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So, if you're reading this on Facebook, which doesn't allow for the embedding of videos, you'll probably want to skip over to www.tappitytappity.blogspot.com, my dumb blog to watch this:


Star Wars: Retold (by someone who hasn't seen it) from Joe Nicolosi on Vimeo.

Classic quality of the highest order.

Blog Pick Author of the Day

Writing for Young Adults

It occurred to me half way through TWILIGHT by Stephanie Meyers that I am kinda thankful I don't have kids. You may be wondering what my personal life has to do with one of the most popular books of the decade. It's simple. I read this book, I am an adult, and the emotional and physical aspects of this book were intense.The physical longing of the two main characters is nothing short of obsessive. Almost frightening. The level of violence was a bit disturbing as well. This book is written for older teens? Thankfully this book had no violence. Don't get me wrong, I enjoyed the book, but as I said, I am an adult.

Let's take it down a decade. A SERIES OF UNFORTUNATE EVENTS by Lemony Snickets. I voted for this one as one of the worst books ever. A children's book? The themes in this book are barely masked by the child characters. We read about substance abuse (alcohol), child abuse, neglect, incest, and slavery. Okay, maybe that one is pushing it, but the children are basically slaves to their uncle. This is a kid's book? These are the things we want to influence our children?

The last one I will bring up is ACCELERATION by Graham McNamee. This is the story of a kid who is working off some time in the lost and found of the subway. He finds a journal that turns out to be that of a serial stalker/potential serial killer. I liked this book, it was well written and kept my attention, but I question the logic in placing a kid in the role of stopping a psychotic killer. This book is very graphic and if I were a kid, I might be inclined to think I could do something like this.

Is there the slightest chance that when writers are working out the plots of their books that they are too concerned with selling books and not concerned enough about how their stories will affect young minds? Don't get lathered up, I am not placing any blame on any author…I am simply asking if there isn't some kind of a line that some authors are crossing over into gray area.

Some will argue that this is what kids want. Okay, I might buy this, but what if we are not giving them enough choices? What if we eliminated some of the sex, toned down the violence, and spent less time writing about ids doing drugs? What's the worse that could happen? We give kids stronger, more focused and versatile role models and things to occupy their time?

If the book industry offered up something that was fun, exciting, interesting, etc. and found a way to pull some of the kids away from the gaming world, got them out from in front of the TV, and reading more? Could this be a bad thing?

© Karen L. Syed

Blog Book Tour August Challenge #2

One of the things I don't think authors get is the concept of segregation in publishing. Let's go back to basics.

Segregation:[as defined by Merriam-Webster]

1: the act or process of segregating : the state of being segregated

2 a: the separation or isolation of a race, class, or ethnic group by enforced or voluntary residence in a restricted area, by barriers to social intercourse, by separate educational facilities, or by other discriminatory means b: the separation for special treatment or observation of individuals or items from a larger group

Now, let's skip ahead to understanding the production of one's books [with regard to segregation]. As a writer/author you probably hear a number of classifications for how books are published/produced.

Vanity: when you pay someone else to publish your work
Self: when you pay to publish your own work
eBook: when your book is only published electronically
POD: when your book is printed one book at a time as ordered
Traditional: when your book is published by a house in NY

I have placed these in the order in which I generally hear most people rate them, with vanity being the least valuable and traditional being the most. Okay, my question to you is who cares? Next question. Why?

Vanity. I will admit that I do not encourage authors who are seriously seeking a career in this industry to go out and pay someone to publish their work. Generally, you pay a lot of money and get very little in return. I understand there are exceptions, but still. If being an author is what you want to make a living at, then you must carefully consider how you present yourself, as well as the value of your peers' perception of you and your work.

Self-publishing is not looked down upon as harshly, but darn close. Most other people in the industry do not feel that someone who cannot get published by a traditional publisher as being worthy of publication. I would strongly disagree with this. It is a matter of pride in one's work. Should you decide to self publish, say you only want to see a small group of people have access to your work, then I think this is quite acceptable, provided you take the same care a traditional publishing house would when developing and producing the work. Presentation is key!

eBook publishing is no longer a "fad" or a "thing of the future." It is here, it is viable, and it is widely accepted and universally embraced by some of the most prestigious publishing entities in the world, including nearly all traditional publishing houses. It is not a venue intended to replace traditionally printed books; it is an additional opportunity for readers to consider. There are no shots or vaccinations required for those who embrace eBooks, simply an understanding and appreciation for technology. Even readers are growing increasingly savvy and accepting of electronic books.

POD [Print on Demand]. This, my friend, is considered a dirty word--but only by those who know nothing about it. This is also one of the most misunderstood terms in the industry. Those who do not take the time to understand the opportunities available in the industry put entirely too much focus on this particular venue. POD is simply a type of technology used to print books. When utilizing POD, a publisher or author can submit a book digitally, where it is stored for future use. When an order is placed for a number of copies ranging from one up, the file is then digitally printed, bound, and generally drop-shipped to the purchaser, be it a bookstore or individual. Over the years, this type of printing has been twisted to cover vanity press. Many vanity publishers utilize POD technology to print their books, so they have become known as POD publishers. This is misleading and in many cases wrong as there are vanity presses that do not use POD technology. In the same regard, there are other houses, traditional, if you will, that use POD technology to print, but in no way are vanity presses. POD is simply what is says, PRINT on DEMAND. There are many aspects of POD that people don't understand. They tend to focus on the negative and not so much the positive aspects. The biggest bonus for those using POD technology is the ability to save money on storage fees. The down side is that they pay more per unit than if they were to print in a larger run. However, while the clients of off-set/traditional printers deal with the extreme fluctuation of paper pricing from job to job, POD pricing has remained nearly constant for at least 5 years [this is from my personal experience]. It's all in the terms.

Traditional publishing is considered by some to be the only way to go for an author. This is where you enter into a contract with a large publishing house, generally one based in NY--though this is rapidly changing. For some it has proven to be very lucrative, but many others have been lured into the spotlight, only to find that they could not flourish or even maintain any form of success. There are more one book wonders in the publishing world than one hit wonders in the music scene of the 80s. With hundreds of thousands of books published each year, the competition for the limited number of slots in the traditional market is becoming increasingly more difficult. Established authors are supplying publishers with multiple books per year, writing anthologies, and building readerships that continue to crave their backlist. This decreases the odds for a new author to get into a slot considerably. Impossible? Absolutely not, but definitely a challenge that could have them graying way before their time.

How does this all go back to segregation? With a better understanding of the industry and how it functions, authors can utilize whatever form of publishing is best for them and still find some level of success. Our industry has been overrun with genres, sub-genres, etc. The industry professionals have taken the focus off of the craft and the author's ability to tell a story, and put it all on the "production." Do your kids care what company made "Tickle Me Elmo?" Of course not, only that it giggles.

Publishing is publishing. It matters very little to the readers who publishes your books or how, as long as (1) the book is produced well, (2) the story is engaging and entertaining, and (3) the story is well written. I can guarantee you that if you put your offset book next to a well-produced POD book; they would not be able to tell the difference, unless you told them.

STOP TELLING THEM! The point is, once your book has been beautifully written, exquisitely crafted, and effectively promoted, you don't need to tell the reader anything else. Get the book into their hands and let them focus on the story. That is what they are paying for. Authors need to understand that by putting classifications on their own work they are segregating themselves from the rest of the pack. It does your career no good, in fact it is harmful, not only to you, but to the industry overall.

Stop giving readers a reason to question your value, let them read your work and decide from there. This holds true for booksellers as well. There are many misconceptions in the retail world; POD is among the greatest, sad but true. It doesn't have to be that way. If your publishing house, or you if you self-publish, are serious about succeeding in the industry you have to play the game. It's all about terms. Know what is acceptable in the marketplace and abide by those terms. Pricing, discounts, and above all returnability. These are the three things that booksellers will look for first. How much will their customers have to pay, how much of a discount will the retailer get, and can they be returned if they don't sell. These are all basic, but the easiest way to segregate yourself in this venue is to put your own needs before those of the purchaser. You want to make more money yourself, so you make your 150 page paperback $20.00 with a mere 20% discount, and it cannot be returned. It also will not be sold, at least not in many stores. You have to consider that a similar book from another house may be $9.99 with a 45% discount and can be returned. You do the math. This may be out of your control if you are working with a publisher, but this is part of the research you should do before going into a partnership with anyone else. Know what you are getting into. This is your career, do what is best for you.

That is truly the bottom line. Don't say or do anything negative to set yourself apart from your competition, and there is plenty of that in the publishing industry. Focus on what is positive and important to the advancement and success of your career. Understand what segregation is and how it can harm your potential for success.

This is your career and if you are serious about it, you deserve the very best.

The Heat of the Moment
Benefits San Diego Fire Survivors

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Unless you pay attention, you are going to miss the next generation of storytelling. 

Every few months I like to write Alternate-Reality Games (ARG)--the 21st century storytelling genre where readers get to play out a fictional story in the real world.

These are intricate scavenger hunts written by novelists, marketing folks, nerds, and gamers. They use the Internet as a springboard to launch stories into the real world.

The website Eurogamer has the scoop on a brand new ARG promoting the videogame, Halo 3. The trail of clues includes chatroom chatter, comic books, and obscure computer graphics, all part of an mystery that players must solve, on and off the Internet. Check it out:

"'Iris' is a spiral campaign designed to take gamers on an incredible journey through the Halo Universe," a spokesperson for Microsoft told us. "Led by an 'unknown' hand, users will discover bits of previously unknown information about the Halos, the Flood, the Forerunners, and the true origins behind the Halo trilogy."

If you are interested in following this story, there's more information at the Halo 3 website and xBox 360 Fanboy and this fan-controled Iris wiki. As web writers, we need to pay attention to the work of these pioneers. (Thanks, slashdot)