A Brave New World - Author Revolution

I continue to explore the changes in the publishing industry on various stakeholders.  My guest today is Cheryl Kaye Tardif, author and publisher of Imajin Books.

In your role as a publisher, what changes have you seen in recent years?

What we've seen over the past ten years is an author revolution, with a dramatic increase in self-published or indie authors taking the lead. Educated writers who take on publishing as a "business," are discovering that most book retailers like Amazon, Kobo, iBooks, GooglePlay etc., have their own publishing platforms available to writers from many countries. Some authors published by the Big 5 have taken back their rights and self-published their titles. We've also seen many start-up hybrid or indie publishing companies open and close their virtual doors. Ebook sales have risen worldwide. Amazon still remains the leader in book sales, especially for ebooks, and more authors (indie and published by small publishers) are making it onto the overall Top 100 Best Sellers list on Amazon.com. We're also seeing a huge demand for translated works, and indie authors or authors published by hybrid publishers like Imajin Books now have more opportunities to see their works translated and sold in various territories. We've also seen an increase in freelance editors, proofreaders, formatters and cover designers, though writers should do their homework as not all offer quality.

How has your role been affected by the changes?

My role as publisher hasn't changed much. I'm still looking for exciting, well-written stories with memorable characters and plots, whether novels or novellas. More importantly, I'm looking for writers who know how to promote themselves online and in public. We are always on the lookout for authors who don't want to self-publish. We'll even consider authors who've left the bigger houses and retained their book rights. We've branched out into foreign translations, whether we publish them or negotiate deals for our authors with foreign publishers.

What is the impact of these changes on authors? On readers? On the book industry overall?

For authors, these changes mean no more paying tens of thousands of dollars for old-fashioned "vanity" printing, or no more paying thousands for a print-on-demand publishing package. Publishing a quality book takes an investment of $1500-4000, depending on who you know. Not only are writers publishing their own works, they're taking charge of their marketing and promotions. They realize, now more than ever, that this is a business, and like all businesses you need to invest time and money every month. Authors who want their books to sell must regularly invest, and that means buying ads from book promo sites, Facebook, Twitter etc.

For readers, there is now a large quantity of $0-$4.99 ebooks available daily. The Big 5 and mid-sized publishers are still jacking up ebook prices, but we're seeing lower-priced ebooks by some.   eBooks published by Imajin Books have always been more affordable than those of bigger publishers, and we hold quite a few sales and freebie events each year.
What challenges and opportunities do these changes present to the various stakeholders?

The biggest challenge for authors is 1.) learning that they can't do it all. If they want to be taken seriously as a career author, they must hire professionals (editors, proofreaders, formatters, cover designers etc.), and 2.) making sure they have available financial support to properly promote their works.
The biggest challenge for publishers is trying to weed out all the hobby writers (those who will most likely only write one book, and usually not that well) from those who have true talent. This has always been an issue for publishers, but with the influx of new authors comes more manuscript submissions.
 
As for opportunities, there has never been a better time for writers to either publish their own works or find a smaller hybrid company to publish their books.

How are you positioning yourself to meet the challenges or take advantage of the opportunities?
 
At Imajin Books, we take advantage of all the tools that self-published authors have access to. We pay small advances but higher than average royalties. We have access to far more sales data than ever before, so we can take advantage of other people's experiences. Plus I am both indie published and traditionally published, meaning I've self-published some works and other publishers have published me too. This gives me the benefits of experiencing and learning from both sides. I believe this makes me a better publisher. I'm always on the lookout for new technology.

Do you have any additional thoughts you'd like to share?

I encourage writers to consider what they want out of writing. Do they just want to write for pleasure? If so, there's nothing wrong with being a hobby writer. Do you want to write books full-time as a career author? If so, make sure you're prepared to spend the money AND the time. You can't just throw a terribly edited work up on Amazon then ignore it and expect it to sell. There's much more to being a career author than writing a couple of books. Treat this as a business, and you'll see your business grow. And know that ANYTHING is possible. Even hitting the New York Times bestseller list!

Write for yourself first. Write because you feel passionate about it. Then decide what you want to be. :-)

Cheryl Tardif is the publisher at Imajin Books®, a hybrid publishing company in West Kelowna, BC, Canada. Utilizing today’s technology, Imajin Books publishes ebooks and trade paperbacks by international authors. Imajin Qwickies® is a novella imprint that launched in 2015, along with children’s imprint, Ogopogo Books™.

Cheryl Kaye Tardif is an award-winning, international bestselling author represented by Trident Media Group in New York. Booklist raves, "Tardif, already a big hit in Canada…a name to reckon with south of the border."

Check out Cheryl’s website and Imajin Books website, and connect with her on Twitter (Cheryl and Imajin Books) and Facebook (Cheryl and Imajin Books).

Photo credit: Jessy Marie, Ai Love Photography

Brave New World - A Matter of Numbers

I’m continuing to explore the impact that changes in the publishing world are having on the various stakeholders – authors, readers and marketers. My guest this week is Vicki Delany.

A prolific and varied author of crime fiction and sitting president of Crime Writers of Canada, Vicki is well-positioned to offer an insightful perspective. She writes the Year Round Christmas mysteries and, under the pen name of Eva Gates, the Lighthouse Library series, both from Penguin Random House. She is also the author of the Constable Molly Smith series, the Klondike Gold Rush mysteries, and standalone novels of suspense. Her Rapid Reads novella, Juba Good, is currently shortlisted for a Golden Oak award from the Ontario Library association. Vicki’s most recent book is Unreasonable Doubt, the 8th in the Constable Molly Smith series.

A former computer programmer and systems analyst, Vicki lives and writes in bucolic Prince Edward County, Ontario.

In your dual role as an author and president of CWC, what changes have you seen in recent years?

I’ve seen a lot of unhappy authors! This has always been a very difficult business and I doubt there ever was much of a golden period for writers. But as difficult as it was, at least it used to pay better. All reports out of the UK, US and Canada, say that writer’s incomes are down by 50% over the last twenty years, and that’s tough.

I believe the biggest impact on writers’ incomes is the plethora of free books out there. I’d like to ask readers to think before they load up on free books. What’s the value of that book to them? If it’s nothing, okay go ahead. But if you want good writers to continue to write good books then you have to realize that they have to be paid. And that’s what worries me most about the new world of publishing. That we’ve forgotten the value of a book. Will we get to the day when there are a handful of bestsellers making money and everything else is free? And worth exactly what you pay for it: $0.00. 

I won’t be writing, if that’s the case. And neither will a lot of reader favourites.

How have your roles been affected by the changes?

As a writer, I’ve been very lucky. I’m still with the publisher I joined ten years ago, and I have moved between others for other books. I am published now by Penguin Random House, and although they have recently consolidated I’m still hanging in there with my Year Round Christmas Mystery series.
As the president of the CWC, we continue to represent and promote our authors and crime writing in Canada, and our membership is strong and growing. The state of getting Canadian crime writing published is a story for another day.

What is the impact of these changes on authors? On readers? On the book industry overall?

I’m just glad I am not starting out today. In fact, if I was, I’d probably give up. It’s much more difficult to get a first novel published by a major press than it used to be. No one wants to take a chance on an unknown, and a lot of publishers are cutting back the number of books they’re releasing. Plus, there seem to be a lot more people wanting to write a book, so competition for those few first novel slots is intense. On the other hand, I get the feeling there are a lot of new small publishers and mid-sized publishers, and that might be a good thing. As long as their eye is on quality and they know about production and distribution and promoting and are not just in it to make a quick buck off a desperate author. 

What about self-publishing some will say? I’ll mention up front that I would never advise anyone to self-publish their first book. Yes, I just said above that it’s more difficult to get a traditional publisher, but it’s worth the effort. You need that ‘gate keeper’, you need people, professional people, not your mom or best friend, to tell you what’s wrong with your book and how to make it better. Maybe you need someone to tell you it’s not worth publishing, try again. 

I think it’s too early to tell the impact on readers. There seem to be lots of new voices, self-published or published by one of the new small presses, but is that a business model that can sustain good, serious writers over the long term? When larger houses cut back or “consolidate” their output, the readers’ favourites are let go. Writers probably need the support of their readers now more than ever before. If you love a book or an author, let the world know.

What challenges and opportunities do these changes present to the various stakeholders?

It’s harder to get a book published by a traditional publishing house, if that’s what you want. If what you want is to write something and have it “out there” and maybe have a couple of people read it, then self-publishing can be the way to go. But don’t fool yourself that it’s going to lead to a big publishing contract. 

Selling books is a numbers game. If you want a publisher to take you on with anything other than a first, unpublished manuscript, the very first thing they do is look at your numbers. They don’t care if you were with a small, but excellent literary press, or self-published. If you didn’t sell a certain number of copies, they have no interest. Sometimes, the quality of the book doesn’t even matter.

Some established authors are doing well self-publishing their new books or out-of-print ones; they’re what are being called hybrids. These people have a following of loyal readers, they have a network of fellow-authors, they have a track record with respected reviewers, and they know how to play the game. And in many cases, they also still have traditional publishers for other books so they cross-promote. Many hybrids are doing very well in this new world. 

One other group is getting rich off this. And that’s the people out to scam desperate writers. Fake contests, phony agents, “vanity presses” that promise the world and charge thousands of dollars. I got an email just the other day, saying that for a special rate of $99 they’d promote my free book on Amazon. Hum, so I can pay to get nothing in return.

How are you positioning yourself to meet the challenges or take advantage of the opportunities?

I’m doing nothing at all different. Then again, I’ve said that I’ve been lucky and I have. I still publish three or four books a year, all from traditional publishers ranging from mid-sized to one of the big five.

Do you have any additional thoughts you'd like to share?

I’d advise everyone out there who is thinking of writing a book or who has written a book and wants to have it published to learn all they can about the business and the options out there. Networking is key. Networking is how I got my contact with Penguin Random House. I knew someone whose agent was looking for someone…. Be very aware of the scammers I mentioned above.

Brave New World-Seismic Shifts in Publishing

It seems to me that the publishing industry is undergoing a seismic shift. Traditional publishing houses are either closing their doors or absorbed into larger houses. E-publishing is another factor along with a rise in the rate of aliteracy (ability to read but not the desire). So how are these changes affecting the various stakeholders?

Over the next while, I am hosting various individuals who can provide some insight into these changes and the implications for readers, writers and others. My first guest is Melodie Campbell. A prolific author, whose novels and short fiction have been published for over 25 years, and the immediate past Executive Director of Crime Writers of Canada, Melodie is well-positioned to comment on the changes occurring. Welcome, Melodie!

In your role as an author and also more recently as Executive Director of Crime Writers of Canada, what changes have you seen in recent years?

The main change I've seen in six years is the ruthlessness of publishers. It used to be that they would tell us they lost money on your first book. They broke even on your second, and they finally made money on your third. So the idea was, they wanted an author they could hold on to through many, many books. Now, publishers want to make money on your first book. A whole lot of money. If you don't make that right off the bat, they drop you. There is no 'nurturing time' anymore.

What is the impact of these changes on authors? On readers? On the book industry overall?

It's devastating. I can name eight authors who got picked up by the big five publishers four years ago, who have since been dropped. I know more authors dropped than those who have been kept. Publishers seem to want a few bestsellers, and that's it. We used to say in the industry that the bestsellers helped to support the publishing costs of the mid-listers. But now publishers seem to be dumping their mid-listers. This will mean fewer books traditionally published overall.

What challenges and opportunities do these changes present to the various stakeholders?

I see self-publishing becoming even more important. I expect many authors who have been let go by publishers, will turn to hybrid publishing. Companies like Carrick Publishing, which puts a professional spin on books that would have been essentially self-published, will flourish.

How are you positioning yourself to meet the challenges or take advantage of the opportunities?

I write because I love to write. Luckily, I've found two publishers - one midsize, and one small - who like my books. There is great freedom in writing for enjoyment rather than for a living. I make money with my books, but it's Corvette money, not money to live on. And that suits me fine.

Do you have any additional thoughts you'd like to share?

A lot of our problems in publishing today are not caused by Amazon and ebooks. They are caused by people not reading as much as they used to. And particularly, younger people aren't reading for pleasure the way earlier generations did. It's much easier to turn on the television, and there are some really good shows on Showcase and HBO, for example. So I would say our competition as authors is not with ebooks and self-publishing so much as the old boob tube. This saddens me terribly. In my Crafting a Novel classes at Sheridan College, I often have adult students who tell me they don't read fiction for pleasure. But they want to write a novel. This baffles me. Even more baffling, they seem shocked when I ask them, 'who do you expect to buy your books, if you are a writer and you don't read fiction yourself?'

Thanks, Melodie!


The Toronto Sun called her Canada’s “Queen of Comedy.” Library Journal compared her to Janet Evanovich. Melodie Campbell got her start writing standup. She has over 200 publications, ten novels and ten awards for fiction, including the 2014 Derringer and Arthur Ellis Awards, for the screwball crime comedy, The Goddaughter’s Revenge.

The Art of the Read

You’ve been invited to do a reading!!

This is exciting news and a great opportunity to promote your work! The question is how to get the most mileage out of your reading. I’ve participated in a lot of readings, I’ve observed many readings, and through my work as a teacher-educator which involves sitting through student-teacher lessons, I’ve learned a great deal about what makes a presentation successful.

• Mental preparation is your first and perhaps your greatest challenge. Most authors focus on themselves and whatever book it is they are promoting at the moment. Although it may seem counter-intuitive, this is not the way to go! You are not the important one here. The important people are the ones sitting out there in the audience. Your focus must be on them and appealing to them.

• If possible, find out as much as you can ahead of time about who will be there: what is the demographic? Eg. A church group? A book club? A writers group? All women? Age range? Education range? 

• Decide which of your writings (novels, short stories, poems etc.) is most likely to appeal to them and prepare that. If you are unable to get much information ahead of time, take time to study the audience once you are at the venue – bring several selections with you and make that decision when you see who has come. 

• Remember – if you read something that does not appeal to the group, not only will they probably not buy your book, they are likely not to show much interest in anything else you’ve written. On the other hand, if you read something that they like (even if it is already five years old), they may be interested in not only that book or story, but other things you’ve done.

• Keep your reading short and do it well! Three minutes is a good duration. Beyond that you risk your audience tuning out. Research into attention spans shows that beyond those first few minutes, audiences lose focus. In one of my earlier posts, “Hey, Shortie”, I cited research out of industry that suggests the average attention span of young people is eight seconds, less than that of a goldfish! Anything that puts an audience into passive mode for any length of time is toxic to your effectiveness.

• For the same reason – if you are reading as one of a group, try to position yourself early on – first, if possible. The longer the audience has to sit and listen to people read, the less focused they are likely to become. On the other hand, if you are the first or among the first, chances are they will remember you. They will still be fresh and engaged when they hear you.

• If you are the only one reading, go for the shortest period of time possible. Break up the reading as this can become monotonous. Can you intersperse some powerpoint slides or cartoons to refocus your audience, or perhaps ask a question or even run a short contest?

• When setting up the reading with your hosts, negotiate the room arrangement if possible. What kind of a space will you be working in? How and where will your audience be seated? Will you require a microphone? Other forms of media – ie. a data projector? 

After teaching high school for many years, I have a voice that can be heard over anything, but this is not true of everyone. I always request a bottle or glass of water and a table on which to display books that will be sold. Make sure that the books are placed where they can be monitored. I have been at readings where books have been stolen. If you are part of a group, have chairs to sit on while the others are reading.

• Make sure you know the length of time allocated and stay within it. Leave time for questions and discussion.

• Ask that any promotion/publicity be shared with you. You can then post this to your own social media account.

• Have a photo and short bio available for your hosts.

• The best idea is to read a section from the beginning of your story. This will save you valuable time (and audience attention) providing back story and explanations. 

Melodie Campbell and Rosemary McCracken

Madame Rosemary McCracken (blog: https://rosemarymccracken.wordpress.com) of the Mesdames of Mayhem always reads from the opening pages of her Pat Tierney novels. The audience is introduced to the main character and conflict without Rosemary having to provide explanations and context.

Madame Melodie Campbell often reads her Lone Rearranger episode from The Goddaughter’s Revenge – it’s a self-contained story within a story – very funny, and again, Madame Mel does not need to use valuable time trying to explain what’s going on.

• Rehearse your reading ahead of time – best if someone is there to give you feedback; or make an audio or videotape to critique. Is your pace right? Slow enough that the audience can follow but not so slow that you lose them? Is your intonation appropriate for the piece? Is your reading smooth or are you stumbling frequently?



Duncan Armstrong

• Toronto poet Duncan Armstrong advises standing while reading. Indeed this will give your voice added range and projection. But watch your posture. Stand straight. Make eye contact frequently with your audience and smile where appropriate. It is important that your audience feel connected to you.
• Armstrong also advises dressing appropriately in clothing that looks good, is clean, fits well, and is comfortable. Your clothing should enhance your appearance, not detract from it. Wear comfortable shoes and avoid clunky jewellery. 

The Mesdames of Mayhem always wear a combination of mauve/purple, black/grey as these are the signature colours of our anthologies. Audience members often comment on our coordinated appearance – this opens up an opportunity to show them the books.

So there is a lot to think about, but when done properly, readings can be a great way to build a following!!

Good luck with your next reading!!

Guest Author - Alison Bruce

Cats! Why did it have to be cats?
By Alison Bruce

First off, I’d like to say that no real cats were harmed in the making of this book. I love cats…even though I’m allergic to them. Only a strong sense of self-preservation stops me from bringing home every stray (cat or dog) I meet.

It’s the cozies that are to blame. Don’t get me wrong, I’ve read my share of Lillian Jackson Braun and other cozy authors with series that have cats who assist amateur sleuths or at least soothed them on bad days. Most of the cats I know are more likely to compromise evidence than find it, but I’m not dissing the genre. My intention was to put a twist on the modern cozy by making the cats the victims rather than the detectives.

Someone is killing the cats in East Hills and leaving them on the doorsteps of their owners. The police have investigated but they can’t give the case much more time. Carmedy & Garrett are called. Specifically, Chief Thorsen calls in his goddaughter and former rookie detective Kate Garrett because he knows she won’t refuse the case.

Excerpt

Violent death was never pleasant. The cold hadn’t diminished the smell of blood, piss and stool—or if it had, I didn’t want to think about it.

A dart, the kind animal control officers use in their rifles, was sticking into the ribs. Instead of delivering a tranquillizer, its payload was poison. The feathery stabilizer at the end was red and green. Very seasonal.

“Do we know what the poison is, Chief?”

“Looks like cyanide. Samples were taken from the last victim. I’ll let you know when the latest batch have been processed and compared.”

Igor Thorsen, Chief of Detectives and my godfather, bent down and offered me his hand. I let him pull me out of the crouch I had been sustaining for several minutes while I examined the body. I didn’t need the help, but it was a warm gesture on a cold night.

“I could use your help on this, Kathleen. People are getting nervous but I can hardly free up a detective for a serial cat-killer. I can authorize support services for a week and the East Hills Neighbourhood Group will pay your fees.”

I stripped off my gloves and ran my fingers through my hair, pushing back the auburn strands that had blown into my face. Time for a cut. Or maybe not. I didn’t have to keep up the uniform code for keeping hair short or worn up.

I looked up at the Chief. Way up. And I’m not short. Or particularly tall.

I nodded.

My name is Kate Garrett. Up until recently, I had been a rookie detective in the violent crimes unit. The chief was my boss. Almost one month ago my father, the Joe Garrett of Garrett Investigations, was killed in a pedestrian-vehicle incident. Now I was the Garrett of Carmedy and Garrett Investigations.

Last month I was a homicide detective. Now I was a pet P.I.?


An Imajin Qwickies™ Mystery/Crime Novella

DEADLY SEASON
A Carmedy & Garrett Mini-Mystery #1

By Alison Bruce
Imajin Books
November 2015

Last month Kate Garrett was a Police Detective. Now she’s a Pet P.I.?

Kate recently inherited half her father’s private investigation company and a partner who is as irritating as he is attractive. Kate has been avoiding Jake Carmedy for years, but now her life might depend on him.

Kate and Jake are on the hunt for a serial cat killer who has mysterious connections to her father’s last police case. Kate’s father had been forced to retire when he was shot investigating a domestic disturbance. Is the shooter back for revenge? And is Kate or Jake next?

Available at:

www.amazon.com/Deadly-Season-Carmedy-Garrett-Mini-Mystery-book/dp/B017AFRN02
store.kobobooks.com/en-ca/ebook/deadly-season
www.chapters.indigo.ca/en-ca/books/deadly-season/9781772231533-item.html
play.google.com/store/books/details/Alison_Bruce_Deadly_Season?id=SzvSCgAAQBAJ
www.smashwords.com/books/view/588711

Alison Bruce has had many careers and writing has always been one of them. Copywriter, editor and graphic designer since 1992, Alison has also been a comic store manager, small press publisher, webmaster and arithmetically challenged bookkeeper. She is the author of mystery, romantic suspense and historical western romance novels. Three of her novels have been finalists for genre awards.

www.alisonbruce.ca 
www.facebook.com/alisonbruce.books
have laptop, will travel
@alisonebruce

New Book - Maverick Publisher

Maverick Publisher: J. Patrick O’Callaghan; A Life in Newspapers  
is the culmination of a labour of love for Pat’s widow, Joan O’Callaghan, a founding member of the Mesdames of Mayhem. Lynne Murphy talked to Joan about her work on the memoir and Pat O’Callaghan’s life.

The launch will be held on November 26th from 7 to 9 p.m.at Owl’s Nest Books, 815A 49th Avenue, S.W., Calgary, Alberta. 

(Interview first published on Mesdames of Mayhem Blog)

L.M.: First I want to ask about the title. Why the term “maverick”?

Joan: We took the title from a comment by Brian Brennan, a former Calgary Herald journalist, on his blog. He described Pat as a “maverick publisher.” Editor of the book, and former employee of Pat’s at the Windsor Star, Ed Piwowarczyk, thought it was an apt title and I agreed. Pat did not run with the herd. He lived and breathed newspapering and did not hesitate to stand up to government, Southam head office, or anyone whom he felt placed obstacles in the way of an effective and free press. He was something of a pioneer. He was one of the first to appoint women, outside of family-owned newspapers, to senior editorial posts (The Sun used to refer to the “girls who ran the Herald”) and was the first in Canada to convert a large auditorium in the Herald building to a daycare centre for the children of Herald employees. This did not endear him to other publishers who found themselves lobbied by their own employees to follow suit. He also broke the sex-barrier at the Petroleum Club in Calgary, which prior to this, did not accept women as members.

L.M.: Pat was born in Ireland. What brought him to Canada?

Joan: Pat was born in Ireland but grew up in England. He was working at the Liverpool Daily Post when it bought the Red Deer Advocate in 1958. Pat was sent to Red Deer in 1959 as Managing Editor to turn the paper from a weekly to a daily. But before going to Red Deer, he spent six months at the Peterborough Examiner learning about the Canadian newspaper industry. He worked for Robertson Davies!

L.M.: He worked on a number of Canadian newspapers before ending his career at the Calgary Herald.

Joan: Yes, after Red Deer, he went to the Edmonton Journal as Assistant to the Publisher, later to the Windsor Star as Publisher, back to the Edmonton Journal as Publisher, and then to the Calgary Herald as Publisher.

L.M.: Mme. Rosemary McCracken, who was a reporter on the Calgary Herald during Pat’s time there, says he was the best publisher she ever worked for. What made him so good at his job?

Joan: A combination of factors, I’d say. First of all he was a working journalist. Exactly four weeks before he died, he wrote an article that was published in the Globe and Mail. He was one of the last publishers to come up through the editorial stream so he knew what constituted a good newspaper and insisted on putting out as good a product as humanly possible. His battles with Southam’s head office over new presses for the Edmonton Journal nearly cost him his health, but in the end he got them. Reporters and editors respected him for his talent, his skill, and most of all his integrity. Second, he believed in his staff and supported them wholeheartedly but at the same time he wouldn’t put up with nonsense. There was a reporter at the Herald who was just obnoxious – as an example, he had a habit of driving staff cars out onto the prairie until they ran out of gas, then calling the paper, cursing and swearing until someone drove out to get him. Pat fired him.

L.M.: I understand a number of members of the Mesdames have helped you with getting the memoir ready for publication.

Joan: The Mesdames have all been wonderfully supportive and cheering me on. I have to give credit to Rosemary McCracken. I don’t think this day would have come without her invaluable advice, support and encouragement. And I have mentioned Ed Piwowarczyk, and of course, Carrick Publishing.

L.M.: As Pat’s widow, was it difficult for you working on his memoir?

Joan: Actually, no. To the contrary, I enjoyed it. Pat wrote the memoirs with a light touch and a conversational tone. When I sat down at the computer to work on the book, it felt like I was having a visit with him, that he was sitting next to me, telling me his stories. It was very comforting – so much so that once I have the actual print copy in hand, I intend to put it at my bedside where I can dip into it.

L.M.: You are a writer too. What influence has Pat had on your work?

Joan: Pat was wonderfully encouraging! When Scholastic Canada sent me the contract for my first book, Amazing Days, he ran around the house shouting, “Author! Author!” When Scholastic told me that they wanted the manuscript for the second book submitted on disk (this was the mid-nineties), he went out and bought me what was then a state-of-the art computer. He would get excited when we saw my books displayed prominently in bookstores or when Scholastic’s clipping service sent me reviews. I could not have asked for a more wonderful life partner. He made me believe that I could be whatever I wanted to be!

L.M.: Thank you, Joan. We look forward to reading Pat’s memoir.


Maverick Publisher: J. Patrick O'Callaghan: A Life in Newspapers 
Carrick Publishing, 2015

Paperback: $16.99
www.amazon.com/Maverick-Publisher-Patrick-OCallaghan-Newspapers/dp/1772420298

Kindle ebook: $6.99
www.amazon.com/Maverick-Publisher-Patrick-OCallaghan-Newspapers-ebook/dp/B0181BV9WM

8 Essentials for a 5-Star Anthology

Many thanks to Donna Carrick of Carrick Publishing for permission to repost her excellent article on the components of a winning anthology!

Throughout this writing and publishing journey, I've been known to wear a number of different hats.

Today, in honor of the Mesdames of Mayhem and in celebration of our soon-to-be released crime anthology: 13 O'Clock I'll slip on my purple chapeau.

While sporting my Carrick Publishing hat, I've managed to acquire my fair share of experience in producing short story collections and anthologies. Given the unique challenges they present and the special place they hold in the hearts of readers, anthologies require extensive care in the creative process.

Here are a few of the essential ingredients needed for crafting a killer anthology:

1- A seasoned and professional gathering of willing authors

In our 2013 crime anthology, Thirteen by the Mesdames of Mayhem (Carrick Publishing) we were fortunate to include an exceptional lineup of Award-winning authors:

Catherine Astolfo, Rosemary Aubert, Jane Petersen Burfield, M.H. Callway, Melodie Campbell, Donna Carrick, Vicki Delany, Catherine Dunphy, Rosemary McCracken, D.J. McIntosh, Lynne Murphy, Joan O’Callaghan, Sylvia Maultash Warsh

As a result, the anthology was the recipient of two nominations for the coveted Arthur Ellis Award 2014 for Best Short Story, as well as one Derringer Award nomination!

Arthur Ellis Nominations for Best Short Story: "Watermelon Weekend" by Donna Carrick and "The Emerald Skull" by Sylvia Maultash Warsh.

Derringer Award Nomination for Best Short Story: "The Sweetheart Scamster" by Rosemary McCracken.

2- A universally accessible theme

In our newest anthology, 13 O'Clock, our theme is that age-old thief, time.

In particular, we asked our authors to explore the inter-action between time and crime; to reflect upon crime throughout ages past, or in future eras, or how the passing of time either heals old wounds, or refreshes them to spur on evil deeds.

3- A collection of exceptional and entertaining stories

It should go without saying, but I'll say it anyway. As writers, we rely on readers. For this reason, we owe it to them to offer stories that are entertaining, exhilarating....hell, interesting!

In the 2014 anthology, World Enough and Crime (Carrick Publishing, in conjunction with the Facebook group Excerpt Flight Deck for readers and Authors) we asked our EFD authors to bring us their very best in short crime fiction.

The result? Another industry-acclaimed anthology by Carrick Publishing!

Arthur Ellis Nomination for Best Short Story: "Writer's Block", by Kevin Thornton.

Derringer Award Nomination for Best Short Story: "The Ultimate Mystery", by M.H. Callway.

4- An experienced, skilled project manager

Every project needs one. The Mesdames of Mayhem founder, author M.H. Callway (Windigo Fire, Seraphim Editions, 2014) has been at the helm every step of the way.

Madeleine (to her friends, among whom I'm blessed to count myself) keeps her eye on the ball at all times, never losing sight of the goal.

Mad, you're a true champion!

5- A dedicated editor and a professional copy-editor

In my dual capacities as author and publisher, I maintain a strict policy: All work must be thoroughly edited.

I've been lucky over the years to be able to fortify my own careful (though not flawless) eyes with those of my husband, Economist, author and seasoned editor Alex Carrick.

In the case of the Mesdames' crime anthologies, several of the Mesdames pitched in for a final proof-reading marathon.

We were fortunate, with our latest title 13 O'clock, to have the help of author and seasoned journalist/copy-editor Ed Piwowarczyk. His assistance was invaluable, and it shows in the polish of the stories within.

Authors, I cannot emphasize this enough: we are not working in a void, and no matter how well our hold may be on the language, we are not infallible. Please, give your readers the benefit of your best effort. Engage the help of a second, or even a third, set of professional eyes.

6- Original cover art that is both attractive and representational



7- A publisher who holds these authors and industry professionals in the highest regard, and is willing to invest the necessary time and effort to produce a quality reading experience

At Carrick Publishing, we're committed to helping Indie authors excel in their literary goals. From copy-editing, formatting and making your product sale-ready, we will guide you.

Our work for the Mesdames of Mayhem as well as for the Excerpt Flight Deck authors has been a source of great pride as well as an opportunity for continued growth and learning.

8- An innovative and consistent approach to marketing in a changing industry landscape

Whether you're an author or a publisher (or as many are these days, both), you need to broaden your understanding of what it means to earn readership.

The Mesdames of Mayhem have been blessed beyond gratitude to have the on-going help and support of dear friend and marketing wizard Joan O'Callaghan.

Joan's genuine love of people, of meeting them, getting to know them and talking about her equally passionate love of books has been the mainstay of our continued success.

We don't say it nearly often enough, but thank you, Joan.

The Mesdames of Mayhem are 16 friends who share a common bond: their love of literature in general, and crime genre in particular. Look for us at events in southern Ontario, and be sure to read our work, available at fine retailers everywhere!