Category: writing

Self-publishing and Harper Madigan

So, I don’t think I ever mentioned why I chose to self-publish Harper Madigan: Junior High Private Eye.  For those of you who don’t know, it’s a noir detective story.  It’s also MG, so self-publishing it isn’t the most obvious path to get it into the hands of readers.  A lot of people have misconceptions about self-publishing, or at least that’s what I’ve been noticing lately.  (I did not notice much last year.  Last year was a dead sort of year, what with my doctor mistakenly putting me on way too low of thyroid meds and turning me into a zombie, which made for very little writing and even less of everything else.  But I got a new doctor and better meds and a better dosage.  There’s more to the story, but that’s another post for another time.)

Source: amzn.to via Chelsea on Pinterest

 

Anyway, the hard truth of publishing is that good books do not always get published.  The Rise of Renegade X came this close to not finding any love at all and fading into obscurity on my hard drive.  In fact, Harper Madigan got more editor love than Renegade X, with three separate editors falling in love with it and wanting to buy.  But editors alone don’t decide what gets bought, no matter how much they love it, and their houses said no, they couldn’t sell it.  So here’s me with this awesome book that I still want people to get to read, but no publisher.

So what’s a girl to do?  Put on her DIY hat and PUBLISH IT HERSELF, that’s what.  And you know what?  Putting it all together myself was a lot of fun and I was able to do it quickly and easily and pretty much stress-free.  It was also a great way to get started in the world of self-publishing before putting out The Trials of Renegade X.  I am very pro hybrid-career at this point, and while I hope to continue to find traditional publishers for some books, it’s not something I can control.  I can, however, control how many books I self-publish.

And speaking of Harper Madigan, I have some good news to share about it!  But not yet.  Soon, precioussss.  Soon.  And I have good news to share about Renegade X, but if I wait a little while, it may turn into really freaking awesome news, so, again, we must all wait.

The Trials of Renegade X Release Date!

Mark your calendars for September, 2013!  That’s right, The Trials of Renegade X will be released next September!  This might seem like a long way off, especially when you guys have been so patient–a lot of you have been waiting for this since 2010.  But September is when everything can be done by–both on my end and for others involved in getting the project out the door–and it’s going to be amazing.

If you haven’t already, you can mark the sequel as “to read” on Goodreads or join the Facebook group to help spread the word!

And I have another book coming out next spring that hopefully I will be able to announce soon.  It’s not Renegade X related, but if you like the voice in Renegade X, you’re going to love this one, too.

In other news, The Rise of Renegade X came out in Russian!  I found out from a Russian fan messaging me on Facebook–one thing you learn very quickly in this business is that nobody tells authors anything.  I knew we’d sold Russian rights, but I had no idea when it was coming out.  Damien’s name in the translated version is “Damien Loki,” which seems appropriate. ;)  Oh, and according to Google Translate, the Russian title is “The Desperate and Undefeated Renegade X.”

 

The Most Important Career – an Email to a Friend

I wrote this in an email to an author friend, on the subject of writing as a career, as opposed to other, more lucrative and “parent-and-society-approved” professions.  I’m posting it here in the hopes that it resonates with other writers as well:

Frankly, I think writing fiction is the most important, most noblest career anyone can aspire to.  That may just be my years of wanting it so badly brainwashing me into thinking that, but stories are important.  They change lives, they comfort us when we’re sad (no one understands you like your favorite book, you know?), they let us glom up all the experiences of another person, both the fictional experiences of the characters and the real thoughts and emotions and tidbits of reality put in by the author.  Stories are transformative and allow us to experience change in a safe setting.

And writing is hard.  You could take a writing class, turn in all your assignments, and get an A but still be a crappy writer.  It’s learnable, obviously, but it takes a lot of time and effort.  People often say it’s a ten year apprenticeship, which it definitely was for me, though I guess it depends on how quickly you get in your million words/10,000 outlier hours.  But that’s a lot, and that’s just to be publishable, just to start a writing career.  And most people don’t have the discipline to put in the crazy time and effort it takes to become a pro writer.  Everyone who’s read your books has a little piece of you in their minds now.  That’s pretty amazing.  More amazing, I think, than going to grad school or earning lots of money.

Life Changer – Writing sans Internet

Once upon a time, in 2004, in a faraway land called Bellingham, WA, where the sky, the earth, and the sea are all the same shade of gray, I got it into my head that I wanted a portable writing device.  I had a desktop at the time and I wanted to be able to write anywhere, whether that meant when I was out of the apartment or just when I was sitting on the couch.  I did a lot of research and discovered the NEC Mobile Pro.  (Which, as you can see if you follow the link, is also gray.)  It was super portable, had an actual keyboard (not full size, but it worked), and it turned on and off instantly, which meant no waiting for my computer to boot up in order to write down any brilliant plot ideas I had at one in the morning.

I got a refurbished one off of eBay.  It had a spot where you could plug in your dial up internet (LOL), and the one I got came with a WiFi card so you could connect to the network, even if it was kind of slow.  But I never ended up using the internet on it.  It was a little tiny box with Pocket Word and a word count meter and almost nothing else.  There were no distractions, and it changed my life.

Or at least my writing life, which was pretty much the same thing.  Not only was it light and portable and I could sit wherever I wanted with it or write in the quiet room at the university library, but I became way more productive.  And it’s not that I’d never experienced periods of high productivity with my writing, even with the internet, but it was so much easier to get into that mode without having the option of turning to distractions every time I got stuck.

In the summer of 2007, the same summer I finally graduated college and the same summer that the last Harry Potter book came out, I wrote The Rise of Renegade X, all on that little computer.  Then, two years later after I’d sold the book and gotten paid for it, I bought a shiny new laptop.  I love my shiny not-so-new-anymore laptop that literally sparkles in the sunlight (there are blue sparkles on the lid, but they only show up in direct sunlight), and at the time I’d badly needed a computer that actually functioned, since my desktop was, on its good days, barely still functioning.

So I got the laptop, and it did all the computery things I wanted it to do, like play games and play videos (with sound! and without blue screening at random times!) and check my email 1,000 times a day.  And gradually I stopped using my MobilePro.  My laptop didn’t have a spot for the sync cable, my MobilePro had no USB ports, and my laptop couldn’t read the card that the MobilePro could actually save to, at least not without hooking up a separate card reader, and the card itself was unreliable and would frequently forget everything that I’d saved on it.

Anyway, since then I’ve been writing exclusively on my laptop, which has about a million distractions on it, including the internet, which I can’t stay away from.  And if it’s not the internet, then it’s Spider Solitaire.  And lately I’ve been especially prone to these distractions and I have a lot of writing projects I’m not making enough progress on, if any.  So I decided it was time to go back to an internet-less computer.

I did tons of research and got this slightly used HP Mini for a great deal on eBay:

 

This netbook ended up being the perfect combo of everything I wanted.  USB ports, card reader, runs actual Windows (instead of CE) so it can handle Open Office and doesn’t screw up formatting when I’m passing files between computers.  It’s lightweight and gets almost 10 hours off one battery charge and it comes out of hibernating instantly, and the boot up time when I turn it on is super fast, too.  And the keyboard, which you can see in this next picture, is just how I wanted it.  Chicklet style with a hard base.

(As you can see in this pic, I am clearly working hard on The Trials of Renegade X.)

I uninstalled any unnecessary programs, deleted all the games, and left the whole thing not connected to the network.  It has my writing programs and that’s pretty much it.  It’s amazing how big a difference not having those distractions makes!  Instead of being unfocused and looking for ways to procrastinate, I’m actually, you know, working.

Sometimes it pays to know what works best for you.  If the internet is there, I will poke at it.  I won’t be able to leave it alone, and I know this about myself.  And it can make working on my laptop a source of stress.  In contrast, the netbook feels like a quiet, stress-free workspace that is just me and my books and the tools to make them better.

 

Wondering Where I’m at with the Renegade X Sequel?

So, I can admit that the beginning of the year was a lot busier than I expected (A LOT busier).  I pubbed my middle grade noir mystery, Harper Madigan: Junior High Private Eye.  I expanded from doing commissions on DeviantArt to an actual Etsy business.  I was taking grad school classes.  I spent my spring break working a (stressful) temp job.  And I finished up another temp job earlier this month.

If I never work another 9-5 job, I will not be shedding any tears.  I am seriously not cut out for it.  Probably most of us aren’t.  I keep reading about how more and more of us are turning to freelance work, so I know it’s not just me.

But anyway!  Some of you have been asking about The Trials of Renegade X and how it’s coming along.  And now that my workload has mellowed out and the nervous breakdown meter is no longer on orange alert, I’ve finally been able to sit down with this book again and make some progress.  (For those of you not reading this directly from my site, the word count bar is up to 5,700, about 8% of the expected total.)

And this isn’t really a surprise, but I LOVE this story.  Even though I’ve had it planned out for months, it’s hard to get back into writing when I haven’t done it in a while, and especially when I haven’t been writing regularly.  But the more time I spend working on this, the more I love it and the more into it I am.  I’ve crossed the threshold of “Juggling all this stuff is hard! *WHINE*” to “OMG, I can’t wait to put in this and this and this, and THIS cool thing goes here, and wait, there was a better way to phrase that sentence I wrote five pages ago…”  It’s like the difference between pushing a piano upstairs and sliding down the banister.  (Not that I can slide down banisters.  But, you know, if I *could,* then I’m sure that’s what it would be like.  For the record, I’m pretty sure I can’t push a piano upstairs either.  In fact, I’m more likely to pull off a really awesome banister slide than I am to move a piano at all.)

And The Trials of Renegade X now has a Facebook page.  It’s where I’m posting my daily word count.  Go there, press like, and you can watch the book grow (and shrink and then grow again, as books are wont to do…) and show your support and tell your friends and all that.  I mean, you do have friends, don’t you?  And you wouldn’t want to be accused of depriving them of something awesome, right?  RIGHT? *makes squinty accusing eyes*

Ahem.

Anyway, you might be wondering when this book will be done, and, more importantly, when can you have it???  Well, according to my estimations–*types random numbers in giant calculator with one of those paper rolls coming out the back*–I should be done with the first draft in 2 – 3 months.  But you never know when I might get crazy obsessed and not be able to stop myself from doing anything besides writing.  But you also never know when life will get completely overwhelming and get in the way.  So, yeah, 2 – 3 months.  Then there’s editing and revising to do.  And then–THEN–you can have it.  And by my calculations, that means it will be out some time this fall, late November at the latest.  Which means it’ll be out in time for the holidays and you can surprise all your friends you “forgot” to link to the FB page with copies and you will be crowned the best gift giver ever.  (Or at least until next year.)

So that’s the scoop on the sequel.  I’ll know more about the release date as I get closer to finishing the book.  In the mean time, go read Harper Madigan.  It’s awesome and it made this Top Ten Underappreciated Books List.

Can You Resubmit a Significantly Revised Manuscript?

Taking a break from work and school related deadlines to answer another publishing question!  Mel asks:

If I sent my manuscript to an agent about a year ago (who requested a full) , but since then have significantly revised it, would you suggest resubmitting it?

Definitely!  Just make sure to be up front about it in your query letter and mention it’s the book they’d seen before, only significantly revised, and mention some of the big changes.  They may say thanks but no thanks and not want to see the new version, but it’s worth a try.  A year is plenty of time for you to have given your manuscript an overhaul and for this to not come across as pushy or annoying.

Now, if this agent in question has had your full sitting around for a year and hasn’t responded at all, then that feels a bit more iffy.  That might not be the case here, but I want to address it anyway, for anyone who might be in that situation.  Not that you can’t resend your manuscript here (you can, just mention that since they hadn’t responded to the full, maybe they haven’t had a chance to read it yet and would they like to see the new and improved version?), but a year is a long time with no communication.  I would do more research on them and find out if this is a typical wait time and how responsive the agent is with their clients.

I say this because I had a bad experience with my first agent.  She’d requested a full of one of my manuscripts, by phone, and then never responded.  Six months later I contacted her because I had a new book (Renegade X) and asked if she’d like to take a look at it.  She apparently had finished the first book I sent her and liked it, but wasn’t sure if she could sell it, and just never got around to telling me any of this. :/  I thought, “Hey, aspiring authors are supposed to be treated like afterthoughts… she’d be way more attentive if I was her client.”  Well, I did eventually become her client, but she didn’t become any more attentive.  We never spoke on the phone again, and I never stopped feeling like an afterthought, though again I thought, “Once I make a sale, THEN I’ll be worthy of her time.”

Not true!  For the record, if you’re a client, you’re always worthy of your agent’s time, whether you’ve had a sale or not.

But anyway, back to the story.  This agent only got more aloof as my book gathered up rejections.  Eventually she stopped talking to me all together and ignored my request for a status update on who had my manuscript.  So I fired her!  It was scary, but one of the best decisions of my life, and one that lead to a new, super amazing agent and a book contract.

So that’s my tale of caution on super slow responders.  Some agents do have a lot of backlog, and emails can get buried and forgotten about.  It happens.  But a full is a big deal, and you should get a response, even if it turns out to be a form letter.  But if an agent’s M.O. is to show their lack of enthusiasm by never contacting you again, I’d think long and hard about giving them another chance.

What Makes a Good Query Letter?

If you’re submitting your novels to agents or editors, or even thinking about submitting, you’ve probably had to deal with query letters.  And, if you’re anything like I was when I was sending out query letters, the thought of having to write one probably makes you want to tear your hair out and curl up in the corner and die.  Maybe you’ve got a couple queries under your belt, but you’re not getting requests when you send them out.  Or your beta readers go over your letter, say it needs “something,” but can’t tell you what that something is.  Or maybe–and this is my personal favorite–you’ve got a case of too many cooks in the kitchen, telling you all sorts of spices and vegetables that need to go into your query soup, so that what comes out after all your revisions isn’t so much a soup as a puddle of unappetizing goo.

Sound at all familiar?

Don’t worry, it gets easier.  Writing query letters is a craft, which means you can learn it.  And you can bet mine used to be embarrassingly bad.  I was practically the poster child for unreadable query letters, and I dreaded every minute of writing them.  Tips like “make sure it has the same voice as your novel” or “less is better” weren’t very helpful.  For the record, you do want voice in your letter to match the voice of your book, but it’s like saying that in order to make soup, you need to put in salt.  Great!  Very true!  But… does that really tell you how to make soup?  It’s a tip on how to make it taste better, to liven it up, but it doesn’t tell you what you really need to know to create it.  The same goes for “less is better.”  It’s true that you don’t want to bog down your query letter with everything that happens in your novel, but what do you put in?

Before we get started, let’s go over what a query letter is.  You probably already know if you’ve gotten this  far, but I want us all to be on the same page.  The short and kind-of-bland version is that it’s a polite business letter in block format that tells an agent (or editor) what they need to know about you and your book to decide if they want to even read your work, let alone take you on as a client.  There are straight up facts like your word count, genre, and contact info, but the tough part, and the part we’re concerned with here, is the story blurb.  It’s the description, similar to what you read on the back of a book, that tries to hook potential readers.  This is where it gets scary and where I used to get tripped up.  You query letter has to sell your book to someone.  Someone who sees thousands and thousands of letters just like yours, and what if you leave out the one detail that would have made them hit the request button instead of delete???

Relax.  First of all,  if there are thousands and thousands of letters out there that all sound the same, that’s awesome, because yours isn’t going to sound the same as everybody else’s.  And second, the details aren’t what’s going to sell your story to anyone, so put them out of your mind for now.

So what does sell stories to people?  The same thing that always sells them: characters and conflicts.

Start your blurb with your main character.  Tell me what they want.  Then tell me why they can’t have it.   This is important because what a character wants conveys a ton of behind-the-scenes info about who they are.  My cat Teisel wants to win fights and feel like he’s better than everyone.  I could tell you that Teisel is furry and has both stripes and spots, but that’s not what’s important about him, and it doesn’t tell you anything about his personality or why you should care about his struggles.  And if after telling you he wants to win fights and feel like he’s better than everyone I add that he’s lost every single fight he’s ever started because he’s too worried about winning to actually act, now we don’t just have a character, but the makings of a story.  It poses the unasked question of “What happens next?”

It’s easy to fall into the trap here of actually telling us what happens next and just listing events.  For the most part, you want to forget about events.  And you certainly don’t want your blurb to read like a laundry list of plot points.  I could say Teisel gets in a big fight.  He loses the fight.  He feels even worse about it.  You might notice how boring those sentences are, even though they’re about a fight, but the real problem with them is that they don’t give us a reason to care about it.  Again, what makes us care are characters and conflict.  For example, a conflict-focused version of the previous list of events might start out like this:  Teisel challenges his worst enemy, Kitten the Undefeated, to one final fight to see who is permanently crowned king of the cat tree.  Technically, there is an event here–a fight over a cat tree.  But that’s not what’s important about it.  What’s important is that Teisel is challenging his worst enemy (and this tells us a lot about him as a character, because even though he’s too afraid to act in a fight, he’s still bold enough to make this sort of challenge), who we see is undefeated (meaning Teisel, who has a 100% losing streak, has no chance of winning), and we see that there are consequences to losing this fight (the loss of the cat tree, which is also a high up place where Teisel can look down on others and feel important; losing both the big fight and his claim to the tree will mean he has no way to achieve his goals).

Pile on your conflicts, showing us the obstacles your character has to face to achieve their goal.  Give them impossible odds to overcome, and make sure we know what will happen if they fail.  Piling up the odds is no good if we don’t know the consequences, and the consequences are only as good as how badly they screw things up for our characters.

You don’t need to tell the whole story in the query letter.  It’s okay to leave out or fudge things that are too complicated to get across in the two or three paragraphs you have for your blurb.  And it’s okay to leave off the ending.  My favorite way to end a story blurb is to leave the character with an ultimatum, one that could go either way and that leaves the audience wanting to know which choice they’ll make.  This is easiest to do by giving them two equally important goals and a reason why they can’t have both.

So, to sum it up:

  1. Give us a character.  Tell us what they want, why they can’t have it, and what will happen if they don’t get it.  While doing this you’re sneakily showing us who they are and what their world is like.
  2. Focus on the conflicts and opposing forces your character has to deal with rather than events.  Keep ’em coming until achieving their goal seems impossible, but make sure we know why they absolutely have to succeed.  Whatever will happen if they fail will be worse than facing all those impossible odds.
  3. Throw in a complication that makes the character have to choose between two things that are important to them.  They can’t save their childhood sweetheart and the kids in the orphanage across town where they grew up–they have to pick one, but both are important to them, and both are choices they could actually make.  Leave us there, desperate to know which one they’ll choose.

 

You can read the story blurbs I’ve written for my books on my site, www.chelseamcampbell.com, under Books.  The blurb for The Rise of Renegade X is what I used in my actual query letter, and what my publisher ended up putting on Amazon.  But I also wanted to give an example not based on a real book, to show that it doesn’t really matter what the story’s about, so I leave you with this:

Winning the world figure skating championship is boy’s only chance of winning a college scholarship and getting out of a lifetime of working at his family’s bean farm as soon as he hits eighteen. But when his girlfriend and figure skating partner breaks his heart by selling her skates to buy a guitar and go on a cross country road trip without him, boy scrambles to find someone else in his one horse hometown who can take her place, at least on the ice if not in his heart.

Just when boy thinks he’s found the right girl for the job—his goth girl neighbor who wouldn’t be caught dead in a frilly skating costume even if she didn’t hate him for pulling an embarrassing prank on her when they were kids—he sprains his ankle while attempting the super triple skate flip, the one move he’s sure could beat the odds and win him his scholarship. With the competition fast approaching, he’ll have to not only skate while injured, but pull off the most complicated move in the book.

Boy finally wins back goth girl’s trust, confessing that he only pranked her because he had a crush on her, and convinces her to skate with him.  Romance kindles between them just as his ex-girlfriend whirls back into town with a new pair of skates in hand. She’s ready to take him back and do their old routine together, certain that, with his injured ankle, boy needs her skills now more than ever if he wants to win.  Boy thought winning the competition and the scholarship was everything, but is it worth it if it means betraying goth girl, the only girl who’s ever stuck by him and might just be his one true love?

Plot, Dialogue, and Description – Oh My!

I said I had another post on writing coming up, and here it is!

So, last time, Julia asked:

Do you think you could do a post on sentence-by-sentence spice-adding, in terms of dialogue and such? The problem I often have with writing is that my plot either moves too quickly and I can’t think of what to put for actual descriptive meat, or I get bogged down in descriptions and dialogue and lose the plot there. Any tips?

I think the answer to both not having enough dialogue and description and of getting bogged down in it is remembering that every line of your story is an opportunity to strengthen characterization.  Plot itself can be extremely short and simple.  “A stranger comes to town” is an easy example.  This sentence implies potential conflict–who knows what kind of trouble a stranger coming to town might mean.  Depends on the town and the stranger.   You’re probably already picturing some kind of conflict, though, like a retired sheriff riding into a lawless Old West town in desperate need of someone to stand up against the bad guys.

I picked a sentence-long plot to show that a plot can be told in one sentence.  (All plots can be.)  Obviously when you’re working on your book, you’ll expand that plot and branch it out in more detail.  But the point here is that “plot” can be used up really fast, and if you’re relying on plot to make up the meat of your story, you might not get very far.  One way to think of it instead is to build the meat of your story on conflicts.

Let’s take our Old West sheriff for example.  What if the woman running the saloon is his childhood sweetheart, but they never got married and life took them in different directions, and now he’s a man of the law (or was, since he’s retired), and some of the goings-on in her saloon aren’t exactly on the right side of the law, but she’s happy to look the other way because she makes a good living off her less-than-savory customers.  She and the sheriff are still attracted to each other and longing for the past, but their current beliefs and situations are going to put a rift between them.  This is going to have an affect on every conversation and every description of the two of them.  A plot point could be that the retired sheriff witnesses a crime while in the saloon.  He could walk in, see the crime, and walk out, just like that.  But there’s a difference between describing an event and exploring conflict and characterization.  The ex-sheriff and the woman who owns the saloon are probably going to have some pretty interesting conversations, especially if they haven’t seen each other in years.  It might get even more interesting when he witnesses a crime take place, and he knows she knows about it, but that she also doesn’t care.  But he cares, even though he’s retired and has decided to stay that way and not get involved in keeping the peace here, even if it goes against his better nature.  So he’s not only struggling with the decisions she’s making, but with his own inner conflicts.  He can’t be with her and uphold the law.  And he can either be retired, which means letting things go, or he can step up and become the sheriff of this town, but he can’t have both.

That’s where your meat comes from.  Not from the event itself, but from the characters’ conflicting wants and their goals they can’t quite reach.  I think this approach would help with getting bogged down, too, because each line of dialogue and description are opportunities to add to our understanding of this situation.  It’s a chance to show us the characters’ opinions about each other and the world around them.  So every line that goes in will have a purpose, and that purpose is more than the sum of its parts.  A sentence describing the counter at the saloon needs to do more than just tell us what it looks like.  What it looks like needs to tie in to the characters, either by showing us their opinions of it, or showing how it fits into their lives.

The saloon was dark and dimly lit, a sharp contrast to the blazing sun outside.  He’d seen these types of places before, and this one was no different–shady and rotten to the core.  He’d heard it was hers,  that this was the kind of life she’d set up for herself after all this time.  Knowing she’d get involved with a no-good place like this, with gamblers and outlaws at every table, giving him hard looks, came as a shock.  She’d changed.  The girl he’d known wouldn’t have put up with these types, and not with the mud on the floor and the smoke clogging up the air either.  But as he sidled up to the bar, he noticed the counter.  Unlike everything else in this place, it was clean.  Spotless.  He smiled to himself, thinking maybe she hadn’t changed so much after all.

I could have just said he walked in and sat at the bar and noticed it was clean.  Or I could have gone on describing how everything looked until I lost track of why he’d come into the bar in the first place.  But what I wrote here tethers all the description to the characterization, whether it’s giving us a glimpse into the characters’ personalities, the conflicts between them, or both.

The Indie vs. the Traditional Debut

First things first, since you’re wondering, I put a progress bar for the Renegade X sequel up at the top of the site. My word count is so far embarrassingly small, but what I have is awesome, and I want to be more accountable for it. And I want you guys to get to see the progress I’m making. I have a tendency to take on too many things at once, and right now I’ve got too many jobs and am wearing too many hats, and not really getting anywhere. (Did you see that episode of Parks and Rec where Leslie was trying to juggle both her full time job and a full time campaign? Yeah, that was kind of a wake up call.) So anyway, it’s time to put some of those hats away and get focused on what’s really important.

And what you can’t see from the progress bar is that I’ve got a full synopsis, a bunch of notes, and detailed scene plans written up, so even though my word count is so far embarrassingly small, it’s only the tip of the iceberg. And, of course, there will be more words. Lots more words. I will attempt to update the bar at least once a day so you guys can follow along. And because I like getting to add to progress bars. ^__^

We now return to your regularly scheduled blog post…

So, I got to hold my new book for the first time yesterday. Check out the previous post for the video. It’s not the first time I’ve ever held my work in book form, but it’s the first time I’ve done it as an indie, and holding that proof copy of Harper Madigan was just as amazing as holding the ARC of Renegade X. For different reasons. With Renegade X, it was validation. It was “somebody deemed this story worthy and waved their magic wand and turned it into a real book!” With Harper Madigan, it was more “OMFG, I MADE this! And it’s here–it’s real!”

Traditional publishing can be slow. It’s a lot of rollercoaster. When you’re up, you’re way WAY up. Getting the call was probably the most exciting moment of my life. And getting to see my cover for the first time, and getting to hold my ARC… those moments were SO amazing. But there were months and months of nothing in between. Not that nothing was going on behind the scenes, but for the author… there’s a lot of waiting. And even though it’s an exciting process, it’s hard to maintain that level of energy for, say, the year or two or three that it takes for a book to actually come out. When Renegade X finally “debuted,” it felt more like the end of a journey, rather than the beginning of one. At least for me, as the author–for readers, of course, it’s different.

The indie process is different. With self-pubbing there’s been less of a crazy rollercoaster–at least so far–and no months long lulls of nothing. In fact, since I already had this book finished and pretty much ready to go, the whole process from deciding I wanted to publish it myself and holding it in my hands was only two or three months. And those were busy months of editing and finding the right stock image for the cover and laying out the interior for the print copy and coding the ebook. So when I held the book for the first time, the excitement was still fresh. This still feels like the beginning of this book’s journey for me, and I’ve been so involved with each part of the process that it feels very hands-on and made getting to hold the finished product that much cooler.

Is it more exciting than having Renegade X come out? Deciding to self-publish was not more exciting than getting The Call, but releasing the book as an indie has been much more exciting than the final, official “release day” for my traditionally pubbed book. Up until I decided to self-publish the Renegade X sequel a few months ago, I never saw myself self-publishing. And I certainly didn’t expect it to be so fulfilling or to be so exciting or to come with such a sense of accomplishment. I thought, “When I hold my book, it will be ho hum, because it’s not ‘real.'” But then it was here, and it’s VERY real, and it turned out holding it was just as amazing as getting my first ARC. And I never expected that.

Win Free Stuff!

Harper Madigan: Junior High Private Eye is out today!  *happy dance*  Harper Madigan is a noir detective story set in junior high.  See below for a more detailed description.

To celebrate, I’m giving away 10 free ebook copies (winner gets the format of their choice), and one grand prize of an ebook copy and a signed paperback once it’s available later this month!  The contest starts now and runs through Sunday, March 4th.  I’ll announce the winners here on the blog on Monday, so be sure to check back.

How do you win one of these marvelous ebooks?  It’s easy–I’ll be I’ll be tweeting the entry tweet from my account (@CampChelsea), and you can either RT me or copy and tweet the following message:

 

RT for a chance to win an ebook or print copy of #HarperMadigan: Junior High Private Eye! Full details at http://bit.ly/zK6HfA

 

Winners will be chosen randomly.  You can enter once each day on Friday, Saturday, and Sunday for a total of three entries.   And if you can’t wait and want to read NOW, you can sample and purchase the ebook at Amazon, Barnes and Noble,  Goodreads and Smashwords for $3.99.

 

7th grade detective Harper Madigan works alone.  He doesn’t need the vice principal assigning him a new partner to keep him in line, especially a stuffed-shirt wannabe-journalist who totally cramps his style.

And he especially doesn’t need his troublemaker ex-girlfriend showing up out the blue and asking for his help. She’s accused of attacking the star of the school musical, and with her less-than-sparkling track record, she’s only one suspension away from getting expelled.

Only Harper believes she’s innocent, and now it’s up to him to prove it, even if it means making an enemy of the PTA mafia, risking his agency, and confronting the mistakes of his own dark past. But when his new partner insists on doing everything by the book, and his old nemesis–the one bully he can’t catch–starts harassing his clients, it’s going to take more than just detective work to solve the case.