Stacey lives in the past, writing kick-ass bestselling historical books. When she researches a topic, she loses herself in her work.
She knows the Chicago Public Library inside and out. And she prefers to work alone. Until Greg—handsome, compelling, and a research librarian?—offers to help.
Can Greg help Stacey find the information she seeks? Or will they find something else entirely?
“Research and the Research Librarian,” by New York Times bestselling author Kristine Kathryn Rusch, is free on this website for one week only.
The entire neighborhood hates Wicked the dog. Wicked, the aptly named baggage that arrived with Ike’s daughter and granddaughter after they escaped his bastard son-in-law.
Wicked barks all the time—until the day he gets kidnapped, and the entire neighborhood spirals out of control.
“The Disappearance of Wicked,” by New York Times author Kristine Kathryn Rusch is free on this website for one week only.
Brand Identity is how you want customers to perceive your brand. Right now, remember, we’re dealing with building the brand. So you get to think about how you want that brand to be perceived. You need to imagine your target as you develop your brand identity. What do you want your target audience to think about your brand?
Let’s start wide with the overall steps to building a brand identity, and then I’ll refine for writers.
Paige Racette envisioned the perfect man over and over in her romance novels.
But when Josiah Wells starts using those novels as a blueprint for the way to romance her, she finds the attention creepy, not attractive.
When Wells escalates, adding violence to his role-playing, Paige realizes she must escape the perfect man. But she might find help from someone unexpected—someone a little more flawed, a little less perfect.
“The Perfect Man,” by New York Times bestselling author Kristine Kathryn Rusch, was chosen as one of the best short stories of 2003 and is free on this website for one week only.
In talking to hybrid writers, I did miss something. It only concerned a handful of writers, and most of them only wrote one series. These writers would email me after they had indie-released a new book or two in their existing series, and complain that the series wasn’t growing.
When these writers were traditionally published, the series grew well. Each book sold better than the last. Now, even taking into account the year or so of sales, the books sold at the same number of copies or less than the previous volumes had.
I couldn’t figure it out…
This week, let’s deal with the clause that agents insert into your book contract with your publisher. (This is the book contract that your agent negotiated for you. Yes, I’m telling you the agent inserted something into that contract that benefits the agent, but doesn’t benefit you.) Agents have been abusing this clause for years now. Agents, not publishers, even though this clause is in a publishing contract between the writer and her publisher.
I was going to write a blog on why you never hire people for a percentage of your sales for the life of the project. I was going to look at some of the contract terms that writers should be wary of, from companies like Booktrope, companies that still exist.
And then I choked on a big gigantic paragraph in the Booktrope sample author agreement. This big gigantic paragraph is the one thing that allowed Booktrope to raise millions of dollars. Had Booktrope succeeded, that success would have come at the expense of its authors.
The scary thing is that other companies are behaving the exact same way.