Kindle Scout vs. traditional publishing

I am a traditionally published author taking my first dive into Amazon's Kindle Scout pond, and even though the water was cold at first, I'm slowly acclimating.

For those of you not familiar with Kindle Scout, here's a little blurb about the program from Amazon.com: "Kindle Scout is reader-powered publishing for new, never-before-published books. It’s a place where readers help decide if a book gets published. Selected books will be published by Kindle Press and receive 5-year renewable terms, a $1,500 advance, 50% eBook royalty rate, easy rights reversions and featured Amazon marketing."

Just for added incentive, anyone who votes for a book that is selected gets a free copy upon publication. Pretty sweet!

So it's pretty cut and dried. The contract is simple enough that even a non-business-minded lunkhead like me can understand it. It was suggested to me by an author friend of mine who also took the plunge, and it paid off for him in a big way. I'm hoping some of that success is still floating around in the water like an amoeba  waiting to attach itself to my brain stem. 

The authors that I have met on Kindle Boards who are treading water with me have been pretty amazing in supporting me and each other so we all don't drown like a bunch of...uh...drowning people. From what I can gather, the majority are previously self-published. I tried that once, with bad results. I felt like a fish flopping around on a hot sidewalk. I decided not to do that again. So every book I have in my back-catalogue is traditionally published by small to medium-sized presses. I'm not a best-seller by any stretch, but I could definitely be considered a mid-lister. 

So, with my latest book, RED RABBIT, I changed direction slightly. Most of my books are sci-fi/horror/military thrillers usually with some type of supernatural overtones. Think James Rollins meets Dean Koontz. RED RABBIT has been labeled an occult detective thriller, more along the lines of James Patterson meets Dean Koontz. So see, Koontz is still there, but Rollins has been replaced by Patterson. Get it? It's still thrilling and it still has horror, but the sci-fi aspect is pretty much non-existent. 

So that led to a lot of head-scratching on the part of publishers. "Um, yeah, the writing is great and everything but...well...huh?"

I actually did land a publisher for it, but the book was too much for them to handle and they decided to go out of business. (Okay, it wasn't because of my book, but it felt like it.) So it was back to sending the manuscript to publishers. Then, my agent decided my book was too much for her, and she decided to change professions altogether. (Okay, it wasn't because of my book, but...well, you get it.)

So here I was with no agent, no publisher, and a brand new book with no home. So my friend says, "Hey, Toby, why not submit to Kindle Scout and become fabulously wealthy and famous like me?" So I said, "I never heard of Kindle Scout." 

I looked it up and liked what I saw. It seemed like a boon for unknown authors and people like me who are traditionally published but who have a book that hasn't found a home.

Of course, there are ground rules for submitting which, if you don't follow, pretty much dooms your chances from the beginning.  You have to provide your own cover, which should be professional-grade. Nobody is going to pick up a book with a crappy cover. They ask that it be professionally edited, which means I was already ahead of the game since I went through extensive edits with my first agent. Once all that is done, you submit your book and wait for approval, which in my case took only a few hours. 

Once your book and the related info is posted on their site, the waiting begins. The campaign lasts for 30 days, during which it's up to the author to get as much traffic to the site as possible and rack up nominations. If you're lucky enough to hit the "Hot and Trending" list, which I did the first two days, then you will hopefully get noticed by the people at Kindle Press.

My friend suggested making a few posts on Facebook and leaving it at that. Well, I believe in the old saying, "Anything worth doing is worth overdoing," so I bought a Facebook ad and ran a HeadTalker campaign. The page is getting pretty steady views and my other books have even started selling again. I'm getting a ton of hits on Facebook, too, so it's all working for the best. Even if I don't get picked for publication, I'll have all those new fans from the campaign. It's a win-win in my view.

So, if the book doesn't get picked, I may either shelve it or let my agency try to sell it again. I'm already working on the sequel, plus another book in another series, so I've got some things lined up. I will keep you posted on how it all turns out.

The campaign runs until May 21, so if you feel so inclined, you can vote here: https://kindlescout.amazon.com/p/9Z4U8ZESJ4LH.

If you want to be part of my Headtalker campaign, just sign up here: https://headtalker.com/campaigns/red-rabbit/

Remember, if you vote and my book gets chosen for publication, you get a free copy! What could better than that? Okay, free money might be better. But then you would just use it to buy my book, right? Right!

Interview with Associate Literary Agent Tara Carberry of Trident Media Group

Update 4/1/16: Tara has taken a non-agent job and will be leaving TMG. I'm sorry to see her go - she did a great job for me! And no, this is not an April Fool's joke!  

I've only worked with Tara a short time (my former agent, MacKenzie Fraser-Bub, left to start her own agency), and I feel very fortunate. She's a real go-getter and a pleasure to work with. Also, being a newer agent, Tara is currently building her client list, so this is a great time to query!

Q: What led you to become an agent at Trident Media Group?

A: I earned a Masters degree in English at Columbia University, and then completed internships at Norton and Perseus Books Group before landing at Trident as a literary assistant. Having the internship experience at two very different publishers has proven incredibly valuable, but I quickly realized that being on the agency side ignited more passion and excitement for me. I was promoted to Associate Agent last year and am now enjoying the constant challenges, rewards, and surprises of growing my own client list.

Q: What are some of your favorite things about being an agent?

A: My favorite thing about being an agent is the thrill of discovering new talent. The moment when I’m reading a submission and realize, “Okay, this person can really write,” is one that makes everything worthwhile. As a new agent, I’m working with many new authors, and the shared excitement of pursing new opportunities and reaching new goals or milestones for my clients is very rewarding for me. 

  

Q: Is it all about the writing, or do you feel that agents and writers should connect personally, as well?

A: I think it is mostly about the writing, but I wouldn’t totally discount a personal connection. As anyone with an agent can tell you, it is a very close working relationship. I’m typically in contact with my clients on a weekly if not daily basis, so at the very least it’s good to have compatible communication and general working styles.

Q: What do you like to see in a query letter? What do you not like to see?

A: Likes: A strong hook; clear, concise writing; understanding of where the book will fit in the marketplace and who the reader is; demonstrated commitment to overcoming hurdles and building a presence as an author (for example, you might be part of a writing group, have won writing awards, have an active social media account dedicated to your writing, or all of the above).

Dislikes: Queries that are too long; overconfidence (ie “This will be a #1 bestseller and a blockbuster film and you’d be a fool not to give this book a chance.”); leading with personal information and not the story synopsis; books that have already been self-published – unfortunately, unless you have massive sales numbers, the odds of a traditional publisher picking up a self-published book these days are very, very slim. 

Q: How do you get most of your clients—slush pile, referrals or writers conferences?

A: All of the above plus I will sometimes approach writers myself if they are unagented or, in the case of non-fiction, seem like they have a great story to tell. 

Q: Describe some of the more outrageous things authors have done to get your attention. 

A: This happened when I was still an assistant, so it was for my boss at the time and not me, but we once had someone FedEx a hand-drawn map of their fictional world to accompany their query. It was complete with burned edges and artful rips and crinkling to make it look aged. A for effort!

Q: Are you open for submissions?

A: Absolutely!

Q: Is one time of year better than another for sending queries? 

A: No. There are times when my inbox is overflowing and it may take me longer than usual to get to each query (sorry queriers!) but I do read each one and I am grateful to receive them at all times of the year.

Q: What genres are you currently seeking?

A: I am looking for women’s fiction, thrillers, romance, horror, literary fiction and lifestyle nonfiction.

Q: Why do you feel it’s important for an author to have an agent? 

A: The publishing world requires a lot of authors today: they not only must write great books but they must understand how to connect with their audiences. It is a challenging and evolving business and, in my opinion, it is more important than ever for an author to have a knowledgeable, trustworthy agent in his or her corner. A dedicated agent allows them to not only focus on what is most important (ie, writing and growing an author platform) but also provides strategy for developing an author brand that can sustain a long career. Agents often wear many hats and, I believe, have a lot to offer authors at all stages of their careers.

 

Q: Where should writers send queries?

A: Submissions should go through the Trident website: http://www.tridentmediagroup.com/contact-us

Thanks Toby!

What exactly is an MTA, and why do you need one?

by James Jackson

Mr. Jackson is a former US Navy Chief Petty Officer. He has spent almost two decades in military service with a large portion of that as a tactical instructor.

During his years in service, he has been part of fielding teams, mobile training teams and interacted with other branches of the US Military as well as foreign military units.

Since leaving the Navy, he has served as an advisor for diplomatic security and as a private military contractor.

He is an author, an outdoor survival instructor, serves as a disaster mitigation consultant, and is a Military Technical Advisor for several published authors.

For every author there is, or should be, a requirement that they conduct due diligence research. That way they will be to provide enough details that the reader is immersed within the story they tell and not taken out by something that just doesn’t sound right. Research is extremely important.

Due diligence would require that the author be able to describe the locale that their story takes place in in intricate detail. How many times have you read something where the story fails to cover some basics and just plain falls short? The concept is simple to understand.  If a story is set in Washington D.C., there are a lot of locations that are known to the locals that won’t be something that Google maps will show. Case in point, there is a museum close to the Smithsonian Complex that is not part of that complex, that contains medical oddities. It’s often mistaken as being part of that complex yet has no association with it. Some of the locals know of it, but tourists would be hard pressed to find it.

While that is one example of something that could be added in to a novel to increase the details, another example was a novel I read many years ago that was a spy thriller set in that same city. The details were so intense that years later, a tourist that had read that same book, traveled to D.C and was amazed that the location was just as true to life as depicted within the book. He visited the Lincoln Memorial and went downstairs to see if there really was a drinking fountain right outside the door to the restroom. It was exactly as described. When the tourist reached under the fountain to see if there was space for a magnetic holder, a key element within the book as it was used as a message for the main character, he was amazed to find one. Inside, there was a simple note, “Good book, wasn’t it?”

 

That is the level of detail that every author should strive for. That brings us to technical assistance. What is technical assistance? For some, that might mean the tech guy you call when your computer goes down. Technical Assistance or Military Technical Assistance for authors is a service that can provide a level of detail to authors that is unprecedented. While MTA is not for computer technical issues or in-depth knowledge of locations, it is for basic technical assistance that can flesh out a character, the actions of that character and/or character background. 

Military Technical Assistance does that same thing only for the thematic elements within a book. Military Technical Advisors are a resource that all authors should have on speed dial or bookmarked on their favorites. 

Why, you may ask, when Google can provide “everything” you need? 

Google can only provide so much. Without someone who has actually been in the military, used the equipment, been on a deployment, or used that particular weapon system, how accurate can an author really be if they only rely solely on Google? 

Military Technical Advisors are commonly found in Hollywood working within the film and television industry. While those companies, extremely prevalent and numerous in and around Los Angeles, provide their services to directors, actors, and screenwriters, there are very few that provide any kind of service to authors. The world of writing is overlooked for the most part, by the MTA industry. Apparently, it just isn’t worth their time and effort to work with authors as all the ’big money’ is in the film industry.

That’s where The Ward Room comes into play.

What, pray tell, is this Ward Room? The Ward Room is a site where authors can go for information about weapon systems, uniforms, rank structure, and even some general information about locations around the world. There is even a page for Writer Resources that breaks down ‘basic’ information and covers some of the most common mistakes. If the information an author seeks is not listed on that page, then they can contact the site and request that someone review their work. There are two free services offered that any author can take advantage of. If they want a more thorough insight, there is also a listing for premium services.

Why is this even important if the book is fictional? In every fictional work, there is something based in the real world.

Let’s put that into perspective. There are millions of fictional works out there that could use the services of a MTA. Several particular issues come to mind. In a book I recently read, a supernatural thriller about a reporter investigating a cult, there was one scene where the main character was handed a Gloch handgun. I’m sure the author meant Glock but that slipped past not only the author but the editor as well. In another novel, a character popped open a revolver and spun the cylinders before engaging the safety. How is that even possible? A revolver has one cylinder with chambers. The way it was described was that the revolver had multiple cylinders. Revolvers, for the most part, do not have a safety like other conventional handguns.

Even big name authors, New York Times bestselling writers could use the services of a MTA. In a novel by a well known military suspense author, he placed the 3/75th Ranger Battalion at Fort Lewis, Washington. At the time that the novel was written, Fort Lewis had already been combined with neighboring McChord Air Force Base to become Joint Base Lewis/McChord, a joining that had taken place several years prior. While that’s a minor issue, one that Google might have shown, the major issue was that 3/75th Ranger Battalion is stationed at Fort Benning, Georgia and not JBLM. That is another case where a simple email to a MTA that specializes in assisting authors would have prevented this error and the many others that the novel was riddled with.

 

Consider other fictional books with a real world setting. I can’t tell you how many times I’ve read a book that contained characters that were part of the US Armed forces and the rank structure was way off. Sergeants, Majors, and Colonels in the US Navy? Not going to happen. One book that stands out, I won’t name the title or author, depicted a lieutenant general attempting to evacuate his unit out of Egypt while under siege from an army of the undead. I had to pause several times and ask myself just what size unit was this general in command of? He apparently had no staff, no logistics unit, no air support, no artillery, no headquarters section and he micromanaged what was described as a company sized unit that apparently had no other officers at all. 

That is micromanaging to the Nth degree. Imagine a general officer directing privates, corporals and sergeants. Not something that normally happens. Later in that same book, the general was able to squeeze his entire unit onto an Arleigh Burke class naval vessel. In the real world, that general would be in charge of a division sized unit or larger. A division is approximately 10-15k troops. He would have a command staff made up of other officers from colonels on down to lieutenants, and a senior enlisted staff. That staff would have told him that there is no way a division would fit on an Arleigh Burke class vessel; there ‘s barely room for the crew.

As you can see by the example provided, Google can show some results, very generic results, but falls short when in comes to specific details. To get the real deal, the inside scoop as it were, authors should consider the use of a Military Technical Advisor. The Ward Room offers such a service. There are several free services available that can readily answer questions and address issues. There are also premium services for authors and publishers that want more.

The Ward Room is a resource that enables authors to enhance their work. Take advantage of it.

Check out the Ward Room at http://wdrmmta.wordpress.com/.

Look for these James Jackson books coming from Permuted Press:

Up From The Depths 1: Denial Measures 9/8/2015
 

Up From The Depths 2: Acceptable Losses 10/6/2015

Up From The Depths 3: Collateral Damage 11/10/2015

Up From The Depths 4: Movement to Contact 12/8/2015

Up From The Depths 5: Defilade 1/5/2016

Up From The Depths 6: Secondary Objectives 2/9/2016

Interview with literary agent MacKenzie Fraser-Bub of the Trident Media Group

*NOTE - Since this interview, MacKenzie has formed her own agency, Fraser-Bub Literary.

I recently had the privilege of interviewing the talented MacKenzie Fraser-Bub of the Trident Media Group. MacKenzie agreed to become my agent, and I must say I was impressed with her enthusiasm, professionalism, knowledge of the industry, and the connection she made with my material and with me as a person. I think the following interview will be of immense help to writers who want to understand what goes on in the mind of a literary agent, especially for those who are thinking of querying MacKenzie.

From the Trident Media Group website:

Before embarking on her career as a publishing agent, MacKenzie wanted to experience working inside a major publisher, and gain valuable insights on marketing, which she could use later to her clients’ advantage. She became Publishing Manager at Touchstone Books (a division of Simon & Schuster). She worked closely with the sales and marketing departments for a wide-array of bestselling authors, such as Philippa Gregory, Lisa Unger, Bethenny Frankel, J.A. Jance, and R.L. Stine.

  

1. What were your feelings when you first moved to New York City to become an agent at Trident?

I started at Trident as an assistant to Scott Miller and Kimberly Whalen.  They were the BEST bosses – they are the toughest, most talented agents, and I learned so much from them, and from their clients.  I felt immensely lucky riding the elevator up to the 36^th floor in this fancy NYC building every single day (even though at that time I was spending my days in a tiny cubicle).  Being back at Trident as an agent is a dream – my colleagues are all incredibly smart and talented.  And now I have an office and a view of Madison Square Park!

2. Describe a typical day in your life as an agent.

I’m an early riser, so I’ve checked my email most days before 6am, but nothing significant is possible until I’ve had a venti dark roast from Starbucks.  I read on my commute into the office – The New York Times first, and then submission material. I have a Samsung tablet and it makes it super easy to have tons of material at my fingertips.  

The first thing I do when I get to the office is… check Facebook.  I promise it’s not about seeing baby pictures and Buzzfeed articles – it’s about getting a taste of what people are generally talking about.  I follow a lot of media bloggers, publishing trades, book clubs, publishers, and writers, and I like seeing what they’re putting out, and how people are responding.

After I look at the new deals on Publishers’ Marketplace, I spend the morning responding to emails and returning calls.  If I’m lucky I can squeeze in reading time.

Lunching with editors is a super fun part of the job.  I love hearing about what’s going on in the publishing houses, what people are reading, what they’re on to and what they’re over – and book people are always just generally super interesting!      

I’m constantly on email and it’s important to me to always be very responsive and available, but I try to devote much of my afternoon to really focusing on reading and editing.  As a millennial I’m an EXCELLENT multi-tasker. 

Sometimes on the way home I read submission material, but if it’s been a long day, I decompress with Spotify. 

(Skip ahead many hours and I’ve also been known to fall asleep with my tablet open to a manuscript…)

3. What are some of your favorite things about being an agent?

Working with creative people.  Collaborating with fabulous clients, brilliant editors, and energetic publishing teams is such a dream.  It’s immensely satisfying to work with debut authors from the ground up – to see their dreams realized in the publishing process. 

 

4. What do you look for in potential clients? Is it all about the writing, or do you feel that agents and writers should connect personally, as well?

A connection to the writing is just step one.  I’m not looking to be besties with my clients, but as we’re going to need to have very open and honest conversations about a very wide variety of issues, some of them personal, throughout our relationship, some level of personal connection is essential.   

5. Tell us about a couple of your clients (if you want to. If not, no biggie). How many clients do agents typically work with at one time?

My clients are fabulous.  I’ve been very selective with who I take on because I want to give each and every client my 100%, and I can only do that if I love your work.  The balance of the actual workload is always in flux based on who’s where in the submission / editing / publishing process, but I’m a good multi-tasker, and if you need my time, it’s important to me that you get it.     

6. What do you like to see in a query letter? What do you not like to see?

Voice, personality, and creativity.  I like it when authors comp their book to another book I’ve read and liked – ideally not Harry Potter or 50 Shades – I can connect with this better if your comp is more of a deep cut.  I like when your pitch to me is personal – why you think we specifically are a good fit.  I don’t like ideas that feel overly familiar and formulaic – it’s a tough market, so freshness and innovation is essential.  And please, check your grammar!  A couple of misplaced commas or blatant misspellings in a query letter is a non-starter. 

7. How do you get most of your clients—slush pile, referrals or writers conferences?

I’ve gotten a lot of clients through referrals – other agents, clients, people in the industry.  I reach out to writers I see on Goodreads or Amazon.  I just recently found a fabulous client at a writers’ conference.  A few from the slush pile. 

8. Describe some of the more outrageous things authors have done to get your attention.

I’ve been pitched in the bathroom and in the elevator. Sometimes one person will literally call me half a dozen times over 2 or 3 days. Once at a conference I looked down and someone had drawn a big heart around my picture in the conference program (to be fair, I don’t think the person intended for me to see that).   I stopped using twitter because queriers would email me commenting on tweets I’d sent out, which really freaked me out. 

9. Are you open for submissions? Is one time of year better than another for sending queries?  What genres are you currently seeking?

I am always open to submissions, any time of year.  I personally read every single query that comes in.  My main areas of interest are women’s fiction and romance, but it’s always all in the read for me and I obviously sometimes come across Sci Fi or Fantasy projects I love (hi, Toby! :)

10. Who are some of your favorite authors and/or books and why?

Most recently some of my favorite reads have been The Husband’s Secret by Liane Moriarty, The Good House by Ann Leary, Eleanor and Park by Rainbow Rowell, and Crazy Rich Asians by Kevin Kwan. I think Maggie Shipshead is an amazing new talent. I am obsessed with Jonathan Franzen, I love Pat Conroy, and I’m fairly certain I’ve read every Phyllis Whitney book ever written.  All of these writers have really distinctive voices, and the ability to create layered, realistic, complex characters in tightly woven stories.

11. How long can someone expect to wait for an answer to a query? For a partial or full manuscript?

I respond to queries very quickly – always within a week.   I try very hard to respond to submissions within 6 weeks (emphasis on try).

12. What would you tell a new writer trying to break into the world of publishing? Why do you feel it’s important for an author to have an agent?

Writers should write. They should join critique groups or use beta readers.  Going to conferences can be a great way to connect with other writers, meet industry professionals, and work on your craft. 

Authors who want to be traditionally published need agents.  Agents edit pre-submission; we put your work in the hands of the right editors at the right houses.  We negotiate and vet your contract, collaborate on marketing strategies, cover design, and publicity plans.  In short, we’re your advocate to your editor and your publisher.     

I’m a proponent of the hybrid model – a mix of indie and traditional – and an agent is an integral part of that plan, not just in terms of getting your book in front of the right editor, but also in terms of shaping your career and advancing your brand.  An agent helps design your publishing plan in all respects – what to write, when to publish, how to reach new readers.  It’s a tricky business, and you need a professional partner to help you navigate the process. 

Thanks MacKenzie for this awesome interview!

Published or unpublished authors who wish to submit to any of the agents at TMG, please send a query letter using their online form to one literary agent only at http://www.tridentmediagroup.com/contact-us. Your query should include only a paragraph about yourself, a brief plot synopsis and your contact information; it should not include a manuscript, a proposal, or any writing samples.

For more info on me and my latest books, go to www.tobytatestories.com, Facebook and Twitter.