Online publishing: first look

Online publishing refers to everything from running a set of blogs on the Web to publishing an illustrated encyclopedia available only online.

I went to my friend Mr. Google and asked him what's going on with online publishing these days. Here's what he told me. (Approximate quotes.) "Well, JG, there are lots of businesses out there who will publish anything you put in front of them. With electronic wizardry, that means for anything you want to publish, there's somebody out there who will do it for you."

"But Mr. Google," I protested. "I don't want to hire someone to do this for me. I want to do it myself. How do I publish my book online?"

Mr. Google wiggled his nose but said nothing.

So I'm still wondering. I can load my book on the Web in PDF style. Is that online publishing? I can put my book page by page in a series of blogs or web pages. But how does someone who wants to read my book open it with their pda?

My dream is to provide a way for my authors to sell their books online. I'll keep looking for tools I can offer them.

Changing Directions

Go ahead and throw that rubber ball at my head. It'll just bounce off the hard surface, no pain inflicted.

I am so curious about publishing good solid nonfiction books on the Web that I'm going to shift directions for this collection of writing tips and dedicate them to writing online books and the process of publishing online.

Good writing is, of course, good writing. The difference is that good writing in the 1600s isn't good writing in the 2000s, and good writing for The New York Times isn't good writing for the Web.

I would like to suggest that most but not all online writing is bad writing. Putting words on a screen doesn't make them more interesting, more informative, or more useful. It does make them more accessible. We need to learn and use effective ways of building text to accommodate shorter attention spans and making key points in powerful and effective ways.

Or, to put this in a style for the Web—

Writing good nonfiction e-books requires the ability to...

1. Write clearly
2. Say it in a few words
3. Make lists and bullets
4. Use illustrations
5. Organize points
6. Invite participation

That's it.

#3 A book that will pay for itself

Nobody wants to lose money publishing a book, but a large number of people are content if they "break even" and never realize a profit.

Your break-even point is the number of books you need to sell in order to cover your out-of-pocket expenses.

For example, if you pay $5,000 for editing, design, printing, and binding 2,000 books and you sell your book for $20 each, you're break-even point will be 250 books. After that, it's all "gravy." Don't kid yourself. Nothing about being the publisher of your own book--or anyone else's--is easy.

Regardless of your financial goal for your book, always calculate your break-even point and work hard to meet it as soon as you can.

An easy way to by-pass break-even calculations is to use POD (print on demand) technology. You print only the number of books you have orders for. You can even go through a business such as LightningSource and have the books printed as they're needed.

(Before you go to print-on-demand, check out cautionary notes by the following:
Science Fiction and Fantasy Writers of America ,
BooksJustBooks, Ezine)

My advice is to build the book for the market. Make sure there's a need for what your book offers, and with a ton of courage and a half ton of good luck, you'll achieve break-even within six months.

#2 A Book that Won't Make Money

The first reason people exert an enormous amount of effort to write a book and then spend money to publish it is that they simply want to share with others what they have to say.

What a legacy it would be if every person 80 years and older would be given wholehearted support by children, grandchildren, great-grandchildren, nieces, nephews and others to write their own book.

If the person went through an exciting time such as being a prisoner of war or getting stuck on the elevator at the Statue of Liberty, telling that story should be the heart of the book. Otherwise, the emphasis of the book should be on the years when today's generation wasn't born yet. Stories and scenes especially from the writer's growing up years will be read and re-read by generations to come. The writing style should reflect what the older person remembers, without a lot of coaching or corrections by people who weren't there.

See my web pages on "Writing The Story of Your Life" for tips on how to write an interesting biography or autobiography. It takes time, effort, and even money. But you won't regret it. You can all pitch in to share the cost. Call Griffith Publishing at 800 359-9503 if you'd like more help in getting a nonprofit book ready for the future.

Writing a Book #1

Check here for tips and suggestions for writing a book. We'll cover content selection, organization, a writing plan, editing and design and other topics related to book writing.

So many people want to write the story of their lives that I've posted a short book on how to do that. It's only four pages long, so it shouldn't take you long to read it.

Before you write the first word, ask yourself what you expect from a financial perspective with your book. Which category describe your situation best?

• No expectation of financial success. The book is your gift to the future.
• Break even. You would like to recover the cost of writing and producing your book.
• Career boosting.You see this book as a way to build client credibility or win new clients for your business or career.
• Handsome profit. You believe you have direct access to enough people who need or want this book so that if only 5 to 10 percent of them purchase it, you will cover your costs and realize a profit.
• Fundraiser. You will share promotion and sales with a worthy cause and use the book to raise funds for the cause.
  

All of these are valid financial perspectives. We'll look at each one.

Griffith Writing Tip #9 Location location location

Choosing the right location is a good idea for restaurants and motels, but amateur writers often get overly involved in describing where every event in the story takes place.

I remember editing a sci fi book a few years ago that did that. The characters' location and movements from one place to the next were always described in detail. For example—

Charles stood by the door and said, ...
Michelle sat in the chair opposite Paul and announced ...
After saying that, Fred stood up and walked to the exit.

I'm not saying you should never tell where people are as they carry out various roles in your story. Just don't talk about it so much that it begins to become an obsession. As with everything else in your book, especially if it is fiction, every description must support the theme of the book. If the character who is speaking is arrogant or sassy, then describing how he was standing by the door could be effective. For example—

Charles stuffed his hands in his front pockets, stabbed at the floor with one foot, and said....

This sentence has a chance of contributing to a character description.

In summary: Don't include details about a character standing, sitting, or lying in a certain place unless the location is crucial to the action.

Griffith Writing Tip #7: Dialog is fun

Books with dialog are ten times livelier than those with long paragraphs and indirect quote. For example—

• Barry told her he didn't want to hear any more about it and stomped out of the room shouting that he was leaving and would never come back.

...is a lot more interesting like this:

• "I don't want to hear any more about it!" Barry turned and stomped out of the room. "I am leaving, and I am never coming back."

Some rules people sometimes forget when running dialog:

1. Start a new paragraph every time another speaker says something.
2. If the speech runs through several paragraphs, each of the paragraphs should have a beginning quote but not an ending (close) quote until the end of the last paragraph.
3. Watch your speech tags. Teach yourself to do without them.
4. Use contractions in speech.
5. Use "curly" quotes when typesetting dialog.
6. Keep speech crisp and to the point.
7. Don't burden yourself by describing where the person is, how the person is speaking, or the feelings conveyed. Let the words do that. Let the reader fill in the gaps.
   

If you struggle to come up with good conversation when you're writing a story, here's a source with some tips that may be helpful.

Whether you're writing a fictional work or delivering a technical presentation, dialog is a useful tool for adding interest and deepening the reader's comprehension of your topic or story.

Griffith Writing Tip #6: the most common mistake

If you've ever graded papers or paid attention to emails that spill onto your desk, you'll probably agree with me that the most common mistake in the English language is...

...Misuse of the apostrophe with "it."

Yup. That's it. It has become the national consensus that you'd better use an apostrophe if you can, and that means always with "it." Right? Wrong.

"I looked at it's tires."
"Does your cat scratch it's nose?"
"I don't care for it's taste."

Well, friend, the word "it's" means "it is."

"I looked at it is tires."
"Does your cat scratch it is nose?"
"I don't care for it is taste."

Teach yourself that the apostrophe in "It's" is the "scar" left from surgical removal of the word "is," and maybe you'll be one of the 5 percent who can resist the temptation to insert the apostrophe when it's not supposed to be there.

Is it always wrong to write "it's?"

Of course not. If you want to say "it is" in a hurry, use the apostrophe. That's what it's for, to cut out a syllable. Faster to write. Faster to speak.

It's a beautiful day. = It is a beautiful day.
I'll tell you when it's time. = I'll tell you when it is time.
Run before it's too late! = Run before it is too late!

Have fun. Conquer the biggest language in the world. You can do it.

Writing tip #5: Working with an editor

You and the editor you choose are going to see things differently. The editor will puzzle over some words in your manuscript, and when the edited text comes back to you it's not even close to what you were trying to say. Or the editor has cut out your choicest words, and your most beautiful paragraphs have been split into two or three parts.

If you're using a ghostwriter or someone to create a book from the notes and information you provide, the process can be even more frustrating. Your writer is trying to say what you would say if you could. When you get a peek at the first draft, you are horrified.

Yes, editors and writers make mistakes. When you find errors in edited text, here is the best way to fix them:

• Give the exact location in the text, show the text as it is now and how it should be. Add an explanation if you feel one is needed.

If you feel your writer or editor has missed the direction you want to go or has a perspective that conflicts with the one you want in a section of the book, here's the best way to deal with that:

• Talk to your editor or writer. Email doesn't work. Try to be good-humored about what you need, and you'll get it faster and better.

If you've changed your mind about deleting or including something in the book, try this method:

• Suggest where the new text should go or give the exact words that should be deleted. Give your reason for adding or deleting text and listen to your editor's rebuttal if there is one.
  

In short, when changes are needed in your ghostwritten or edited book, be as specific as you can about the change you think you need and be open to what your editor has to say.

Griffith writing tip #4: Speech tags

"Hello," she smiled.

That's easy to correct. The speech tag ("she smiled") has to describe speaking.

"I don't know," he shrugged. What? How can you "shrug" words? Other words used as speech tags that shouldn't be include "grinned," "trembled" "beamed" and so many more.

"Said" is the finest speech tag in the language. Use it shamelessly. Not forever, but without embarrassment.

Do you really need a speech tag? Maybe not. If only two people are talking, you don't have to keep telling the reader who's talking. It's nice to slip in a clue or two once in a while, but avoid sounding like a drone.

Griffith Writing Tip #3: Who cares?

Three things your book should do--

* Open doors

* Deliver at least one benefit

* Change your reader in some small way

These are the only reasons for writing a book. A lot of us like to write for ourselves, and there's nothing wrong with that. Psychiatrists say that keeping a journal is good therapy. It's fun to create situations and make comments about life.

But your book won't sell five copies at a church picnic unless you give your reader something he or she needs or wants.

I ask authors who call me about their book, "How do you want this book to change your reader?" "What do you want your reader to do after reading your book?" or, cruelest question of all, "Why should anyone care that you've written this book?"

Your grandfather survived the holocaust. You grew up in the slums and graduated from college. Your infant son fought a horrible disease and finally died. You've moved from a farm in Ohio to a New York City apartment.

All these have the kernel of a decent book, but only if they're driven by a singular purpose that entertains, informs, and offers to change the reader in some way. Otherwise, Who cares?

That's Griffith Writing Tip #3. Make sure your book has one overriding purpose and stick to it.

Griffith writing tip #2: An audience of one

I started off with with a specific tip to improve your writing: eliminate "just" and "very."

Here's a general one that can transform your writing in a minute from the mundane to the captivating: write your book for one person.

It's tempting to think of your book's being swept off bookshelves around the country as thousands of people submerge themselves in a best-selling book—by you! That may happen, but when somebody picks up your book and begins reading, it's a one-on-one experience. Write your book the way it will be sold—to one person at a time.

Imagine that person as your typical reader for the book. This person has characteristics such as gender, age, occupation, education, geography, and most important—interest in what you have to say. Draw a picture of that person in your mind and direct everything you have to say to him or her.

When you focus on one person, your book automatically commands a broader market. Why? Because...

1. You give more of yourself when you expend yourself on an audience of one.
2. Your one reader at a time feels personally involved in whatever you have to say.
   
3. The book's intense relationship with one reader captures the attention of others.

Your book will be stronger when it can meet the specific needs of your reader. Invite this imaginary person to your writing sessions.

Griffith Writing Tip #1: Get rid of "very" and "just"

I edit books almost every day of the year, and I'm pretty sure that the biggest single mistake that writers make is using too many words.

There are plenty of words, about a million in English and more joining all the time. We bolster our thoughts with words that repeat the meaning of other words or that mix up the reader more than ever.

The first thing I do when I get a new book to edit is to do a "find-delete" command for the word "very." Then I do the same thing with "just." Once in a while I leave the word in place. Most of the time I delete it. Guess what? No meaning is lost, no emotion is flushed away. It's better!

First tip: Get rid of empty words. The most commonly used empty words are "just" and "very." Your writing is better without them.