Monthly archives for January, 2011


Last spring I got the honor, and I do mean honor, of writing in a world I have admired for years and years and years. Joan Saberhagen and Bob Vardeman asked me to write a story in Fred Saberhagen’s Mask universe.

Now trust me, if you haven’t read any of Fred’s Mask stories, you are really missing something. And all you have to do to change that is buy this book because Fred’s entire novel Mask of the Sun is in this book, followed by the rest of us writing original work that jumps off of Fred’s novel in one way or another.

How would someone describe this wonderful science fiction world? Well, sort of alternate universe. Or alternate history.  The Incas and the Aztecs are the modern super powers. And the two powers fight over control of other time lines by sending people from our time line back in time to other time lines to fight. And the weapon, the best weapon, is the Mask, something that allows the wearer to see parts of the future, sort of, and it also exists in many time lines, sort of. A very special weapon and power no one is sure who controls.

Well, anyway, go read it if you love science fiction. Fred wrote some of the best ever. And now Baen Books is bringing it back out.

I can tell you that my original story in this book has Vietnam vets fighting at the Alamo. With modern weapons. Did I have fun with this idea???  Are you kidding? This was the most fun I had writing something in a long time.

And when Joan sent me a copy of the book, I was fantastically honored to be in with such great company. So for about the tenth time I reread Fred’s wonderful novel, then read everyone’s story. And when I finished, I wanted more. I want to spend more time in this fantastic universe Fred created.

I was very, very lucky to know Fred when he was alive. I am now very lucky that his wonderful wife, Joan, and Bob Vardeman gave me the chance to play in Fred’s Mask world.

Don’t miss this book, folks. If for nothing but to read Fred’s novel. In fact, read it first, then see how the rest of us managed to take that huge world that Fred created and play.

As I have said many, many times here, I am lucky enough to have the best job on the planet. Thanks Joan and Bob for making my job even more fun.

Now the rest of you go find this book and buy it. You will thank me.

GOLDEN REFLECTIONS by Fred Saberhagen, edited by Joan Spicci Saberhagen and Robert E. Vardeman. Baen Books

The New World of Publishing: Agents and the Future

Okay, time to talk about agents and their future in this changing world.

But first folks, read this!!

Mary Kole, who I do not know, and who seems fairly smart, works at Andrea Brown Literary Agency. On the Digital Book World site, she talked about her opinions of what the agent’s role will be going into the future.

I read it and shuddered, to be honest. Then I went back and actually tried to figure out why I had such an adverse reaction to some very logical thoughts by this agent.

Agent Mary Kole argues that agents will become packagers, doing “editorial work, marketing consultation, design, etc.” She thinks that agents will have a “more active hand in … reaching market-ready status.”

Okay, let me simply say for me, NO!!  But that is only for me and as I have pounded home over and over, every writer is different. But that said, I have no respect for the writers who want to be taken care of by agents, who let total strangers take over all their money and their careers and let total strangers stop them from writing what they want to write. I have made that clear.

Yet 95% of the writers coming in today want someone to take care of them. And what this agent is talking about is a direct extension of that. Direct. So from her point of view, agents taking care of writers even more makes sense. (I shuddered, but many will not because they will look at that and say, “Oh, good, I don’t have to learn anything or work.”)

Then this agent goes on to get opinions from other agents on this topic. One other agent, Nathan Bransford, sees agents becoming two types, one with bestsellers and one with no bestsellers. (I see a third, the scam agents, but we won’t go into that here.) He says the lower-level agents will act as “managers, consultants, and publicists to help their clients navigate small presses and self-publishing.”

What he didn’t say, of course, is that the agents will also take 15% or more of that. Often much more, but I’ll get to that in a moment.

And that has already started. For example, Richard Curtis has a company already publishing and packaging his clients backlist and taking a ton more than 15%.  So, of course the writers who want someone to take care of them will flock to those types and give away vast sums of money for almost no work. (Sort of like what’s happening in today’s world with agents. I often gave my agent thousands of dollars for making one phone call and then having her accounting department forward checks.)

Bransford goes on to say that it’s going to be hard for agents to make money unless one of their clients take off, meaning becomes a bestseller. (Yup, the agency model is failing for anyone but the top agents with the top bestselling writers. We can all see that. Duh.) Brandsford thinks the small agents will have to invent new ways to “earn their keep.” (Again, duh.)

Then Mary Kole really made me shudder when she said agents should treat every new client as a tech start-up. She thinks that writers are going to have “start-up” costs, and she thinks agents will need to learn how to do all the technology and understand it, and explore what makes a good app. And that agents should “develop new properties,” and that “the review-sharing model for the agent/client relationship might also change…” And then she gave me a real kick in the stomach when she said, …”especially for properties developed mutually.”

She thinks that writers and agents will be collaborators. (Or, as she said earlier, agent as packager.)

Okay, now I admit that over the last two years I have really gotten jaded about agents and their position in publishing. And I’ve gotten flat angry at stupid writers letting the agents take over. But what this very smart woman is talking about is logical and clear and well-thought out from the point of view of an agent.

She is talking about how agents are going to dig themselves into this new world of writers, even though honestly from my opinion, they are not needed at all. She is writing an article about how agents are going to take our work, writer’s work, and make it their work and collaborate and “help” writers get it up on the right place.

There was absolutely nothing at all wrong with what this agent said. All logical. All fine from an agent’s point of view.

But from a professional writer’s point of view, I wanted to run screaming into the night when I read that.

Here are My Reason’s Why I Had That Reaction

I have fought for years to keep people out of my office and my head. I want to create what I want to create. I don’t need help. I do need to keep learning and get better at my craft, but I don’t need help in the creation process, and with computers.

And I don’t need help getting my work to any place I want to get it to.

I can publish my own work electronically.

I can publish my own work directly to books and get them in just about all stores.

I can mail my own manuscripts to traditional publishers.

I can negotiate my own contract with a traditional publisher or hire (for very little money) an IP attorney to do it.

I even know how to have an app created if I wanted to spend the money for an app for say Poker Boy. Not that expensive, actually.

So why do I need an agent?

Why do I need to give anything away?

I can learn all this new technology just as fast as any agent, maybe faster. I can ask questions just as well of other writers and friends. And why do I need an agent’s voice in my office telling me what I can write or can’t write?

Okay, granted, I have been working at learning computers, and programs, and helping to set up an electronic publishing business for just under two years now. (Yes, I said only two years. I used to think that computers might blow up if I copied and pasted something. Not kidding.) So maybe I am out ahead of others who are just coming to this stuff. Maybe a few months, a few learning curves is all. Not far. And since I have been working on this for almost two years, I am light years ahead of most agents who didn’t even see a problem until this last summer or fall.

Okay, granted, I like to have control of my own money and my own business. I know many people can’t be bothered with taking control of their own money. Just call me old-fashioned in that way.

So I am different. And I do understand where this agent in her well-reasoned piece is coming from. She’s trying to reassure the writers who want to be taken care of that her job isn’t going away and she can help them, even though I doubt she has ever put one novel up electronically anywhere for any writer. (I don’t know that for a fact, but I would bet…)

Again, all this is logical from her position. Anyone in her spot would start figuring out ways to defend their job. (Why do I keep hearing Mel Brook’s voice in Blazing Saddles when I say that?)

So I read the article and just shuddered because the well-written article by this agent made it clear to me that the agent problem in writing isn’t going away with the increase of electronic publishing.

It’s going to get worse! Much, much worse!

Now we are going to have unlicensed, unregulated strangers not only taking all writers’ money and paperwork, but getting it deposited electronically into their accounts.

Now agents are going to start to claim ownership in a work, claim ownership in covers in packages sold to publishers, claim ownership in layout of manuscripts sent to publishers.

Folks, in case you have never worked with a packager (I have, numbers of them, actually), they tend to get 50% of the gross after expenses (such as covers, design, and so on), which mean you will be getting 50% of net from your agent instead of 85% of gross of the payments from a traditional publisher as has been the rate in the past, or 70% of gross if you publish the book electronically yourself.

That’s what agent Mary Kole and other agents are after and why I was shuddering. Most writers are so stupid, with time they will go for that while the agents swear they are helping them.

That’s right, mark my words, writers will give agents 50% of net instead of 85% of gross very shortly.

Yup, the agents will be helping them right out of over half of their money.

See why this article made me shudder? The agent issues are not going away.

They are getting worse.

And writers are going to let it happen.

What I See Coming…

Okay, let me get out my short-term crystal ball and take a look at the near future. Here are a few predictions, not fun, but what I see happening in relationship to writers and agents, from the writer’s point of view.

— Writers Splitting into Two Factions

There will become two groups of writers, both defending their way of doing things in very angry arguments. We have already seen small flashes of this with some indie writers and traditional-published writers. Each group looks suspect at the other. That divide will change and sharpen dramatically over the next few years.

Those of us who want control and don’t want agents as collaborators will lean more and more toward the indie publishing side and selling our books ourselves to traditional publishers. Those who want to be taken care of will flock to the new way of agents. So the fight won’t be indie writer vs traditional writer, it will be indie writer vs agented writer. And it will get ugly at times. Mark my words.

— Scams will Explode

The horror stories of bad treatment by agents is well documented in the comments of Killing the Sacred Cows of Publishing, but I don’t think we can even imagine the explosion in numbers of scams and writers getting taken by agents. Agents, many agents, are going to be desperate to stay alive and in business as things turn in the next few years.

You think it was hard to trace money from a traditional publisher before, this new world of electronic publishing makes that old way look simple. Read my post a few back in this series about scams so that you can at least be aware of some of the main ones. Remember, anyone with a business card can become an agent. No rules, no regulations. And a lot of money at stake.

— Electronic and POD  Self (or Small) Publishing Will Be the New Entry Path to Traditional Publishing

Right now agents, because they have been given the slush piles by publishers, think they control most of the content going to traditional publishers. But in short order, electronic publishing sales of indie-writers will bring traditional publishers and movie producers and games designers and so much more flocking to them.

The top indie-selling books in another year will be like flames drawing in the companies who want to jump on board. This is only starting to happen and it will go around agents. Some agents will also be attracted to the bright lights of the top sellers, but with luck, those writers will turn those agents away.

In this process over the next five to ten years, the slush pile will almost vanish as we know it now and editors will go mostly to solicited novels, either from agents who have published their clients work or from indie publishers.

It will be easier for an editor to be aware of a book and go read it than for it ever to be sent in to an editor. Possibly “future slush piles” could be simple letters giving a pitch on the book and a coupon for the editor to read it for free and take a look at the overall package. And editors will be able to look at a platform of sales.

Note: This is the exact same packaging approach agent Mary Kole in her article was talking about. Editors and publishers will be looking for more completely finished books. Complete packages.

So agents will package and sell and take most of the money, or indie writers will package and sell their own work and keep most of the money. Either way, the slush pile as we know it now will be vanishing for the most part as publishers look for more complete packages instead of just manuscripts. That part I agree with Mary about.

— Writers as a Class Will Start to Regain Power in their Own Minds.

Writers have always been in control, but for some reason as a class we sort of have forgotten. Writers let agents get away with what they do, we let publishers take what they take. As a group, we run everything in publishing, but our problem is that we first don’t believe it. And second, we never agree to band together to stop anything.

For example, even with all the scams and money vanishing without a trace, writers could have forced agents into some sort of regulation and oversight. But, of course, we did not. Writers individually always believe that it is the other agents who are ripping people off, never their own agent.

But this coming clash between the writers with agent packagers and writers who do it all themselves will cause a general shift in writers starting to take control again. Indie writers are already all over the boards screaming about this “control” issue (even though they are falsely aiming it at traditional publishers at the moment). This control issue is not with publishers. It is with other writers giving it up and letting others do all the work. Writers, through contracts, control what they give away or don’t give away to a traditional publisher.

Another sign of the control returning will be more and more writers willing to walk away from traditional deals offered. When a writer understands how much money they can make by publishing it themselves, it’s going to be harder and harder for a traditional publisher to compete. This newly realized ability to walk away from offers will also start increasing the general sense of writer power.

As more and more writers start to realize the power of indie publishing and the money that can be made, the more the split between the two groups of writers will happen.

And then as more writers get scammed or realize that they are giving away over half of their money to an agent packager, the larger the “take control” movement will be.

Writers over the next five to ten years will again start to believe that they have control.

So What is the Upshot of All This?

The article from the agent Mary Kole that started this is very clear and logical and solid from the agent’s point of view.

But she has a very disturbing underlying assumption.  She believes that writers want to be taken care of and won’t mind sharing and collaborating and giving more money away.

She’s right for some writers. Many writers won’t mind. Many writers will think they need the help, will buy into the myths that using an agent or agent-as-packager is the only way. Thus this growing movement of indie writers doing it all themselves, including selling to traditional publishers will split professional fiction writers into two major camps. Indie writers and agent/packaged writers.

The battle is just starting. It won’t settle out until long after this electronic revolution in publishing is done and mostly leveled out. And that’s going to be years.

And those of us who hoped that the electronic publishing revolution would kill most of the writer/agent model of publishing have been wrong. It’s just going to change it to agent-as-packager model.

And for writers, that’s a ton worse in so many ways.

Killing the Sacred Cows of Publishing: Writers Compete With Each Other.

This myth in the old days (meaning more than three years ago) used to get knocked out of young writers early on in their careers, so it had little or no impact on writing careers as young writers came into the field and got help along the way from older, more experienced professionals. In fact, for the longest time in publishing, the apprentice system was a main way in. I know I got fantastic help coming in from major superstars of fiction writing and I feel fantastically lucky they spent the time to give me advice and help. So I’ve tried to do the same now that I’ve somehow managed to survive for twenty-plus years of professional writing.

And not once in any of that time did I feel any writer I was helping was in competition with me. Or that I was in competition with any writer who helped me. Not once. Never occurred to me to even think that thought.

Then along comes electronic publishing with the open doors of the new distribution system and writers able to publish their own books. And right with the indie-publishing revolution comes this myth of competition rearing its ugly head over and over and over, all spouted by new writers.

So, time to knock this thing down again because, to be honest, I think it’s dangerous.

The myth is simply that writers compete.

Of course, this is so far wrong, it shouldn’t be even talked about, but alas it’s still out there and going strong. In fact, I recently made the mistake of wondering over onto the Kindle boards and wasted a bunch of hours before I came to my senses. By the time I was finished with those hours, I knew I had to talk about this, since new writer after new writer talked about how they had to compete with all the other writers to get their books read. And a large number of them feel it is them against traditional publishers who have the gall after hundreds of years of publishing to actually price their books at a decent price.

In the course of the last six months I have heard newer writers say they are competing against 1) other writers, 2) other books, 3) traditional publishers, and 4) the noise, meaning the crowding of so many books.

So, to the reality of publishing.

Each Book Stands Alone

An old saying in publishing: “You are only as good as your last book.”

Yup. Pretty much. And under that saying is the truth of publishing: Every Book Stands Alone.

Every book is different. Sure, they are all packaged in similar manner either in hardback, trade, mass market, electronic, or audio. But that’s where the similarity stops.

Let me narrow this down just a little farther by taking a sub-genre. Say Legal Thrillers. Now there are dozens and dozens and dozens of writers writing legal thrillers. A fan might say they love legal thrillers, but would never read a Grisham, but love Turow. Or say they hated the last Grisham, but loved his previous book.

Even inside a small sub-genre, each book by even the same author must stand on its own. The cover must be good, the blurbs catching, the opening a hook that won’t let you stop reading. If not a reader will put it down.

Let me illustrate this in a sort of cumbersome analogy. In grocery stores you have a cereal aisle with a limited amount of products, and even more-limited amount of types of cereal. But when someone buys a box of Brand Flakes, there is another box of Brand Flakes exactly the same for the next buyer to buy, and then the next and so on. Month-after-month, year-after-year. Same thing, same brand that can be bought by the same person over and over and over for years. Now imagine that each book (each title) was a brand like Brand Flakes. So that means say fifty thousand new books were published this month, so that’s like having fifty thousand different brands of very different cereal came out this month and then pulled and replaced next month with another fifty thousand different brands, and the month after another fifty thousand, all different and new each month. If you can imagine that, you can imagine the problem publishing has.

And worse yet, publishing tries to have writers become brands, but say a “brand” like Stephen King brings out a box of Shredded Wheat as his next book. So a reader going back to the “brand” will expect Shredded Wheat again with the next book, but with the King brand, they may get Frosted Flakes instead. Even inside publishing brands, each book is different.

Yeah, Yeah, I’ve Heard That Before

The new writer worry: “But I want to make my book stand out.”

That silly saying is like a national anthem for new and indie-published writers. And what’s funny is that is exactly what all editors and sales force people in traditional publishers worry about every day for the books they buy from writers.

Here’s What You Can Do to Make Your Book Stand Out.

1) Write a great book with a great opening hook in the first chapter.

(That is what also catches and is critical for traditional publishing editors.)

2) Put a great professional cover on it. Not just professional artwork. That sometimes doesn’t help. A professional cover these days is something that can be read and understood at postage stamp size.

(Traditional publishers understand this now and covers are changing to fit the times. This is so important they have entire art departments doing covers.)

3) Write an active voice, exciting blurb that would make someone want to read that book in one paragraph. (Most new writers wouldn’t understand a passive verb if it slapped them and pointed at itself.)

(In traditional publishing, trained people do this, people who know what kind of blurb will sell a book, and it is vetted and worked over by the sales force.)

4) Make sure you book has decent sampling on it so readers can get a taste of the book before buying.

(For traditional publishers, back to point #1. They won’t buy it if it starts slow because they know readers won’t buy it either.)

5) Announce the book occasionally to your readers on your site and on social networks.

(Traditional publishers don’t do much more than this except on the top sellers. They announce it in their catalog so book buyers at stores see it. And they list it on their web sites. That’s about it for 99% of all traditionally published books because that’s all that is needed.)

6) Have more than one product up, so if they find one they like, the readers will find the others.

(Traditional publishers have lists every month of similar products for readers to buy.)

7) Write the next book and talk about what’s coming.

(For traditional publishers, see all the points above. They put out upwards of 8 books per month per list.)

That’s it. If you wrote a good book that readers want to read, they will slowly come to it, word of mouth will pick up speed as will your sales.

If your book isn’t selling, try a new cover. If that doesn’t help, try writing a better blurb. If that doesn’t work, maybe your book’s opening in the sample is dull and passive and not exciting. Learn now to write a better story on the next book.

NOTE: Not once did I say go out and fight against other writers or other books. If your book sucks, your story is dull, your cover bad and unreadable, it isn’t another writer’s fault. That is your fault.

NOTE: This is exactly the same as trying to sell to New York editors. If your book sucks, your story is dull, your cover letter and proposal unreadable, no editor will buy it. And that isn’t New York’s fault. That is your fault. Stop blaming traditional publishers for their good taste.


So, let me take a hard look at the reality of fiction writing by dealing with the four things I heard new indie writers say over and over.

Indie writers think they are competing against 1) other writers, 2) other books, 3) traditional publishers, and 4) the noise (meaning the crowding of so many books.)

1) Are indie writers competing against other writers? Answer: Of course not. I’m sitting here alone in my office typing. There is absolutely nothing that I am doing that is bothering or holding down any other writer on the planet. And why would any writer want to do that to another writer? This one is so silly, I find it hard to even imagine some of the indie writers thinking like that. But they do. I honestly think this one is a need to blame someone else for their own crappy writing.

2) Are books competing against other books? Of course not. That’s clear just by how Amazon does its helpful suggestions. “If you liked this….”  So Billie Jean wrote a romance and a reader liked it and under her book Amazon isn’t putting you into competition with your similar romance. Nope, they are telling the readers about your book. Now imagine if writers’ books actually were in competition. The book would have to go through some merit test to even be listed and put up. Your book stands all by itself and must sink or swim on its own merits. No other book can pull it down. However, other books can help it a great deal. And your book can help other books. A win-win for the writers. And for the readers.

3) For some silly reason indie writers think they are in competition with the big evil publishing empire of traditional publishing. For them it seems there is one person back there giving directions and fighting to hold down all indie writers. Truth: Traditional publishing is a vast number of different-size corporations with real people running them and just doing their best to get out the best books they can get out. There is no one big evil, no force holding down some poor writer’s book. Total hogwash. And to be really honest, no one back there cares. They are too busy with getting out the books on their lists. Indie writers are so small as to not even be noticed, except when a book explodes and then they hope they can give the author a ton of money and publish the book themselves.

And for some reason indie writers are proud of their “control” factor. They think nothing of giving over control of their book to Amazon or B&N but at the same time talk down about publishers taking control. Uh, no, a writer only gives control over what they want to give control over and what is in the contract they signed. No one makes anyone sign a contract or hire a scam agent or a good agent. My chapters here have been shouting about writers just taking the control they already have instead of giving it away for nothing because of some myth. There is no control issue with traditional publishing. That’s a myth as well as any made-up fight with traditional publishers.

4) Competing in the Noise. This is the hardest to get new writers to understand. If they wrote a great book with a great cover and a great active blurb, and get it out there, readers will slowly find it and if the book is worth talking about, the readers will start passing the word and the book will gain speed in sales. If you wrote a crappy book, with a bad cover and a passive blurb and opening sample, no amount of shouting into the noise will help your book sell.

But when a new writer gets in a hurry and doesn’t allow a book to gain speed, then they start screwing with it, changing covers, changing prices, and even start giving it away. Leave the book alone, folks. Give your poor baby a chance to grow up. Write the next one.

It always comes down to the book.

A good book will clear out the noise and generate buzz and its own noise all on its own. Beyond writing a great book, which is EXACTLY the same as it takes to get a book sold in traditional publishing, there is no way to fight the noise.

Now understand that traditional publishers have had this same problem for the entire history of publishing. This is nothing new. And trust me, they’ve tried to create bestsellers with ads and hype and lots of promotion, only to have the crappy book sit in huge stacks and never sell.

The hard truth: Readers are very, very sharp.

So What Can A Writer Compete Against?

Themselves. That simple.

1) Write and publish more work.

2) Learn how to Produce Better Covers, not arty ones, but ones that work on electronic sites.

3) Learn How to Write Better Blurbs.

4) Learn How to Open a Book to Catch a Reader

5) Learn How to Write Cliffhangers and What Makes a Cliffhanger Work to hold readers to the end.

In other words, keep writing and working on becoming a better writer. And no matter if the book goes to traditional publishing or electronic publishing, write the next book and work to make it better, and then the next and the next and the next.

And when you hear yourself think you are competing against anything in publishing, stop the thought and direct it back to yourself.

As writers, we live in our heads. We sit alone in rooms and make stuff up. Stop making stuff up about competition with anyone or anything. Believe that other writers and other readers and other publishers want you to make it, that in many cases, they actually want to help you make it. Believe that the larger traditional publishers really do want you to make it because they make money when you do, and they want to help you do it.

Fight with yourself to learn how to write better and better books, to keep learning, to keep writing every spare minute you have.

Change the attitude from nasty competition to open arms helping and you might be surprised what comes back to you.

Writers are people who write. Not compete in any way.

And I hope this and all the other Sacred Cows chapters helped another writer or two become successful, because honestly, that’s the point of all this.


Copyright 2011 Dean Wesley Smith

Okay, I admit it, I had issues at first with putting in a tip jar in the Magic Bakery. It was one of the “I have it made, why do I need to support my writing with tips.” A minor myth, sure, but still one that took me a few days and some talk with Kris to get past. And also, why put a tip jar in when I’m just trying to help people. But I figured I needed to get past that as well, so here it is.

And  speaking of the Magic Bakery, this chapter is now part of my inventory in my bakery. (Confused on that, read the Killing the Sacred Cows of Publishing post about making money with writing.) I’m giving you this small slice as a sample. I’m giving you a taste, but not selling any of the pie.

If you feel this helped you in any way, toss a tip into the tip jar on the way out of the Magic Bakery.

If you can’t afford to donate, please feel free to pass this chapter along to others who might get some help from it.

And I would like to thank all the fine folks who have donated over this last year. Once this book is done, I will send you a copy. The donations and the comments both after the posts and privately are really keeping me going on this. Thanks!

Thanks, Dean

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Sign-up and more information under Online Workshops tab at the top of the page.

Classic Workshops

You can sign up for these and start at any point. They are the regular workshops, only you don't send in the homework and you can take them as fast or as slow as you would like.

They are half the price of a regular six week workshop.

Classic Workshops offered.

Making a Living... Classic
Productivity... Classic
Discoverability... Classic
Writing in Series... Classic
Genre Structure... Classic
Career... Classic

Lecture Series

More information on these lectures under the Lecture Series Tab above.

#1... Heinlein's Rules... Dean Wesley Smith 15 videos... $75.00

#2... Read Like a Writer... Kristine Kathryn Rusch... 8 videos... $50.00

#3... How to Write a Short Story: The Basics... Kristine Kathryn Rusch.... 7 videos... $50.00

#4... Writer's Block and Procrastination... Dean Wesley Smith... 8 videos... $50.00

#5... Carving Time Out for Your Writing... Dean Wesley Smith.... 8 videos... $50.00

#6... How to Research for Fiction Writers... Kristine Kathryn Rusch.... 14 videos... $75.00

#7... Pen Names: Help With the Decision... Dean Wesley Smith.... 10 videos... $50.00

#8... Motivation: Starting Easier and Writing More... Dean Wesley Smith.... 9 videos... $50.00

#9... Practice: The Attitude and Methods of Practice in Fiction... Dean Wesley Smith.... 10 videos... $50.00

#10... Master Plot Formula: How and Why It Works Today... Dean Wesley Smith.... 9 videos... $50.00

#11... Prolific Lecture: How to Become a Prolific Fiction Writer... Dean Wesley Smith.... 10 videos... $50.00

#12... The Stages of a Fiction Writer: How to Know Where You Are In Learning and How To Move Upward... Dean Wesley Smith.... 11 videos... $50.00

#13... Starting Writing. Or Restarting Your Writing... Dean Wesley Smith.... 9 videos... $50.00

#14... Endings: How to Write Them and Understand What Makes a Good Ending... Dean Wesley Smith.... 9 videos... $50.00

#15... Audio Narration Lecture... Jane Kennedy.... 9 audio lectures... $50.00

#16... Your Writing as an Investment Lecture... Dean Wesley Smith.... 9 videos... $50.00

#17... How to Get Your Books into Bookstores Lecture... Dean Wesley Smith.... 10 videos... $50.00

#18... How to Think Like a Science Fiction Writer Lecture... Kristine Kathryn Rusch....11 videos... $50.00

#19... Why Some Books Sell More Than Other Books... Dean Wesley Smith.... 9 videos... $50.00

#20... How to Write a Page Turning Novel or Story: Basics and Tricks ... Dean Wesley Smith.... 8 videos... $50.00

#21... The Basics of Designing Science Fiction Covers ... Allyson Longueira .... 8 videos... $50.00

#22... The Basics of Designing Mystery, Cozy, or Thriller Covers ... Allyson Longueira .... 8 videos... $50.00

#23... Paying the Price: A Working Writer's Mindset ... Dean Wesley Smith.... 10 videos... $50.00

#24... Writing into the Dark: The Tricks and Methods of Writing Without an Outline... Dean Wesley Smith... 12 videos... $50.00

#25... Reviews: The Good, the Bad, and the Ugly... Dean Wesley Smith... 10 videos... $50.00

#26... Organization... Allyson Longueira... 8 videos... $50.00

#27... Confidence... Dean Wesley Smith... 10 videos... $50.00

#28... Stories to Novels... Dean Wesley Smith... 9 videos... $50.00

My Publisher

WMG Publishing Inc. is now my major publisher of all my coming novels, collections, and short stories.

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