Ending a series is always a tough thing for me, but I’m so excited to wrap up The Date Shark Series with Leo Bailey’s story in “Repelling the Shark!”
Repelling the Shark
the Date Shark series, book 5
Simple and easy falls apart when secrets revealed require making promises and opening up to the possibilities of hurt and hope.
Leo Bailey has so far escaped the curse of the date shark business. He fills in when needed, but has held onto his casual relationships and family emergency-free existence. hover
Marriage and family are a vague idea for the future, but he’s not ready to give up the freedom of being single and answering only to himself.
When Piper Moretti witnesses the demise of yet another of Leo’s friends-with-benefits relationship, she doesn’t think much of it. She has a long list of more pressing responsibilities and headaches to occupy her mind.
Friends, and the strings that go with them, are at the bottom of her priority list.
When a date shark client who tops the list of bizarre behavior Leo has seen, his half-joking request for rescue drags Piper into the chaos and into Leo’s life.
Neither one wants more than a simple, no-stress friendship. Secrets and surprises force them to admit neither one is nearly as in control of their futures as they think they are.
Helping each other means getting involved, making promises, and opening themselves up to the hurt and hope they’re both terrified to face.
What does it cost to be an indie author? It’s question many new writers want to know. When you take on the production cost of a book, you need to know where those costs will fit into your budget.
***Quick note to say I will be moving my weekly posts to Tuesdays***
The cost of editing depends on what type of editing you need for your project.
Developmental editing is the most involved and the most expensive. A developmental editor will help you work out problems with the story/characters and help improve the flow and style . It will cost you about $0.08/word or $20/page.
Copyediting is less involved and doesn’t dig into story or character problems. It mainly deals with improving sentence structure and readability, as well as generally tightening up the writing. It will cost you about $0.02/word or $5/page.
Proofreading in the least involved and least expensive, but requires the writer (or a previous round of editing) to have cleaned up the manuscript as much as possible. Proofreading aims to catch typos and punctuation errors, not fix major issues. It will cost you about $0.01/word, $3/page.
The cost depends on whether you want an ebook cover only, a full wrap cover for a paperback, or both, as well as whether you want a customer cover (with stock or exclusive photos) or a premade cover.
Premade covers are the least expensive option, but offer the least ability to customize. Most quality premades are in the $30-$50 range. Most premades are only ebook covers, but many designers offer an add on option to turn it into a full wrap if you need it.
Stock photos in a custom cover will be less expensive than using exclusive photos. Custom covers are usually in the $50-$150 range for ebook covers and you can plan to add another $30-$50 to add a full wrap to the package. The range has to do with how many photos are need for the cover. More photos means more cost.
Exclusive images guarantee no one else will have your same cover, but you’ll pay for that privilege. Plan on $500 and up for a custom photo shoot.
Formatting for ebooks and paperbacks can be learned by those with knowledge of Word or the willingness to learn software like Jutoh, Kindle Create, or Calibre. InDesign is a professional level software that has a steep learning curve, but is doable if you’re on a tight budget and willing to put the time in.
If you want to hire out formatting, the cost will depend on the type and difficulty. Images will up the difficulty in any project, as will graphics like charts, table, multiple frames, etc.
For fiction ebook formatting, plan on $150-$250. For print formatting, plan on $200-$300. Most formatters will offer package pricing to do both at once.
Setup and Extra Help
Most authors with basic computer skills will be able to create their accounts and upload their documents without help. Those who run into problems or have limited computer skills or access, having someone tackle this part of the publishing process is available. An average cost is around $20/hour.
Production on a Tight Budget
If you are working with a small budget and want to do as much yourself as possible, be honest with yourself about your skill level in each category.
Learning to format in Word is a great way to cut costs. Designing your own book cover when you have no design experience is not. Start with a premade cover and upgrade when your budget isn’t as tight.
Editing your own book is extremely difficult. If you can’t afford a professional editor yet, trade with another author or see if a local teacher could help out for a lower fee.
The goal is putting out a professional product. Save money where you can, but not at the cost of putting out a subpar book.
I hope everyone is enjoying the holiday season and getting a little time off to spend with friends and family! I’m off most of the week to spend time with my hubby and kids, so no other blogs this week, but thank you to all my readers for your support!
If reading is in your holiday plans, I have a gift for all my readers! Grab a FREE copy of one of the books below on Smashwords using the promo code paired with each one.
I read “Persaded” by Jane Austen several years ago as part of my ongoing quest to read more classic literature. I’ll be honest and say a lot of the classics I’ve tried have been a challenge to get through. This wasn’t one of them. I really enjoyed reading “Persuaded” by was intrigued by the idea of making it a little more current for younger readers. It took only a couple of months to write, but it’s taken several years to get back to it for editing, cover design, and actually getting it published.
Now, it finally available in ebook and paperback!
What Had To Be Done
Everyone has bad days. Anna Elizondo is going on three years of bad days.
It started with her mother’s illness and eventual death, continued with a decision that ruined a friendship, and culminated in her father announcing they were broke and moving away right before her senior year of high school.
Maybe a fresh start will turn things around.
Or maybe it will put her face to face with her former best friend Felix and the hatred in he still carries for her.
The only bright spot in Anna’s move to Santa Fe is meeting her new swim coach, a long-time hero who has big plans for her athletic career. The pool is her refuge, but she can’t hide there forever. Living in a small town makes it impossible to stay out of Felix’s way, and unlikely their history will remain just between them for long. If Anna can’t find a way to make things at least tolerable with Felix, it’s going to be a very long summer.
Creating chemistry in romance is important because this is what makes the reader root for the characters to find their happily-ever-after.
How do you create great chemistry?
Create strong characters
Strong, interesting characters are key to creating chemistry in romance. If the reader doesn’t like your characters all that much, they won’t care if they end up happy.
This often means getting away from stereotypes and adding more depth to characters. Characters need flaws. Nobody likes the perfect, better-than-everyone-else character. Perfect characters don’t have enough conflict to be interesting. A strong character has strengths and weakness that will play a role in the story and their character development arc.
Create realistic attraction
This doesn’t mean no insta-love ever, especially if that’s going to be a source of conflict later when the character realize love at first sight doesn’t mean no problems, but the reason for their attraction should be believable.
Good looks aren’t enough. Being hot doesn’t prevent a person from being an asshole. Draw from personality, compatibility, intrigue, uniqueness…something that will last and create conflict later in the story.
Build realistic tension
Tension can come in a variety of ways, including miscommunication, lies, secrets, arguments, moving too fast/slow, etc. The key is for these to be realistic and fit with the overall story.
One rumor that’s never fact-checked or confronted and causes the MC to run away without looking back and fall into utter despair isn’t realistic and tends to frustrate readers. Especially if the MC is an otherwise strong and intelligent person.
If a point of tension can be fixed in less than a paragraph, it probably isn’t complex enough to be believable.
Create high stakes
There should always be something that can completely ruin a relationship, whether it’s developed from page one or a surprise two-thirds of the way through. The risk that everything could fall apart, and both or one of the characters knows this, will affect everything they do and act as a constant reminder to the reader that they shouldn’t assume everything will turn out all right.
Intimacy doesn’t mean sex, although there’s nothing wrong with sex being part of intimacy. A look or a touch, a meaningful word can build intimacy between characters just as much as physical intimacy. Every time characters are together, give them a moment that notches up their connection in some way.
When characters are not with each other, use internal dialogue, conversations with others, or small reminders/tokens (a piece of clothing or memento left behind) to develop intimacy. Building intimacy should remind the reader of what the characters could be together.
Ride the roller coaster
Chemistry shouldn’t be a straight shot to HEA. Nobody likes another person all the time. Having moments where they dislike a trait or action is realistic and lets the chemistry ebb naturally. A thoughtful or sweet act will bring it back up, maybe even stronger. The give-and-take keeps readers interested and engaged.
Keep the roller coaster ride to a reasonable level that won’t throw readers off the rails. Ups and downs are natural and important in story building. The swings shouldn’t be so drastic you give readers whiplash, though. Keep the chemistry moving in a steady, upward direction toward the climax, with believable bumps and dips along the way.
Character relationships should model reality while still working with in the overall plot to allow character growth and development.
It’s always a challenge to boil down and entire story into a few hundred words when writing a blurb. Most writers hate this part of publishing. We took all this time developing details and intricacies and now we have to take all of that back out and convince someone to buy it in two paragraphs or less.
How do you do that well?
Here’s a few things I’ve learned over the years.
A blurb is a sales pitch
The first sentence must grab the reader’s attention. Think of this sentence as an elevator pitch. It should capture the most interesting part of the story. That may be the conflict, mystery, romance, etc. Whatever it is that will most make readers want to check out your book, mention it in the first line.
This first sentence often sits by itself before the bulk of the blurb, giving it a better chance to catch the reader’s attention. The preview on most ebook retailers barely gives you more than a sentence or two before readers have to click “read more,” so make that first sentence count.
Format the blurb according to genre conventions
Contemporary romance tends to use short, 1-2 sentence paragraphs that highlight main points of the storyline. Historical romance tends to use longer paragraph with a more in-depth summary of each point of interest. Study blurbs on Amazon in your genre to make sure you’re formatting correctly.
Of course, sometimes you need to break out of conventions and do your own thing. Just make sure there’s a reason for using a unique format and that it conveys the tone or action of your story.
Start with a formula that works
First, introduce the situation, then tell readers about the main problem or source of conflict, and indicate the twist without giving too much away. Effective blurbs often end with a question or with a sentence that sets the overall mood of the story.
Don’t give away the ending. This isn’t a synopsis. It’s a tease.
Leave the side characters out of it
Introduce the main characters and leave the side characters for the reader to discover once they start reading. It’s important to get readers interested in the characters right away. Give their name, a few important traits that make them unique or interesting, what their situation is, and what dilemma or conflict they’re going to face.
Don’t try to introduce side characters in the blurb. It only clutters the pitch and may make readers lose interest.
Use a cliffhanger
This isn’t a must, but for many stories a cliffhanger ending in a blurb will be a good nudge toward purchasing. Avoid giving away too much in a blurb. Present the problem and leave readers wondering how the character will overcome it.
This answer shouldn’t be too obvious, though. Even with books that are more formulaic, it’s important to make the reader curious about how this particular story will unfold. Most romances end in a happily-ever-after scenario, but they don’t all reach it the same way.
Choose your words carefully
Communicate the tone of the story with words that fit the genre and situation. A dark thriller will use more intense wording while a rom-com will use light, fun words. Word choice should also match the time period and regional setting. It’s also all right to use hyperbole when appropriate, such as “unimaginable” for a shocking crime or “intoxicating” for a sudden and passionate romance, but don’t overdo it.
Keep it short and to the point
Blurbs should run 100-150 words in most cases. Don’t try to tell the reader everything you think might interest them. Stick to the important highlights.
It may be helpful to start writing a blurb with bullet points to sift out what should and shouldn’t be mentioned.
There’s no one correct way to right a blurb that will help sell a book, but starting with proven tactics and expanding from there can help you craft an enticing blurb.
Earlier this year, I got the rights back to my Date Shark series, and I knew it wasn’t going to be as simple as simply republishing them for several reasons.
The editing on the first book had been horrible, and I realized when I started re-editing that the edits I had sent back to the publisher five years ago had been ignored. I’d received multiple complaints about the editing from readers when it first published, but it was out of my hands at that point.
The editing did improve over time as the publisher I was working with upgraded their editing staff, but there were still enough errors remaining that I knew the entire series needed to be re-edited. That process took me almost five months because I didn’t have a lot of spare time after starting a new job at the newspaper and taking on a few too many freelance projects.
I also needed new cover art before I could republish the series. I was happy to redo the first book’s cover, but I had chosen the model art for books two through four, so at least I didn’t have to start completely from scratch. My main challenge was not being able to use the cool shark fin A in the original cover art and trying to find something comparable. My husband helped me choose a new font and rightly steered me away from trying to include any water-like effects and just go with the sketched shark logo instead.
My next challenge was when to re-release each book. I asked other authors and got advice on scheduling, but in the end, it took me so long to format each book that they ended up spacing themselves out well enough, for the most part. Books two and three released within days of each other because, honestly, I was sick of working on them and just wanted to be done.
Going back through these books was actually a fun experience overall. I hadn’t chatted with these characters in almost three years and had forgotten how much I loved them! Sabine and Michael’s story is still my favorite of the series, and rereading the books reminded me that poor Leo never got to have his own story.
I had planned to give Leo a voice as the final book in the series, but because of issues with the publisher and limited writing time back then, I stored the idea away for later. I do have some other projects that need attention, but I want to eventually come back to Leo’s story and finish off the series by giving him his own happy ending.
For now, the series is back up on all the major retailers and ready to meet new readers!
Kate can fix the damage to Sam’s car after their accident, but can she protect herself from falling for him and putting all their lives in danger?
Kate hates hiding, but the risk of her past sneaking up on her is too great to risk getting involved in anyone else’s problems. At least, until getting involved is the only way to avoid a run-in with the police.
The snow was to blame for the car wreck, but desperation forces Kate to make Sam an offer she’s sure she’ll regret. If she can fix Sam’s car and send him on his way without the getting the cops involved, she can get back to her normal, safe life.
It should be easy enough. Kate knows cars better than almost anything else. She can repair the damage to the car, but can she protect herself from falling for Sam and putting everything she’s worked for in danger?
This is a standalone book, so no waiting for part 2!
The Catalyst is available again (post-Kindle World rewrite version) for purchase as an ebook on Kindle, B&N, and Smashwords. Apple Books and Kobo are coming soon as well! The Catalyst is also available in paperback for the first time!
Looking after Eliza Carlisle is about as easy as bathing a cat!
MORE exciting news is that book 4, Incendiary, is close to being finished and will be released in early 2019!
Here’s a sneak peek!
Incendiary (Coming Soon)
Eliza Carlisle Mystery, Book 4
How long can Eliza keeping looking over her shoulder before she finally sees her own death approaching?
New Year’s means resolutions, getting on track, making decisions.
For Eliza Carlisle, starting a new year means making tough choices, even if those decisions mean losing friends and possibly getting kicked out of culinary school. She’s all set to take her life in a new direction when her demented half-brother Simon’s reappearance changes everything.
Broken and more alone than she’s been since fleeing her childhood home, Eliza struggles to hang onto the fragile threads that are holding her life together. Only a comically disastrous young chef and the threats against her life pull Eliza out of her fog of self-loathing. Saving seven-year-old Clara means ignoring the threat Simon now poses and surrendering to burnt grilled cheese sandwiches and whipped cream-splattered kitchens…not to mention family secrets, death threats, and a whole host of spy gadgets. And who can forget about Baxter?
With so much mounted against her, Eliza has as much chance of surviving the criminal elite, her psychotic half-brother, and Baxter’s determined advances as she does escaping Chef Harper’s quest to kill her culinary dreams.
At the “Writer’s and Scribblers” retreat this past August, I was able to attend a lecture from local book buyer, Jeanne Costello, buyer for a medium-sized indie bookstore in Durango, CO. She had a lot of great insights! I go into a little more depth in the podcast, but there’s a written set of notes below.