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A Writer’s Life

My son sat across from me at the kitchen table with a notebook in front of him — Phineas on the cover, I think, or maybe it was Ferb — and a pen in his hand.

“What’cha doin’ there?” I asked him.

“I need to get this down.”

“Get what down?”

He looked at me and shrugged. Said, “I don’t know. I can’t get it right.”

I nodded. “I have that same problem all the time. Can I see?”

He slid the notebook across the table. Written on the page were three squiggly lines, the numbers 4 and 67, and a smiley face.

“Whaddaya think?” he asked.

“I think it’s brilliant.”

“I’m gonna be a writer when I grow up,” he said. “You know, like you.”

“Oh?”

“Yeppers. I like to write. Writin’s fun.”

I stared at him, tried to say something wise, and said instead, “Well, you have plenty of time to figure that out.”

The answer was good enough for him to accept. He finished his squiggles and then left me to ponder his words.

One day six years ago, something very special happened. My son sat down with a sheet of paper and a blue crayon, put the latter to the former, and made a waxy streak from the top left to the bottom right. Magic. And when he scurried off and came back later, he found more magic — that streak was still there.

And though the truth he’d stumbled upon then was incomprehensible, he’s been creeping closer to it ever since: if he wrote, he could leave something behind for others to remember. And it would be fun.

That, in a broad sense, is why many writers write. To plant a sign into the hard earth that says I Was Here. To know that to someone somewhere, what you say matters.

I had to admit that what my son said was true. Writing is fun. As frightening as a blank sheet of paper or an empty computer screen is, it is also marvelous. It is a canvas upon which to paint a story and a map by which to explore the world. A place where anything is possible.

But I also knew what he did not, at least not yet. Many times, writing is not fun. Writing is work. Difficult, exhausting, painful work. It takes courage to look genuinely, whether into the life around you or the heart within you, and more courage to share what you find there with others. To write is to bare you deepest self, naked of sham and disguise.

It is lonely work, a solitary walk through a land of little light and deep shadow. It is a life of irony in that by exposing yourself to the world, you inadvertently construct walls around you to keep the world away. And though you may indeed be surrounded by friends and loved ones, you know that in the end you are utterly and completely alone.

You write. They do not. That gulf is not easily bridged.

Because for many of us, writing is neither job nor hobby. It goes deeper, permeating every aspect of our lives. Every conversation we have, every face we see, every moment to which we bear witness, is seen through the lens of the page. We play our trade from the moment we wake until the moment we sleep. And even then, our dreams are often grist for the mill.

Success is fleeting. Failure is constant. You are turned away by agents and editors, the gatekeepers of your aspirations, and deemed unworthy of your dreams. You struggle with doubt and fear. You drown in desperation.

You face the agony of knowing that no matter what you manage to get down on the page, it will never be exactly what you want to say.

That’s a writer’s life. And I was left with this one question: was this the life I wanted for my son?

Yes.

Because despite it all, there is to me no greater pursuit in life than the search for meaning, and there is no better way to chart that search than with pen and paper as our compass.

To tell the world that we were here.

Post Author: Billy Coffey

Billy Coffey is the author of both Snow Day (2010) and Paper Angels (Nov. 2011), both by FaithWords. When he’s not writing, he can likely be found tromping through the woods near his home. He lives with his wife and children in Virginia’s Blue Ridge mountains.

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An Author Needs A Web Presence

One of the first marketing tips a writer is given is to make sure she has a web presence–and do it before she’s  published.

Three years before my publishing contract, I created a blog and used it as my author site. For the most part, I was quite happy with it. I updated the site on a monthly basis, along with a newsletter reminder, and had formed a nice reader base, so it served me well. When I received my contract from Zondervan, however, I realized I wanted more. I had two choices–pay someone to build a website, or do it myself.

So began my journey. I began visiting author sites and kept track of those I liked best, paying attention to colors, layout schemes, page descriptions, and author photos. I also studied web designer sites and their client portfolios. For learning purposes, my favorite sites were:

.

From there, I requested price quotes. And that’s when my enthusiasm began to waver. Some of the designers were charging over two-thousand dollars–and I’m sure worth every penny, as their client pages were gorgeous! To add to my dilemma, I’d heard it said that your website must look professional–an outward reflection of who you are as an author (or in other words, not cheap & dowdy). Well that’s great, if you have the money . . . but this gal from Kansas didn’t have that kind of money to spend.

With a sigh, I began searching for less expensive alternatives. I considered updating my blog. Blogs are free, and I already knew how to manage them. But I really wanted a new look. So I set my chin, determined to figure out a way to make it work.

That’s when I discovered a host program called Homestead. Several of my author friends used the program and were quite happy with it. I began studying the tutorial and realized I could create an author site with nearly all the functions I’d requested of the designers–and for a smidgen of the price.

Of course, I would have to design the pages myself–which would take time and creativity. Fortunately, Homestead’s design program has an easy learning curve, and it turned out to be quite fun. Plus, I had the added advantage of being able to update my site whenever I wanted–an option I might not have had if I’d paid a designer. The company also offers a free trial period, to make sure it fits your needs. After 2 weeks, I’d designed a Website that was a reflection of who I am as an author.

Check it out here.

I went into this venture desiring the best, settling for less, and being quite satisfied with the end result.

For those who enjoy the creative aspects of web design (and who are working with a limited budget) this may be a nice option for you, too. Next  time, I’ll visit with you about publicity photos. Until then, enjoy the moments  . . .
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Are You Ready For A One-Star Review?

It’s no fun getting a one-star review on Amazon.  What’s worse?  Having your 10-year-old son read it in front of you.

When Nick looked up, he was fighting the tears.  Trying to stay strong.  Trying to act like it didn’t matter.

Then he gave his own critique.

“You know, Mom, some of this is probably true.  But, you know what really upsets me?  She didn’t criticize your book.  She criticized you.  And she doesn’t even know you.”

Like Nick, I was fighting the tears.  Trying to stay strong.  Trying to act like it didn’t matter.

But public criticism is a big deal.  And first-time authors are never prepared.  I wasn’t. 

Now, at this point in the blog, I’m supposed to give you the magic formula.  You know, the three-step plan to prepare you for a public flogging.  The things I wish I knew.  Wish I did.  Want you to know.  Then, you’ll walk away with some value added, and I can bask in the comments.

But I’m not going to do that. 

Don’t get me wrong.  If I had a secret sauce I would probably share it.  Heck, I’d probably write another book and maybe even make some money off of it.  But since that’s not in the plans (and Rachelle would probably give me a hard time about platform), the best I can do is share my story and let you draw your own conclusions.

Here’s how it works.  When you’re an author, you are supposed to actually say something.  If you’re lucky enough to get people to read what you have to say, some people may actually like it.  Others won’t. 

Certain gluttons for punishment, like me, end up writing memoirs.  So if readers don’t like our story, it means they don’t like us.  Plain and simple. 

In my case, Chasing Superwoman is a very personal story.  It’s my story about my struggles (and failures) being a working mother who admits she is trying to do too much.  And while I love Jesus madly, I don’t always act like it.  This apparently offended a few readers who told me both publicly and privately that I should really set my priorities straight, act more like a “Christian” and hang up my “worldly” ambition.

Sure, I could feel sorry for myself.  I don’t deserve the criticism.  It’s not fair.  These readers haven’t met me (or my darling children!).

But let’s face it.  I kind of asked for it.   Didn’t I?

When we tell our stories, we put ourselves out there.  We make it personal.  We pour out our lives on paper, give people loaded guns, and yell “shoot”! 

Which means we have no business complaining about it. 

Now, if you’re a fiction author, you’re thinking, “What does this have to do with me?  I write fiction.  It’s not my story.” 

Think again. 

We all know deep down that your first novel is secretly autobiographical and that all the characters are based on your family and friends.  So when people criticize your book, you are equally going to feel like they are criticizing you.  Trust me.

The good news?  We not only live through it, we become stronger.  I promise.  (I’m going to blog about that next month.)

For now, just know to expect it.  And don’t complain about it, ok?

Aspiring authors, are you ready for a one-star review?  Old-timers, what’s your advice?  And how do you protect those closest to you — like your family — in the process? 

 

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Reviewers and Endorsers and Influencers, Oh My!

You didn’t really think those book reviews in the New York Times or the major newspaper in your home town just appeared on their own, did you? Publishers provide advance review copies (ARCs) of  books to the reviewers at these papers. Multiply that by hundreds of publications, from large ones such as Library Journal to smaller or specialized ones such as The Suspense Zone and you see the magnitude of the process. There’s a good bit of decision-making in sending out ARCs to reviewers. But one good review at a major site can result in the sales of hundreds of books. Each publisher has a long list of potential reviewers. It’s the job of the marketing department to match each book with appropriate sites to receive ARCs.

As for endorsers, these are the people who write one- and two-line squibs that appear on the cover or just inside book. For example, the hope is that you’re more likely to buy my novel if you look at the back cover and see that a respected author said, “Lethal Remedy is the perfect cure for boredom: a first-rate medical thriller with humor, engaging characters, and realism that only a seasoned doctor could bring to the story.”

Who lines up endorsers? It varies. Authors, agent, publishers all participate in the process, and it varies with each of them. In my case, I personally contact all my possible endorsers. I make the following stipulations: if they agree, they’ll be sent an ARC with a view to endorsement if they have the time, can read the book, and truly endorse it. So far, the only negative responders have been those with time crunches due to their own writing deadlines.
Then what is an influencer? These are people whom you hope will read the book, like it, and tell others. They’re people with large blog followings. They’re church and public librarians. They’re the heads of book clubs. The list can be huge, but again economics rears its ugly head, so distribution of ARCs to influencers must be limited. I sweat bullets over the list I turn in with each book, knowing that I’ve probably forgotten some important people.

Writing the novel is just the first step. Then you hope to get an agent and eventually a contract. After that comes the editing process. Is that all? No, now you have to think about ARCs and endorsers. The fun never stops, does it?

***

Richard L. Mabry, MD, is the author of the Prescription For Trouble series of medical thrillers. His latest novel is Lethal Remedy. He also serves the ACFW as Vice-President. You can learn more about him at his website and follow him on his blog.

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My First Rejection: the Twenty Year Ache

I received my first manuscript request in fourth grade.

My teacher invited me and another student to write a short story. The prize for the winning submission was breathtaking: a trip to a young writer’s workshop, where we would learn from real writers and hobnob with kids who, like me, dreamed secret stories deep in our young hearts.

For a ten year old, this was a once in a lifetime opportunity. I poured myself into my story, sparing no imaginative fancy. I don’t remember many details, only that it featured talking animals, a charging knight, and puppy love romance. I thought it was spectacular, one of a kind. I submitted my story and waited for the happy news.

A few days later, the teacher called me to her desk. Her soft, sympathetic voice set my knees to trembling. Why did she sound sad? Didn’t she have good news to deliver? “I’m sorry,” she said.  She’d chosen the other student’s story, a vignette about a visit to grandma’s house.

Oh, that rejection hurt. I cast green eyes at the winner and felt sick the day he attended the workshop. While he worked with grown-up writers, I solved math problems and filled out worksheets, just like every other school day.

If I’d been a stronger, more self-assured child, I might have pondered that grandma story. I might have learned the first adage of beginning writers: “write what you know”. I might have considered the fact that readers can relate to a visit to grandma’s, but no one can relate to talking ducks, fanciful knights, and puppy love. . .all in a single-page story.

I might have, but I didn’t. Instead, my young writer’s heart sported a big, throbbing bruise. But I didn’t talk about my writing, not to anyone.  So I came to my own conclusion: I wasn’t good enough. And that was that.

I couldn’t stop writing, though. I wrote poems and journal entries, short stories and personal narratives. I wrote frantically, then tore my words to shreds. Sometime I tucked my writing under my bed or in pages of childhood books, never to be seen again, even by me.

Meanwhile, I learned to deliver what my teachers wanted. An essay with a topic sentence and three paragraphs? Done. A summary of The Grapes of Wrath? Done. I earned good grades, but protected my writer’s heart with layers of bricks and barbed wire constructed from that fourth grade rejection.

I protected too dearly, and finally stopped writing all together. For twenty years I wrote nothing but grocery lists until, a few years ago, the writing exploded out of me with all the force of a long-dormant volcano.

Predictably, I still face rejection on this road to publication. But I don’t hide my words or tear them up anymore. I expect the hurt of rejection. I even embrace it, if I can. Because I understand now: the best stories come from bruised and throbbing hearts that don’t hide, don’t shred, and refuse to give up.

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The Tough Critique

My best friend of more than 30 years was one of the first people to read a draft of my manuscript. I packaged all 299 pages in an envelope, mailed them 1,500 miles to her home and then chewed my nails ragged while I waited for her response.

I stalled for what I considered the proper amount of time. And then finally I couldn’t bear it any longer. I picked up the phone and dialed her number.

“Soooo…what did you think?” I blurted when she answered. I tried not to sound desperate and sweaty. “Do you like the book? Have you finished it? What do you think so far? Seriously, you can tell me the truth. I mean it!”

I waited.

Silence lay heavy, like a suffocating blanket suddenly strewn over the vast plains between us .

“Well…” She hesitated. A dull ache began to gnaw in the pit of my stomach.

“Well…to be honest, I, um, I put it down, and I’m having trouble picking it back up again,” she offered quietly.

“What? What?! Are you kidding me? You’re having trouble picking it back up again? What does that mean? Are you saying my book is boring or something?! What, like Reader’s Digest boring? Like Henry James boring? Like iphone manual boring?!”

I didn’t actually say those things aloud, of course. My actual response went more like this:

“Okay.”

 Deep, shaky exhale.

“Okay, so tell me more. What exactly is the problem? Can you be more specific? Which part is bogging you down? Does it go awry at any particular point, or is the whole thing giving you trouble?”

During that difficult conversation I learned that Andrea had enjoyed a lot of the manuscript, especially the anecdotes, which comprised the meat of the memoir. But when she got to the sections that delved into Biblical instruction, she lost interest.

I give her credit for her honesty and courage. Although Andrea knew exactly how important this writing endeavor was to me and exactly how insecure and fearful I was, she told the hard truth because she knew in the long run that it was important that I hear it. (Granted, she could have phrased it a bit more delicately. Then again, I did hound her like a salivating Saint Bernard). 

But I admit, it was a hard truth to swallow. And even though we had a fruitful and constructive conversation, and she didn’t deem the whole book an abysmal failure, when I got off the phone that afternoon I felt a weight on my chest like a stack of crumbling bricks. What’s more, I didn’t take her advice – I made none of the changes she suggested.

The funny thing was, in the end, she was right.

A year later, when I paid a professional editor to review my manuscript, guess what he advised? That’s right: he suggested I cut all the instructional sections woven into the book because they “interrupted the flow of the story.” And later, when Rachelle Gardner accepted me as  client, she admitted that the book wouldn’t have appealed to her, had it included all the Biblical analysis and instruction.

Andrea had been spot-on in her observations, and she had been honest, courageous and diplomatic in her critique. The real problem was that I simply hadn’t been ready to listen.

Let’s chat:  How do you decide who critiques early drafts of your writing? Have you ever received a negative critique from a friend? How do you balance a critiquer’s opinion with your own ideas? How do you know when you are ready to have your writing critiqued?

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The honest stain of truth

Professor looked like Jabba the Hut, jowls of  flesh hanging over the collar of his shirt. He watched, smirking, as fellow co-eds and I jockeyed for seats around the long conference table, Professor’s preferred room arrangement for this, our first college creative writing class.

Until I met Professor, I could always count on my writing to please teachers and professors. But assignment after assignment came back with haphazard red-pen scratches. I imagined Professor held my paper for a brief moment before tossing it aside.

Professor enjoyed two things: making students cry and picking favorites. I landed in the first group, and was left out of the second like a scrawny girl in a middle school dodge ball gym class.

The class favorites wrote about sex, of course, and they wrote about it often. Though I lamented my mediocre scores, I refused to write about something so sacred just for him.

One fateful morning, my alarm clock malfunctioned and I was late for Professor’s class. When I arrived, he stopped class and laid into me with a barrage of insults. On and on he spat about how lazy, irresponsible and stupid I was, daring to enter his class late. Too hurt to hold back tears but too proud to leave, I stayed for the whole class.

My notebook was a soggy mess.

That day, I resolved to please Professor–if not shock the hell out of him–with my writing.

And I did.

I wrote a short story full of violence and deceit, sex and betrayal, blood and fine champagne.

The story disgusted me.

Professor loved it.

I hated Professor for a long time after that.

Years later, I realized my sordid short story paralleled scars of abuse from my childhood. The rage I felt toward Professor was a pivotal breakthrough from flowery, Pollyannic prose, and the beginning of my journey of writing hard, writing real and learning to write well.

I can’t say I agree with Professors tactics.

But I think I understand, now, what he was trying to do.

See, good writing involves daring to go to deep and frightening places. Like John Coffey–the man who breathed light and life into dead things in The Green Mile–hearts come alive when we breathe into still and long-forgotten places.

Words become life when writers allow the pen to pull them places no one else wants to go.

Like leper colonies, places in the soul exist where fear hangs like shadows, veiling what we don’t understand and shielding us from disease and pain. And yet, the only way to be real and alive is to allow the pen to touch diseased and painful places.

It is the unsought job of the writer to burst through the gates of leper colonies . . . to run to those who are bandaged and losing limbs . . . to embrace those who smell like rotting flesh . . . and to caress touch-starved hearts until they stop trembling and maybe, just maybe, believe in life again.

Good writers learn to distinguish the honest stain of truth from pencil scratches on paper.

Good writers learn the events in life which enslave us are ultimately the ones which set us free.

Good writers endure hours–even days–of depression that come when the pen finds fragile, tender places.

Good writers touch ugly, diseased places, in order to touch ugly, diseased places of others.

Good writers allow the pen to pull them.

To set even one person free.

What about you? How have you learned to write more deeply? Has a person, teacher, mentor or friend influenced the deep, true pull of your pen? Do you believe words have the power to set people free?

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New Agent at WordServe!

Guest Post by Rachelle Gardner

Effective immediately, we at WordServe have added thirty years of experience to our service for authors with the addition of industry insider Barbara Scott as a new literary agent.

“Publishing continues to evolve, but finding and guiding the careers of new and established authors will always be a big need,” says 17-year agent Greg Johnson. “Barbara has worked as an in-house sales rep for a publisher as well as an editor, and authored numerous books of fiction and non-fiction. Her strong editorial eye, relational skills and professionalism make her a natural to join the WordServe team.”

Barbara Scott brings 30 years of publishing experience to WordServe having worked at Zondervan, McGraw-Hill, Honor Books, and most recently Abingdon Press where she developed and built the fiction line.

Barbara has partnered with best-selling authors such as Brandilyn Collins and Melody Carlson for the YA fiction line at Zondervan, and many of the authors in her fiction launch at Abingdon Press received rave reviews in Publisher’s Weekly and Library Journal. Two of her most recent authors at Abingdon Press, Cynthia Ruchti and Richard Mabry, have been nominated for Carol Awards by ACFW in 2011. The fiction line at Abingdon Press exceeded all sales expectations, and Barbara has been credited for kicking off a well-rounded series of quality, highly-reviewed novels.

I’m thrilled that I get to work alongside this talented lady, who is already well-loved in CBA. Please join me in welcoming Barbara to our team!

~Rachelle

P.S. Barbara won’t be at ACFW, but I’ll be there scouting projects for her!

What Barbara is Looking for:

Adult Fiction:
Full-length fiction, 65,000 to 100,000 words. General market or Christian market.
Genres: Women’s, Romance, Suspense/Thriller, Mystery, Romantic Suspense, Historical, Family Saga, Amish, Political Thrillers, Mainstream, Supernatural/Speculative, including End Times.

Short contemporary and historical fiction, 40,000 to 65,000 words. Christian market.
Genres: Romance, Historical, Romantic Suspense. Will accept queries for Barbour, Steeple Hill Love Inspired, Summerside Love Finds You, and Avon Inspire.

Kids:
Middle grade and YA books

Non-Fiction:
Both Christian market and general market projects. Current Affairs, Political, Management, Sales, Money, Home Life, Marriage, Family, Parenting, Health & Diet, How-to, Popular Culture, Psychology, Science, Self-Help, Women’s Issues, Devotionals. Authors should have established social media, consulting, or speaking platforms.

Christian theology, apologetics, pastoral, spiritual growth:
I will only take on this type of project if the author has well-known credentials and/or a large, established platform.

What she is NOT looking for:
• Gift books
• Poetry
• Short stories
• Screenplays
• Graphic novels
• Children’s picture books
• Horror

Contact Barbara Scott: barbara {at} wordserveliterary.com (This email might not be active yet – give it a couple days!)

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What is “Take Away” Value?

In my post last month I referred to our need to have “take away” value. Sometimes that’s pretty obvious, but other times it’s as subtle as how you’re presenting your product or services. I find at times it’s a fine line that we can easily cross into the “me” zone.

I have a feeling, though, that you’ve seen and know what that looks like. How about Twitter? I get a fair amount of requests but have little time to follow people who are just throwing stuff out there for the sake of being visible. Plus, I want to follow people that I can relate to and connect with. I’m most likely not going to follow a furniture company located in a different state.

Except, this time I did. Why?

Take a look at the Twitter page for Mealey’s Furniture, (@FollowMealeys) located in Warminster, PA. They do a lot of things right.

  1. They don’t over-tweet. Mealey’s tweets about 2 to 3 times a day. When I see a Twitter page loaded with hourly tweets of stuff just thrown out there, I’m not going to pay attention. The delete button is my friend.
  2. Their tweets are helpful. They have take away value. Not only do they have it, they personalize it. They’re not just putting tweets out there about a sale, they’re giving you decorating ideas and hints for better living. They also support causes. Basically, they don’t want to just sell you a piece of furniture. They want to add quality to your life. Again, motivation is key.
  3. They’re not just about the product. Mealey’s presence is clearly not about them. They are about the customer and serving those needs. They’re focused on their audience and serving them, not on themselves.

This is brilliant marketing. Would I buy furniture from Mealey’s? If they had a store in San Jose, CA, you bet they’d be the first place I’d think of next time I needed something.

The key here is they make a lasting and positive impression. You walk away from this page with the understanding that to them, it’s not just about the sale. They want to do more for their customers. They want to connect with them.

Today’s market takes more than just what we have to offer, which in nonfiction is a lot. We have a clear message, an idea, or something to share. But there’s already so much out there. We have to be clear about the “why.” Think about why we write what we write and how we can translate that into connecting with our readers, which in turn translates into word of mouth marketing—the best kind. Just as I’m talking about Mealey’s furniture because they offered me take away value, we want our readers to talk about our books, our message, and what we stand for.

But even that comes back to our motivation. Are we doing it to just sell books? Or are we, like Mealey’s, genuinely trying to give quality to our readers? That’s our origination point in writing these books to help others. Let’s not leave that motivation in the pages of our books. Let’s figure out ways we can we bring that over into our marketing too.

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Free Books and Bad Halloween Candy

In today’s free and easy e-book climate, e-texts of traditionally-published books are passed around like wax-paper toffee on Halloween night–you want some of this? Have four! Have six! No one likes ’em anyway. And that’s not even counting the scads of self-published e-books that are either free or 3 cents each. Most of those are the strawberry candies in the red plastic– no one wanted them either.

OK, I’m exaggerating. It’s not that free books are actually bad. Few books are as awfully nasty as wax-paper toffee, and many free books are very good–it’s just that their plentiful availability threatens to devalue them, like so many strawberry candies dumped straight in the trash can.

Seth Godin, prophet of social media and cultural change, thinks free books can be a good promotional tool. In fact, he thinks the way for debut authors to make it in this day and age is to give away their first books for free.

He said so, in this interview with Michael Hyatt of July 6, 2011. It’s well worth watching simply for all the debatable points he raises about where our book culture is headed and how we should handle that change. Seth Godin is an excellent persuasive speaker–but that doesn’t mean he is always right.

Free books have a very serious downside, and the best article I’ve read on that downside is by Janet Kobobel Grant of Books and Such Literary Agency. Here’s one of her main points, paraphrased:

Will free books flood the market to the extent that readers realize they no longer have to pay for their reading material?

Will readers think: “Why should I buy Ms. Ninja-Writer’s book now, when I can wait 9 months and get that same book for free as a marketing ploy for her next book?” In a tight economy, readers may resolve: “I am going to save money by never paying for a book again.”

My husband works in sales, and he is very good at it. He understands you can sometimes give away free stuff, but giving away too much or giving away the wrong products destroys your own customer base. He thinks this free e-book and 99 cent e-book stuff in the publishing industry is going to smash the market to tiny little pieces.

How many corporations can resist the lure of the quick buck?

Here’s the problem: corporations have always been very bad at resisting the lure of short-term gratification (such as temporary increased sales for a certain author) in favor of a wise long-term strategy (such as limiting or refusing the issue of free books). They have to compete, they want to make money in the ways they see others making money, whether it’s going to work in the long-term or not. For many executives, it’s easier to believe those who tell them that the short-term strategy is awesome and won’t cause any problems. Fewer executives want to hear the voice of caution and contrarianism–it’s too inconvenient.

My  question for you: Will the changes caused by free e-books permanently affect the ability of authors and publishers to make a living at their work? Will the major publishers collapse and only the best entrepreneurs rise out of the internet heap… entrepreneurs who may not be the best writers? Or do you agree with Seth Godin that free books are a fabulous strategy and the wave of the future for marketing?