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authorkdrose

~ Pushcart Nominated Poet & Author. Reader. Analyst. Futurist. Belle of the Pithy, Acerbic Ball.

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Tag Archives: Publishing

New Post by Kristen Lamb

24 Tuesday Jul 2018

Posted by kdrose1 in Authors, Book Marketing, Writing

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Publishing, Writing

Targeting Readers: Audiences Have Evolved & So Should Marketing

posted on July 24, 2018 by Kristen Lamb
Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers

How many times have we been told we should be targeting our readers, audience, and customers? Am I the only one disturbed by this advice? Targeting seems like it should involve a Predator Drone…or at least a trebuchet.

For the record, I imagine many authors would view sales (and targeting) with far more enthusiasm if book launches involved a trebuchet.

#MaybeJustMe

In the olden days—before Web 2.0—the world was vastly different. It was a horrible existence rife with uncertainty, anxiety and dread.

Case in point, for most of the 20th century, if the phone rang? WE HAD NO IDEA WHO WAS CALLING.

Planning a Friday night? Want to watch a movie at home? You had to bribe that pimply-faced kid at Blockbuster to squirrel away the NEW RELEASE of Speed 2 before they were all gone. Then, after you watched Speed 2 and wondered why Hollywood didn’t just…STOP?

YOU COULD ONLY COMPLAIN TO PEOPLE YOU ACTUALLY KNEW.

Before Web 2.0 life was ugly, brutish and short.

Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers

As if pay phones, shoulder pads, and the regular onslaught of boy bands weren’t bad enough? When you went on a date and he/she said they had a good time and would call you, and they didn’t? Two options. Move on like a mature, confident person or engage PSYCHO mode.

#GoBigOrGoHome

There was no ‘checking online activity’ to see Brad really WAS working late like he said when you called him for the 37th time. No, you had to dress up, hop in your 1987 Mazda and find his workplace using the YELLOW PAGES and a PAPER MAP.

Oh and on the way over, you had to make up some reasonable explanation of how you just ‘happened to be in the area’ in that new outfit from Express. The one exactly like Paula Abdul’s—giant hoop earrings and all. #ForeverYourGirl.

We had to own the crazy O_o .

Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers
Me in the 90s…okay until yesterday.

This said, language frequently reflects the emotional state of the times. Words mirror the collective ennui of a culture. Back then? Needy and codependent behaviors couldn’t be properly measured with metrics (I.e. ‘Likes’).

We had to TRUST our hair looked great or that skirt didn’t make our @$$ look like we had two @$$es…all on our own. No posting, getting votes, feedback, and digital flattery to boost our confidence.

Before Web 2.0, we were a skittish bunch. Every moment waiting, wondering…

Old School Marketing

Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers

Suffice to say, in a world where we were largely flying blind, it makes sense why so many military words and phrases crept into the marketing vocabulary.

**It’s also the only logical explanation for harem pants.

Terms like strategy, bombshell, media blast, marketing blitz, ad campaigns, and targeting buyers were common, and consumers didn’t take it personally. We didn’t take it personally because business was business and personal was personal.

Back in the day, it was perfectly fine for businesses to think in terms of blitzing, blasting, or targeting because we understood we were consumers, not FRIENDS. 

We didn’t mind kitschy slogans to make us feel a company cared because, deep down, we knew they were only pretending to care.

In the 90s, when Budweiser repetitively asked us ‘WASSUP?’ we were pretty sure that was a rhetorical question. No one at Budweiser was waiting for our answer…except Sheila.

This, of course, is no longer the case. Now, in 2018, if Budweiser asks us ‘WASSUP?’ They’re likely hoping we WILL answer. The reason is because branding and buying behaviors have changed.

Brave New Buying

Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers

A lot of writers (and companies) gripe that social media is ineffective because there’s no way to trace what, which, and how much activity translates into sales. You know, like a formula or recipe that’s simple, scalable and easily replicated.

Something you could train a weasel to do, because studies have shown ferrets will work for cat food (though raccoons are cool with exposure dollars).

***Note: Remember raccoons are NOT weasels (which are often preferred for direct marketing). Raccoons are marsupials and DO have those adorable opposable thumbs. BUT they’re also attention addicts that require management to ensure they’re not gaffing off texting and posting selfies on Instagram.

#TrueFactIJustMadeUp

Thing is?

Social media is not direct marketing, though the two are often confused. 

See, in direct marketing, activity can be measured. Businesses can put out an ad, monitor click rates and see how many clicks led to a purchase. Companies can send out so many coupons and then measure quantitatively how many of those later translated into a purchase.

Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers

Why Web 2.0 has been so vexing for marketers is they keep trying to treat social media the same way as direct marketing…and they can’t. Because this isn’t 1999. And, if we do social media correctly (keeping it social) there’s no way to accurately measure, control or quantify results.

It also becomes way too obvious we’re mixing social and market norms and that creeps people the hell out.

Example:

Market Norms are when a prostitute expects money in return for *wink wink nod nod* ‘favors.’

Social Norms are when a wife does those same ‘favors’ for her beloved husband out of love because getting paid for it would be seriously strange.

That seems obvious, right?

But what if wife has a wonderful and romantic evening with her husband, but then early the next day, she asks him to fill out an on-line survey rating how he enjoyed his night? And tells him that, when he completes his survey, he will be texted a code he can then redeem for free pancakes?

Yes, I just took that to a WHOLE NEW LEVEL of weird!

But y’all see what I mean when I say that you just can’t sneak that stuff in there! We SEE it. We FEEL it.

Don’t Cross the Streams!

While many businesses still use direct marketing tactics, these methods are becoming increasingly less effective when used exclusively. Companies need to be on social media.

Another observation to point out.

Unlike a company, authors are humans. When we don’t act like a human…people grow quickly suspicious.

A lot of authors rightfully feel dirty when told they need to be targeting their readers. Are we selling a book or doing a mob hit?

***Because if this is a mob hit shouldn’t we get paid better? Asking for a friend.

Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers

We’re writers, which means we appreciate words have power. If we are targeting people so we can bait, blitz, or bundle them, it’s tough to hide our less-than-authentic motives.

Words impact thoughts, thoughts directs actions, and actions create results. If, behind the scenes, we view people as resources only to be plundered for personal gain (by targeting them), it makes us feel ookie when we try to pretend like we really care.

…unless you’re Brad.

It’s All in Our Head

Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers

I’ve spent the last several posts working to make ‘sales’—which is pretty critical to success—far less icky. It doesn’t need to be icky at all, actually.

As mentioned, words hold tremendous power, and a simple mental shift can make a massive difference. This is why I dedicated a lot of my branding book (Rise of the Machines: Human Authors in a Digital World) to neuroscience. How is the human brain impacted as technology shifts?

Technology changes, but humans remain the same.

How does the human brain operate in a virtual world? What factors can render content invisible? Why do humans SEE certain types of content and yet remain oblivious to other types?

Words play a massive role in first, being visible and then, making a positive connection. For instance, did you know the human brain only begins listening at the first active verb?

When we tell people, ‘Don’t forget to buy my new book,’ their brains hear, ‘Forget to buy my new book.’

This is one of the reasons negative goals are virtually useless and produce terrible results. Try this simple exercise in your everyday life. I make it a point to phrase as much as possible in the positive. State what I want, as opposed to what I don’t want.

‘Remember to pick up the dry cleaning’ or ‘Remember you put your keys in the side pocket of your gym bag’ yields far better results than lecturing myself on all the stuff ‘I don’t want to forget.’

Why I take time to mention this is because a simple adjustment in vocabulary can ease our own anxiety, allow us to feel authentic, and thus we’ll come across to others in a far more genuine way.

No Targeting? So WHAT Do We DO?

When we are targeting our audience, the core objective is for us to do all we can to ensure we’re respecting our audience’s time (I.e. Don’t repeatedly pitch people who rent an apartment about the benefits of vinyl siding…unless you want to be stabbed).

These days when we’re all about social, community and friending, I recommend we define then identify our audience.

If I write books about dragons and sorcerers, what kind of people are likely going to like these kinds of stories? What do we share in common? Maybe they like WoW, or GoT or ASOF, OMG!

I write suspense thrillers. We share a love for Dateline, podcasts about serial killers, and a morbid and socially unacceptable sense of humor. In my case, targeting my audience could be fatal. But identifying them is pretty simple. If they laugh at my memes and add additional morbid commentary? We’re peeps! If they report me to FB? Likely not my audience.

Kristen Lamb, targeting readers, how to target readers, marketing for authors, marketing for writers, how to sell more books, author branding, social media for writers, sales for writers

I give ways and specific exercises for how to find ‘friends’ in my book. Why? Because I was a nerd with paralyzing social anxiety and no social skills. Meaning I had to break all this down using science.

Don’t judge me.

***There was a good reason I was single until I was almost 35.

Anyway, what I realized (while researching ‘how to make friends without using chloroform’) was that ‘identifying our audience’ is something we’ve been doing since we were kids.

You love Dragonlance books? Me too! Did we just become best friends?

***Kids who liked Dodgeball, conversely, ‘targeted’ their audience. 

When we identify our audience and all the hobbies, topics, interests we’re likely to share, then it’s far simpler and more authentic to strike up a conversation and connect. Instead of targeting victims to pummel with BUY MY BOOK, we can locate others who like what we like.

We can talk about video games, movies, hobbies, crochet, pets, unicorns and untraceable poisons… You know. FUN STUFF!

Ideally, these conversations will lead to conversions.

Using common ground and shared emotional touch points, we can make loose connections that then foster relationships and perhaps grow into actual friendships. This means that one day—when we have a book (or another book) for sale—we’ve already done the ‘hard’ work.

We’ve cultivated an audience of friends, advocates and hopefully fans eager to see and help us succeed. Since we’ve created a micro-community, we come across as vested because we are. We have a reputation for giving more than we take.

Where to Submit Short Stories

20 Wednesday Jun 2018

Posted by kdrose1 in Publishing, Writing

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Publishing

Where to Submit Short Stories: 23 Magazines and Websites That Want Your Work

by Kelly Gurnett
June 6, 2018
Where to Submit Short Stories: 23 Magazines and Websites That Want Your Work

Not sure where to send those great short stories you’ve written?

As with writing contests and fellowships, sometimes it can be hard to know where to begin. To help you figure out where to submit short stories, we’ve put together this guide to 23 publications that publish short fiction. The list includes a mix of publications across various genres and styles, ranging from prestigious, highly competitive options to those specifically seeking new and emerging voices.

While we’ll give you a brief idea of the flavor of each magazine and site, you’ll definitely want to spend some time reading your target publications before submitting to become familiar with the sort of pieces they prefer. And before hitting “send,” make sure you’re not making any of these submission mistakes!

Ready to get started? Here are 23 outlets that publish short stories.

1. The New Yorker

Might as well start with a bang, right? Adding publication in The New Yorker to your portfolio puts you in a whole new league, though it won’t be easy. Author David. B. Comfort calculated the odds of an acceptance at 0.0000416 percent!

It accepts both standard short fiction as well as humorous short fiction for the “Shouts & Murmurs” section. No word counts are mentioned, though a quick scan of the column shows most pieces are 600 to 1,000 words.

Submission Guidelines: http://www.newyorker.com/about/contact

Deadline: Open

Payment: Huge bragging rights; pay for unsolicited submissions isn’t specified. Who Pays Writers lists several paid pieces, though as of this post’s publication, no rates specifically for short stories.

2. The Atlantic

Another highly respected magazine, The Atlantic publishes both big names and emerging writers in fiction and nonfiction. Submission guidelines advise, “A general familiarity with what we have published in the past is the best guide to what we’re looking for.”

Submission Guidelines: http://www.theatlantic.com/faq/#Submissions

Deadline: Open

Payment: Unsolicited submissions are generally unpaid, although if the editors choose your piece for online content, you may receive $100-$200 depending on genre and length.

3. The Threepenny Review

This quarterly arts magazine focuses on literature, arts and society, memoir and essay. Short stories should be no more than 4,000 words, while submissions to the “Table Talk” section (pithy, irreverent and humorous musings on culture, art, politics and life) should be 1,000 words or less.

Submission Guidelines: http://www.threepennyreview.com/submissions.html

Deadline: January to June

Payment: $400 for short stories; $200 for Table Talk pieces

4. Zoetrope: All-Story

Founded by Francis Ford Coppola and Adrienne Brodeur in 1997, Zoetrope: All-Story’s mission is “to explore the intersection of story and art, fiction and film” and “form a bridge to storytellers at large, encouraging them to work in the natural format of a short story.” Submissions should be no more than 7,000 words.

Submission Guidelines: http://www.all-story.com/submissions.cgi

Deadline: Open

Payment: None, but this magazine has discovered many emerging writers and published big names like Salman Rushdie and Gabriel García Márquez, so publication here could win you some serious prestige points.

5. One Story

One Story is just what the name says: a literary magazine that publishes one great short story every three to four weeks, and nothing more.

Its main criteria for a great short story? One “that leaves readers feeling satisfied and [is] strong enough to stand alone.” Stories can be any style or subject but should be between 3,000 and 8,000 words.

Submission Guidelines: http://www.one-story.com/index.php?page=submit

Deadline: January 15 to May 31st and September 1 to November 14

Payment: $500 plus 25 contributor copies

6. The Antioch Review

The Antioch Review rarely publishes more than three short stories per issue, but its editors are open to new as well as established writers. Authors published here often wind up in Best American anthologies and as the recipients of Pushcart prizes.

To make the cut, editors say, “It is the story that counts, a story worthy of the serious attention of the intelligent reader, a story that is compelling, written with distinction.” Word count is flexible, but pieces tend to be under 5,000.

Submission Guidelines: http://review.antiochcollege.org/guidelines

Deadline: Open except for the period of June 1 to September 1

Payment: $20 per printed page plus two contributor copies

7. AGNI

Thought-provoking is the name of the game if you want to get published in AGNI. Its editors look for pieces that hold a mirror up to the world around us and engage in a larger, ongoing cultural conversation about nature, mankind, the society we live in and more.

There are no word limits, but shorter is generally better; “The longer a piece is, the better it needs to be to justify taking up so much space in the magazine,” note the submission guidelines.

Submission Guidelines: http://www.bu.edu/agni/submit.html

Deadline: Open September 1 to May 31

Payment: $10 per printed page (up to a max of $150) plus a year’s subscription, two contributor’s copies and four gift copies

23shortstories

8. Barrelhouse

Published by an independent nonprofit literary organization, Barrelhouse’s biannual print journal  and online issue seek to “bridge the gap between serious art and pop culture.” Its editors look for quality writing that’s also edgy and funny — as they say, they “want to be your weird Internet friend.”

There’s no hard word count, but try to keep your submission under 8,000 words.

Submission Guidelines: http://www.barrelhousemag.com/submissions

Deadline: Currently open for books, comics, and a few other categories. Check the webpage to see all open categories and sign up for the email list to learn as soon as new open categories are announced.

Payment: $50 plus two contributor copies (print journal); unpaid (online issue)

9. Cincinnati Review

The Cincinnati Review publishes work by writers of all genres and at all points of their careers. Its editors want “work that has energy,” that is “rich in language and plot structure” and “that’s not just ecstatic, but that makes is reader feel ecstatic, too.”

Fiction and nonfiction submissions should be no more than 40 double-spaced pages.

Submission Guidelines: http://www.cincinnatireview.com/#/submissions/guidelines

Deadline: September 1 to March 1

Payment: $25 per double-spaced page

10. The First Line

This cool quarterly is all about jumpstarting that pesky writer’s block. Each issue contains short fiction stories (300-5,000 words) that each begin with the same pre-assigned first line. You can also write a nonfiction critical essay (500-800 words) about your favorite first line from a piece of literary work.

If you really want to get ambitious, you can also write a four-part story that uses each of that year’s first lines (which is due by the next year’s spring issue deadline). To find each issue’s assigned first line, check out the submission guidelines below.

Submission Guidelines: http://www.thefirstline.com/submission.htm

Deadline: February 1 (spring); May 1 (summer); August 1 (fall); November 1 (winter)

Payment: $25 to $50 (fiction); $25 (nonfiction) plus a contributor’s copy

11. The Georgia Review

Another one high on the prestige list, The Georgia Review features a wide variety of essays, fiction, book reviews and more across a wide range of topics. You can read specific requirements for each in the submission guidelines below, but the common theme among them all is quality, quality, quality.

Bear in mind submitting requires a $3 processing fee if you’re not a subscriber.

Submission Guidelines: https://thegeorgiareview.com/submit/

Deadline: Open except for the period of May 15 to August 15

Payment: $50 per printed page

12. Boulevard Magazine

Boulevard Magazine is always on the lookout for “less experienced or unpublished writers with exceptional promise.” It accepts prose pieces (fiction and nonfiction) up to 8,000 words (note: no science fiction, erotica, westerns, horror, romance or children’s stories).

There is a submission fee of $3.

Submission Guidelines: http://www.boulevardmagazine.org/guidelines/

Deadline: Open October 1 to May 1

Payment: $100 to $300

13. Camera Obscura

Camera Obscura is a biannual independent literary journal that publishes contemporary literary fiction and photography. Fiction should be between 250 and 8,000 words, although its editors have made exceptions for the occasional “exceptional novella” between 12,000 and 30,000 words.

You can also try your hand at a “Bridge the Gap” piece, where you review the current photo gallery and construct a story that “Takes the reader on an unexpected journey from the first image to the next.”

Submission Guidelines: http://www.obscurajournal.com/guidelines.php

Deadline: Stay tuned to the guidelines page to find out when the next deadline is announced.

Payment: $1,000 to one featured writer published in each issue, as determined by the editors; all other contributors receive two copies of the issue in which they are published. The best Bridge the Gap piece receives $50.

14. Crazyhorse

Open to a wide variety of fiction from mainstream to avant-garde, Crazyhorse puts no limitations on style or form. If you’ve got something people haven’t seen before and won’t be able to forget, its editors are looking for it.

Crazyhorse also accepts nonfiction of any sort, including memoirs, journal entries, obituaries, etc. — we told you it’s open to anything! Keep your word count between 2,500 and 8,500 words.

Submission Guidelines: http://crazyhorse.cofc.edu/submit/

Deadline: Open for submissions from September 1 to May 31, except for the month of January (when it only accepts entries for the Crazyhorse Prizes)

Payment: $20 per printed page (up to a max of $200)

15. Story

Story Magazine is, you guessed it, all about the story, whatever shape it takes. Each issue is based around a theme, but its editors encourage writers to think outside the box when it comes to how to address that theme — fiction, nonfiction, hybrid forms, “hermit-crab essays” and more are all up for consideration.

Submission Guidelines: http://www.storymagazine.org/submit/

Deadline: Open January 1 to May 1 (print magazine); open February, April, June, August, and October (online)

Payment: Not specified

16. Vestal Review

Prefer to keep your short stories extremely short? Vestal Review publishes flash fiction of no more than 500 words. Its editors are open to all genres except for syrupy romance, hard science fiction and children’s stories, and they have a special fondness for humor. R-rated content is OK, but stay away from anything too racy, gory or obscene.

Submission Guidelines: http://www.vestalreview.org/guidelines/

Deadline:  Submission periods are February to May and August to November

Payment: Ten cents per word (for stories up to 100 words); five cents per word (101-200 words); three cents per word (201-500 words). “Stories of great merit” in their estimation can receive up to a $25 flat fee.

17. Flash Fiction Online

Flash Fiction Online allows for slightly longer flash stories — between 500 and 1,000 words. Its editors like sci-fi and fantasy but are open to all genres. As with Vestal, stay away from the heavier stuff like erotica and violence. As of March 1, 2015, FFO accepts previously published works.

Submission Guidelines: http://flashfictiononline.com/main/submission-guidelines/

Deadline: Open

Payment: $60 per story, two cents per word for reprints

18. Black Warrior Review

Black Warrior Review publishes a mix of work by up-and-coming writers and nationally known names. Fiction pieces of up to 7,000 words should be innovative, challenging and unique; its editors value “absurdity, hybridity, the magical [and] the stark.”

BWR also accepts flash fiction under 1,000 words and nonfiction pieces (up to 7,000 words) that examine and challenge beliefs and boundaries. There is a $3 submission fee.

Submission Guidelines: http://bwr.ua.edu/submit/guidelines/

Deadline: Submission periods are December 1 to March 1 and June 1 to September 1

Payment: A one-year subscription to BWR and a nominal lump-sum fee (amount not disclosed in its guidelines)

19. The Sun Magazine

The Sun Magazine offers some of the biggest payments we’ve seen, and while its guidelines specifically mention personal writing and provocative political/cultural pieces, they also say editors are “open to just about anything.”

Works should run no more than 7,000 words. Submit something the editors love, and you could get a nice payday.

Submission Guidelines: http://thesunmagazine.org/about/submission_guidelines/writing

Deadline: Open

Payment: A one-year subscription, plus $300 to $2,000

20. Virginia Quarterly (VQR)

A diverse publication that features both award-winning and emerging writers, VQR accepts short fiction (2,000 to 8,000 words) but is not a fan of genre work like romance, sci-fi, etc. It also takes nonfiction (3,500 to 9,000 words) like travel essays that examine the world around us.

Submission Guidelines: http://www.vqronline.org/about-vqr/submissions

Deadline: Submissions read July 1 to July 31

Payment: Generally $1,000 and above for short fiction and prose (approximately 25 cents per word) with higher rates for investigative reporting; $100 to $200 for content published online.

21. Ploughshares

Ploughshares’ award-winning literary journal is published by Boston’s Emerson College. They accept fiction and nonfiction under 6,000 words and require a $3 service fee if you submit online (it’s free to submit by mail, though they prefer digital submissions).

Submission Guidelines: https://www.pshares.org/submit/journal/guidelines

Deadline: June 1 at noon EST through January 15 at noon EST

Payment: $45 per printed page (for a minimum of $90 per title and a maximum of $450 per author).

22. Shimmer

Shimmer “encourages authors of all backgrounds to write stories that include characters and settings as diverse and wondrous as the people and places of the world we live in.”

Traditional sci-fi and fantasy need not apply; Shimmer’s editors are after contemporary fantasy and “speculative fiction” with strong plots, characters and emotional core — the more unique the better. Keep your stories under 7,500 words (4,000 words is around the sweet spot).

Submission Guidelines: http://www.shimmerzine.com/guidelines/fiction-guidelines/

Deadline: Open

Payment: Five cents per word (for a minimum of $50)

23. Daily Science Fiction

Sci-fi and fantasy writers, this one’s for you. Daily Science Fiction is looking for character-driven fiction, and the shorter, the better. While their word count range is 100 to 1,500 words, they’re especially eager to get flash fiction series (several flash stories based around a central theme), science fiction, fantasy, and slipstream.

Submission Guidelines: http://dailysciencefiction.com/submit

Deadline: Open except for the period between December 24 to January 2

Payment: Eight cents per word, with the possibility of additional pay for reprints in themed Daily Science Fiction anthologies

Where to find more places to submit your short stories

These 23 magazines and online publications are just a small subset of what’s out there. For more potential places to share your short fiction, check out the following resources, several of which helped us compile this list:

  • The Review Review’s Magazine Search
  • Every Writer’s Resource’s Top 50 Literary Magazines
  • Let’s Write a Short Story’s 46 Literary Magazines To Submit To

20 Publishers Accepting Nonfiction – No Agent Required

19 Tuesday Jun 2018

Posted by kdrose1 in Publishing, Writing

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Publishing, Writing

Publishing … and Other Forms of Insanity

Erica Verrillo has written seven books and published five. She doesn’t know why anyone with an ounce of self-preservation would ever want to publish. But, if you insist on selling your soul to the devil, learn how to do it right: marketing, literary agents, book promotion, editing, pitching your book, how to get reviews, and … most important of all … everything she did wrong. She’s a member of PEN, and in the interest of protecting the 1st Amendment, she did not vote for Trump.

 Monday, June 18, 2018

20 Publishers Accepting Nonfiction – No Agent Required

Here are twenty publishers seeking nonfiction. They are looking for a wide range of subjects, including art, theater, children’s nonfiction, calendars, memoirs, pop culture, politics, history – in short, if it isn’t fiction, they want it. All are traditional publishers, and none require an agent.

Unlike fiction, in which writers are asked to either submit a sample of their writing or a full manuscript, nonfiction writers are required to submit a proposal. Proposals typically run about 25 pages. They contain an overview, a detailed table of contents, a bio of the author, a business plan, a competitive title analysis showing which similar books are already on the market and why yours is better, and sample chapters. The proposal is essentially a quick guide to your book that will enable a publisher to decide whether it is worth their time and effort, so make sure you spend time and effort writing your proposal.

For detailed information on how to write a proposal read Jane Friedman’s excellent article: Start Here: How to Write a Book Proposal.

For more nonfiction publishers see: 22 Cookbook Publishers Accepting Unagented Manuscripts. Many of these publishing houses accept other nonfiction titles as well.

________________________

Allworth Press publishes business and self-help information for the general public and creative professionals. It is now owned by Skyhorse. Read their submission guidelines  here. Seeking: Graphic Design, Business, Performing Arts, Interior Design, Art, Theater, Web Design, Book Arts, Photography, Crafts.

Andrews McMeel Publishing is the country’s premier calendar publisher. Its core publication categories include: inspiration, middle grade children’s books, comics and humor, puzzles and games, inspiration and gift, and comics for middle grade children. Interestingly, they also publish poetry. See submission guidelines HERE.

Barricade Books publishes quality non-fiction manuscripts–preferably that lean toward the controversial. Send an outline, one or two chapters, and a self-addressed stamped envelope (SASE) to Carole Stuart, Barricade Books, 2037 Lemoine Avenue, Fort Lee, NJ 07024. No email submissions.
Ben Bella publishes niche market books, works by celebrities and experts in their fields, pop culture books, and anything that is associated with a brand. Prospective authors should send a pitch.

Career Press, Inc. publishes quality, nonfiction books for adult readers seeking practical information to improve themselves in careers, college, finance, parenting, retirement, spirituality, and other related topics. Read submission policy. Seeking: Business, Career, Job Search, HR & Work Place Issues, College Preparation, Small Business/Entrepreneurship, Motivation/Self-Help, Management, Marketing/Sales, Negotiation, Study Aids, and more.

Free Spirit Publishing. “Our mission is to provide children and teens with the tools they need to overcome challenges and make a difference in the world. We publish high-quality nonfiction books and learning materials for children and teens, parents, educators, counselors, and others who live and work with young people.”

Greystone Press. “We pursue high-quality non-fiction books about nature and the environment, travel and adventure, health, and current issues. We do not publish poetry or fiction.” Read submission requirements here.

Gryphon House, Inc. publishes books that help teachers and parents enrich the lives of children from birth through age eight. They do not accept children’s books. Seeking: Educational resource books for parents and teachers aimed at young children. Read submission policy.

Haymarket Books. “We are interested in manuscripts that are accessible to a wide range of progressive and radical political activists, while also being useful to an academic audience. We are not accepting fiction submissions at this time.” Read submission guidelines here.

Hohm Press is committed to publishing books that provide readers with alternatives to the materialistic values of the current culture and promote self-awareness, the recognition of interdependence and compassion. Their subject areas include religious studies, natural health, parenting, women’s issues, the arts and poetry. Read submission guidelines here.

Menasha Ridge Press and its sister company, Wilderness Press, publish primarily books on adventure, nature, and wilderness sports activities (excluding hunting and fishing). Read submission policy. 

New Internationalist is a multi-award winning, independent, non-profit media co-operative. “For over 40 years, we’ve specialized in investigative reporting, publishing our magazine and books on human rights, politics, social and environmental justice. We investigate global injustice and expose inequality. We cover stories the mainstream media sidestep and provide alternative perspectives on today’s global critical issues.” Read submission policy here.

OneWorld Publications was founded in 1986 by husband and wife team Juliet Mabey and Novin Doostdar as an independent publishing house focusing on stimulating non-fiction. Located in the UK. Read guidelines here.

Osprey is a UK publisher specializing in military history. Read submission guidelines here. (Scroll down to “Proposals.”)

Roaring Forties Press is a small publisher located in Berkeley, CA. They are especially interested in these kinds of nonfiction projects: General nonfiction/investigative reporting, Biographies, Travel books with a twist, Books about music, Books about art, Small-format gift books.

Rowman & Littlefield offers academic and scholarly works aimed at a professional audience. Their submission requirements include a CV and a list of potential peer reviewers.

Shambhala. “Our acquisition interests are on the topics of Buddhism, mindful living, yoga, psychology, parenting, crafting, creativity, and cooking. We do not accept proposals for fiction (children’s books excepted), poetry, exposés, end-time prophecies, channeled works, martial arts manuals, quotation books, card decks, or audio/video. Anything sent within these genres/formats will not receive a response.” Read guidelines here.

Skyhorse publishes a broad range of nonfiction titles. They only accept submissions that fall into their categories, so make sure you consult their list before submitting. See submission requirements here.

The New Press is a non-profit independent publisher focusing on contemporary social issues, with an emphasis on race relations, women’s issues, immigration, human rights, labor and popular economics, and the media; education reform and alternative teaching materials; cultural criticisms; art and art education; international literature; and law and legal studies. The Press has also taken a leading role in publishing a wide range of new work in African American, Asian American, Latino, gay and lesbian, and Native American studies, as well as work by and about other minority groups. They are very selective.

Ulysses Press is a small house focusing on niche markets. Genres they publish include Cleanse, Arts and Crafts, Coloring, Gifty Grabs, Fashion and Beauty, Healthy Eating, Krav Maga, Mmm Bites, Pop Culture, Prepping (for the apocalypse), Fitness, Special Diets, Trivia, Working Out, Rehab and Injury Prevention.

My New Book is Up and For Sale!

19 Monday Mar 2018

Posted by kdrose1 in Books, KD Rose Books, Literary

≈ 1 Comment

Tags

Books, Poetry, Publishing

DP-T-01 copyHere is my collection of poetry from all the literary magazines I’ve published in plus many bonuses, including one essay and short story! My new book is up and for sale! https://www.amazon.com/DreamPoem-K-D-Rose/dp/1545164738/ref=sr_1_1?ie=UTF8&qid=1521476941&sr=8-1&keywords=kd+rose+dreampoem

 

 

Millennials’ Reading Habits and Why They Matter

06 Saturday Jan 2018

Posted by kdrose1 in Book Marketing, Books, Culture

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Books, Culture, Publishing, Technology

Link to original: https://www.bookworks.com/2017/11/millennials-reading-habits-book-plans/

Today we are going to look at the surprising facts behind younger readers and the book publishing industry. According to some recent studies, millennials are more likely than any other age group to visit libraries. I’m not talking about university or college libraries—I’m talking about public libraries for the purpose of borrowing reading materials. And… [Read More]

Profile Photo Amy Collins
Book Retail & Libraries Expert

Millennials reading habits & why they matter by Amy Collins for BookWorks.comMillennials reading habits & why they matter by Amy Collins for BookWorks.comToday we are going to look at the surprising facts behind younger readers and the book publishing industry. According to some recent studies, millennials are more likely than any other age group to visit libraries. I’m not talking about university or college libraries—I’m talking about public libraries for the purpose of borrowing reading materials.

And now, Hooked, an app aimed at the 14 to 24-year-old market, has become the top grossing book app for Apple and Android. New research shows that millennials lead other generations in reading. Hooked and other software for reading have become more integrated with our smartphones. This huge shift points to a modernization of publishing practices and the need to focus on digitization more than ever.

Millennials Are Avid Readers

According to the latest Pew Research Center on book reading, 18 to 29-year-olds are the age group most likely to read a book in any format over the last year. Over 80% have done so compared to 73% of 30 to 49-year-olds, and only 70% of 50 to 65-year-olds have read a book in the last year. When asked why they read books, millennials are far more likely than older adults to say it’s for a specific purpose such as work or school; but they are equally likely to read for pleasure or to keep up with current events. These studies echo a recent report from the NEA (National Endowment for the Arts) showing that 18 to 35-year-olds widely outmatch other age groups in the number of books purchased and read.

So what to take away from all of this? The American Library Association comes out with a materials survey every year. The survey for 2016 shows that between 12-15% of their materials budget is now spent on audiobooks and another 10-15% is spent on eBooks, with between 40-60% being spent on print books. (The remainder spent on non-book reading material)

Millennials Sample All Book Formats

It is vital in this day and age that we offer our published books in every format available. Audio, eBook, and Print; but also in subscription settings and downloadable formats offered through companies such as ProQuest and even apps like Hooked.

The preferences of younger readers are the lifeblood in the future of our sales and of our books successes in the oncoming years. We need to pay attention to what young people are reading but also how they are reading. Our publishing practices need to reflect their desires not just our own preferences.Millennials reading habits & why they matter by Amy Collins for BookWorks.com

After years of weakening and dropping hardcover sales, children and young adult (YA) books have started to show a recent climb in hardcover sales. More and more children’s and YA books are coming out in hardcover to support the desire of the marketplace.

It’s not enough to pay just attention to what we think we know about formats and reading. It is vital that we stay connected to the facts and the actual reading habits of the avid readers we are trying to attract.

Millennials Embrace Digital Formats & Mobile Devices

According to this Forbes article young people are still consuming plenty of electronic text even as traditional publishing reports eBooks sales are soft. The same Pew Foundation analysis shows that millennials who follow the news are more likely than any other generation of readers to prefer reading. Though the vast majority of news-reading young adults prefer to read online, millennials are not giving up traditional books, but they are trending more towards phones and tablets.Millennials reading habits & why they matter by Amy Collins for BookWorks.com

With this focus on young people and millennials, I am not recommending that we turn our back on the other generations of readers. I am simply suggesting that when setting our plans and budgets for publishing we keep all formats in mind. Let’s scan the horizon for the next platform for our books and content. Subscription services, SMS subscriptions, apps like Hooked—these are just the beginning. Stay alert and stay awake my friends. It’s going to be a fantastic year!


If you haven’t seen the new version of BookWorks, please check us out for more great content like this and join our community of indie authors, editors, coaches, designers, marketers, bloggers and other self-publishing pros.


Profile Photo

Amy Collins

Book Retail & Libraries Expert

Amy Collins is the President of New Shelves Books and a contributing writer for TheBookDesigner.com and Bookworks as well as a highly respected expert and author on the topic of self-publishing. With over 20 years experience as a Sales Director for companies (such as F+W and WRITER’S MARKET), Amy now guides indie authors and publishers through the maze of book sales and distribution.  She does regular programs with National Speakers Association, IBPA, Nonfiction Author Association, Bublish, AuthorU/Judith Briles, Joel Friedlander, Publicity Hound, and many other regional and national author and publishing educational organizations in the US and the UK.

When not in the office, she works in her community to eliminate poverty, is a singer in a Celtic blues band on the weekends and is saving up for a faster motorcycle.

 

Pushcart Nomination!

16 Thursday Nov 2017

Posted by kdrose1 in Literary, Poetry

≈ 2 Comments

Tags

contests, Literary, Poetry, Publishing

Thank you to Slipstream!

I just got a poem nominated for a Pushcart Prize!! This is THE nomination I have been working towards (in poetry…soon I will be working on essays too). I am so excited and grateful to Slipstream for both publishing my piece and this nomination! #pushcart #poetry

Something Has Gone Out of Publishing

21 Thursday Sep 2017

Posted by kdrose1 in Publishing, Uncategorized, Writing

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Publishing, Writing

davidjrogersftw

In my oh-so-very-pleasant work room upstairs, where I spend so much time hacking away at this machine whose letters on keys are disappearing fast from overuse, and my wife Diana leaves me alone to bleed and brood when the thinking and writing aren’t going well and to be stricken with ecstasy when they are, I am surrounded by books–many volumes about the arts and the immensely gifted people in them.

This morning I had a busy schedule of things to do that I’ve wanted to do for weeks but haven’t. I’m Chicago born and bred, Spartan tough, so I told myself that today was “time to get serious, buster. Enough of this uncharacteristic self-indulgence.” Today would be different; I’d “dig in,” “put a dent in things,” “make progress,” “do my thing.” I checked over my list of current projects, every single one of which oddly is “top priority.”

Old booksI was…

View original post 1,858 more words

An Inside Look at Agents

21 Friday Jul 2017

Posted by kdrose1 in Books, Literary, Publishing

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Books, Publishing

This full one-hour interview with Jodi Reamer (Writers House), Kim Witherspoon (Inkwell Management), Robert Gottlieb (Trident Media), Sloan…

Source: An Inside Look at Agents

Deep POV Part 2—How to Immerse the Reader in Story

14 Friday Apr 2017

Posted by kdrose1 in Authors, Writing

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Books, Publishing, Writing

By Kristen Lamb

LINK: http://authorkristenlamb.com/2017/04/deep-pov-part-2-how-to-immerse-the-reader-in-story/

posted on April 12, 2017 by Kristen Lamb
Image via Flickr Creative Commons courtesy of FromSandToGlass

So last time we introduced Deep POV. What is it and why do readers love it? Well, as I touched on last time, I think readers love it because it’s just clean, tight writing that pulls them into the story. I also think like all other POVs that have evolved in tandem with social changes, deep POV is a consequence of our world. We are a reality TV generation and we love that intimacy.

But after noodling it a couple days, I thought of yet another reason it behooves writers to learn deep POV. I think the reason readers love it is it hooks them. We live in a world chock full of millions of tiny distractions, which has made all of us more than a little ADD. A hundred years ago, readers weren’t distracted by emotionally distancing words.

They were an easier fish to catch, so to speak.

I think these days, writers really have a challenge. We are already competing with countless distractions, so why add more into our work? We need to hook early, hook hard and drag that reader under before he swims away.

Today is the HOW TO DO THIS.

To accomplish “deep POV” yes, there are style changes we can make, like removing as many tags as we can and ditching extraneous sensing and thinking words. But deep POV is more than just tight writing, it’s also strongly tethered to characterization. Good characterization.

It is essential to know our cast if we hope to successfully write “deep POV.”

KNOW Your Cast

There are all kinds of ways to get to know our characters. I often write detailed character backgrounds before starting a story so it doesn’t become a fish head.

Why we need to know our characters is that deep POV is a reflection of the inner self, how that character sees the world, responds, evades, processes, etc. It is also a reflection of personal history and relationship dynamics. It is his/her PARADIGM.

*cue brain cramp* *hands paper bag*

It’s okay. Breathe. We’re going to unpack this.

Reflection of the Character

Image via Flickr Creative Commons, courtesy of DualD Flip Flop

Back when I ran a weekly workshop, I had writers do a little exercise to help them learn POV and also strengthen character-building skills. I gave this scenario:

We have a family of four—Mom, Dad, a grandparent (either gender) and a teen (either gender) who has spent a year saving for a family vacation. On the way to their destination, the vehicle breaks down. What happens and tell it from the perspective of EACH family member.

Every week, writers showed with the perspective of one of the four. We had ASTONISHING creativity.

Who These Characters ARE Changes the Story AND Deep POV

When we layer in some background, the characters (and consequently the story, problems and conflict) all change drastically.

What if dad is finally home from his forth tour in Afghanistan and has terrible PTSD?

What if Mom is a closet alcoholic?

What if the teen is recently in remission from Leukemia?

What if Grandma is a tireless flirt who’s antics got her turned into a vampire and the family can’t understand why Granny wants to travel only at night?

What if the teen is an asthmatic and forgot his inhaler?

What if Granddad has early on-set Alzheimer’s?

What if the teen has been recruited for a mandatory deep space mission by the New Earth government and will never see the family again?

What if the teen was adopted and the purpose for the trip was to meet the child’s birth mother? How would this impact the emotions of those in the vehicle?

What if there used to be TWO children and one had died in an accident a year previously?

Do you see how by changing WHO these people are, this cannot HELP but affect everything else?

If Dad has PTSD, he might jump at every lump of roadkill because that’s how insurgents hide IEDs. If the family is stranded and Mom can’t get to a liquor stash, she might start getting belligerent or, left too long, start going through DTs. What would an addict notice? Likely nothing beyond how to get a fix.

While a kid in remission with a new lease on life might enjoy being broken down in the middle of nowhere (appreciating the little things in life) the addict would be hysterical.

All of this will impact Deep POV because we are in the HEAD and EMOTIONS of the character.

Let’s pick on Mom for an illustration. I’m riffing this, so the writing is just an illustration. Just roll with it.

Geiko Caveman.
Geiko Caveman.

Kidding! Lighten up. You seem tense.

Example One:

Fifi clutched the baby picture, the one she’d carried everywhere for fifteen years. She hated she was happy the old van had finally given out. Her husband stared, bewildered at the smoking engine. Other than car trouble, he seemed fine. Fine. How can he be fine?

She glanced back at her daughter, the living reflection her of all her dreams and failures. She’d wanted a baby more than life. Every night on a freezing floor. One miscarriage after another and then came a tiny bundle of everything she’d ever longed for.

That woman hadn’t wanted her. That woman had abandoned her. That woman was Gretchen’s real mother and now Gretchen wanted to meet her. Real mother, like hell. And I’m a real astronaut.

How had she failed? If she’d been a good mother, Gretchen would have forgotten that woman and they wouldn’t be here.

“You okay?” Her daughter bent between the seats and kissed her cheek. “You said this was okay, that we could do this. You’re sure, right?” A wary smile revealed new braces, the braces Fifi paid for with money she’d saved for a new van.

“I’m fine, Honey.” She crumpled the baby picture and opened the van door. She needed air.

***

Example Two:

Fifi clutched the baby picture, the one her daughter had given her a week ago for Mother’s Day when they picked her up from rehab. Ninety days clean. At least that was the lie she’d packed along with her swimsuit and the hairspray can with the secret compartment and the only pills they hadn’t found.

The pills that were now gone.

They should have already been at the resort, the one staffed with eager friends willing to help her out. Friends with first names only who took cash and asked no questions.

Fifi scratched at her arms. Millions of insects boiled beneath her skin, invaded her nerve endings and chewed them to bleeding bits. Pain like lightning struck her spine, the section crushed then reconstructed. Pain like lightning spidered her brain, frying her thoughts. She glanced again at the baby picture, then at the fine young woman in back. Her daughter Gretchen.

What am I doing?

Maybe she would be okay. Maybe she hadn’t had enough pills to completely undo her. Maybe she could ride this out. And maybe I’m the Queen of England.

Gretchen bent between the seats and kissed her on the cheek. “I love you, Mom. You okay?”

Tears clotted her throat. She nodded. “Yes, I’m fine, Honey.”

“You mean it?”

She hesitated then smiled. “Yes. Yes I do.”

She tucked the baby picture in her shirt pocket, close to her heart and opened the van door. She needed air. She also needed to change their plans. Visit somewhere with no friends. With no one who took cash.

Do you see how changing WHO Fifi is changes everything? Everything she is sensing, feeling, thinking. Being in the emotions of a heartbroken mother who feels betrayed is a very different experience from being in the head of a sympathetic addict who’s struggling to get clean and stay clean.

***

Both women are impacted by the daughter. One Fifi is hurt by the daughter, the other Fifi finds hope in the daughter. Both women are conflicted. One is tormented with feelings of failure and betrayal and the other is tormented by failure, but very real physical problems of addiction that impact the story.

Deep POV has thrust us into the head and emotions of both women. We feel what they feel. The author is invisible because there are no tags. The sensations are raw and visceral because we have gotten rid of the coaching words.

Instead of:

Fifi felt millions of insects boiling beneath her skin….

We get right to it.

Millions of insects boiled beneath her skin…

The sensation is CLOSER. There is no psychic distance. She isn’t thinking she is going to lose it. She isn’t wondering if she can keep it together. She is experiencing everything real-time and up-close.

Instead of:

Fifi thought, What am I doing?

She just does. We KNOW Fifi is thinking because we are camped in her head.

Deep POV is Akin To Method Acting

Screen Shot 2015-05-20 at 9.49.06 AM
Couldn’t resist. I LOVE “Tropic Thunder”!

When we know our characters, who they are, how they came to be, the formative experiences, what they want from life, etc. we can then crawl in that skin and become that person. By us becoming that character, we then have the power to transport our reader into the skins we have fashioned.

I hope this helps you guys understand the magical, mystical deep POV and now you’re all excited about writing stronger characters. What are your thoughts?

Before we go, check out the new classes below (including a two-week workshop on Deep POV by powerhouse editor Lisa Hall-Wilson). W.A.N.A. is also offering two NEW classes for romance authors, one on how to write shifters and the other on how to write great historical romance without needing a PhD in History.

I also have a SUPER AWESOME DEAL to help you whip that WIP into fighting form! I put together a Book Bootcamp (3 craft classes—6+ hours of instruction with MOI—for $99 & RECORDINGS included in the purchase price) as well at a Book Bootcamp GOLD (also 3 craft classes for the price of two PLUS three hours with ME one-on-one plotting your novel OR repairing the plot for your novel). So make sure to check those out below along with all kinds of new classes!

Make sure you check out the newsletter class with Jack Patterson. He’s sold almost a quarter million books, so probably someone to listen to. Just sayin’…

What are your thoughts?

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And to prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

BUNDLE DEALS!!! 

Book Bootcamp  $99 ($130 VALUE)

Book Bootcamp GOLD $269 ($430 VALUE) This includes the log-line class, antagonist class, the character class AND a three-hour time slot working personally with ME. We will either plot your idea or, if your novel isn’t working? Fix it! Appointments are scheduled by email. Consults done by phone or in virtual classroom.

Individual Classes with MOI!!! 

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 April 13th, 2017

Blogging for Authors $50 April 27th, 2017

Your Story in a Sentence—Crafting Your Log-line $35 May 4th, 2017

Bullies & Baddies—Understanding the Antagonist $50/$200 (Gold) May11th, 2017

The Art of Character $45 May 18th, 2017

NEW CLASSES/INSTRUCTORS!!! 

Growing an Organic Platform on Facebook $40 May 6th, 2017 Lisa Hall-Wilson is BACK! She is an expert on Facebook so check out her class!

Method Acting for Writers: How to Write in Deep POV $85 for this TWO WEEK intensive workshop with editor and writing instructor Lisa Hall Wilson.

Shift Your Shifter Romance into HIGH Gear $35 May 19th with powerhouse editor Cait Reynolds.

Researching for Historical Romance (How to NOT Lost 6 Hours of Your Life on Pinterest) $35 May 20th

 

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook. 

 

COVER REVEAL!

14 Friday Apr 2017

Posted by kdrose1 in Book Marketing, Books, KD Rose Books, Literary, Poetry, Publishing

≈ Leave a comment

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Books, Literary, Poetry, Publishing

TA DA! Today is the cover reveal for my new book that will be out this summer. Thank you so much to Michelle Goodhew from Mundus Media Inc for the cover art and to Jeremy John Parker for the reference blurb.

The cover is below front and front and back and one small tease. This is being shown on several blogs today. Below that is my bio and social media links.

DP - Front

DP-06 copy

Dreampoemadv

BIO…
K. D. Rose is a poet and author. K. D.’s book, Inside Sorrow, won Readers Favorite Silver Medal for Poetry. Her poetry, essays, and short stories have been published in Word Riot, Chicago Literati, Poetry Breakfast, BlazeVOX Journal, Ink in Thirds, The Nuclear Impact Anthology, Stray Branch Magazine, Literary Orphans, and others. Publication is forthcoming in Eastern Iowa Review, Lunch Ticket Arts and Literary Magazine, Santa Fe Literary Magazine, Northern Virginia Review, Hermes Poetry Magazine, Maintenant Contemporary Dada Magazine, Slipstream, Wild Women’s Medicine Circle Journal, and The 2016 Paragram Press Anthology. She also won an Honorable Mention in the 2016 New Millennium Writings Poetry Contest. Her last release was Brevity of Twit. Her new book DreamPoem will be out in summer 2017. She has a B.S. in Psychology and a Master’s Degree in Social Work. Member: Poetry Society of America. Member: Poets and Writers. Member: Academy of American Poets.

LINKS
Twitter – https://twitter.com/KDRose1
Facebook https://www.facebook.com/authorkdrose/
Website: https://authorkdrose.net/
Tumbler http://kdrose1.tumblr.com/
LinkedIn https://www.linkedin.com/profile/edit…
Google + https://plus.google.com/u/0/1028709888049592300…/about/p/pub

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