I hope Kate Quinn can forgive me for posting this a day late. My day job took over everything yesterday and the day got away from me. I’m really excited to read this new book of hers. I’ve loved every one of her past books.
COVER REVEAL – THE ROSE CODE by New York Times bestselling author Kate Quinn (Morrow; on-sale March 9, 2021)
ABOUT THE BOOK
The New York Times and USA Today bestselling author of The Huntress and The Alice Network returns with another heart-stopping World War II story of three female code breakers at Bletchley Park and the spy they must root out after the war is over.
1940. As England prepares to fight the Nazis, three very different women answer the call to mysterious country estate Bletchley Park, where the best minds in Britain train to break German military codes. Vivacious debutante Osla is the girl who has everything—beauty, wealth, and the dashing Prince Philip of Greece sending her roses—but she burns to prove herself as more than a society girl, and puts her fluent German to use as a translator of decoded enemy secrets. Imperious self-made Mab, product of east-end London poverty, works the legendary codebreaking machines as she conceals old wounds and looks for a socially advantageous husband. Both Osla and Mab are quick to see the potential in local village spinster Beth, whose shyness conceals a brilliant facility with puzzles, and soon Beth spreads her wings as one of the Park’s few female cryptanalysts. But war, loss, and the impossible pressure of secrecy will tear the three apart.
1947. As the royal wedding of Princess Elizabeth and Prince Philip whips post-war Britain into a fever, three friends-turned-enemies are reunited by a mysterious encrypted letter–the key to which lies buried in the long-ago betrayal that destroyed their friendship and left one of them confined to an asylum. A mysterious traitor has emerged from the shadows of their Bletchley Park past, and now Osla, Mab, and Beth must resurrect their old alliance and crack one last code together. But each petal they remove from the rose code brings danger–and their true enemy–closer…
(While I’m busy working on two books I’m finding it difficult to find time to blog, so I’m going to repost some of my favorite posts from Spellbound Scribes, the group blog I contribute to once a month. Warning: I am SUPER opinionated. This one was written less than a week ago.)
For years now, nay decades, historians and historical fiction authors have had a tenuous relationship. Well, from my perspective, it’s the historians who have their noses out of joint; most historical fiction authors, myself included, just want to write our books.
You see, some (not all, mind you) historians see us fiction writers as encroaching on their territory and doing it a disservice. I think with the word “fiction” in our genre and “a novel” written on most of our book covers, that is just silliness. I also think the reader has to take some responsibility for understanding the difference, but perhaps I am giving people too much credit. Tudor historian John Guy found that after Hilary Mantel’s Wolf Hall series was published many of his current and prospective students took what they read as fact. His complaint? “The writing was so good that some people think it is true.”*
Because we are writing a (hopefully entertaining) story in addition to providing historical facts, historical novelists sometimes have to or choose to bend those facts or go outside of the historical record. One thing many of us do to make up for this is include an Author’s Note at the end of our books. In this section, which for some is only a few paragraphs, but for others can be quite lengthy and detailed, *cough*me*cough,* we explain what is true and what is not and why we changed things when we did. Other authors provide additional historical information on their websites or in their blogs. Some even include a bibliography or a brief list of sources at the back.
Ironically, it is Hilary Mantel herself, a historical fiction author who is NOT a historian, who rails loudest against this practice. She’s fine with including an Author’s Note (which she does in her own books), but draws the line at a bibliography. At the Oxford Literary Festival in 2017 she accused historical novelists of “try[ing] to burnish their credentials by affixing a bibliography.”**
[cue eye roll]
No, Dame Mantel, that is not what we are trying to do. We are trying to show that we’ve done our due diligence in making our books as historically accurate as we can. We’re trying to raise the respectability of our genre, which, not that long ago was conflated with period costume bodice-rippers that were rightfully called mere escapism. (Remind me to write a post on the history of historical fiction sometime.) But since that time, the genre has come a long way in building credibility with readers and critics and today’s authors are much more concerned with portraying time periods and places correctly, as our source lists show.
In addition, we’re providing a list of sources for those who wish to learn more or want to fact-check the book. As a reader, I LOVE the Author’s Note and am sorely disappointed if there isn’t one or little effort was put into it. As a writer, I have looked at the bibliographies of other historical fiction writers in my time period to get a sense if I am going in the right direction in my own research. These pages at the end of books serve very important purposes that cannot and should not be dismissed out of hand.
We are in no way pretending to be what we are not. Most historical novelists will freely admit to not having a PhD if that is the case. And there are a few who do have one (such as Alison Weir and Anne Fortier), so does that give them the right to include a bibliography in their books while the rest of us can’t? If that is the case, that is elitism, pure and simple. Many of us are self-taught researchers or may have been trained through courses of study besides history (English or law, perhaps) but that doesn’t mean our research is automatically of lower quality and undeserving of being documented.
It would be far worse if historical novelists a) didn’t bother to do proper research and/or b) left readers to their own devices to figure out what is true. Then you really would have historical confusion.
I could be completely wrong, but it feels like opinions like this stem from two things: an old-world us vs. them snobbery in which we novelists are seen as on a far lower plane than professors of history, and a feeling of being threatened because the average reader is more likely to read a historical fiction novel than an academic work of history.
As an author who has written both and plans to eventually get her PhD in history, I will say there is no reason for historians to feel threatened. They do what they do and we do what we do. Each has our own audience and when there is crossover, it benefits us both. But we cannot shoulder the responsibility for how our readers interpret our work alone. If they want to believe it is true all we can do is warn them it’s not and direct them to books by historians to find out what really happened–that is exactly what the bibliographies found in our books do!
I think the idea that historians somehow sit on a loftier pedestal than historical authors is a function of the insular nature of academia and will hopefully (eventually) burn itself out. It is this misguided attitude that makes it somehow okay for someone who started out as a historian to later go into historical fiction, but not for a historical novelist who lacks a PhD to ask to be taken seriously. Unless historical novelists start claiming that their books are the truth–rather than influenced by the truth–(as best that historians can interpret it; it can be argued that all of history is fiction as it is written by the victors and is often revised by memory, time and author prejudice) there is no need for us vs. them. We are both working toward the same purpose: educating a public that increasingly doesn’t give a fig about history. We just go about it in different ways.
And as for me, you can pry my bibliography (fiction or non-fiction) out of my cold, dead hands.
Wow, I got the shock of my life last night when I logged in to Facebook to see that I was tagged by Author’s Circle. I had entered their contest, so I was hoping for good news, but I certainly didn’t expect to see that Mistress of Legend was named Book of the Year!
This means that all three books in the Guinevere’s Tale Trilogy have received Book of the Year Awards: Daughter of Destiny from Chanticleer Reviews (2015) and Camelot’s Queen (2016) and Mistress of Legend (2018) from Author’s Circle. Author’s Circle also named The Once ad Future Queen: Guinevere in Arthurian Legend as their Non-Fiction Book of the Year in 2017.
This is my fourth Book of the Year award. When I received the first one I was absolutely shocked. The second I thought was a fluke. The third was just unbelievable. But four? That’s like beyond mind-blowing.
You read that right! Mistress of Legend doesn’t even come out for 22 more days, and it’s already on its way to its first award! It has been short-listed for the Chaucer Award for historical fiction talking place prior to 1750 by Chanticleer Reviews.
I’m especially honored to be on the list with my friend, the amazing writer Anna Belfrage, who is shortlisted for not one, but two novels! And there’s another Arthurian book on the list. I hope this is the beginning of trend!
Remember how The Once and Future Queen won Non-fiction Book of the Year in the Author’s Circle awards not long ago?
Well, I just found out that a really good friend of mine, Sara Dahmen’s, novel Widow won for Fiction Book of the Year! I reviewed Widow a while back, under its original title, Dr. Kinney’s Housekeeper. It’s definitely one to put on your list immediately.
I can’t tell you how thrilled I am that we were both honored in the same year. Sara and I met at the Chanticleer Author’s Conference in 2016, just after Daughter of Destiny was published. (That’s the same event at which Daughter was named Book of the Year by Chanticleer Reviews.) We have been to several conferences together and are pretty close online. I am so proud of her.
Today, author Mary Sharratt joins us to talk about her new book Ecstasy, which I reviewed yesterday. I’m very excited to find out the details behind this fascinating and unusual book!
1. What initially drew you to Alma Mahler as a book subject?
I am a lifelong Gustav Mahler fan and Alma has always fascinated me. Few twentieth century women have been surrounded by such as aura of scandal and notoriety. Her husbands and lovers included not only Mahler, but artist Gustav Klimt, architect and Bauhaus-founder Walter Gropius, artist Oskar Kokoschka, and poet and novelist Franz Werfel. Yet none of these men could truly claim to possess her because she was stubbornly her own woman to the last. Over fifty years after her death, she still elicits very strong reactions. Some people romanticize her as a muse to great men while others demonize her as a man-destroying monster. Laurel Thatcher Ulrich’s famous observation that well-behaved women seldom make history could have been written about Alma.
Although Alma was a composer in her own right, most commentators, including some of her biographers, completely gloss over this fact and instead focus quite narrowly on her sexuality and on how they believe she failed to be the perfect woman for the great men in her life. How dare she not be perfect!
But I wanted my fiction to explore who Alma really was as an individual—beyond her historical bad girl rep and beyond all the famous men she was involved with.
2. What kind of research did you do to help bring Alma to life?
For me, both primary sources and place are paramount. The key primary sources I relied on in writing Ecstasy were Alma Schindler’s diaries (her published diaries end shortly before her marriage to Gustav Mahler) and Mahler’s letters to Alma during their life together. Taken together and supplemented with their music, these primary sources form a narrative. First we have a very beautiful and passionate young woman who yearned to be a composer. Then she fell in love with composer and star conductor Gustav Mahler who demanded that she give up her own music as a condition of their marriage. Bowing to social convention, she reluctantly agreed. Then his letters to her reveal what a shadow Alma’s sense of anguish and loss cast on their marriage. Interestingly, Alma later destroyed most of her letters to Gustav, so we only get his side of their voluminous correspondence. Her self-imposed silence in this historical record forms its own narrative, as well.
I also read biographies of the Mahlers, but I like to begin with the primary sources and form my own conclusions, rather than just taking any one biographer’s word for it.
The other main stream of my research is place—literally inhabiting the same landscape as my characters. I went on three separate research trips to Vienna and immersed myself in the art and music of turn-of-the-twentieth century Vienna. I listened obsessively to the music of both Mahlers while writing the novel. I also visited their summer homes in Maiernigg and Toblach. It helped that I studied German and used to live in Austria and that I played violin up until my college years.
[Note from Nicole: Oh, I am so jealous of your research trips! I haven’t been to Austria since I was 11, but I loved it then. My mom was born there.]
3. What is the most surprising thing you learned in your research?
Once I sat down and did the research, an entirely new picture of Alma emerged that completely undermined the femme fatale cliché. I read Alma’s early diaries compulsively, from cover to cover, and what I discovered in those secret pages was a soulful and talented young woman who had a rich inner life away from the male gaze. She devoured philosophy books and avant-garde literature. She was a most accomplished pianist—her teacher thought she was good enough to study at Vienna Conservatory, though her family didn’t support the idea. Besides, Alma didn’t want a career of public performance. Instead she yearned with her whole soul to be a composer, to write great symphonies and operas.
[Note from Nicole: I have a feeling we’re going to see more and more stories like this as authors like you and I take on famously maligned women in order to right their histories.]
4. Why did you choose that specific time in Alma’s life to highlight as opposed to covering her whole life?
Originally, I wanted the novel to tell the story of Alma’s entire life, but it took me 400 pages just to try to do justice to her young adulthood and first marriage. Narrating the full sweep of Alma’s long and turbulent life would require a trilogy, at the very least. Who knows—maybe if Ecstasy is super-successful, my publisher might ask me to write a sequel or two!
[Note from Nicole: Good luck! I’d like to see a few more!]
5. What’s your favorite scene/part of the book?
I loved writing about the young Alma Maria Schindler, this gifted young woman effervescent with creative potential. The scenes of her composing and losing herself in her piano playing were the most delightful to write. I also, of course, enjoyed writing about this very passionate young woman exploring her burgeoning sexuality. When I was workshopping one of those scenes with my writers group, such glee and hilarity ensued, including enthusiastic whoops, that someone knocked on the door of our meeting room and asked us if we could please shush. We rent our meeting room at the local Buddhist center and our spirited discourse had disturbed the meditation class!
6. What do you think Alma’s life says to women today?
Gustav Mahler famously asked Alma to stop composing as a condition of their marriage. Deeply in love and in awe of his genius, she reluctantly agreed, even though this broke her heart. In this regard, her story is a starkly cautionary tale and also, alas, one that is all too relevant today. What do women still give up in the name of love? How much female potential never reaches fruition because of the demands of motherhood and domesticity?
What Alma’s story reveals is how hard it was (and often still is) for women to stay true to their talent and creative ambition in a society that grooms women to be caretakers. Why are female composers so sorely underrepresented, even in the twenty-first century? I am a classical music fan and attend concerts every chance I get. I’ve never seen a female composer on the repertoire of any major orchestra or venue I have visited. Nor have I ever seen a female conductor.
Fortunately, though, Alma does eventually triumph and take back her power.
7. What message or feeling to do you hope readers come away with after finishing Ecstasy?
I hope my readers will be as moved by Alma’s story as I am. I think the time has truly come for a more nuanced and feminist appraisal of Alma’s life and work, and I hope Ecstasy challenges some of the commonly held misperceptions about her.
Alma has been traditionally viewed through a very male-centered lens. Only within the last decade or so have more nuanced biographies about her emerged and only in German! Ecstasy is currently the only book available in English, to my knowledge, that takes her seriously as a composer and as a woman who had something to say and give to the world besides just inspiring genius men.
[Note from Nicole: Wow, that is an amazing accomplishment! Congratulations and thank you for bringing her proper story to the English-speaking world!]
8. What’s next for you? Any books currently in the works?
My next book is a trip back to the late Middle Ages. Revelations, my new novel in progress, should be of special interest to fans of my 2012 novel, Illuminations: A Novel of Hildegard von Bingen. Here I return once more to the realm of the female medieval mystics. Revelations is the story of the intersecting lives of two spiritual women who changed history—earthy Margery Kempe, globetrotting pilgrim and mother of fourteen, and ethereal Julian of Norwich, sainted anchorite, theologian, and author of the first book in English by a woman. Imagine, if you will, a fifteenth century Eat, Pray, Love.
[Note from Nicole: Ahhhhh! I’m so excited! I loved Illuminations. In fact, it’s my favorite book of yours. I’m all over this new one.]
9. Is there anything else you’d like to add?
I’m on a mission to write women back into history. To a large extent, women have been written out of history. Their lives and deeds have become lost to us. To uncover the buried histories of women, we historical novelists must act as detectives, studying the sparse clues that have been handed down to us. To create engaging and nuanced portraits of women in history, we must learn to read between the lines and fill in the blanks.
It’s important that women today realize how quickly our lives and achievements can be forgotten and buried. Or heaped with misinterpretation and condemnation if we push too hard against the traditional feminine life script—Alma is remembered but she’s also been slated as a “bad” and even “hysterical” woman. We must do everything in our power to keep alive the memory of accomplished women and hope that future generations of women will remember what we have accomplished.
[Note from Nicole: We share the same mission. Men do love to call us hysterical, don’t they? Hopefully together, and with the other female authors who also focus on women, we can make a dent in history.]
Thank you so much for being here, Mary! Readers, if you have questions or comments, please leave them below and I will make sure Mary sees them.
Happy Beltane, everyone! I’m so excited to have Jacqueline Friedland as my guest here today. As her post below makes clear, she’s a soul-sister of mine in her love for strong women. Her post really got me thinking about how our early experiences with reading shape who we are later on as writers. I think I may do a follow up post on that with my own thoughts. But this post is about her, not about me. Take it away, Jacqueline!
Photo: Rebecca Weiss Photography
Did you ever try to figure out why certain novels make you fall in love and others make you fall asleep? Perhaps you’ve wondered if there is a common thread, a specific literary ingredient that draws you so deeply into certain stories? Maybe if you could identify a trend in the books that invariably keep you reading late into the night, that knowledge might allow you to better hone in on other books that would provide you with equal delight.
As a voracious reader and an author, it has been important to me to pinpoint the devices and themes embedded in the books I most adore. Not only can such knowledge save me from muddling through books that don’t speak to me, but it can also help me to create written work of my own that feels appropriate and substantive in all the right ways. Over the past several years, I have identified several characteristics that lead me to gravitate towards a novel. I like a fast-pace, a strong plot, accessible prose, maybe some romance, perhaps some humor. Nothing scary, gory, or overly experimental. But there is something more elusive that has made certain books stay with me for years.
When my mother read aloud to me during my early childhood, we loved The Little Engine that Could, The Secret Garden and Little House on the Prairie. As I grew older, I was drawn to books like Nancy Drew, The Babysitters Club and Anne of Green Gables. Then there were the books that shot to the top of my list as I reached adulthood: Gone with the Wind, Jane Eyre and The Bronze Horseman. What these books all have in common are strong female characters (and if you weren’t aware, Watty Piper’s plucky little engine is indeed female). These works of fiction portray girls and women who have grit, the will and determination to continue striving until they reach their goals.
There is an additional commonality between these characters though, which is that these females are not only strong, but kind. In today’s world, there is so much discussion of women needing to be strong, but not enough emphasis on the fact that in appropriate circumstances, kindness should be perceived as a type of strength. The ability to think about others and see past one’s own experience in interacting with people requires a special kind of fortitude.
In creating my debut novel, Trouble the Water, I felt it was imperative to include positive messages about feminine power and decision making. The manner in which my characters approach the circumstances fate deals them is what I believe defines their spirits and ethos. I wanted to portray characters who could make the best of difficult circumstances while also being brave enough to reject conformity. I created women who took the lemons life handed them and decided to use those lemons as paperweights. After all, not everyone likes lemonade.
The central female characters in Trouble the Water are each willing to think outside the Victorian or antebellum box, despite the constraints of the 1840s. The women are courageous enough to make their own choices and to shout until they are heard. Abigail Milton, the story’s protagonist, has worked in a cotton mill in Lancashire England, receiving a pittance in recompense since she was eleven years old. When her parents ask her to travel to America so that she may live off the charity of their old friend in Charleston, and thereby lighten the financial burden on her family, she agrees to set off on her own, traveling across the Atlantic Ocean with little more than a stale bread crust and unwavering determination to make a better life for herself.
As the story unfolds and Abby discovers that her new home is rife with clandestine efforts to free local slaves, she is excited, energized, and eager to participate in the abolitionist effort. Rather than judging the high-risk and profoundly illegal activity of her patron, Douglas Elling, Abby wants to jump directly into the trenches of abolition with him. It’s a whole different kind of #metoo.
Throughout the story, Abby repeatedly resists being corralled into any of the stereotypical gender molds of the day. From her penchant for physical exercise to her continued rejection of assistance from men, even those who simply offer to carry her bundles, Abby is her own person. She is desperate to create meaning in her life, which she believes can be achieved through teaching and helping others. When she develops romantic feelings for another character, she struggles greatly over how to reconcile those feelings with her burning desire for independence.
In addition to Abby, the other women featured in the novel are full of conviction and tenacity. Cora Rae Cunningham, a beautiful, spicy, nineteen-year-old who has rejected one marriage proposal after another will not be seduced by wealth nor forced into an arrangement that is not to her romantic satisfaction, much to the dismay of her plantation-owning, socially conforming parents. Clover, a house slave impregnated by her master, refuses to birth her baby into a life of bondage, and in the ultimate act of bravery and sacrifice, takes her chances on running North.
Creating a realistic historical novel that depicts female characters who are ahead of their time, models for women in any time period, is a challenge that I was glad to undertake. I felt it was incumbent on me to portray women who were progressive for their time, active players in their life stories, rather than passive guests, living out the scripts that had been handed to them by other forces. My characters have strong backbones, as well as moments of unexpected kindness and generosity. They are just the type of women who would keep me reading deep into the night.
Sounds like your characters and mine would get along great! Thank you so much, Jacqueline! I know I can’t wait to read her book! If you have any questions for Jacqueline, please leave them in the comments below and I’ll make sure she sees them.
Two years ago when I was in Chicago for BEA and the Next Generation Indie Book Awards, I met Neal Katz, a fellow author who is also telling Victoria Woodhull’s story. I knew about him (or rather his name) because I had researched others who have or are writing about her. But I had no idea he’d be so charming and gracious. He’s truly a wonderful man.
Neal is approaching Victoria’s story as a trilogy, so he’s able to go much more in-depth into Victoria and Tennie’s lives than Madame Presidentess does. The first book in the series, Outrageous, won 10 awards. Now he’s now preparing to publish part 2: Scandalous. So if you’re hankering for more on Victoria, go buy his books!
As part of Neal’s pre-publication publicity (say that five times fast), he wrote a great article on how Victoria used her newspaper, Woodhull & Claflin’s Weekly to launch the #MeToo of her time: http://thevictoriawoodhullsaga.com/rise-up/. Go, read, now!
Some people might question why I would promote Neal’s books since they are direct competition with mine. My answer is that we aren’t really competitors; we are allies. As much as I want book sales, that’s not really what this is about. It’s about getting Victoria back into the historical record where she belongs. And the more voices we have out there promoting her, the better. No two writers approach a subject the same way, so even if you’ve read mine, you’re likely to learn something new from his, and vice versa. Plus, the more indie authors (and all authors, for that matter) work together, the better off we all are.
If one of your New Year’s resolutions is to learn more about writing, finish your book or maybe even to self-publish, you’re in luck. I’m now offering online courses on writing, business and publishing for authors of all experience levels, from aspiring to multi-published, at Professional Author Academy.
Here’s a look at the courses:
Audio Books for Indie Authors
Audio books are the fastest growing segment of the publishing industry and are a relatively easy way to make money on books you’ve already written. The process may seem overwhelming, but Nicole Evelina will guide you through a few of the ways of getting your book from page to earbuds. She’ll help you understand your options for production, the cost involved, how to audition narrators and guide them once you’ve selected your talent, what the recording and editing process entail, and how to get your books out to your audience.
Basic Branding for Authors When we hear the word “branding,” most of us automatically think “logo.” While that is one part of it, branding is actually so much more. It includes the way people feel when they interact with you, your “voice” both in your writing and online, and the image you project online and in person. In addition, branding encompasses your logo, author and book taglines and the fonts and colors you choose for your web site and marketing materials. Drawing on 15 years of professional experience in marketing and a master’s degree in public relations, as well as her own experience as an author, Nicole will help you understand branding through case studies of authors who do it successfully, as well as offer tips and exercises you can employ to discover your own brand.
Business Plans for Authors A business plan is a roadmap to success. Whether you’re published or not, indie or traditional, a good business plan helps you in defining your goals as well as action steps you can take to reach them. In this course, you’ll learn an 11-step process for writing yours that will take only an hour or two to complete. Plus, you’ll get to see a real-life example of a business plan from your instructor. You’ll also learn how to set your budget and think through your long-term and short-term goals, uncover additional merchandising opportunities that could lead to income, and plan for your next year’s worth of book releases.
Legal Issues for Indie Authors Being an indie author is more than just writing and publishing a book. Regardless of whether or not you choose to formally start your own publishing imprint, as soon as you make your first sale you are a business in the eyes of the law. This means you’ll have to pay taxes and make sure you follow local, state and Federal laws. In this course,* award-winning author and owner of Lawson Gartner Publishing, Nicole Evelina will walk you through the ins and outs of copyright, PCIP information and Library of Congress numbers, things to consider when starting your own publishing imprint, taxes and proper business record keeping. *This course should not be taken as legal advice. Please consult an attorney and/or tax expert before taking any action.
Marketing Plans for Authors In today’s publishing world, it’s not only indie authors who have to handle the lion’s share of marketing their book. Increasingly, traditionally published authors are being asked to shoulder the burden. So where do you start? Drawing on 15 years of professional experience and a master’s degree in public relations, as well as her own experience as an author, Nicole Evelina will lead you through creating your own marketing plan. You’ll learn how to:
Get an idea of the market for your genre
Research competitive and comparative books
Identify your strengths, weakness, opportunities and threats
Identify your target audience
Develop key messages about your book and yourself as an author
Plan what tactics you will use before launch, during your launch and after to gain and sustain sales:
Distribution – online and physical stores
Your web site content
Guest posts/writing articles
Tapping into online and real-life organizations
Using giveaways and ARCs to build buzz
Supplemental materials you’ll want to have on hand
Measure for success and evaluation of ROi
Nicole will share her own marketing plans with you, so you can see how one looks when complete, as well as provide handouts you can use as templates to create your own plan. Nicole has won international communications awards for her marketing plans and regularly writes them for her day job.
Self-published authors are more than just writers. We’re our own business managers, sales force, distribution team, marketers and more. This course will teach you everything you need to know to self-publish as a professional and produce books of equal or greater quality than traditional publishing houses.
This course is actually several courses in one, as I offer many of these modules separately. Here’s what you’ll learn:
The benefits of self-publishing
How to write a business plan
How to handle editing/proofreading
How to get a great cover design
Options for interior book formatting
Distribution: Ebooks, print and audio
How to sell your book to libraries and bookstores
Legal issues for indie authors: copyright, Library of Congress, forming your own imprint, taxes, recording keeping and expenses
Marketing and PR basics
Your digital media strategy: website, social media and branding
Steps to Self-Publishing Self-publishing a book is more than uploading it to Createspace and clicking “publish.” There are several steps necessary in order to produce a book that is equal to or better than those from traditional publishing houses. In this course, award-winning self-published author Nicole Evelina will walk you through everything you need to know about professional editing, cover design, interior formatting, production, sales and marketing in order to make your book as professional as possible. She’ll also teach you how to budget for the expenses involved and cover the advantages and disadvantages to choosing to publish independently.
Web Sites and Social Media for Authors By now we all know that web sites are a must for anyone who wants to be taken seriously in any field. This is especially true for authors whose sites function as not only as virtual calling cards, but as portals for sales and interaction with fans. In this course, award-winning author Nicole Evelina will walk you through everything you need to do to set up a site of your own, from choosing a hosting company and buying a URL to deciding what information to include and how to organize your pages. She will also show you how to incorporate branding and marketing best practices into your social media. In addition to using her own site and social media examples, Nicole will offer best practices from famous authors and show you how to emulate them.
Self-Editing Editing. That one little word conjures a range of emotions in writers. Some love it. Some hate it. No matter how you feel about it, it’s a necessary step to get your novel ready for publication. Nicole Evelina will teach you some tips and tricks she’s learned over the last several years that will make self-editing a much easier step. Highlights include how to:
Break your editing into rounds so that you don’t have to tackle everything at once.
Examine dialog, description, characterization and action.
Use a beat sheet to check pacing and balance of power.
Make every word count without having to agonize over every sing word.
Use advice from beta readers and contests to strengthen your novel.
Setting and Description in Fiction Setting and description are key to immersing your reader in the world of your novel. But how do you accomplish this without overwhelming your readers with pages of flowery prose? Nicole Evelina shares her tips for writing description that will leave your readers wanting to live in the world of your book without sacrificing pace.
Writing Historical Fiction Ever wanted to try your hand at historical fiction but didn’t know where to start? Award-winning historical fiction author Nicole Evelina will show you it’s not as intimidating as it may seem, even if you’re not a fan of research (though it helps if you are). She’ll cover research methods and sources, how research informs plot, how to handle characterization in other time periods, how to bring the past to life, mistakes to avoid, and more. Whether you’re just dipping a toe in the historical waters or have already published in this genre, you’re sure to learn something new.
Convenient and Reasonably Priced I know what it’s like to try to fit learning into a life already filled with work, family, writing and other responsibilities. That’s why these courses don’t require any homework and can be taken at your own pace. All courses include a welcome video and narrated Powerpoint slides. Many also include a recommended reading list and other handouts for reference or use as a worksheet or template.
Plus, they are cheaper than your average college course, which runs about $1,500/course (at $500/credit hour), or even many Writer’s Digest Online Workshops, which average between $200-$600+. I offer a tiered pricing structure based on the amount of information in each course. You can pay all at once or installments.
Basic – $100/course
Legal Issues for Indie Authors
Writing Setting and Description
Standard – $200/course
Audio Books for Indie Authors
Business Plans for Authors
Advanced – $300/course
Branding for Authors
Website and Social Media for Authors
Steps to Self Publishing
Premium – $500/course
Marketing Plans for Authors
Writing Historical Fiction
Premier – $1,000/course
Self Publishing 101 (This course is several courses in one, including Steps to Self Publishing, Business Plans, Marketing Plans, Legal Issues, Web and Social Media. If you bought the classes separately, you’d pay $1,400.)
Stay Up to Date
I’m planning to add new courses several times a year, so if you’d like to be notified when there is a new course or a current course goes on sale, please sign up for my course newsletter.
Future Planned Courses
Advanced Author Branding
How to Use Pinterest to Develop Your Story and Career
How Acting Can Make Your a Better Writer
Public Speaking for Authors
Starting Strong: Tips for Honing Your Novel’s First Chapter, Page and Line
Resources for Self Published and Hybrid Authors
Working with a Publicity Company: What You Need to Know
Building Strong Characters
How to Write a Query Letter That Goes You Noticed
If you have any suggestions for future courses, please email me at nicole[dot]evelina[at]att[dot]net. I’d love to know what you want to learn about!
And please spread the word about this new resource to all the writers in your life.