The Writer's Pains

Image by Paul G Neale, artist

by JJ Marsh

My arm hurts.

Between the fingers, across the wrist, up my forearm and elbow, and into my shoulder and neck. The first signs of RSI (Repetitive Strain Injury) and a major wake-up call. All those little micro movements on the keyboard, mouse clicks and scribbling by hand have added up to a massive great impediment to a writer.

The effect makes other activities painful. For the first time, I’m grateful that my left-hand drive car is an automatic.

RSI is not the only occupational hazard for your average wordsmith. 

Matt Haig, in 10 Reasons Not To Be A Writer

They have bad backs. Maybe not the debut writers, but by the time of their third or fourth novel, they can hardly walk. This is why Margaret Atwood has to be winched everywhere with the aid of a helicopter. It is why Salman Rushdie is eight inches shorter than he used to be. It is why Julian Barnes always clenches his jaw.

I’m not alone in facing physical aches and pains, (check out Jane Friedman’s great post on back problems) so I asked others about the challenges of writerly pain and how they dealt with them.

Swiss ball

Joanna Penn, www.TheCreativePenn.com

I had increasingly bad back pain for around 9 months in 2012, to the point of waking me at night and I often slept on the couch with extra back support. I had a lot of tests but the doctors couldn't find anything wrong. The physio suggested sitting at my desk on a Swiss ball in order to foster micro-movements. I was only able to sit on it for an hour at first, alternating with my office chair, but within 6 weeks, the pain was practically gone and I always use a Swiss ball at my desk. I find myself bouncing on it sometimes as well as rocking around, plus I can just roll it sideways and lie backwards for a stretch while I'm thinking. It's a cheap and easy solution to the writer's bad back - perhaps not for everyone, but well worth trying!

Room, room, if, if, if, if

Iida Ruishalme – writer from Finland – who suffers from hyper-mobility

I had RSI when I was 15 years old from writing stories by hand. When I got older, I worked in a lab, using microscopes and computers, and the pain came back. So I experimented with speech recognition software for my writing. Both Mac and Windows have inbuilt voice to text systems, which are worth trying, but now I use Dragon software to write my first drafts, emails and so on. It took a while to get used to the commands and learn how to pronounce certain words in English, but now it’s second nature. One thing freaked me out at first – sometimes when I paused to think about what to say next, the computer typed room, room, if, if, if, if. Finally I realised my hypersensitive microphone was picking up the sound of cars passing my window.

Ergonomicist

Roz Morris – http://rozmorris.wordpress.com/

I'm rather well acquainted with RSI. I crippled myself at the start of the 1990s, doing typesetting and layout on computers. I developed a gnawing ache in my arms and hands that was impossible to escape – even when not at work. Acupuncture erased it – but only lasted a couple of hours and cost an arm and a leg. Since then I've relied on ergonomics.

I learned to touch-type, which keeps the hand in an efficient position. I banished the back and shoulder pain by switching to a kneeling stool, which you can adjust so your hands fall into a natural position. Building the muscles in the back and upper body makes a difference - one theory is that RSI can be caused by wasted muscles pressing on nerves. If you can't abide weight training, swimming is good. Wrist rests didn't make any difference except to press on already sensitive nerves, but an ergonomic keyboard worked miracles. I found the curved ones weren't much help, but I discovered a hinged keyboard made by Goldtouch, which you fit to your shape. If you're having a painful day, you can adjust your typing position by changing the angle in the keyboard. 

Standard mice are agony for me, as are those little laptop tracker pads. The 3M joystick mouse has made life a lot more comfortable. I still get breakthrough pain, so I use books to jack my monitor up to a different height. If none of that works, I go to the bad side. I have a notebook computer which is ergonomically awful, but a few days typing in that position gives me enough of a rest to return to the proper set-up. 

Oh, and screen breaks are supposed to be important but I always forget to take them. Guess I could be more comfortable still ...

Making the Break

Ben Myers – author of Richard & Pig Iron – http://www.benmyers.com/

Ernest Hemingway famously wrote standing up, on a Royal portable typewriter. So, it seems, did Charles Dickens, Lewis Carroll, Virginia Woolf and now Philip Roth, who suffers from arthritis in one shoulder. Victor Hugo meanwhile wrote in the nude, Edmond Rostand, author of Cyrano de Bergerac, wrote in the bath to avoid interruption and Marcel Proust and Mark Twain both wrote in bed (though not together).

Personally, I’m still suffering, so painkillers, massages and many breaks are the best I can come up with ...

Libby O ­– Narrative Ninja from Australia ­– http://rowinggirl.com/

There’s no quick fix. I’m doing physio and limiting my screen time. I also use a software program which enforces breaks – see five free alternatives here. The screen fades and shows a picture of someone meditating. Drives me mad, but seems to be working.

So, whether you use balls, dragons or adjustable mice, there are remedies. But damage takes time to repair. Prevention is better than cure. Take your breaks, move your muscles and above all, protect the instrument.

That’ll be you.

Collection of Self Publishing Tips for Writers

It’s fair to say that everyone at Triskele Books has learned a lot and gained bucketfuls of experience over the past eighteen months or so. But you can never know too much about the dos and don’ts and rules and regulations of indie-publishing.

We have put together a User’s Guide of Tips from some of the most established voices in the industry, and added into the mix one or two sage words of advice we’ve learned ourselves.

Writing a book is no mean feat. But publishing it yourself is another story. If something you read here helps you along the way, our job is done!

GENERAL TIPS

1) Build a Rapport

“Get your name and brand out ‘there’ now by reaching out to bloggers and writers who share your genre, and build a rapport. Support others’ books and writing and they just might do the same for you.” (30daybooks.com)

2) Take Creative Risks

“There is one other factor that doesn’t get discussed as much, but in my mind is just as important: The freedom to bend and blend genres, invent new forms, and take creative risks.” (A Newbie’s Guide to Publishing)

3) Website savvy

“Ensure you have at least a professional looking website and an email sign up list so that you can direct people from your book back to this site, and start building the list for the next one so you’re in a more confident position next time around.” (Joanna Penn - How to Market A Book.)

4) Social savvy

“Social media plays a huge role in building an author’s platform, marketing, and author branding. One of our favorite social media platforms is Twitter.” (BiblioCrunch)

5) Focus on the Basics

“A well-written story, a smart cover, a proper edit, clean formatting, and an enticing blurb. You only have to do that stuff once, and then you can get back to working on the next book.” (David Gaughran)

6) Passion, Persistence, and Pluck

“The playing field is leveling—Net neutrality ensures the internet stays equally available to all. As far as online business is concerned, each book competes on its own. In this environment it’s your passion, persistence and pluck that will sell your book, and that’s within your power.” (The Book Designer)

7) Write Well, Publish Regularly

“You don’t have to chase the hottest genre or write for mass appeal to make a living as an indie author; you do have to write well enough to appeal to the people who enjoy your niche, and you do have to publish regularly to keep your name out there, especially when you’re first building up your fan base.” (Lindsey Buroker)

8) It’s All About Connecting

“But what I learned is that the best way for me to look at my writing career is to remember why I write. It’s to reach readers, to touch their hearts, maybe even change their lives (for the better).” (Live. Write. Thrive)

9) Quality Books Take Quality Time

“If you don’t pay attention to the quality control of your work, you’ll kill your writing career before it even starts. Readers are not stupid. They may be downloading 99¢ e-books like crazy right now. But they’re already starting to figure out that something’s not right. Many of these books are poorly written and desperately need editing. (Rachelle Gardner)

10) The Big IF

“[It's the] movement that says we CAN publish well all by ourselves—if we embrace the right tools, take the time to develop our craft, find the right team members, educate ourselves, and are willing to step out of our comfort zones for the sake of our book’s success.” (Wise Ink)

11) Make Sure Your Book is Amazing

“Professionally edited with a professional cover design. Spend money on this because all the marketing in the world won’t sell a crappy book.” (Joanna Penn - How To Market A Book.)


TRISKELE TIPS

…. from Triskele member, Liza Perrat

Support other indie authors: connecting with, supporting and promoting other indie authors whose work I respect is vital. And it works both ways.

Join Goodreads: participate in groups relevant to your books, to connect with like-minded readers, and thus target readership for your books.

Host giveaways: on your own blog or website, or those with a large following, to help spread the word about your books, and gain exposure.


…. from Triskele member, JJ Marsh

Use your environment: Be a local author and visit book clubs, do signings, promote via local media. And if the book is set somewhere different, play up that feature, approach Russian/Japanese/German book bloggers and focus on the setting. If your book fits in a genre, there’ll be aficionados somewhere who want to read it - use online connections. Just remember to give more than take.

Be discoverable: Find yourself platforms which do not promote your work, but establish you as a writer to trust - through journalism, blogging, guest posting. Ensure those curious enough to click on your bio will be directed to your body of work, which has easily clickable links. Make yourself easy to find.

Keep reading: All the blog posts, articles, comments, Tweets, status updates, co-promotions and press releases add up to a lot of content, not mention working on the next book/short story. All output and no input makes Jill a dull girl. Switch off, unplug and just read, at least once a week. Call it topping up your reservoir.

…. from Triskele member, Catriona Troth

An extract from my rejection letter to a mainstream publisher

'Maybe I’m shooting myself in the foot. Maybe I’m cutting myself off from a level of marketing and distribution I can’t hope to emulate as an indie author. Maybe. But I will choose when I publish my book. I will decide what it’s called and what is on the cover. I will determine how long it remains on sale to readers. I won’t have the help and advice of a traditional literary editor, but neither will my ideas be overruled by some anonymous marketing professional from a supermarket chain.'

For me, one of the real visionaries in the world of Self Publishing is Polly Courtney who turned her back on her golden ticket dream with a big traditional publishers to go the indie route. I always remember her words because for me too control is vital: ‘The main benefit for me is the ability to fulfil the vision you have for a book, from how it's worded right through to how it's sold and promoted. You can make things happen – and not just via traditional means. I've had the chance to experiment, testing cover designs on a pool of collaborators, opening up my first draft to self-selected 'editors' from social media and making a film-style trailer for the book. I'll also be able to play with the ebook pricing when it comes out.’


…. from Triskele member, Gillian Hamer

Be as professional as you possibly can in every aspect of your book. Do what you do well (ie the writing bit) and leave everything else – as much as your budget will allow – to the professionals.

Join a critique group – either virtual or real life. Make sure at least a half dozen pair of eyes if possible have read and discussed your novel before you type The End.

Invest in a proof reader you can work with and trust, try to build up a relationship with an editor, so they understand you and your writing style.


.... from Triskele member, JD Smith

When looking for a professional to help you, whether it's copy editing, proofreading, formatting or cover designing, make sure you ask for recommendations. Never use someone you don't trust or you haven't had referred to you by a satisfied customer. Look at their portfolio and ensure that they are the best person for your needs.

Expensive doesn't always mean the best. Good cover design and formatting doesn't cost the earth. It's worth budgeting for it because in the long run it can save you lots of time and frustration that could be spent marketing your book or writing the next one.

Never let the world of writing get you down. Set yourself small, manageable deadlines. Remember that you are meant to be writing because you enjoy it, not because you have to do it.


Thanks to http://www.darlawrites.com/ for triggering this idea. Check out Darla's site for many more insights and inspirations.

Reaching Your Readers

Lessons in Marketing from London Book Fair 2013

By Catriona Troth


I think most of us here at Triskele would agree the toughest thing we have had to take on for ourselves since going Indie is the dreaded marketing. And these days, it’s not just Indie authors that have to deal with it. Unless you are one of the tip-of-the-iceberg authors that the big publishers reserve nearly all of their marketing budget for, chances are, at some point, you are going to have to come out of your garret and do some self promotion.

Not all authors fit the stereotype of the shy, retiring type who would rather deal with characters on paper than readers in person. But even for those who relish a chance get out there and perform, it can be tough to switch from those familiar, introspective creative/editing modes into something a whole lot louder. So believe me, anything help we can get is more than welcome. And in these last couple of weeks we’ve found some diamonds.

First of all, there was the Booksellers’ webinar Metadata: Get It Right First Time.

Then, two of the highlights of the London Book Fair 2013, and the two events from which we brought home copious notes and a headful of ideas to try, were:

Joanna Penn – The Creative Penn – Advanced Online Marketing for Authors, and

Patrick Brown, Director of Community, Goodreads: Helping Readers Discover Your Books

All three of these have kindly made their presentation available on the web, and we have no intention of trying to duplicate them. But we thought we would share a few of the ideas that made us think, “we really have to do that!” And those basically split into two main areas – talking to your readers and (gulp!) metadata.


Talking to Your Readers


Let there be no misunderstanding, building the sort of author platform that has hundreds, or even thousands, of fans clamouring for your next book is a long, slow process. It’s not going to happen overnight. But you have to start somewhere, and there are ways to make the foundations for that platform more secure and longer lasting.


One of Joanna Penn’s key tips is not to let your potential readers slip from your grasp for lack of preparation. Make sure you have an email sign-up on your website / blog etc so that you have a way of contacting readers who have, say, shown an interest in your first book when you are about to release your second. (And if you write two different types of books, make sure that you keep two separate email lists, so that you are not telling the readers of your book on the banking industry all about your latest erotic novel!)


Goodreads has been – and I hope will remain, even after its controversial takeover by Amazon – one of the best ways of connecting with a community of potential readers.


One of the first things you should do is to set up an author profile page on Goodreads – and make that page as engaging as possible. Put a picture on there. Include a bio. Link to your website, Facebook and Twitter feeds. Include an RSS feed to your blog, so readers can see you latest posts.


And then get out there and talk! Talk about the books that matter to you. If star ratings make you uncomfortable, just leave a review. Engage in conversations with other readers – but not about your own books. The aim is to be the guest at a cocktail party that people want to talk to - not the double-glazing salesman that they slam the phone down on.


The right place to let people know about things like book launches, giveaways, book signings, etc, is the status update on your own page.


Goodreads Giveaways are a well-known marketing tool. Most people hope that they will lead to a spike in sales, or at least in reviews. In truth, it is probably more realistic to expect a spike in people putting your book on their ‘to read’ shelves, and to treat anything else as a bonus.


Currently, you can only give away physical books on Goodreads, not ebooks. You’ll need to decide on how many books to give away, and which territories you are prepared to ship to (so you don’t suddenly find yourself with a massive bill for postage and packing). You can, however, give away books from your backlist – say, as a way of drumming up interest for a new release – simply by leaving the publication date blank when you are setting up the giveaway.

Patrick Brown, in his talk at the London Book Fair, suggested that a month was the ideal time for a giveaway. Other indie authors have said this is much too long and that you only get people participating in the last few days, so I guess this is a matter of trial and error.

Listopia is the area of Goodreads that has ‘public’ list (as opposed to private lists set up by individual readers). Bear in mind that it’s okay to add your book to a list of ‘Historical Novels set in Revolutionary France’ – but not to a list of ‘The Fifty Best Fantasy Novels of 2013’.

And of course, you can always ‘talk’ to your readers directly. Technology these days makes it very easy to record podcasts and upload them to your website. These could be audio-samples from your book, or they could be you interviewing other writers. If this is your thing, then the potential is endless.


Metadata

Say the word ‘metadata’ and watch a roomful of people screw up their faces as if you’d asked them to make sense of the General Theory of Relativity. But really it’s something most of us make use of every day of our lives.

You may all be writers, but first you were readers. Chances are you buy, or at least search for books online. If you go into a library or a bookshop and ask for a specific book, the librarian or bookseller searches for it in a catalogue. So what ensures that you find the book you are looking for?

Metadata.

Whatever catalogue you are searching, you need the title to be accurate and the author’s name to be consistently given (not J.K. Rowling in one place, Joanna Rowling in another and Jo Rowling in yet another). And that’s if you know specifically the book you are looking for.

Suppose you have written a crime novel about a female serial killer going on the rampage through the Norfolk Broads. What you would like to happen is that your novel comes up as a suggestion when a reader searches for, say:

Crime novels with female serial killers

Crime novels set in Norfolk

And maybe also, crime novels set in rural England, or crime novels set around boats or... Well, it’s up to you, really.

So this is where two things become very important.


First of all, there is the ‘short description’ of your book. This is NOT the place to put your blurb, but rather to put all information that will allow people to categorise your book.

Secondly, there are the key words. There will be various places to put this information, depending on where you are uploading to, be it Amazon, Nielsen or wherever. The important thing is to make sure that it is

Relevant to the way that a reader might search for your book

Accurate (you’re not pretending that the book is something it’s not), and

Consistent across all the places you are entering it

There are basically two types of keywords – the ordinary sort, which are one or two words in length (e.g. novella, crime fiction, young adult etc) and long-tail keywords, which are whole phrases like the ones I used above (crime novels with a female serial killer).


Joanna Penn has some great tips for finding the most effective keywords for your book.

Her first step is simply to brainstorm all the keywords / long-tail keywords that could possibly relate to your book. Next you use those keywords in two places to find out what people have actually been searching for - Google Ads and Amazon itself. Google Ads will tell you specifically about numbers of recent searches. Amazon doesn’t – but you can deduce the highest frequency searches by what appears via the ‘automatic fill-in’ when you start typing in their search field.

Once you have done that, you compare the results from the two sources and pick the TOP FIVE long-tail key words to include in your metadata. Joanna has plenty of evidence from authors who have followed her advice that this can have a direct and immediate effect on your sales.

Okay, that was probably the easy bit. There is another side to metadata that is slightly more arcane, because here you have to stop thinking like a reader and think instead about the publishing industry and how they have been classifying books over many many years. Like any big industry, they have standards and codes that can make it sound as if they are part of a secret society. But it’s really not that difficult, and all the information is publically available.

First of all there is the BIC Basic Required Information. This is simply the list of basic information about a book that a traditional publisher would be expected to supply. If you’ve filled in the form to obtain ISBNs from Nielsen, a lot of it will look familiar. The more of this information you can supply, and the earlier you can supply it, the easier it will be for all forms of search mechanism to find your books.

Secondly, and I suspect that this is something that a lot of Indie Authors may be missing out on, there are the BIC standard subject categories. These are simple codes which computers can recognise and that will identify whether a book is say,

Crime and Mystery [FF], or Erotic Fiction [FP]

Beyond these two letter codes, there may be further subdivisions. (Under thriller and suspense [FH], for example, there are spy thrillers [FHD] and legal/political thrillers [FHP]). You can identify short stories, or fiction in translation. You can indicate if your books is of gay/lesbian interest. You can add geographical codes to show that your book is set in a particular region or country, or a code to show what time period your historical novel is set in.


None of this mandatory, but using the codes wisely and well could increase your book’s visibility, which is what this is all about. I would suggest you take a look at the User Guidelines before you plunge into anything, but for fiction in particular, it is really not that complicated.

Jane talks design with Joanna Penn

Triskele member, professional designer, and editor of Words with JAM,  Jane Dixon-Smith talks to Joanna Penn, of The Creative Penn, about design, typography, professional v. amateur formatting, author branding, common mistakes, her own writing and Triskele Books.

Here's the video.

And do listen to Joanna's podcast, with helpful tips on Kobo, good news on indie publishing and a mysterious tease ...


Thank you, Joanna!
http://www.thecreativepenn.com/