Writers in the Storm

A blog about writing

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Blurbing and Getting Blurbed

Barbara Linn Probst

Is there any writer who actually likes asking for blurbs?  I suppose there is, but most of us wish we didn’t have to do it. We understand that it’s necessary—and we all like praise—but we cringe at having to ask for it. The question is how to do that sensitively and intelligently.

Let’s start with a few truths.

Truth #1: Endorsements matter. If we trust the person who recommends a product, especially when there are countless other options that could meet the same need, we’re much more likely to choose that particular shoe or car or coffee maker—or novel—from among the alternatives competing for our attention.

Truth #2: All blurbs aren’t necessarily equal. The question is whether a fantastic blurb (Best book I ever read) by someone relatively unknown is more or less “valuable” than a generic blurb (A well-crafted exploration) by someone famous. To a degree, it depends on an author’s goals and comfort level; it may also be a matter of what’s realistically attainable. In general, the more authority the blurber is perceived to have, the more others are likely to be swayed by what she has to say.

Truth #3: Unless you’ve been pegged as a serious rising star by a major publisher who will get the blurbs for you, you have to ask—even if it’s terrifying.

Truth #4: Everyone agrees that it’s important to be polite, start early, make it easy for the person to say yes—and to thank the person afterward. Not just privately, but publicly. As Sonja Yoerg suggests in her 2017 essay: “When I have all my endorsements in hand, I publicly thank the author on Facebook. This post is not about the blurb (i.e., me and my book) but about the author and his or her generosity. As part of my thanks, I tout their most recent book.”

So far, so good.

I started to reflect on all the advice I’d read about securing blurbs and to wonder how well it mapped onto real experience. I thought about my own experience, and I asked other people.

Turning to myself first, I was reminded of what I discovered, years ago, when my then-husband and I set out to adopt our first child. My thinking, when we started out, went something like this: “You, pregnant person, have something I want. What do I have to do to convince you to give me this thing I want?”

It didn’t take long for me to feel the absolute wrongness of that attitude. Since we were going to be adopting privately, it meant (back then) that potential birth mothers would see our ads and call a special phone number we’d set up. Reality quickly smacked me in the face when I spoke with the first woman who called.

She was a person. This wasn’t about being clever enough to impress and persuade her. We were two women, each in a situation we hadn’t expected and hadn’t chosen. Could we connect, trust each other, find our common humanity?

I think asking for blurbs is like that. We need to put ourselves in the shoes of a potential blurber and ask ourselves:

  • Why
    would she want to this for me?
  • What
    might prevent her from saying yes?
  • What
    might inspire her to say yes?

Obviously it’s not a perfect analogy because, unlike a woman seeking an adoptive family for her child, a well-known author isn’t seeking manuscripts to endorse!  However, many of these authors do, in fact, want to help new authors, just as they were helped when they were starting out. So if a Famous Author says she wishes she could help but is truly swamped right now—believe her. Thank her and let it go. “Following up” (i.e., pestering her) won’t bring a different answer. Trust me. I’ve tried.

What works best—as with adoption—is to abandon the sense of oneself as a salesperson in favor of that sense of common humanity.

Three principles can help.

First, remember that you’re asking someone you don’t know for a huge favor. 

You have nothing to offer in return that would be an equivalent favor. Own that, without apologizing for it. Besides, the Famous Author already knows.

Acknowledge the favor you’re hoping for, without groveling. Let her know your time frame—and make sure you’re giving her a reasonable amount of time. Give her options: a PDF, a spiral-bound copy, an ARC, sample chapters plus a detailed synopsis. But do not suggest what she might write or say, “I’m sure you won’t have time to read the whole thing.” Let her decide.

Second, you’re asking a favor for you, specifically.

The Famous Author may have reasons for wanting to be generous—a wish to repay the help she received, a strong belief in giving new authors a boost—but why should your particular book be the focus of that generosity?

Do your homework. Explain what you love about her work (be specific) and why your believe yours might resonate with her. Follow her on social media, comment on her posts—long before you ask her to do something for you. Make her know that it’s her endorsement you would love, not just any endorsement by any Famous Author. As Sonja Yoerg points out, “Dare I say that if you are asking them to read your book, you should’ve read one of theirs? I’ve been approached for an endorsement by writers who didn’t appear to know my work at all!”

Third, you’re asking a favor of her, specifically, rather than some other Famous Author.

She needs to understand why you’re asking her and not someone else.

Find the fit. Find other books she’s blurbed. That way, you can explain why you think yours is “her kind of book.” Again, it shows that you’ve paid attention and demonstrates why her blurb, in particular, would be meaningful to you. It’s worth taking the time to craft a really good appeal, heartfelt and specific. As Katrin Schumann notes: “Even though I'm just a no-name person hitting him up for a favor he doesn't even owe me, he agreed to read because he said it was the best request he'd ever received.”

…which brings us to the relationship between getting and giving.

I was curious to talk with people who had been on both ends of the process—who had asked for blurbs and also been the one asked. I wondered if their experience as the asker affected their experience later, when they were in the other chair.

It seemed to.  People told me:

I found the whole process of asking so nerve-wracking, I told myself that I’d agree to blurb for anyone who asked me.

It's been three years since I had to write my blurb requests for my debut novel, and I can still vividly recall how sick I felt over the process.

When I get blurb requests, I can't help but remember how vulnerable you feel when you're sending your work out like that, hoping for an endorsement, and how much you're hoping to land blurbs that will both pop on the cover and seem unique.

That didn’t mean they always said yes. But when they said no, it was for a reason and with respect.

I did also get a request I wasn’t able to help with. Originally I said okay, but then I realized that the book was much too steamy for my brand. I wound up saying that I unfortunately couldn’t help. But I wrote her back, because I’ve had authors agree to blurb and then disappear. I didn’t want to do that to someone else.

I replied frankly that I wasn't involved in that world anymore and giving my name to the poet's work would probably not have the clout any writer needs to impress prospective readers. I hated doing it, having just received my own blurbs, but thought honesty was the best policy.

I only talked with a few people, none of whom were the sort of Famous Authors who receive dozens of requests each week. But their thoughtful, sympathetic responses indicate that that there’s a common cycle of anxiety, gratitude, and the wish to give back.

That means: one day it will be your turn, and you will be the one being asked!  That time might come sooner than you think. After all, you don’t have to be an Famous Author to help someone else!

Have you ever asked for a blurb?  What was that like? Have you ever been asked?

About Barbara

Barbara Linn Probst is the author of Queen of the Owls, coming in April 2020 from the visionary, award-winning She Writes Press. Queen of the Owls has been chosen by Working Mother as one of the twenty most anticipated books for 2020 and will be the May 2020 selection of the Pulpwood Queens, a network of more than 780 book clubs throughout the U.S. To preorder or learn more, please visit http://www.barbaralinnprobst.com/.

Queen of the Owls by Barbara Linn Probst

A chance meeting with a charismatic photographer will forever change Elizabeth’s life. How much is Elizabeth willing to risk to be truly seen and known?

Click here to read more or to preorder the book.


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Telling Stories in Times of Crisis

Julie Glover

So...Coronavirus.

Whatever we'd originally planned to post today, it seemed like we should take a breather and just admit our current reality: COVID-19 has created unprecedented consequences and challenges.

It's rough out there.

As of this writing, the World Health Organization's latest situation report includes 179,112 confirmed cases and 7,426 deaths. The outbreak map looks like this:

CDC, March 16, 2020

Not to mention that Tom Hanks and Idris Elba have both tested positive. The madness!

Gone from our daily lives are many activities we counted on to provide for, support, and entertain us.

Some of y'all have been seriously impacted with income difficulties, family concerns, and personal anxiety. Here at Writers in the Storm, we want to give you a big, online hug. Socially distanced, of course.

When in crisis...

As Lisa Cron laid out beautifully in her book, our brains are wired for story. We craft stories to make sense of the world around us, learn from our experiences, and form plans for the future.

Stories are powerful.

Go on any social media platform right now, and you'll find people sharing their stories about how things are going. Or making up stories of how's it going, to evoke empathy or laughter. #QuarantineLife was trending on Twitter, as folks shared their newfound realities. And did so with real creativity!

https://twitter.com/KevinRobMartin/status/1240012407910453248
https://twitter.com/WhatTheHeckert/status/1240066740698021888

No, I have no idea who those people are, but those are stories about how it's going. And others are intrigued by them.

Then there are those who turn to story to explain what's happening right now. Whether it's studying historical events like the Spanish Flu pandemic of 1918 or the SARS outbreak of 2003, or finally reading or watching such fictional pandemic stories as Stephen King's The Stand novel or Steven Soderbergh's Contagion film, people look for comparisons. Some comparisons work, some don't, but we use them to help us tell today's story.

It's something to do.

Of course, plenty of people whose lives have been disrupted find comfort in stories as simply something to do.

More people are binging shows on Netflix, Amazon Prime, and other streaming networks. Readers are pulling books off their to-be-read piles and finally diving in or downloading new reads on their phones and tablets.

Someone out there who's been wanting to write a novel since forever is finally putting pen to paper, or fingers to keyboard, and turning out a word count they couldn't manage before. If that's you reading this post right now, good for you! After all, in case you hadn't heard, William Shakespeare wrote King Lear while in quarantine.

Though I'm with author Lauren Hough on this one:

It's also a challenge.

But as many people as there are now digging deep into stories, a number of writers just lost their ability to get any work done.

Yes, I see all of you parents who suddenly have preschool or school-aged children under foot. Not to mention those working overtime in healthcare or caring for someone who's sick. And those who got caught away from home when the travel bans hit.

Forget word count. You just want some semblance of normalcy!

Your work of fiction has been replaced by your personal story of upheaval. Believe me when I say the WITS team is pulling for you to have a happy ending.

Whatever your situation, we invite you to tell your story here. That's what we as humans do in everyday life, but especially in crisis: we craft and share stories.

Let us know what's going on since COVID-19 altered your life or tell us an exaggerated or fictional tale that connects or cheers us up in the face of difficulty. What's your story?

Julie Glover has oddly experienced little disruption lately—being a committed introvert, empty-nester, and self-employed writer. As a Gen Xer, she was mentally prepared for apocalyptic events by movies like War Games, Red Dawn, and Mad Max: Beyond Thunderdome. Though she really thought it would be the rise of the machines, not a virus, that eventually closed restaurants and bars. Anyway...

If you need something awesome to read right now, check out her YA contemporary novel, SHARING HUNTER, which finaled in the 2015 RWA® Golden Heart® and is now on sale!

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Indie Publishing 101 – Part II

Piper Bayard of Bayard & Holmes

In Indie Publishing 101—Part I, we discussed the shifting paradigm of the publishing world, what it takes to be an independent publisher, and how we produce quality, publish-ready manuscripts. Today, we will look at what is involved in the actual production of a quality indie book.

1. Layout

Pretty books don’t just happen. The visual layout of the book must be designed, paying special attention to font, spacing, and the overall visual aesthetic. We put countless hours into the quality of our content. It is just as important that it be easy to read.

  • Hire someone

Again, ask your author network for references. There are big companies that do this, as well as individuals, and the cost is $200 and upward.

However, I do not recommend hiring out formatting, and this is why . . .

  • Vellum

For roughly the same amount that it costs to hire someone to layout one book, if you have a Mac, you can get a Vellum program and layout an unlimited number of books on your own. To be clear, I am a techno-moron, and even I was able to use Vellum without too much stress. It is user-friendly, and once you get the hang of it, you can format your own books in a few minutes to a few hours.


ProTip: Always save all changes in Vellum to an RTF file. Vellum gives you that option in the dropdown under “File.” If you don’t do this, and your computer dies, causing you to transfer all of your files to a new computer, some of your files might not transfer over unless you have the RTF backup. At that point, you have to re-create the file from scratch. #voiceofexperience


  • Programs for PCs

Online publishing companies, such as Draft2Digital, offer layout services. There are also many other companies out there with layout services for both e-books and print. I recommend a Google search and talking with other writers with PCs about what works for them.

  • Editing

When we do our own formatting, we can make our own changes at will. That means when we update our books or our bios and "Also by," we can go into our published works and make the changes rather quickly without needing to rely on a third party.

2. Cover Art

It may be that we shouldn't judge a book by its cover, but we can't help it. We just do. A great cover can make all the difference for sales, and the last thing an indie publisher wants a book cover to look like is "indie" in a bad way. There are several options for achieving the professional covers our books deserve.

  • Hire a Cover Artist

Hiring an artist for cover work can cost upward of $200 and usually does. To find the right artist for you, ask your author network, study bestselling indie books in your genre and find out who did the cover art, or look online. If you love their work, your readers probably will too.

Publishing companies such as Kindle Direct Publishing and Draft2Digital also offer cover services. However, I have never used them to say how they are. I recommend checking reviews and asking other authors who have tried them.

  • Buy a Pre-Made Cover

I know. You’re wondering how someone could have already made a cover for your book. I wondered the same thing, but some of these are outstanding. Just search on “pre-made book covers,” and peruse literally thousands of covers that cost $50 and up. Make sure they are only sold once, so that the cover is actually yours if you purchase it. It may not be exactly what you have in mind, but, then again, it might.

  • Design Our Own

Purchase Adobe Photoshop or some other graphic design program, study the covers on the bestselling books in your genre, noting the common colors, common imagery, and common fonts, and make covers that embrace the current fashion. Yes, covers have their own fashion fads. It’s a learning curve to making them on our own, but there are benefits.

  • The cover will be exactly what we want.
  • We can edit and re-size the cover, as well as make business cards, bookmarks, and bling designs.
  • The cost is only the price of the program and any necessary photos.
  • We are rewarded with the instant gratification that comes from making something beautiful after only a few hours of work—the exact opposite of producing a manuscript.

ProTip: Don't make covers in a vacuum. Cover art is just like the manuscript. We need to do several passes, and then, when we think it is perfect, we need input from at least two or three people whose opinions we respect. Then we must set aside our egos and adjust accordingly.


3. ISBN (International Standard Book Number)

Books need ISBNs. These are numeric book identifiers that are unique to each form of each book.

The same book needs a different ISBN for each format. For example, our book Spycraft: Essentials has one ISBN for the digital format and a different ISBN for the print format. When we have the audiobook, it will have a third ISBN. The ISBN for each format is the same across all platforms, so, for example, the digital ISBN for Spycraft: Essentials is the same for Kindle, Nook, iTunes, and all other outlets.

Subsequent editions also require new ISBNs for each format.

One popular place to purchase ISBN numbers is Bowker Identifier Services. The (current) cost is $125 for one or $295 for ten. They have other packages, as well, with volume pricing.


ProTip: If you publish the digital format through Kindle Direct Publishing (KDP), you can forgo an ISBN for a KDP-assigned ASIN. However, that will only work for KDP. You will still need an ISBN for other outlets.


4. Copyright Registration

While copyright can be established without technical registration, it is best to register a copy of the book with the US Copyright Office. This will short-cut any lawsuits that arise surrounding the copyright.

Go to the US Copyright Office and follow the instructions to register your work. Read the fine print and do exactly what it says. It’s straightforward, takes about fifteen minutes, and does not require an attorney. Enter your information, pay $55 online, and then upload the manuscript. The Copyright Office will take a few weeks to process it, notify you of any issues that need to be resolved, and then send your certificate of registration.

Copyright registration is not required to publish a book, but it is a good idea. We can register a copyright with the US Copyright Office at any time before or after publication.


ProTip: At the end of the program at the US Copyright Office, it gives you the chance to review everything you have entered. Review this carefully. If there is a way to edit after it goes past that point to the payment process, I have not yet found it.


Now that we have a beautiful layout, stunning cover art, our ISBNs, and our copyright in order, it's time to publish and market our book baby. We will look at that process on March 23 in Indie Publishing 101–Part III.

These articles are by no means a comprehensive treatise on indie publishing. With the constant changes in the publishing world, we must all keep learning to keep up, so I would love to hear your tips and experience with indie publishing.

How do you do your layouts? What has been your experience with layout programs? Where do you get your cover art? If you do your own, what tips can you share? Do you register your copyright? If so, do you register it before or after you publish.

About Piper

Piper Bayard and Jay Holmes of Bayard & Holmes are the authors of espionage tomes and international spy thrillers. Their latest release, SPYCRAFT: Essentials, is designed for writers. It addresses the functions and jurisdictions of the main US intelligence organizations, the spook personality and character, tradecraft techniques, surveillance, the most common foibles of spy fiction, and much more. It is available in digital format and print at Amazon, Barnes & Noble, and Kobo.

Please visit Piper and Jay at their site, BayardandHolmes.com. For notices of their upcoming releases, subscribe to the Bayard & Holmes Covert Briefing. You can also contact Bayard & Holmes at their Contact page, on Twitter at @piperbayard, on Facebook at Piper Bayard or Bayard & Holmes, or at their email, BH@BayardandHolmes.com.

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