it was a long while before I acknowledged an urge to take a good look at my memoir’s cover. Whenever I glanced at the cover, I’d only notice our smiles in the photo and remember the moment that this picture of Mother and I was taken. But I was gathering information, and concurrently, my inner force was stirring, preparing for the time when I’d recognize that the cover did not measure up to the quality I wanted readers to see.

This is what I’ve learned: writing is an art, and like all creative activities, it requires study and loads of practice. Writing a novel or a memoir requires different skills than those I’d used previously when writing technical manuals. In order to hone one’s skills for writing books, an open mind to hear feedback from readers and other authors is a key ingredient. I comprehended this while writing my first piece of fiction, a short story titled A Sacred Journey. It was gratifying to get feedback from others, especially from an author whose novels were favorites and whose writing skills I’d come to admire: Julia Hughes. It was very exciting to watch my story go through changes as I rewrote passages that came even more alive for me. The experience was exhilarating. When it came time for me to decide on a book cover, I chose carefully, exploring until my gut centered on Laura Wright LaRoche of LLPix Designs. After receiving such a marvelous cover from Laura, the comparison in quality to my memoir’s cover began niggling at me.

After my short story was published, I began working on a new story. I was over 10,000 words into it when the niggling thought regarding my memoir wouldn’t leave me alone. Laying aside the new story, I gave in to my gut feeling to flip through Adventures and grade my writing skills against what I’d recently learned. It did not surprise me to see that my memoir didn’t measure up to the level I wanted it to have, neither the cover nor the writing. I knew that the memoir told my story well enough to engage readers; their reviews told me so. But the writing itself no longer satisfied me.

I’ve always been intrigued by the flavor that comes with recognizing some encounters as serendipitous. Two events happened concurrently with my dissatisfaction. The first was a four-star review that honored the story itself yet offered suggestions to clean up the writing. I took notice of those suggestions because I’d noted them myself while perusing my memoir. The second was what I consider to be a prominent serendipitous encounter with an indie author whose novel I’d just read. It wasn’t just that the story in Crooked Moon moved me so deeply—it was the high level of skill with which this author wrote, particularly the dialogues between characters. I wanted Adventures to measure up to the high standard of writing that I’d noted in this novel and in the subsequent novel I’d read by this exceptional author. Could I write as vividly, take a reader as deeply into my mother-sitting story as this author had taken me into hers? I wanted to try but was hesitant to even begin.

It was the unwavering encouragement from Lisette Brodey, Crooked Moon’s author, which stoked my spark into a flame for the revision of Adventures in Mother-Sitting. She became the wind beneath my wings; I’m convinced that my mother gave her an angelic nudge from heaven to help me. Even before my part-time GED teacher job ended for the summer, I cracked open my memoir to begin putting into practice all that I had learned.

The storyline itself did not change. I deleted some redundant passages, particularly ones that were too detailed with regard to my care of Mother. I also refined some of the more poignant experiences that I’d had relative to our changing relationship. I’m told that the descriptions of those are more vividly expressed in this new version because of the way that I’ve learned to craft my words. There were two chapters regarding my spiritual focus that just didn’t fit in the memoir. I removed them though didn’t toss the chapters away. They’re in a separate file because I felt that the chapters were well-written and convey my outlook on spirituality quite succinctly. Also, I’ve been learning to temper my habit of writing long, lofty sentences. This style is great for writing prose, but not appropriate for this memoir. I’d like the reader to stay with me in the story, not go off with me on some tangent.

Reading through Adventures and doing the revision was one of the most meaningful experiences of my life. It was intensely cathartic for me, taking me back through the experiences I’d had while taking care of my mother. It brought back the joy, the richness embedded in our final few years together. I’ve just completed the upload to Amazon and am ecstatic for what I’ve accomplished.

Midway through the rewrite, an unexpected gift came from Charles Roth of CMRdesign. He created the loveliest book cover. Using the same photo that was on the initial book, Charles skillfully removed the birthday confetti that was draped over our faces, leaving an observer to focus only on our joy. Every time I look at the new cover of Adventures, my heart expands, reminding me that the love shared between my mother and me still remains. This new cover from Charles is priceless—I’m deeply grateful.

In concert with my decision to rewrite Adventures, a surge of desire to become my own publisher set in—I’d done my homework. Making this change in direction happened accordingly. Honesty and respect is a great policy. To this end, Charles came to my rescue once again. The logo for Whistling Duck Books is exquisitely designed—I love looking at it. Every morning when my local whistling ducks wake me up, I think of Charles and this striking logo he designed, one that reflects my decision to follow my heart’s desire.

I’m thankful to many authors I’ve met in the stream for their friendship, their example, and their support of my efforts. My connection with these wonderful people adds such richness to my life, personally and as an author. In particular, I’m immensely grateful to Lisette Brodey and Julia Hughes, authors extraordinaire, for their unwavering guidance, helpfulness, and encouragement. It is my hope that readers will find that this second edition of Adventures in Mother-Sitting is written in a way that invites them to step into my story with me. Although it’s a hard one to experience, the story is one in which compassion, humor, and love overshadows every tough moment.

* * *

After a somewhat convoluted career path in various business-related and mental health endeavors, Doreen (Dody) Cox has settled into a later-in-life passion: writing. Her first book, Adventures in Mother-Sitting, is a memoir of her three years as a full-time caregiver to her mother, coping with dementia. It has just been released as a second edition. A Sacred Journey is a short story with themes inspired by her love for nature, curiosity regarding spirituality, and respect for dignity in death.

Dody resides in Florida and is a part-time GED teacher of multicultural students. The class is held offsite in one of her favorite places: a library.

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MUSIC & MYSTERY – Guest blog by RJ McDonnell

Posted on January 11, 2015 by LisetteJanuary 11, 2015

TweetThe purpose of this blog is to show you how I relate my series theme to specific marketing and plotting efforts in hopes that fellow writers will find an idea or two that will help build readership. Most of these concepts apply to standalone novels as well.

I write a mystery series that features private investigator Jason Duffy, who worked as a club musician for 10 years before earning his PI license. Although he’s handled a diverse range of cases in his first few years of private practice, I focus exclusively on the ones relating to the music industry in the Rock & Roll Mystery Series.

Writing about music can be tricky business. In an ideal world most of my readers would be fans of the music I write about, enabling me to share insights that expand their understanding of one of their passions. Had I started my series when I was a child, that ideal might have been achievable. Rock & roll had a much more homogeneous audience during the American Bandstand era. Granted, there were those who favored rock and others who preferred Motown. But most radio stations of that period carried everything that appealed to a young audience, and most radio listeners were not inclined to abandon their favorite channel when a less desirable tune came on the air. Today, there are 51 subgenres of heavy metal alone. Music fans have grown accustomed to highly specialized programming.

For that reason I try to focus on common areas of the music business and the day-to-day life of musicians rather than attempt to capture the mindset and topical preferences of particular subgenres. In addition, I always try to include unique or cutting-edge plot elements to spark the interest of readers who are not fans of the genre portrayed.

For example, my first novel, Rock & Roll Homicide, featured a half-US, half-UK heavy metal band. Had I opted to delve into the inner workings of one of those 51 sub-genres, dropping clues that would be clear only to fans of that music, I would have alienated most of the readers I was trying to attract. Instead, I focused on a record company with an unhealthy tie to the Russian Mafia. The novel was written about 10 years after the breakup of the USSR. While the outline was being formulated I met a man at a college alumni association function who just closed an electronics manufacturing business in Russia because half of his UPS shipments were being hijacked. Prior to that day I had never heard of the Russian Mafia. The bent-noses of the Borscht Belt aspect of the book got a lot of attention in the pre-e-book era, enabling me to get placement in stores across the US. The fact that Rock & Roll Homicide has been on two Amazon Top 100 lists ever since June of 2014 tells me the subplot has held up well over time, even though the Russian Mafia is getting more exposure today than its Italian predecessor.

The 2^nd book in the series, Rock & Roll Rip-Off, featured an emo band that failed to live up to expectations on its first album. I wrote the book on the assumption that most of my readers would be unfamiliar with the genre. Rather than spend time trying to get them to like or even connect with emo, I focused on something of interest to all music fans. The industry was forced into a sea change on how it made its money as a result of pirated MP3 files. Many record companies were struggling to stay alive. There was no money to give a high potential band a second chance after failing to gain traction on its first try. The rip-off noted in the title occurred to fund a record company executive’s bribe, which could have happened in any genre.

The whodunit was the unique element in that book. The reader learned in the opening that one of the members of The Tactile Tattoo engineered the rip-off. Careful clue analysis was needed to figure out which one. This is the darkest novel in my series. It’s also my least favorite. And, it’s the only one to win a Mystery/Thriller of the Year Award. Go figure.

The next novel, The Concert Killer, is my favorite. A serial killer tried to shut down the concert industry by dropping bodies at venues throughout California. The concerts featured a variety of different genres. From a series arc perspective we saw an extension of the sea change mentioned above. Since pirated downloads cut heavily into album earnings, musicians now earn most of their livelihood from concerts. The Concert Killer built a dam across that earnings stream. Concert-goers stayed home in droves. The novel climaxed as the killer was about to expand his territory to a national audience.

Like with the emergence of the Russian Mafia in Rock & Roll Homicide, The Concert Killer featured a cutting edge element. Unlike its predecessor, this cultural phenomenon won’t get hot until later this year when the US begins exporting liquefied natural gas for the first time. I’m hoping it gains the same kind of lift that Rock & Roll Homicide experienced in June. One of the advantages to being an indie author is that we don’t have to limit our windows of opportunity to the six week shelf life afforded most traditionally published authors at chain bookstores. Theirs is a “do or die” situation where failure to sell five to ten thousand books in that period usually results in a parting of the ways with the publisher. The indie route enables us to build a platform before jumping into those shark-infested waters (or opt out altogether).

The Classic Rockers Reunion with Death saw a major convergence of the story plot and the series arc. Jason’s father, Jim, is a retired San Diego Police detective. He opposed Jason’s career as a musician from day one, supposedly because of working too many musician OD cases. In this novel, Jason’s estranged Uncle Patrick from Pennsylvania asked for help after his former bandmate was murdered a few weeks before a reunion show for his ‘60s club band. Jason filled in for the slain rhythm guitarist as they prepared for the classic rock show. A 40-year family feud between Jim and Patrick played out while the murder was investigated.

My favorite part of writing that novel happened while researching the venue for the climax, which took place at the Scranton Cultural Center (formerly The Masonic Temple). I was given a two-hour tour of the ten story facility that was built in the late 20s by the Masons, and continues to serve as a Masonic Lodge. I was shown secret passageways, hidden staircases, spaces below stages, and enough intriguing architecture to inspire a Dan Brown novel. I used a “best of” selection for the climax, and saw a nice return from incorporating that fact into my local marketing efforts. I think it’s important to look closely at thematic and marketing possibilities after completing a novel’s first draft. Then, try to develop them during the editing process.

My 2014 release, Diamonds, Clubs, and Rock & Roll, also featured classic rock music. I did that for two reasons. First, it took place at an undersea club that was part of a resort for billionaires and millionaires. Demographically, classic rock fits better than any other genre considering that most people accrue wealth over time, and classic rock is popular with the 50+ crowd. Second, I wanted to bring Uncle Patrick to San Diego and needed him to work undercover with Jason in the club’s house band. I’m thinking about starting a second series that features Uncle Patrick and felt that the additional exposure would help ensure crossover among my readers.

The music got a boost from an alternate source in this novel. When live music was not playing in the club, the sound system was synched to a holography show on the floor of La Jolla Cove.

Songs like “Barracuda,” “Octopus’s Garden,” and “Yellow Submarine” were synched up with what was happening outside the club and sometimes inside the plot.

I’m a firm believer in the benefits of cross marketing. As a former band manager and musician, I do all that I can to bring a back stage pass to each murder mystery. My best newspaper exposure came from a library/bookstore tour AFTER I started bringing my guitar and PA system to the events. On site book sales quadrupled and feature articles appeared in four newspapers. The idea of including live music came after reading a social media post by a cozy mystery author who did knitting demonstrations during her tour. Authors with a particular theme would do well to brainstorm as many ways possible to engage readers with similar interests either in person or online. Hopefully, one of those ideas will help you chart in the Top 40.

Many thanks to Lisette Brodey for inviting me to pen a guest blog at her Writers’ Chateau. I am a fan of her novels, and of the effort she puts into helping her fellow writers. Hopefully, one of the marketing tips that I shared today will help you too.

Thank you, RJ! It’s been a pleasure having you back at my writers’ chateau! I hope readers will check out your wonderful books, starting with a free copy of Rock & Roll Homicide.

(Links below)

Rock & Roll Homicide (FREE)

Rock & Roll Rip-Off

The Concert Killer

The Classic Rockers Reunion With Death

Diamonds, Clubs, and Rock & Roll

RJ’s June 2013 Writers’ Chateau Interview

Writing Crime Mysteries: Guest Blog by Christina James

Posted on November 16, 2014 by LisetteNovember 16, 2014

Well, I’m honoured indeed to have been asked to Lisette’s Writers’ Chateau, where the dishy gardener is only too keen to show me his beds. Lisette also has a Bentley: he has the most amazing eyes and barks a formidable welcome, whilst Le Chat, the resident feline, takes her eau with delicacy and purrs as if I’ve been a lifelong friend. The châtelaine herself, of course, presides over all guests with the genteel refinement of the hostess of a superior literary salon, but then, you knew that!

She has asked me to talk about my writing of crime mysteries and I hope that what I have to say will be of interest to all visitors to the Chateau.

First, may I say that there are horses for courses and crime novels for crime addicts; I’ve read enough gruesome gore and nasty noir to confirm me in my belief that there is a limit to how much of that I and others can take and I set out to write for an audience which, like myself, prefers depiction of the psychology of the criminal mind to the painting of horror and the painstaking attention to police procedures. I wanted to develop character and use dialogue to point up the interest of interactions between people and, most of all, I sought to avoid stereotyping both detectives and villains.

In the world of my books, things are not cut and dried, nor necessarily tidily rounded off with everything sorted and satisfying. Life just isn’t like that. In a series, there are definitely some aspects that will be pursued in subsequent stories, but I still aim to make the books stand alone and have their own individuality, regardless of the presence of the same police personnel. So, readers of DI Yates know that I’ve used first person as well as third person narratives in two of the books, whilst in the other I’ve ‘got inside’ the head of one central character. I’ve also depicted different kinds of people to provide at least a sense of the human tapestry of the society of South Lincolnshire. As for the police themselves, I like to focus on different members of Tim Yates’ team; it’s interesting that Juliet has an enthusiastic following amongst my readership, some of whom were disappointed that I did not develop her much in the first novel, In the Family. Sausage Hall may go some way to address that.

I’m often asked about how I plot my books and this is a matter of huge importance to me, as my early unpublished work definitely needed the rigour of tight plotting. I try to fit plot design into our annual holiday, when I can escape from the interruptions, non-stop emails and telephone calls that my work-a-day existence always throws up. I have to spend time on clear thinking and working out how the layers of action will be interleaved and how to prevent the reader from guessing the outcome too soon. I’ve said many times that I’m my own worst enemy when it comes to writing, as, so far, I haven’t written chronologically and that has meant it’s all been much harder to control the detail and the connections. However, I’m always very much aware of the total concept, to deviate from which would of necessity mean significant changes to the entire narrative.

Readers seem to like my use of language and to enjoy the dialogue, so I try to include plenty of that, enjoying the cut and thrust of conversation, especially when I can create humour in the relationships between the police officers, for I know that what one reader has described as ‘zesty banter’ is often the way by which those hard-pressed men and women cope with the stresses of their jobs. Character voice is always important and quite a challenge when it is to be sustained from one book to the next – I’m acutely aware that readers pick up on inconsistencies and I have to revisit previous stories to check up on my accuracy.

I can’t avoid giving my work what some readers have remarked on as a ‘literary’ quality. As long as it doesn’t lead me into dense passages of purple prose, my style does lend itself to touches of irony, subtleties of meaning and elements of theme and symbol that help to tie the narrative together. I don’t want to have the sequence of events dictate the terms of the books, for events themselves, though of course important, are not my prime concern.

I’ve been delighted to have built up an enthusiastic following. I started out as an author and, although most people now know that I am the commissioning crime editor for Salt Publishing, I wanted to be read for my writing alone, not because I might be ‘useful’! For one thing, I think it’s vital that an editor has credibility; after all, making judgements on others’ work is difficult enough as everyone is sensitive to criticism. Having myself ‘been through’ the harsh experiences of those who try to get published is very helpful in handling difficult moments with authors… and there are plenty of those. I also wanted to establish relationships with virtual friends on the social networks as a writer, not an editor, and I’m so lucky to have formed many of those with people around the world. They are an enduring and reliable support; I enjoy interacting with them and doing my best with what time allows to support them in their writing endeavours. I’m thrilled when they achieve success. And my blog is my writer’s showcase; I aim to make every post as perfect as I can, as well as to convey aspects of my own character and opinions. Though I’ve never said this before, there’s a reference on the blog’s author page to those see-through police boards that appear on TV crime programmes and I set out from the beginning to provide over the entirety of the posts little clues to me and my real life that regular readers could, if they bothered to do so, use to form a complete picture of Linda Bennett, as well as Christina James.

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Email: christina.james.writer@gmail.com

MANAGING A SERIES by Deborah Nam-Krane

Posted on November 9, 2014 by LisetteNovember 9, 2014

My New Adult series The New Pioneers has a huge cast of characters. Each of the four full-length books is at its heart a romance with a different hero and heroine. That’s eight right there, and just about every character has a parent who plays a big role in their story, even if they’re deceased (two such parents are the subjects of my short story). Because no romance is much fun without a spoiler, that’s at least four more. And while not every character is going to carry a story on his or her own, it’s important to have friends who fill out the major characters’ lives.

In other words, I have close to thirty characters I manage in my series—and that’s just in the books I’ve published so far. Books five and six are going to open up into an entirely different area of the New Pioneers’ universe. The challenge there is to respect the history and important of the people who introduce them while making the new characters as compelling as our old favorites. (Then again, the last half is always part of our job.)

So how does a writer manage such a large cast over multiple books and with that many more storylines? In two ways: first, knowing the characters — second, always keeping sight of what the series is about.

Knowing our characters is our number one requirement when we are creating a story around them, whether we’re writing a standalone or a series. The story is not the plot; the plot is just the vehicle that we use to help our characters on their journeys. The better we get to know them, the easier it will be to understand the plot they need. As far as I’m concerned, all of the discussion we have about whether we’re going to plan our stories ahead of time or whether we’re going to write by the seat of our pants is missing the point. The majority of whatever time we’re going to dedicate to planning has to be spent on figuring out what makes our character unique and what went into making him or her that way. Just as in real life, that’s nature and nurture: figure out that character’s origin story and then figure out what pivotal events, however small, went into shaping him or her into the final form.

But this is also a series, and just as a book isn’t its plot, a series isn’t just a collection of books with the same characters in related settings. It’s has to tell a larger story. In my case, that story (as cliché as it may sound) is about the American Dream. Every character is after it, in their own way, and they bring their own talents and limitations. Jessie, Richard and Michael may be from old-monied families, but in some ways that means they understand better than anyone what it means to lose everything. Emily may hate Alex more than anyone else in the series, but maybe that’s because they both know what it is to be an outsider looking in. Mitch and Emily may butt heads as they play Will They Or Won’t They, but part of what draws them to each other is their shared understanding of what it is to be a second- or third-generation immigrant. Zainab may not have been born in the US, but she’s the breath of fresh air and energy that motivates everyone to stay positive and keep pursuing their dreams. And finally, there’s Miranda, an orphan in America who keeps her sanity by making an effort to connect with her father’s family in Israel (and that connection will come in handy for everyone later).

How is everyone going to realize his or her dream? By working together. That is the series, but for each character it means different things (some people have to accept help, and some people have to learn to get out of their own way). My challenge, then, is not only understanding each character, but understanding how they help—or hinder—everyone else.

I use the word “challenge” facetiously. The truth is that it’s exciting to figure out how my characters are going to walk in and out of each other’s lives and what roles they’re going to play. And if I’m completely honest, at this point I know these folks so well that I’m not making decisions as much as I am watching them play it out. My real work then? Getting to know the new characters my old ones demand to meet.

God, I love my job.

Deborah Nam-Krane’s latest book, Let’s Move On, is the fourth full-length novel in her New Adult series The New Pioneers. She’s been a guest at the Chateau before, to chat and to give her thoughts on how indies need to market. She’s very excited about her review tour with Juniper Grove Book Solutions this month. Please check out this link if you’d like to participate.

CROSSING GENRES by Eden Baylee

Posted on July 27, 2014 by LisetteJuly 28, 2014

Lisette has generously offered me space to guest blog about my latest book, Stranger at Sunset, so before anything else, I want to thank her for hosting me.

I’m very happy to be here because I’ve known Lisette for some time and have recently started to delve into her work. I have enormous respect for her as an author as she writes in multiple genres—from YA to literary fiction to romantic comedy.

I’ve always maintained that any writer with a talent for words can create a story. A genre is merely made up of ideas dropped into a funnel. If enough elements fall out of it under a specific category, that’s how the book will ultimately be labeled. There are no hard rules, and many novels stagger multiple genres.

As an author, I don’t have any great attachment to whether my book is labeled a mystery or thriller or suspense. Labels give readers an idea of what to expect and they help marketers promote books. I started as a writer of erotica, and then took a hard turn to pen Stranger at Sunset, a psychological mystery/thriller. It helped that I had written flash fiction and short stories in multiple genres previously. It’s been a challenge but not impossible to gain acceptance into a new genre.

As a reader, you might be asking: What is a psychological mystery/thriller? And what can you expect from Stranger at Sunset?

In brief, it is not a traditional mystery because although there is a crime, you will not know who the victim or perpetrator is from the start. It’s not a “whodunit?” There is no detective.

The story stimulates mood with a focus on moral conflict. I use unreliable narrators to drive the psychological tension in unpredictable ways. What I’m exploring are the characters’ motives and how they view the world, which is different from how you and I may see it. Multiple characters are revealed via changes in point of view and scenes that involve each separately.

The “psychological mystery” part reveals a battle of wits between the characters, and more importantly, a struggle within individual minds. The themes of identity and raison d’être are important.

The “thriller” part defines how the reader rides along with the protagonist, Dr. Kate Hampton, experiencing things as they happen to her. You will be just as surprised as she is when the “monster” jumps out of the closet.

Suspense is essential, and it builds between characters in a place where you would not normally have conflict—a tropical resort in sunny Jamaica. It’s the antithesis of where you would expect to find human foibles such as intolerance, inhibitions, and insecurities.

And of course, there is always the element of a twist ending, just because I love twist endings. 😀

I hope this synopsis gives you an idea of what Stranger at Sunset offers. I would love to answer any questions or discuss thoughts about genre barriers or writing a psychological mystery/thriller, so please don’t hesitate to comment.

* * *

Thank you, Lisette, for giving me this opportunity to share with your readers. I really appreciate all you do to connect authors to an audience.

My pleasure, Eden. As you know, I’ve read Stranger At Sunset and just loved it. You write beautifully and your characters were wonderfully complex and intriguing. I’m very much looking forward to the next in the series.

For readers who may have missed your interview at my writers’ chateau in December, 2012, it can be read here.

CONNECT WITH EDEN

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Blog

Amazon Author page US

Amazon Author page UK

Twitter @edenbaylee

To stay apprised of Eden’s book-related news, please add your name to her mailing list.

BOOKTASTIK: Helping Authors Sell Books

Posted on February 16, 2014 by LisetteFebruary 16, 2014

BOOKTASTIK: Helping Authors Sell Books by Dionne Lister

Hi, Lisette, thanks so much for having me as a guest today. I’m excited to be here representing a fun new site that connects readers with books — Booktastik.

Did you know that there are hundreds of thousands of new ebooks being published each year? So if you’re an author, it’s obviously becoming harder and harder to get your book to stand out from the crowd. As a self-published author, I know the difficulty in getting a book noticed — if no one knows your book exists, they’re not going to buy it.

In my desperate scramble to sell books, I’m always looking for new ways for my books to be seen. I’ve tried a few different avenues; including guest blog posts, interviews, Twitter, Facebook, podcasts and paid advertising. Paid advertising has given me the largest sales numbers, but there aren’t many sites that actually work. And if you Google “advertising for authors” there’s not much out there to point you in the right direction.

Call me crazy, but I’ll share with you the site that has worked for me, the site I consider Booktastik’s largest competitor: Bookbub. If you’ve been around the traps as an author, you probably know someone who’s used them — and they work. But how does it work? Well, readers sign up for free to receive a daily email for books on sale in genres they choose. When an author pays to advertise with them, your book goes in a once-only email and appears on their website. That’s it. Simple.

The problem is that they are pricey — a few months ago I advertised my Fantasy book, which was on sale for $1.99. That cost me $270, and since then the cost has risen to $330 — figures that not many self-published authors can afford (and fantasy is a cheaper genre than, say, mystery or romance), especially if you’re just starting out. To add to that, the last three times I’ve applied, I’ve missed out, and it’s also been impossible for most of my friends to get approved because Bookbub is always booked out.

How annoying! I’d finally found something that worked, but now that avenue seemed to be closed too. Trying not to get depressed at times like that is hard, so I was having a rant to another author friend about my frustrations (ranting to other author friends who understand is a great way to keep your sanity). During that conversation I said something that set me on the course towards Booktastik: “It’s just not fair. If you want anything done, you have to do it yourself. I’m going start my own company so us indie authors have somewhere to advertise!” And so the journey to creating Booktastik began.

I knew that if I was going to do this, I had to do it better and offer more than what was currently out there. I contacted a web designing friend of mine and told her what I wanted — a friendly, welcoming site that didn’t just deliver ebook deals, but had other relevant stuff like vetted book reviews and a blog. I pictured Booktastik becoming a community, rather than solely a middleman. I also knew that authors didn’t just need a place to advertise a book that was on sale or free, but we often wanted to get the word out about our new release or competitions and giveaways, so I added those categories, which have been very popular with the subscribers.

I know no one really wants to know the nitty-gritty of what it takes, but we spent months designing the site and getting it functional (with a few nightmares along the way), although if it was easy, I guess everyone would do it. We’re spending money on advertising to get subscribers who authors can’t normally reach — readers who are outside the social media sphere of Pinterest, Twitter and Facebook, and I’m happy to say that after just one month we are getting over 500 visits a day (and growing), and we’re already selling books for our advertising authors.

And that’s our story so far. We’ve got exciting plans for stage two of Booktastik, but that will have to wait a while. But right now, I’d like to extend an invitation to you all to come and check out www.booktastik.com. There’s lots to see and read, and I hope you love our little animal icons (there’s one for each genre) as much as I do. See you there!

Follow Booktastik on Twitter

Like Booktastik on Facebook

ABOUT DIONNE LISTER

An avid reader of many genres, including fantasy, for as long as she can remember, Dionne also loves writing and has attempted to emulate such greats as David Eddings and Raymond Feist – with … interesting results. Dionne has studied creative writing at Southern Cross University, works as an editor, runs Booktastik, and counts cats and panthers as her favourite animals and dragons as her favourite flying creature (notice ‘flying’ not ‘mythical’). Dionne writes young adult fantasy, women’s fiction and thriller/suspense. In 2013 iTunes Australia named her one of ‘ten emerging fantasy authors you must read.’ You can find out more about Dionne and her work at www.dionnelisterwriter.com.

Chat with Dionne Lister here at Lisette’s Writers’ Chateau

Who would you turn to if your love life, or life in general was a mess? Jemma’s not sure, but she’s lucky that Doris is looking out for her. Who’s Doris? Doris is Jemma’s vagina, and she’s determined to help Jemma put her life on track, but is the job too much for one vagina to handle?

Meet Doris, Jemma and their friends in this hilarious romance/chick lit. Here’s what some readers had to say:

A delightful, funny, and heart-warming read!

…a charming book, fast-paced and funny, with a very brave concept.

Close Call: A Doris & Jemma Vadgeventure

Amazon U.S.

iTunes

Kobo

B&N

A Winning e-Strategy for Authors

Posted on September 18, 2013 by LisetteDecember 21, 2014

A Guest Post

by Deborah Nam-Krane

As writers our primary job is to write, and every credible marketing expert I have spoken to says that content is much more important than any Search Engine Optimization tweaking we can do. But self-publishing is just like any other new job or new business—networking is important if we want to find new opportunities.

There are three places we all must be, and surprisingly those have been constant for about three years (an eternity in web-years): a Twitter account, a Facebook page and a blog. As far as I’m concerned, all other platforms are gravy. But simply setting up those accounts isn’t enough. You have to tweet on Twitter, update your status on Facebook and write posts on your blog.

And then you’re done?

No. Because you can write the most brilliant content the internet has ever seen, but if you’re not interacting with anyone else, the chances are small that anyone is going to find it.

If you’ve been on Twitter for any amount of time, you’ve run into at least one person who tweets several times per hour about how great his or her product or book is. “My book is so awesome!” “Check out my five-star review!” “Look at how great I am!” I always cringe when I see this, because it’s exactly the wrong approach and doesn’t convince anyone of anything except that you really want to sell something—and that can just come off as desperate if you and I don’t already have a relationship.

A better approach on Twitter? Find people with similar interests and start reading what they have to say. Don’t jump in with a reply or to start a conversation until you can say something relevant to something they’ve put out there. I guarantee, that person will be much more receptive to your thoughtful, personalized approach than they would to your advertising blast.

Facebook has been compared to the mall on more than one occasion, and not in a flattering way. It’s bad enough that they sting us with advertisements and selectively decide what we can see; don’t make it worse by trying to turn your page into a billboard. Don’t just post links to your book or blog; talk about what you’ve been doing that day (as it relates to your writing); share news and information that might be relevant to your fans; and finally, share information for other people. Even better? Comment on other people’s pages and have a genuine conversation.

Finally, your blog. This is where the c-word (that would be content, in case you’re wondering) is most important, if only because it’s easier for people to skate through your blog archives than it is your Twitter and Facebook accounts. But even on blogs, it’s not enough to write great content: you need to interact. Want people to comment on your blog? Then start commenting on theirs, and not simply, “wow, great post!” but something that shows you read and were paying attention. But please, I beg you, don’t comment with something along the lines of “How are you doing?” I talked about exactly this on my blog, “http://myblogisbetterthanyours.com/ImTheMostImportantThingOnTheInternet.” Because in addition to irritating everyone else who reads the comments, you’re also not going to convince anyone that you are all that and a slice of toast.

Want to take it to the next level? Then start thinking like a small business person again and figure out what your value proposition is. In other words, what do you have that most other people on the internet don’t, and why should anyone care about your opinion? How can you be useful to the people you’re trying to talk to? Do you have a collection of helpful writing prompts? Have you been following a certain aspect of publishing? Do you have a collection of articles on editing or formatting? Tips on how to break through writer’s block? Then share them—and your thoughts on them. Do it consistently and people will start to think of you as a trusted resource that they’ll be on the lookout for—and eventually may seek out.

In some ways, social media is a lot like real networking: be polite, pleasant and useful, and people will want to be around you. And the more people are around you, the more likely they are to offer you help, whether it’s being hosted on their blogs, sharing information about your work (the best advertising is still word of mouth) or letting you know about opportunities to publish. And if you should happen to make some genuine friends? The possibilities are endless.

`*`*`*`*`

Deborah Nam-Krane was born in New York, raised in Cambridge and educated in Boston. Her series The New Pioneers debuted in March of 2013 with the release of her first book, The Smartest Girl in the Room. The sequel The Family You Choose will be released in late September.

Nineteen-year-old Emily wants her college diploma fast, and she’s going to get it. But when the perfect night with perfect Mitch leads her to a broken heart, Emily is blind to her vulnerability. When the person she cares about the most is hurt as a result, Emily’s ambition gives way to more than a little ruthlessness. She’s going to use her smarts to take care of herself and protect the people she loves, and everyone else had better stay out of her way. But shouldn’t the smartest girl everyone knows realize that the ones she’d cross the line for would do the same for her?

Miranda Harel has been in love with her guardian, Alex Sheldon, since she was five years old, and Michael Abbot has despised them both for just as long. When Miranda finds out why she wants both men out of her life for good and questions everything she believed about where and who she came from. Finding out the truth will break her heart. Without family or true love, will her friends be enough?

CONNECT WITH DEBORAH

Please join her mail list to find out first about new releases and connect with Deborah on any of the following sites:

Written By Deb

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STAY OUT OF YOUR CHARACTER’S HEADS

Posted on September 6, 2013 by LisetteDecember 21, 2014

TweetA Guest Blog

by M. S. Kaye

Fight Princess blog tour September 2nd – 9th: on an adventure to meet fun bloggers and readers!

Staying out of the characters’ heads is the most momentously important thing I’ve learned about how to “show, not tell.”

Obviously, sometimes offering a morsel of a character’s thoughts is instrumental in helping the reader understand, but it should be limited to one morsel. If you have to write a paragraph of explanation, you need to find a better way to show the information in action or dialogue.

Or simply cut the information—oftentimes, leaving something unsaid is more powerful. Ask yourself if the information is invaluable, if it truly impacts the story. If it’s not essential, CUT IT.

And even better: keeping to only morsels of thoughts can be intriguing. People think in segments naturally, so choose to offer intriguing bits, just enough to pique the reader’s curiosity, without explaining too much. This is what keeps readers flipping pages. See the below opening to Fight Princess:

“What if I told you I loved you?” Floyd the bartender asked as he rested his elbows on the ring-stained mahogany.

Celisse was standing across the bar from him. “You love sex, Floyd.”

“There’s a difference?” Floyd grinned.

Celisse rolled her eyes. She really didn’t know if there was a difference. “Blackberry—” she started.

“Whiskey,” Floyd finished. He stood straight and poured her usual shot.

In these five paragraphs, only one sentence expresses a thought. She really didn’t know if there was a difference. Now you know something about Celisse’s love life, something powerful and interesting—and only that one sentence hinted to it. Also, notice the sentence does not go on, does not continue with that evil word “because.” I would say “because” is as dirty as a four-letter word, but four-letter words are generally more impactful. It is almost always better to cut the sentence short. “Because” takes away the intrigue. Let the reader wonder, leave them feeling curious.

And speaking of “show, not tell,” what else do you learn about Celisse? She can brush a man off with ease, and without being a bitch. That shows the kind of person she is. It also shows she’s likely attractive. We find out she’s discriminating, not slutty. And, of course, her usual shot is whiskey: she’s a tough-ass. All of this was conveyed without diving into the character’s thoughts.

Notice the overlapping of information. We hear so much today about multitasking—people are used to several things going on at once, and they can be impatient if not much is happening. If you have information you want to convey, try to find a way to give the information while other necessary events are going on.

If you choose to show strong details, your writing will be impactful and addicting. Hearing soliloquies about a character’s childhood, and how she feels about herself, and how she adores the guy down the hall is not impactful. If your character is gazing out a window THINKING, cut the scene, decide if the information is necessary, and if it is, find a way to show it.

Read my latest book to see how my method works…

Fight Princess – Published by Liquid Silver Books

Things aren’t what they seem. Don’t get involved.

Celisse is too headstrong to listen. Her best friend’s boyfriend is dead, and she does not heed Cullen’s warning, slipped to her in a note as he’s being arrested for the murder.

Cullen tries to keep Celisse out of danger and also tries to avoid her, both unsuccessfully. He can’t deny his feelings for her anymore, but he knows if she ever discovered the truth about his past, she’d surely hate him.

While struggling with her intense feelings for Cullen, Celisse uses her skills as an ex-prosecutor to investigate, all while continuing to fight for Ogden, the organizer of an underground fight ring. She eventually realizes things are connected—the ring, Ogden, Cullen, the murder, and herself. She races to uncover the truth before she’s arrested or becomes the next victim—or perhaps, the next culprit.

EXCERPT

Through the peephole she saw Cullen staring her down, as if he could see through the door. “I know you’re in there, Celisse. Your car’s outside.”

Celisse grumbled under her breath. Then she spoke loud enough for him to hear. “How do you know where I live?”

“It’s not that hard to get a person’s address—as you damn well know.”

Crap. How did he know? “What are you talking about?”

“You made it downtown so quickly because you were already in my apartment.” His jaw flexed as he continued to glare at the door. She was almost impressed he was able to maintain that intense, pissed-off posture and expression when she saw in his eyes that he was barely hanging on through the exhaustion. Like riding a bike, if he stopped, he would probably fall down.

She turned the bolt and opened the door. “How would I have gotten in your apartment—and why would I want to?”

“You flashed a beautiful smile at Alfie. Don’t tell me you don’t know exactly what you’re doing.”

Celisse hesitated. Hearing him say that… She wasn’t sure how to react.

He pushed the door open a bit further and slid past her into the apartment. She didn’t think to stop him until he was already past her. She turned and looked at him standing in the middle of her little living room, like a storm cloud in her usually calm and cloudless space. This small, cheap apartment was the first place she had ever lived where she felt completely comfortable.

She realized he was looking at her, not at her eyes. She crossed her arms over her chest. “What do you want?”

His jaw tightened again, and he met her eyes like lightning flashing across the sky. “Don’t ask me why in the hell you’d want to be in my apartment.”

It took her a second to realize he was answering her previous question.

“What did you think you’d find?” he asked.

“Certainly not stacks of hundred-dollar bills.”

“It’s none of your goddamn concern how much money I have and why. Stay out of my business.”

“No.”

“Excuse me?”

“My best friend’s boyfriend was murdered, and then the accused slips me a note that says things aren’t what they seem. What did you think I was going to do?”

He paused, and the glare in his expression that had about blinded her a few seconds ago dulled to the glower of the moon in a clouded sky. He turned and looked around her apartment—her TV stand with a couple movies on top, the potted plant next to the sliding glass doors, her one pathetic attempt at gardening, and then over to the bookshelf where he started reading titles.

She stood next to him. “What do you think you’re doing?”

“Does it annoy you?” He took a book from the shelf and flipped through its pages. “Someone going through your things, invading your privacy?”

Celisse snatched the book out of his hand, before he realized what it was.

“Are you pissed yet?” he asked.

“I wonder how it would look to the court if the police were called on you the same day you posted bail.”

He took a step toward her, and she backed up with her hands in guard position.

He stopped, and his voice was inside out from what it had been. “I would never hurt you.”

“You were arrested for murder today.”

His expression sobered, like fog pulling across a jagged cliff face. “I’m sorry. I never meant to scare you.” He walked across her living room, out the door, and down the stairs.

M. S. Kaye has won several writing awards and has been published in literary journals. She is a 4^th-degree black belt and certified instructor of Songahm Taekwondo. A transplant from Ohio, she resides in Jacksonville, FL with her husband, Corey, where she does her best not to melt in the sun.

CONTACT M.S. KAYE

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KOOMKEY: A Community of Givers Paying It Forward

Posted on August 19, 2013 by LisetteDecember 21, 2014

by Joseph Lacko

Even the most carefully outlined project can surprise us with unexpected turns and unforeseen adventures. It is the nature of creativity.

When I created Koomkey, the only method of sending unsolicited cash to people through Twitter, I experienced a few of these surprises.

If you’re new to the concept, Koomkey enables you to send what we call, “Kashkeys” to other people, in values between 25 cents to 10 dollars, without creating any sort of new account. Think of it as a virtual tip jar sitting on your worktable.

When Twitter followers appreciate the efforts you make in social media, or admire your offline creative outpouring, a quick “Kashkey” of encouragement can be sent your way.

Throughout development, I told myself: “I know what I see as the usefulness of this tool, but I will always be ready for the different ways social media users ultimately take it.”

When we launched Koomkey July 1, 2013, the Twitter users who’d tweeted, “How do I turn my social media efforts into cash?” didn’t respond. In fact, some of them blocked me.

My wife, Rebecca, began her own venture, offering “latte & muffin” cash to her favorite authors. And there was my surprise; the first niche to latch on to the power of Koomkey’s usefulness was the writing community. Now I have befriended more wordsmiths than I ever imagined I might.

It makes sense. The intention of Koomkey is to empower social media users to instantly support others on a reasonable scale. This fits perfectly into the intimate world of writers networking and building an author platform.

More useful than merely clicking, “Like,” a humble thanks in the form of 25 cents can quickly add up. Anyone who sells a product in units—books, for instance—understands how quickly small numbers can snowball. Kashkeys are real income earned simply by maintaining your current online platform through social media.

If just 10% of your Twitter followers sent you a quarter, or maybe a dollar this month, and every month, how would it benefit you?

I’ve discovered the unexpected joy of joining others in giving heartfelt $10 Kashkeys to an author who found herself in a sudden bind. Together, we helped a stranger in need, and now count her among our friends. I have personally found the writing community the most receptive to random acts of generosity.

It stems from one of the key principles that went into the creation of the service: allowing people to simply be themselves and get financially rewarded for it.

Relationships are the cornerstone of social media. Readers love to interact with writers. In our first month of operation, two book fans, strangers in different countries, connected with their favorite author on Twitter using Koomkey. An exchange of Kashkeys was sent between them, and this small gesture was so appreciated, the fans teamed up to support the author’s Blog Tour of her latest book release. Their enthusiasm and partnership amazed me, and I was happy to donate Kashkey prizes for contests offered throughout the author’s tour.

What has been created in Koomkey is a simple way to cheer on a hard working writer, artist, charity, comic, blogger–whoever inspires us. Koomkey users have sent donations to favorite charities, students struggling to make ends meet, and educational programs in need of funding. Other Koomkey users notice these donations and join in giving—to both the worthy cause, and the original giver. I look forward to the time when a 25-cent Kashkey is as common as a retweet.

Signing up is as easy as logging in at www.koomkey.com with your Twitter handle and password. Claiming your cash is a matter of one click. You can use your funds received to send Kashkeys to others, or direct the money to your bank. It’s your choice.

If you have only a quarter or two to spare, try it. I challenge you to brighten someone’s day using Koomkey.

CONNECT WITH JOSEPH AND REBECCA

Koomkey

Joseph on Twitter

Rebecca on Twitter

How It Works

Why send someone cash for no apparent reason? (by Joseph Lacko)

Connecting, Writing, and Paying It Forward with Koomey (by Rebecca Lacko)

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