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Tag: Advance Reader Copies

The cover of the Advance Reader Copy edition of “A Bone to Pick,” by Jan S. Gephardt, shown as an ebook.

Making ARCs

By Jan S. Gephardt

I’ve been making ARCs recently.

What does that mean? It means I’ve been assembling an assortment of documents into an early version of my latest book, to create Advance Reader Copies. It’s not exactly parallel to a dress rehearsal for a stage play, but for me it’s a necessary step in the publicity rollout for my science fiction mystery novel A Bone to Pick.

I’ve been blogging a lot in this space recently, about A Bone to Pick. Those posts are another part of the rollout. As basically an Indie writer, I’m trying to build a small press publishing company, Weird Sisters Publishing, with my sister, G. S. Norwood. I may not have to face the kind of “gatekeepers” a writer encounters in traditional publishing. But plenty of other challenges attend every attempt to promote and sell each book we “weird sisters” produce and release.

G. and I decided to share part of our approach to those challenges in this blog post. We know some of our blog subscribers will be more interested in this than others. Perhaps you found G.’s post from last week more interesting. But maybe you’ll enjoy seeing me pull back the curtain on part of our process, and the role that making ARCs plays in it.

The cover of “A Bone to Pick,” by Jan S. Gephardt, as an ebook.
The release date for A Bone to Pick is September 15, 2021. (Cover art ©2020 by Jody A. Lee; 3D effect by Book Brush).

The Struggle to find Our Kind of Readers

In an earlier post I explored some of the difficulties an Indie or small press faces, when trying to get the attention of reading public. The first thing we had to understand is that “the reading public” isn’t actually our target. A small subgroup of the global population who reads books—that select group of readers who are interested in the specific kinds of stories we write—is the population we need to find.

It’s a search that never ends. This blog is part of how we search. My website and that of Weird Sisters Publishing are other essentials. Reviews, social media interactions, and targeted advertising provide other ways for us to reach out. Check us out: I have an Author Page on Facebook, and so do G and Weird Sisters. I also have a presence on Twitter, LinkedIn, and Goodreads.

I traveled to science fiction conventions for publicity as well as pleasure, until COVID put a temporary halt to that. Last fall I started building a mailing list for followers of my XK9 stories. They receive a monthly newsletter full of insider glimpses, extras, and exclusive freebies.

Join the Pack newsletter offer with FREE copy of “The Other Side of Fear” novella.
The offer still stands: Get The Other Side of Fear FREE when you sign up for my Newsletter! (all artwork ©2020 by Lucy A. Synk).

The Rollout

Those are all ongoing efforts. The rollout is different. It’s a focused push to let as many of “my kind of readers” as possible know about my new book. That includes advertising. It also includes the series of blog posts we’ve been running. Newsletter updates and excerpts. Changes to our websites.

And, importantly, it includes making ARCs. Because it has taken me so darn long to write the book, and because I’ve been planning a return to science fiction conventions that starts at FenCon, I cut my rollout shorter than would have been ideal, and set my release date for September 15, 2021.

The Kindle version of A Bone to Pick is available for presale now, in both the United States and the United Kingdom. I’ve offered a discounted price for the presale: $2.99 in the U.S. (after release it’ll go up to $4.99), and £2.12 in the UK (post-release, that’ll go up to £3.84).

I wanted, if possible, to have printed copies of the new book available at FenCon, which is scheduled for September 17-19. My proofreader is still carefully combing through the manuscript for errors. But the shortened time frame means I should have been making ARCs weeks ago, not now.

Jan at her autograph table at Capricon 40.
I go to science fiction conventions such as Capricon (where this was taken) and FenCon as part of my ongoing outreach. (Photo ©2020 by Tyrell E. Gephardt).

Making ARCs

So, okay. How hard can that be? What goes into making ARCs? Well, a finished-for-real manuscript, for one! That was the hardest and longest part.

I also have created a Directory of names, places, and acronyms in the book. That was a reader request. I’ve also included one for the first book, in current versions of What’s Bred in the Bone. Both are large, sweeping space opera mysteries, full of exo-terrestrial and multicultural names, police-style acronyms, and a rather large cast of characters. The readers were right!

Thank goodness, I’ve had the cover already created for a while now. But I needed to differentiate it from post-release “official” copies of the book, so I created an identifying element to the cover design. Yes, I could simply have overprinted “ADVANCE READERS COPY” on the cover, but I think this looks better.

What else goes into an ARC? Well, there’s all the “book stuff” you need for the real thing. A title page, with our Weird Sisters Publishing logo and URL. The page with copyright notices. Vellum, the publishing program I use, automatically creates a Table of Contents, but I needed to compose the Dedication’s wording. I added my bio for the About the Author page (with a photo), and there was other material needed for the end of the book. Did you know I also specifically designed the “Wolf Tracks” ornamental break we use in all of the XK9 books? That needed to go in there, too.

Design elements, author photo and a directory all went into the ARC compilation.
Here are some of the elements that went into making ARCs for A Bone to Pick. (Credits below).

Why do I need ARCs?

Advance Reader Copies go out ahead of the release date to my all-important Street Team—and the sooner, the better! Street Team members are people who have signed up to not only be on my mailing list and get my newsletter. They also receive free Advance Reader Copies before release date. In return, they write honest reviews of the book, and post them to Amazon on Release Day. ARCs should go out to current Street Team members today!

If you are interested in being on my Street Team, sign up for my newsletter! You’ll receive more information in the follow-up emails. It’s not too late to get an A Bone to Pick ARC of your own!

Other ARCs go to reviewers, bloggers on review sites, and other authors willing to consider giving me a cover quote. I’m in the process of contacting them now. ARCs are just a part of what goes into the “entrepreneurial” side of being an independent writer. But for me, making ARCs is the step that makes it “real.”

Yes, the book is finished at last! It says what I want, and the Brain Trust has reassured me it’s ready. And yes, others will read it soon! For me, that’s at least as big a thrill as writing THE END.

The cover of the Advance Reader Copy edition of “A Bone to Pick,” by Jan S. Gephardt, shown as an ebook.
Making ARCs is an important part of the rollout process before the release of A Bone to Pick. (Cover art ©2020 by Jody A. Lee; 3D effect by Book Brush).

IMAGE CREDITS

The cover painting for A Bone to Pick is ©2020 by Jody A. Lee. The artwork on my Newsletter offer, including the cover of The Other Side of Fear, is ©2020 by Lucy A. Synk. The photo of me at Capricon 40 with all the S.W.A.G. on my autograph table is ©2020 by Tyrell E. Gephardt. In the montage of “ARC ingredients,” the photo of me is ©2017 by Colette Waters Photography. The Weird Sisters Logo and the “Wolf Tracks” ornamental break were designed by me, and are ©2019 by Weird Sisters Publishing LLC. The photo of the Directory’s first page is a screen capture of the preview in Vellum. The 3-D effects on both the regular edition and ARC images are by Book Brush. If you wish to reblog or repost any of these images, please do so with an attribution and a link back to this post. Thank you!

The covers of “What’s Bred in the Bone” and “A Bone to Pick,” by Jan S. Gephardt.

Writing “A Bone to Pick”

By Jan S. Gephardt

After I finished What’s Bred in the Bone and published it in 2019, I thought writing A Bone to Pick would be lots easier than writing the first book in the Trilogy. After all, I had an outline. I had scenes, cut from the first novel, all ready to go into the second one. It was partly written already! I should easily have it ready to go by 2020. A year, maybe 18 months, tops, because I know I’m a slow writer. But seriously. What could possibly go wrong?

Right? Easy-peasy!

Except, not so much. I published What’s Bred in the Bone (accidentally early) at the very end of April, 2019. I’ve now passed the 2-year anniversary, and I’m still waiting for the Brain Trust to deliver final thoughts on A Bone to Pick. So, what the heck happened?

The covers of “What’s Bred in the Bone” and “A Bone to Pick,” by Jan S. Gephardt.
Cover artwork for What’s Bred in the Bone is © 2019, and artwork for A Bone to Pick is © 2020, both by Jody A. Lee.

As much Room as it Takes

I learned a lot of things about my craft while writing A Bone to Pick, for one. I also ran up against an immutable “natural law,” that I used to think was self-indulgent foolishness: a story takes as much room as it takes, to tell it well. Some story ideas naturally fit the “short story” length. Others need more room. Some need a lot more room.

One of my earliest mentors often said “there’s no manuscript that can’t be cut.” He was trying to help me be more succinct, and in that sense he was absolutely right. There is no manuscript that can’t be cut. Often, judicious cutting makes for a much better, more readable manuscript.

But “can be cut” and “should be cut” turn out to be two different things. In a recent blog post, I addressed some of the issues that can arise when a story is cut too ruthlessly. The short version of that post: if you try to squeeze a story into too short a length, you risk destroying the readers’ experience.

First-Draft Blues

I also discovered that in writing A Bone to Pick‘s outline I had made some leaps of logic that didn’t apply. Turns out, thinking that you have an outline all figured out, and even that you already have the book partly written . . . may or may not be a good thing.

It can be good, because revising is (sometimes) faster than writing from scratch. But it also can be bad, because working from previously-written scenes can partially constrain my thinking and make me miss things. It is likely that many of the partly-written scenes will end up more like writing prompts than recognizable scenes in the final draft.

When I first start working on a plot, For me it’s actually not so much like the Shannon Hale quote about scooping sand into a box that I’ve used in earlier posts. It’s more like I know how I think I want some parts to go.

But there are other parts where it’s a complete mystery.

“Then a Miracle Occurs”

Two cartoons. The first, by Sidney Harris, shows two men at a chalkboard. They stare at a long, complex equation, in the middle of which it says, “Then a miracle occurs.” One says to the other, “I think you should be a little more specific, here in Step 2.” The second, by Jessie Liu titled “How to Write Good Code,” shows a complex diagram for creating a project. At the top it says “Start project.” Next: “do things right or do them fast?” There’s a sequence branch for “right,” and one for “fast,” but no matter which steps you take, the arrows eventually lead to “Throw it all out and start over.” Next to that diagram is a smaller one. In it, an arrow leads from a large question mark to “Good Code.”
Turning a collection of rough ideas into an enjoyable novel involves similar processes. (See credits below).

Quite often, the “complete mystery” parts, the parts where “a miracle occurs,” or where the big question-mark somehow becomes “good code,” turn out to be the best scenes. But getting to them is a matter of feeling one’s way along.

In truth, it’s a difficult process to extrapolate a first draft out of initial ideas, partially-written scenes, and a vague sense of the novel’s general shape.

I’m reminded of the parable of the blind men trying to describe an elephant. Outlining is fine, in its place. But I’m not smart enough to discern all of the realities that writing through the events will reveal to me. I’m lucky to go five chapters before I stumble on something that takes me into new and interesting territory.

To use a different metaphor, it might be a scenic turnout on the “highway” of the novel. It might be a detour that takes me around a terrible wreck or a place where the road becomes impassable. Or maybe it wanders off into the hinterland to a dead end.

Clockwise from top: a scenic pullout, a detour, and a dead end.
When a writer deviates from the outline, it might be a scenic pullout (top) along the path of the story. Perhaps it’s a necessary detour (lower R) to avoid a problem. Or maybe it’ll turn into a dead end (lower L) in the middle of nowhere. It’s not always clear (See credits below).

A Context-Changing Midpoint

In plot structure, the Context-Changing Midpoint comes very nearly exactly in the middle of the book. Something happens, or the protagonist has an important revelation, and it changes everything.

While I was writing A Bone to Pick, I experienced a Context-Changing Midpoint of my own. Perhaps ironically, it came at what turned out to be almost the exact mid-point in my process of writing this novel.

A member of my Brain Trust told me that the first half of my book was a disaster (she used nicer language). Boring in some places I’d hoped were intense, the pacing dragged, the story didn’t seem to be going anywhere. What was wrong with me? I was a better writer than that, she said (angrily).

The Front End needs a Little Repair

The results of a crash test: the little yellow car’s front end is basically annihilated.
This was kind of how I visualized my project, after a member of my Brain Trust reacted badly to the first half (Green Car Reports).

Bottom line, however: I needed to trash it. Start in a completely different place, beginning after the part she’d identified as bad.

First reaction: The heck I do! (I didn’t use language that nice).

Second reaction: But this is a member of my Brain Trust! She has excellent judgment!

Third reaction: The heck I do! (I didn’t use language that nice).

Fourth reaction: Oh, damn. She might have a point.

So, I looked at it again. I realized, first of all, that I was really committed to starting the book where I had started it, and including (somehow) the part she’d objected to. She was right about the pacing and drama in that part, however. It was too static.

How do I fix this Thing?

The realization gradually dawned on me that the problematic part wasn’t so much inherently boring, as that I’d handled it badly. For one thing, I’d robbed it of conflict. I’d placed the entire burden of carrying those scenes on one character. But the conflict he confronted was the sort that in most contemporary books demands two point-of-view characters.

Should I break from my original, three-POV pattern in the first book, and add a fourth POV in this one? I forget which Brain Trust member advised me that readers don’t care how many points of view there are. They care if it’s a good story.

Got that right, whichever one it was. So, okay.

Racing the Ticking Clock

XK9 Rex runs above a ticking clock.
I felt as if Rex and I were racing against time in more than one way (See credits below).

But if I added a whole new point of view, I’d have to do a major revision. A new POV would require more words, and the book was already running “on the long side.” Worse, I had already hit the date on the calendar when I’d planned to be completely finished with writing A Bone to Pick!

But did any of those objections mean I should stick with the version I had?

No. Of course not. So I sucked it up, hid all the calendars, and took another run at it. The book will be as long as it needs to be, and take as long as it needs to take, became my operating guideline. My objective was to write the best book I could. Any other consideration wasn’t relevant, because it didn’t have anything to do with that central objective.

The Denouement

I guess we’ll soon see how I did.

Early returns from the Brain Trust have been encouraging. Ultimately, we’ll have to see what readers think.

Next week I’ll write about the presale offer. Once the Brain Trust has had their say, I’ll try to get everything finalized so I can send out Advance Reader Copies in July (subscribe to my newsletter, to learn how you can get one!).

The Official Release Date is September 15.

So! When will we see Bone of Contention?

To answer the next question, yes, I’m already at work on the third book of the Trilogy. When will it be finished?

Well, I already have a partial outline. There’s a whole section of scenes I cut from earlier versions of earlier books, that I plan to use in this one. So, it’s partly written already! I should easily have it ready to go in 2022. A year, maybe 18 months, tops, because I know I’m a slow writer.

But seriously. What could possibly go wrong?

IMAGE CREDITS:

BOOK COVERS:

First of all, I owe deep gratitude to my wonderful cover illustrator, Jody A. Lee, who has created both covers for the Trilogy so far. The cover for What’s Bred in the Bone is © 2019, and the one for A Bone to Pick is © 2020, both by Jody. She persevered, even when the undulating terraces and weird perspective of Wheel Two in the background threatened to drive both of us crazy.

A MIRACLE AND GOOD CODE:

Deepest thanks to Sidney Harris and his original publisher, The New Yorker, for the “Miracle equation” cartoon, and to Amor Mundi where I found a decent-quality version of this much-memed classic image (and thanks to the Cleveland Centennial, for guiding me to the original credits). I offer up yet more thanks to Jessie Liu 刘翠 @jessiecliu on Twitter, for the “Good Code” diagram.

DEVIATING FROM THE ROAD:

For the gorgeous shot of the scenic pullout along the Oregon coast, I am grateful to AAA. Moving clockwise on the “Deviating from the Road” montage, I want to thank New Jersey 101.5 for the “Detour” sign, and Andrew Capelli’s Active Rain blog, for the photo of the “Road Ends” sign. I think it metaphorically did all of these things while writing A Bone to Pick.

EVERYTHING ELSE:

Many thanks to Green Car Reports for the photo of the crash test of the unfortunate little yellow car. In the final graphic, I am grateful to Lucy A. Synk for her © 2020 illustration of XK9 Rex at a full-out run, and to Dirk Ercken via 123rf, for the “Time is Running” illustration. All montages were assembled by Jan S. Gephardt.

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