Every story, from every issue (1-5) are now published online.
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Since we began back in March this year, we have welcomed your ideas and suggestions with regard to the format of Secret Attic.
We have received plenty of ideas/suggestions from contributors and as we want to try to please everyone, as well as keep Secret Attic fresh and appealing, we have taken onboard the many ideas you have sent in and acted upon them.
As of November 1st, the revised format for Secret Attic is as follows:
The SA Hardcopy Booklet (optional purchase):
Lowered in price from £11.00 to £5.00 + p&p
.pdf Booklet Version
Free to Winners & Selected - sent by email
Short Story Contest:
£3 entry fee for 1 story - £7.00 for 3 stories (maximum of three stories per month)
Top Story: £20 + online publication + SA Booklet
Selected Entries: online publication + SA Booklet
Every contributor will receive a free .pdf version of the SA Booklet
£3 entry fee for 1 entry - £7.00 for 3 poems (maximum of three poems per month)
Top Poem: £20 + online publication + SA Booklet
Selected Entries: online publication + SA Booklet
Every contributor will receive a .pdf version of the SA Booklet
Nifty Fifty Contest:
Will no longer run after 31st October
Long Short Story:
Entry Fee will increase to £5 in January 2021
Prize Money will increase to £150 in January 2021
The Weekly Write:
No changes. With regard to the stories entered in the Weekly Write, it's important to note that you still own the copyright to everything you contribute to Secret Attic. This means you are perfectly free to take what you have written and re-publish it somewhere else. In contributing to Secret Attic, including the Weekly Write, you agree to grant the Secret Attic website a perpetual, nonexclusive right and licence to publish your contribution on the website as well as to publish and distribute your contribution, at our sole discretion, as part of any compilation work that Secret Attic may choose to produce in any format.
As well as going into the SA hardcopy booklet + .pdf version, winning and selected stories will be published online.
There will be an option to comment on every story/poem published to provide constructive feedback. There will also be the option to 'Like' & 'Tweet'
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There will be an option to add a short bio, website link and your Twitter Username which will be added as a footnote on your successful entry published both online + in the hardcopy + .pdf version of the booklet.
There will be two entry forms, one for the Short Story Contest and another for the Poetry Contest.
We hope these changes bring more exposure/readership for your work.
The great Chinese ruler, Mao Tse Tung, once said, 'In order to break the rules of a system, one must first learn and understand them.' (Okay, I paraphrase - he was actually talking about Communism.)
But so it is with POV in fiction.
Learn the rules first, then you can break them.
I get so many emails from writers asking how they should deal with point of view that I thought it might be interesting to discuss the subject here.
The truth is, there's no right or wrong way to do things - but there are guidelines that, if you adhere to them, will mark you out as a good and competent writer.
Similarly, if you ignore them (without understanding what you're doing) then you'll most likely come across as an amateur.
Before we go on, let's make sure we know the terms of reference.
For most fiction, you have 4 basic alternatives.
1. First person, where everything is told from the limited POV of the protagonist - the classic 'I' story.
Good because you can get right inside the feelings and motivations of the main character.
Bad because only the narrator can propel the plot - that is, nothing can happen that the hero is unaware of.
2. Third person, where the writer (and reader) follows the action through the actions of one protagonist.
Good because you can get inside and outside of the character, describing a rounded personality with some objectivity.
3. Omniscient, where the writer can describe the actions and inner feelings of all of the characters from any point of view that seems appropriate.
Good because of its flexibility.
Bad because it is open to abuse and mishandling.
4. A combination of all of the above.
Now, most aspiring writers have little trouble with options 1 and 2 - the limitations are relatively obvious when you use them.
It's in the 3rd option where writers start to flounder.
Consider this piece:
Jenny thought about what he'd said. He was right, she was lonely and would do anything to stop him from leaving. Finally, she said, "Do you care at all?"
"Of course." Don looked away, trying to contain his angst. Should he tell her about Debra? He wanted to but knew it would only make things worse. He chose to lie. "We've grown apart, Jen..."
Gwen entered the room. Instantly, she could tell something was wrong. She scanned the lovers' faces and decided to leave them to it. Head bowed, she left.
This is fairly typical of the kind of inexperienced writing I'm sometimes asked to comment on. The writer desperately wants the reader to know all sides of the story, thinking that this creates drama and intrigue - but simply put, it doesn't.
It creates confusion for the reader.
What's called 'head-hopping' makes a reader uneasy for one main reason:
Readers want to relate to one character at a time - it's human nature.
Therefore, it would be unnatural for a character to know what another was thinking.
Indeed, it's NOT knowing what the other character is thinking that goes a long way to creating drama!
The practice of 'head hopping' has all but been eradicated in most modern literature but is still prevalent in some romance, especially during love scenes.
Sometimes the romance writer is so keen to let the reader know that love (or whatever) is being reciprocated that they abandon the line between two points of view and merrily leap from one brain to another, sometimes, I find, to the point of nausea!
Note this: just because something is or was common practice, doesn't make it right.
Writing is a craft and we, as craftspeople, should surely learn from the mistakes of the past and seek to improve our writing techniques.
Agatha Christie was famous for her head hopping - you might be in a room with Miss Marple and half a dozen others and never knows whose head you would end up in!
This gave the reader the illusion they knew the innermost thoughts of characters.
I say illusion because Christie did it to mislead - she was never totally honest with the reader - for good reason: she wanted to hold back the identity of the killer till the last page!
This kind of deliberate misdirection - the type that 'cons' the reader - is frowned upon nowadays. We modern writers have to be cleverer than that.
There's a famous scene in Carrie, which Stephen King mentions in his book On Writing.
Most of the book is told from Carrie's POV but there's one scene where Carrie leaves the room and the POV jumps, without a break, to her mother.
King says he did this deliberately - to jolt the reader into accepting a particular plot point.
This is a fine example of breaking the rules when you know them.
Despite the challenges for the aspiring writer, the modern trend is towards alternating chapters of third person omniscience and occasional forays into first person, not exclusively limited to the protagonist.
But why is the most challenging of styles now the norm?
One word: TV.
Without so much as making a framed suggestion, television and movie scripts have forced us to think in terms of objective omniscience - a state where we are privy to the actions of most of the lead characters actions and reactions in real time.
This works so well because it reflects the way we have come to view reality - a linear series of interactions that lead to a believable outcome.
It's little wonder that most modern novelists concerned with 'willing suspension of disbelief' now use the same format - where each chapter introduces new characters whom we get to know and understand before moving on to another situation or group of individuals that we implicitly expect to have something to do with the plot.
But in the actual writing, where should we place the point of view?
We should already understand that in any given scene we should identify with one character at a time - but which one?
The best advice I ever received was that scenes are most effective when told from the POV of the person with most to lose.
For example, in a love scene, the partner with most at stake emotionally should be your focus. Similarly in a thriller, the hero who's about to lose his life, his lover or his livelihood through his actions should be your focus.
In literary novels, your focus should be on the character most affected by the unfolding story.
In fantasy and science fiction too, you'll have noticed that the story is more often than not told from the POV of the hero charged with saving the world, the spaceship or the poor hapless villagers.
Follow this particular guideline and you won't go far wrong.
Then, later, when you understand the power of placing the POV in the right place, can you feel free enough to experiment - by deliberately moving the focus around.
Dickens was good at this. He would focus his attention (and thereby the readers') on unsympathetic characters from time to time to heighten the effect of returning to the protagonist.
Modern authors too - like James Patterson and Thomas Harris - will occasionally tell parts of the story from the POV of the killer.
To give us a sense of menace, madness and revulsion so that we identify more strongly with Clarice Starling and Alex Cross when we return to them.
To conclude - my advice is that you choose to write scenes, chapters, sections etc. from one POV at a time.
And if you do feel the need to change POV midstream, have the courtesy to place a blank line in the text to alert the reader to the change!
Best regards and keep writing!
(c) Rob Parnell
A character's individual agenda will usually become what drives your story but first you need readers to care about your hero. So what can you do to make your characters instantly compelling?
Readers often root for characters that are innocent victims - or who are subjected to forces that are beyond their control. The girl running from the psychopath or a lost child, or an employee set upon by her boss, or a man struggling against the natural world. Even a nun or a prisoner. All of these characters have the ability to instantly illicit sympathy from the reader.
People like to identify with characters in danger. Think James Bond or Harrison Ford at the beginning of Raiders of the Lost Ark. Although the viewer has no inkling of the character the first time they meet them, they want them to escape / beat the bad guys and triumph.
Jeopardy works for any characters involved in a life or death situation. Whether it's Clarice Starling at the beginning of the book Hannibal - she's FBI but that doesn't stop her from being terrified of an upcoming shootout. Or Carrie, where a teenage girl is taunted by her schoolmates for having her first period in the famous shower scene at the beginning of Brian de Palma's movie (based on the book of course.)
Ideally your character should be instantly likable. It's hard not to root for someone who cares for the sick or let's an old lady have a seat on the bus.
Show your character being kind - don't just say, He's kind and caring, your reader won't believe it unless you show the teacher helping a student, or a father coaching his son on how to ride a bike.
Open with the Character
As I mentioned above, it's hard for us humans not to like the first person we're introduced to. James Herbert, the British author, used to play with this aspect of our expectations in his novels. He would show the reader a character, describe them in detail and just when you liked them the most, he would kill them off! A clever twist on the guidelines - but I wouldn't recommend you do it too often!
People are naturally drawn to characters that are obviously good at what they do. Have you ever wondered why you might identify with a bad guy who is a good killer, a thief who succeeds in stealing a fortune in jewels, or a computer hacker that can bring down the CIA's mainframe? These are all examples of how we automatically admire great skill in others, no matter how nefarious.
Of course the same rule applies if the character is a good guy, using his skill to the benefit of others.
Deep down, we all want to believe we're the same - and have the same values. We treasure life, freedom, choice and the right to live our lives in comfort. At the beginning of a story, we like to see people doing ordinary things and living a good life (at least for while, until it gets boring!) You'll probably have noticed that this how the majority of horror stories start: the happy family, the good life, the innocence of youth etc. Horror stories use this convention because it's a very powerful way of drawing the reader into a highly believable situation before the 'unbelievable' happens.
Flaws and Foibles
This was one of the first pieces of advice I got from a literary agent. Make your characters quirky, he said. Of course I took it to heart and made all of my characters slightly odd with irritating personal habits.
I think the trick is not to go over the top - and present slight flaws and charming foibles that will endear your reader to your characters to the reader.
We should accept that there's something about the idea of having superhuman powers that intrigues us as a species. Perhaps it's related to the prehistoric myths regarding a time when gods allegedly roamed the planet - or perhaps it's more down to earth than that.
Perhaps as humans we always aspire to be more than we are, and would like to identify with being a superman or wonder woman - though why we need snazzy costumes to appear impressive is anybody's guess!
Be the Reader
One of the simplest ways of drawing in a reader is to tell the 'I' story. First person is eternally compelling but new writers often misunderstand why this is.
When a reader reads a story from the perspective of the writer, they are not generally identifying the writer as the kind of person they can relate to. No, in essence, they become the character. They share his world view while they are reading. The character is the reader. Many writers shy away from revealing themselves in writing but, counter logically, revealing your deepest and darkest thoughts is what the reader wants in order to fully identify with the 'I' character.
However it should be remembered that, when writing from the first person point of view you, the author, should not be in the story. The reader is only interested in the character and ultimately only in themselves in your character's shoes.
Character identification is part of a sacred pact between an author and the reader. The good writer understands that it is not the story or your writing that is important.
It is the reader's eagerness to become your character that defines your skill as a writer.
(c) Rob Parnell
Writing short pieces - say up to around 5000 words - is fairly straightforward. You can, in most cases, just start writing and keep going until you've said everything you wanted and then go back and edit for sense.
If you've missed something out, you can slot it into the text. Or, if you've overdone a section - or the writing is bad or unnecesary - you have good friend in the delete button.
Writing longer pieces is different. Having a lot to say will take time and effort - the two things a writer cannot afford to waste.
So what's the best way to approach writing longer works?
It's all about preparation. It's about knowing where you're going and having some idea of your destination.
Some writers say they can't write using a plan - or even knowing what the ending is. They cite Stephen King - who says he doesn't know what the endings of his stories are going to be when he starts out. It's deliberate he says because he wants to write his characters into impossible corners - and then work out how they're going to survive.
Obviously this works for Mr King. He says the only book he wrote using a pre-written template was The Dead Zone - but he says he found the book depressing to write because he knew the ending!
Fair enough - but I'm not sure this approach works for every writer - especially new writers who really need to get that first novel written - all of it, down on paper, existing - to help them get that sense of 'yes, I can write a novel, I have proof.'
Most new writers never get to feel that because they stumble during the novel writing process - and the book goes unfinished.
There's really only one way to get a first draft down - and that is to write quickly. Write the first draft before you change you mind about it. Before you 'grow' a little and have a different viewpoint on the world and therefore your story.
It's easily done. You're all fired up with a story and can see its significance and importance - and then half way through - several months down the track - you wonder why you were so excited. Or you begin to change some character motivations slightly and, before you know it, the story doesn't work anymore and you have to bin it or start again.
Get your first draft down fast is always my advice - especially if it's your first novel. It doesn't matter how it reads. The first novel is a learning experience - an invaluable one. It will teach you more about the writing process than any other experience - and will stand you in great stead for the future.
But in order to write quickly you need a plan, a template you can refer to as you write - so you can push through blocks and keep on writing till the end.
The template can be a series of dot points, chapter headings or a detailed synopsis - it's up to you.
But that's my advice. If you sincerely want to write your first novel - make a plan. Know your characters, know your plot, know your story and its ending, before you start.
And then, keep writing - as fast as you can!
Rob Parnell's Writing Academy
If you want people to buy your work, you need to let them know about it. And you have to balance that with how successful marketing can seem a bit vulgar sometimes.
Like the ads on TV - we don't like them but we know that deep down, TV wouldn't exist without ads. It couldn't. Nor could magazines or newspapers - or, more especially, the Internet.
(Sorry to burst your bubble on this but if you think the Net is in any way free, you're kidding yourself. For a start, how much do you pay AOL for access per month? And how exactly do Yahoo, Google and Microsoft survive as the big three - it ain't charity, Bub, I can tell you that much.)
We'd like to think, as writers, we can be quiet, reserved, indeed anonymous - and people will somehow hear about us and buy our books - by word of mouth perhaps. By luck or by other people's promotional skills. Alas those days are over - if they ever existed in the first place!
Publishers are just as concerned about marketing as they are with publishing nowadays - (often the marketing department is bigger than the acquisitions department) - and they need to know that writers have the capacity and the willingness to go out there and promote their own work. To understand that success is a competition of sorts - you just can't hide your light under a bushel any more if you want to be taken seriously by the public - or the writing industry.
Something to bear in mind when promoting yourself, perhaps.
Besides which, I've never understood why it's okay for Coca Cola and Nike to get in your face and come across as big corporate bullies - but somehow it's unseemly for writers to be anything less than demure. Unless you're Jack Canfield or Bryce Courtney of course - both writers that everyone loves now because they, like an increasing number of successful writers, refuse to compromise over the need for self publicity.
And anyway - the way I see it is that I'm not really promoting me - just my writing - which is not really me, the person, but me, the writer - two close but not entirely the same individuals - does that make sense?
I'm shy as a person, afraid of criticism and easily hurt but when I put writing proposals together or movie treatments or anything I use to 'sell' my writing - I know I can seem super confident to the point of being almost 'brash'. But that's not really me - it just helps my career. A lot.
I try to teach this aspect of writing to others - because I know it can help writers get around this problem of having to seem self confident, worldy and wise in the ever more competitive marketplace that writing has become - when all you really want to do is sit at home and write.
I think Robyn and I show that this can work. You can be both.
Like all those (apparently) insecure Hollywood actors who look good in the media but secretly crave solitude and only do all the media stuff because it's what enables them to do what they love.
It goes with the territory. Even as a writer.
To ignore the need to publicize yourself is to cut off your nose to spite your face I think. In order to make money, you need to get yourself - or at least your writing - out there, or you simply won't be able to afford to keep doing it!
It'a very modern dilemma.
Anyway, again I apologize for my apparent brashness sometimes - I'm perhaps really only trying to set a good example for you, my writer friend.
Thanks for letting me speak to you.
Rob Parnell's Writing Academy
Murder Your Darlings
“Murder your darlings” is a phrase said to have been coined by F Scott Fitzgerald. He was referring to what you might call your “best bits.” He believed that these are the very “bits” you should always edit out of your work.
As Elmore Leonard once said, “If I come across anything in my work that smacks of ‘good writing,’ I immediately strike it out.”
The theory is that writing you’re particularly proud of is probably self-indulgent and will stand out.
You might think this is good. Wrong.
You will most likely break the “fictive dream.” (This is the state of consciousness reached by readers who are absorbed by a writer). And breaking your reader out of this fictive dream is a heinous sin!
Editing out “the best bits” is the hardest thing a novice writer has to do – after all, isn’t it counterproductive to write good things down only to cut them out?
Look at it this way…
When you start out, every word you write is precious. The words are torn from you. You wrestle with them, forcing them to express what you’re trying to say.
When you’re done, you may have only a paragraph or a few pages – but to you the writing shines with inner radiance and significance.
That’s why criticism cuts to the core. You can’t stand the idea of changing a single word in case the sense you’re trying to convey gets lost or distorted.
Worse still, you have moments of doubt when you think you’re a bad writer - criticism will do this every time. Sometimes you might go for months, blocked and worrying over your words and your ability.
There is only one cure for this – to write more; to get words out of your head and on to the page. When you do that, you’re ahead, no matter how bad you think you are.
After all, words are just the tools – a collection of words is not the end result, it is only the medium through which you work. In the same way that a builder uses bricks and wood to build a house – the end result is not about the materials, it’s about creating a place to live.
As you progress in your writing career, you become less touchy about your words. You have to. Editors hack them around without mercy. Agents get you to rewrite great swathes of text they don’t like. Publishers cut out whole sections as irrelevant.
All this hurts – a lot.
But after a while, you realize you’re being helped. That it’s not the words that matter so much as what you’re trying to communicate.
Once you accept that none of the words actually matter, and have the courage to “murder your darlings,” you have the makings of the correct professional attitude to ensure your writing career.
This is a tough lesson to learn.
But, as always, the trick is… to keep on writing!
Rob Parnell's Writing Academ
Have you ever noticed how you, as a writer, see-saw? For one heady moment you know you're brilliant and then, later, with just as much clarity, you know what you do is awful. It's the writer's curse.
I've noticed this happens at certain times in the writing process.
When the ideas are fresh and you're starting out on a project, the adrenaline is flowing, the words are spewing on to the page - everything seems so clear, so clever, so you.
And then after, when you look back, the words seem dull, the structure contrived and the talent - well, non-existent. But then... later, it can seem smooth and inspired again... and then, even later... dire.
Hold up! What's happening here?
I call it The Hydra Syndrome or, for short, THS.
You may remember that the Hydra was a mythological creature with many heads - and each time one was cut off, another sprouted in its place.
And the trouble with being a writer is that we too have many heads. Some are kind and benevolent, some are harsh and critical. And it doesn't matter how often we try to quash one head's opinion of what we do, there's always another that will have the alternate point of view.
It depends on our moods I think. When we're happy and confident, our words seem to fire all the right neurons on the brain, the synaptic gaps are bridged with ease. There's more than just the words in our writing - there's a whole world of meaning implicit.
But then sometimes when we're tired and listless, our brains are foggy and the words seem empty, unable to quite convey the richness we wanted to invoke.
At other times, we feel nothing. We see the words for what they are - just words: pale shadows of reality with no depth, no power, no meaning.
Whenever I'm suffering from a bout of THS, I have to remind myself that, when reading through a different head, I thought my writing was fine. But then I think, am I deluding myself? Maybe the bad head that hates my writing is the true head? Maybe the happy head is a liar and is secretly chuckling behind my back... oh, the woes of writing!
The other day was a good example.
I'd just finished editing (for about the twentieth time) the first 9500 words of my new novel, intending it for submission. I was pretty darn proud of what I'd done. As well as the words being perfect (or so I thought) there seemed also a profound depth of hidden meaning, subtle interconnectivity and the odd clever nuance that would have my readers in awe, enrapt... and yet...
I gave it to Robyn, my partner, to read. As she did so, I waited, butterflies threatening to burst out of my stomach like the alien in, um, Alien.
At least she read the whole thing in one sitting. I was dreading that she'd put it down and say, "I'll read the rest tomorrow." That would have hurt. Big time.
Anyway. At the end she said, "Yeah, it's excellent." But, of course, because she didn't say it's brilliant, I was disappointed.
"What's wrong with it?" I cried.
"Nothing. It's really good." Really good? What's that supposed to mean? She must hate it!
Tentatively, I ask, "Anything that might need fixing?"
"Well, there's a couple of typos." Typos! Gah - after twenty passes! How could that be? "Nothing major," she added.
"Well..." Here it comes, I thought. "You've got a couple of point of view issues. You tell the story from one guy's point of view in one chapter and I think you should do it from the hero's."
I slumped. Reality check. Thanks, Robyn.
She was right of course. I have to go back and fix it. But now I'm thinking my 9500 words are heavily flawed, and will remain so, until I've dealt with the problem. Now I wouldn't show my submission to another soul because it's dreadful, awful, until I've rewritten at least two large chunks of it. But then, maybe then, it will be perfect! Yay!
And to think, I used to wonder why my mother thought that writing was a silly way to make a living. Maybe she was right. I can find at least one of my Hydra heads that would rush to agree with her.
But I think the real point is that we need to be critical of our writing - at least some of the time. If we thought that what we did was always brilliant, we'd lose objectivity and we wouldn't want to improve, wouldn't know how to improve even.
Being hard on our writing sometimes is what makes us better writers.
But at those other, special times, loving what we do is what keeps us doing it!
Creating Better Writers
The Writing Academy
Is there a book inside of you? Yes? Then why don't you write it? Or, if you've already written a book, wouldn't you like to sell more? So many of you have a great idea for a book, even a dynamite title, but much more is needed to write a book that sells. Here's the top ten ways to write a book that sells:
1.Write what's interesting to you and what will still interest you in two plus years. You can maintain all of the parts to writing a book much better if you know a little and want to know more about your subject.
2.Have passion about your topic. If your book is an extension of you, you'll be more willing to do the work involved. You'll need sustained passion to develop talks, seminars, articles or consulting services. Passion helps you be a titillating radio or teleclass guest.
3.Prepare for each chapter before you write. Have a format plan that includes headlines throughout to organize your chapter so well; your reader can't put it down. To avoid a thin chapter list questions and facts that relate only to the one chapter and thesis you work on at a time. You will then answer these questions, thus fulfilling your need to benefit your audience. These techniques make it easy for your reader to understand.
4.Commit to a regular writing schedule. Lackadaisical or non-focused efforts fail. A book doesn't finish itself. A page a day equals a book a year. Think about your circumstances. Just how much time can you put into this effort with all of your other priorities? Take a minute and decide to let go of something not as compelling for the moment. Dong it all at once dilutes your efforts.
5.Write fast so you can produce chapters fast enough to get published sooner to get the cash flow going faster. Use the "fast-forward" writing technique in chapter seven of the book "How to Write your eBook or Other Short Book--Fast!" Each chapter must answer all of your readers' questions. All non-fiction chapters have a similar length because their format is the same. Remember, you can write a short book (25-90 pages) your first time.
6.Market your book as your write each chapter. Know and write such essential "hot-selling points" as your 60-second "tell and sell," your specific audience, your sparkling introduction that is a mini sales letter, and your back cover or Web sales letter for each book you write.
7.Know your audience before your write your book to keep it organized, flowing, and compelling. Keep their picture by your workstation. Write your audience profile first to include their sex, their top interest, what they spend money on, their Internet savvy, what books they want and need. Your subject must benefit your audience or they won't buy your book. What audiences want what you have? Who will let go of their hard-earned money to buy your book?
Remember that women buy 78 percent of all trade books. Is your subject narrow enough?
8. Write your non-fiction, self-help book first. While writing a novel may draw you, start with the moneymaking book first, so you can finance your other efforts. Think a shorter first book, maybe 30-90 pages. Today, people are busy. They want information fast and easy. Make your chapters shorter too. If you answer 4 questions about one chapter topic, you will create a four-page chapter.
9.Put your book into your readers’ hands. Think first, "What's the purpose of my book?" Think about your audience and your fame. Will they really go the bookstore looking for your book? Since distributors often go broke, think about distributing your book yourself. Today it is easy with the number one way to promote--Online. And, it's free with a short learning curve. Ask your book or Internet marketing coach.
10.Make things happen. Even if you are one of the chosen 1-2% an agent or publisher accepts, if you are an unknown, they will provide little marketing. After a book tour and placing your book on the bookstore shelves for three months, you'll have to pick up the talon and lead your own marketing efforts.
So start early and take a teleclass or read a book on how a non-techie can sell a book Online through free articles and other free, easy ways.
(c) Judy Cullins
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