I just sent my latest poetry book, Learning Curve, to the printer. This is the third poetry book in my Poietry Diaries series, my sixth poetry book overall. I think. If I counted them right…
Anyway, it’s done. I started this one in July. Now in mid November, almost exactly four months later, it’s done. And I’m proud of it. The poems are well written, edited and illustrated. The format of the book makes sense. I’ll be proud to have it on the shelf at my store. It’s a good addition to my repertoire.
Here’s the blurb for it:
Learning Curve is a contemporary collection of poetry written in the style of villanelle, originally a rustic Italian song, later developed into a French form of short poetry and then into a format with a rigid and demanding rhyme scheme and format. Award-winning poet Michelle Garren-Flye takes on this form in the latest volume of her Poetry Diaries, taking the reader along on not only an emotional journey but also one that promises to introduce the reader to a beautiful form of song-like poetry that will delight and enchant any poetry lover.
Let the reader beware, however. As the poet acknowledges, poetry is the most true of any form of literature. If the truth is anywhere, it’s definitely in these pages.
And finally, it took me a while to decide on how to format this book. It’s a little different from my others. For one thing, I went with black and white again. I was going to go with all simple line drawings, which is more my forte anyway, but I wound up adding shades of grey (lol) to many of them. Here’s one I particularly like that I thought I’d share with you. If you like it, stay tuned. Release date will be announced soon!
Poem and illustration copyright 2022 Michelle Garren-Flye
It’s been a bit since I last updated. I’m busy busy getting Learning Curve finished up. Sometimes it amazes me how synchronous bookbuilding can be. I set out to write fifty villanelles. Actually, I set out to master the art of the villanelle, which is an accomplishment in itself. During the course of writing villanelles, it occurred to me that I could make a book out of them. It also occurred to me that two of my previous poetry books were actually the beginning of a series that Learning Curve could continue.
Synchronicity, man.
And now I’m putting together Learning Curve, and synchronicity seems to be more a factor than ever. I didn’t write the villanelles with any sort of organization or sections/chapters in mind. And yet, they seem to be dividing themselves up perfectly in groups of ten. Almost perfectly, anyway.
For me, this part of bookbuilding takes some time. I have been drawing all along while writing villanelles, and many of those illustrations are finding their way into my book. But I’m also drawing special illustrations for some of my poems. I’m putting together each page separately, just as I’ve done for past books, but I think I’ve gotten better at it.
Plus, it’s been very synchronous.
One of the illustrations from Learning Curve. Copyright 2022 Michelle Garren-Flye
So you’ve been with me from the beginning of this thing. May 21 doesn’t seem like that long ago, right? What is that, 19 days?
I never would have thought in a million years that I would write, illustrate and publish a book in nineteen days. But I did.
I’ve often felt that I write what is given to me from…somewhere else. I write for someone else and there’s a purpose I don’t necessarily know about for my writing. I don’t know who it is out there who needs to read this book, but it’s here now. It was my obsession, pushing everything else out of the way for 19 days. Now I need to move on to finish up some other projects. Projects that took me longer than 19 days. But I think I can do it now.
Anyway, as a little introduction/excerpt to the book, here’s the actual introduction of the book as it appeared on my computer while I was laying out the book.
I’ve been a little at loose ends here recently. I finished a project (well, sort of, it was my fanfiction), and I’m experiencing what a friend calls “post publication blues” (thanks for that, Tracie!). It’s a real thing, I think, when you are writing so hard on a project (I finished 58,000+ words in less than 30 days), and suddenly it’s done. And you want to go on to the next project but suddenly…your creative fire is burning low…
So I’ve turned to poetry until I can get myself geared up for one of my next projects (one of which was actually inspired by my fanfiction journey and is definitely quite different from anything I’ve ever attempted before).
I have a new book coming out on May 28. Did I mention that? I scheduled that release date myself. I wrote the book, too. And edited it. And proofread it. Again and again and again… (I’m actually in the last round of proofreading right now.) And hired a book cover guru (Farah Evers Designs). I did all this on my own without consulting anyone (except Farah because she has a skill set I do not). No editors, no agents, no publishers.
This is my book.
Why don’t I get an agent and sell my book to a real publisher? I guess the short answer to that is I have no patience. I used to think that was the only way to publish legitimately. But over and over I kept hearing “You’re a good writer, but it’s not what we’re looking for.” Well, I heard that when I could get any response at all. And that was usually after six months to a year of anguished waiting and checking my email and wishing and hoping and praying…
Self-publishing, though. Wow, that’s freedom. You can finish a book today and put it out tomorrow. Well, almost. It does have to pass a vetting process through Amazon or Smashwords or whatever. Still, it’s really easy comparatively. When I realized this (after my first self-published book, Weeds and Flowers), it didn’t take long or many rejections to decide my next one would be self-published.
It also didn’t take me long to realize the universal truth behind Uncle Ben’s immortal words: “With great power comes great responsibility.” I have spent the past decade perfecting my skills, not only in writing, but also book designing, editing, even a little cover design (though I still prefer Farah), and everything else that is involved in creating a beautiful book for my readers. I’ve studied and read articles, trying my best to learn to craft a perfect sentence or just to learn the difference between lie and lay (that one is my kryptonite, but don’t get me started on who and whom).
Am I there yet? Hell, no. Why do you think I’ve been reading and re-reading my book? I have not the slightest doubt there are mistakes in it, but tell me, when was the last time you read a 70,000-word book (whether it was professionally or self published) that didn’t? Most 700-word magazine articles have typos. Hell, CNN makes mistakes routinely in seven-word headlines. So, yeah, in spite of my best efforts, you may find a typo. But you’ll find fewer mistakes in Magic at Sea than you’d probably find in Secrets of the Lotus (my first novel published by Kensington Press).
(It’s worth mentioning, too, that any traditional publisher would probably have put off publishing Magic at Sea indefinitely considering the bad press that the cruise industry has received recently. Is that going to stop me? Oh no. I wrote this book based on a cruise to Alaska that my family and I took that is still one of my favorite vacations ever. I would do it again in a heartbeat.)
I often wonder what I would do if a professional publisher offered to publish my books. Purchase my whole backlist, professionally edit it, and put it out in paperback. It’s no doubt a pipe dream because, as I’ve been told often enough, I don’t write what they want to publish, but what would I do if someone made that offer after the love and care I know I’ve put into every one of my books? Sign or no?
Who am I kidding? I’d sign.
In the meantime, however, here are approximately 700 of my words that I’ve pored over (yes, pored, not poured, I looked that one up a while back) to entice you to buy Magic at Sea. Hopefully with no mistakes!
As they sat to partake of the drinks and snacks he’d arranged, Galen found himself settling into the unintentional role of Frankie’s escort. Yet it felt natural when Connor and Carole sat together with Kate and Alex next to them for Galen to hold a chair for Frankie.
“So you really get to live on this ship?” Kate looked around with appreciation, then back to Frankie. She sighed. “Just imagine the amount of writing I could get done.”
Frankie smiled. “For six months, as long as I behave myself.” She batted her eyelashes at Galen. “I wasn’t everyone’s first choice for onboard entertainment, though.”
Galen felt the full force of the little group’s curious gazes. How could he not adore Frankie? How could he not be certain she would be an asset to the cruise—not just this ship but the entire line? He shook his head inwardly. Though from what he’d gathered Frankie had only met Connor once before, she was already a part of the group. Maybe it was some sort of magicians’ code. More likely it stemmed from her association with their friends. Any friend of mine…
“You don’t approve of escape magic, then?” Connor’s good humor didn’t falter. “I’ve never tried any of it myself, mainly because it’s a whole different skill set that takes years to learn, and if you don’t know what you’re doing…” He shrugged and looked back to Frankie. “But I’m looking forward to seeing your show. Lydia and Tony speak very highly of you.”
“Thank you.” Frankie took a little sip of her champagne and glanced at Galen. Her eyes sparkled. Your turn.
He accepted the unspoken challenge. “Frankie’s show marks a bit of change in our focus as far as entertainment goes. The magic shows have always been more kid-centric.”
“I can do kid magic.” Frankie spoke up.
“Can you?” He shot back.
“Of course I can. I got my start as a kid, after all. I know the rings and the scarves and the cup and ball routine. Why don’t you let me prove it?” She leaned forward. “If you think the kids will be missing the magic show because you’ve made it the ten o’clock show, let me go to the kids’ clubs.”
“What happens when they want to come to your show that evening?” He raised his eyebrows.
She shrugged. “I’m not ashamed of my show. You’re the one who decided it needed a parental guidance rating.”
“I—” He hesitated. It sounded silly now. He hadn’t even seen the whole show, after all.
Alex looked amused. “If there’s one thing I’ve learned, you slap a parental warning on a show, the kids immediately want to get in even more. What’s wrong with the show?”
“It’s…” He couldn’t complete the sentence satisfactorily in spite of the polite silence that stretched uncomfortably.
Frankie appeared to take pity on him. “In his defense, it is a little edgy. And some of the effects might be a bit scary. Tense.”
“Has nothing to do with what you look like, then?” Connor’s voice had taken on an edge of its own now. He leaned forward, his eyes on Galen’s. “Because that wouldn’t exactly be the best standard to base a decision on, would it?”
Carole put a hand over her fiancé’s and he glanced at her, then returned to his original position. She gave Galen a curiously sympathetic look. “Not everyone judges women based on how they look.”
Feeling strangely as if he’d been given a rare compliment he didn’t really deserve, Galen cleared his throat. “At any rate, I did make the decision that Frankie’s show would do best in the ten o’clock slot. But if she’s popular enough, she’ll get an encore show as well.”
“And now I can do the kids’ shows, too.” She smiled happily.
“I didn’t agree to that.”
“I believe you did.” She looked around the table and the others nodded agreement.
He groaned. “Fine. But I need to see what you’re hoping to perform first.” His phone dinged and he realized he must have been there for more than an hour. The first day at sea had a lot of programs to run, and though they mostly ran themselves, he needed to make the rounds. He rose. “Sorry. Duty calls.”
And the beautiful cover designed by Farah Evers Designs
Sadly, Becoming Magic is NOT up in the Kindle store in spite of everything having been done right by me. I’ve sent them a message and hopefully it’ll be fixed within 24 hours. In the meantime, I’m sending everyone to Smashwords who have a lovely big sale going on in which ALL of my other books have a 100% off coupon (SS100) for the month of July only. And Becoming Magic is only $2.99, so you could catch up on all the Sleight of Hand books for the single price of $2.99—who wouldn’t want to do that? Check it out here: Smashwords Summer Sale!
This is the time of year I look back on what I’ve accomplished and wonder—yet again—why do I bother writing romance novels?
My readers number in the dozens. And most of those are friends. (Wonderful friends!)
I could probably have a very successful career as a journalist or a librarian if I dropped the novelist pretense. (I do have degrees for both.)
If I give up writing romance novels I’d have lots more time for other stuff. Fun stuff. Like kite flying. Or boating. Or acting. (Did you catch that I was in a local production of A Christmas Carol?)
And yet…the truth of the matter is, I don’t really write for readers. I write for me. I even publish for me because I like seeing my writing in book form. It’s satisfying in a weird, probably narcissistic way. But it’d be great to have more readers. It’d even be great to make a living at this thing. To be a best-selling author with Hollywood fighting to turn my books into movies. To be able to donate money to charities and take care of my family and set my parents up in a nice house, preferably closer or at least be able to get to see them more—all that is the dream.
However, as I close out my seventh year as a novelist with thirteen romance novels under my belt, I am faced with the near certainty that that’s not likely to happen.
Let’s face it, the days of the reclusive novelist who can sit at home and write and send their work out to the publishing world to sell are over. Everyone writes books these days. Actors, politicians, psychiatrists, musicians, librarians, bloggers, YouTubers—I could go on, but you get the picture.
The pipes are literally clogged with all the books all these non-writers are writing. How on earth is little ol’ non-flashy me gonna attract attention to my independently published romances with all those flashy covers “written” by all the flashy personalities taking up all that shelf space?
So, I’m turning over a new leaf in the new year. I’m working out an actual marketing plan and exploring other avenues for publishing. I’m looking at what’s worked and what hasn’t and what I’ve never tried before. And I’m kicking it all off with a newsletter that launches on January 1. If you want to keep up with what’s happening with me, you might want to sign up. Here’s a link to do that: Email list sign up.
Oh, and even if you don’t really care what’s happening with me and my career, you might want to sign up anyway since I’m giving away a $50 Amazon gift card to one lucky subscriber. Want that sign up link again? Here you go.
Studies show that buying local is important to local economies, right? More of the money you spend returns to your own local economy. Did you know buying from an independent local author has the same benefits?
Authors published by large publishing companies get much less of the profits from sales of their books. Therefore, the majority of the money you spend on a bestseller in the bookstore goes national, not local. However, if you buy a book that is independently published or published by a small press, the author gets much more of their proceeds. Therefore, more of that money returns to your local economy, growing local businesses and
True, you may only be able to find independently published books at online retailers, meaning part of your money goes to support those retailers. However, this pales in comparison to the portion of money that goes to traditional publishers. The average traditionally published authors makes, on average, a ten percent royalty, but this is on net profit, so any discounts or overhead are taken out of the proceeds before the author gets a check. So an eight dollar book does not make the author eighty cents per book sold.
By contrast, independently published authors (read self-published here), can make up to a seventy percent royalty on a book. Usually independently published books sold in ebook format online are priced much lower than traditionally published ebooks (mine range from free to $2.99). Paperbacks can be more expensive because, at the moment, they are print-on-demand, which means there are no warehouses full of my books anywhere. I keep a few on hand for promotional purposes, but basically, if you order a physical copy of my book, somewhere a press fires up and prints it off.
It’s kind of cool to think of that.
In truth, though, you as a consumer have the chance to change the way books are made. You can go into a bookstore and suggest that they carry my books. The bookstore could then contact me and we could haggle out a price, which would result in me shipping them a few copies of my books, which would then share brick-and-mortar shelf space with traditionally published books. In most cases, larger chains are less likely to do this than the independent book stores which are, sadly, becoming fewer in number.
Consumers can change that, too.
So, buy local. Chances are good that no matter what subject matter or genre interests you, there’s a local author who’s got it covered. Please feel free to list your favorite independent author’s website in the comments.
Three years ago, Ursula K. Le Guin gave an impassioned speech in which she basically implored writers to write what they wanted to write and not what the publishing industry told them to write. She asked that literature in all forms return to being considered an art form. “Books aren’t just commodities,” she said.
I’ve often wondered if I would sell out if someone offered me the opportunity to sign with a big publisher that would basically guarantee my book would be a bestseller with an awesome marketing plan and everything all taken care of—but I had to write a book the publisher wanted with the plot all spelled out for me. Would I do it? Would I sell out? Would I turn out a plastic fiction book with no soul and no art just to gain readers?
I can’t answer that question. I fear I might. It’d probably be easy enough to write if I didn’t have to come up with the plot myself. And I have a respectable backlist now. Surely I should consider that in the equation. If I gained lots of readers with my plastic fiction—readers who enjoyed my style of writing and who would then consume my other books—wouldn’t it be worth it? But then, too, I’d be feeding the plastic fiction industry that has taken over the publishing world and made it more difficult for writers to be the artists they are meant to be.
Not sure you know what I mean by plastic fiction? Oh yes, you do. It’s especially prevalent in my chosen genre at the moment. For a while it was vampire romances (which has now morphed to include werewolves and shapeshifters and lots of other paranormals). I’m not saying these are all bad. I’ve even read a few that are exceptionally good. But those can be hard to find. And then there’s the fifty-shades phenomenon that is reflected in everything from content (way more explicit than just a few years ago) to covers (haven’t you noticed the trend to monochromatic still life since Christian Grey’s silk tie?).
I think the surge in independent publishing has been a reaction to writers trying to avoid the plastic fiction publishing industry. I’m proud to be a part of that surge. I love what I write, and I love publishing my little bits of art. They aren’t the highest quality—maybe they’re made of aluminum instead of gold or silver—but they aren’t plastic, either. I know this because they come from my heart and contain bits of my soul.
In January I made the usual New Year’s resolutions: eat healthier, exercise more, etc. But I also made a resolution I had never made before. Fight fear.
Fear has held me back my entire life. I’m a timid person by nature, though I’ve overcome much of that through the love of my family. Yet still, I have more than my share of phobias. Spiders, stage fright, dentists (that’s a big one).
I haven’t overcome these phobias, but I have forced myself to face them. Just last week I smashed a spider that had my daughter cornered. In a gesture at fighting off my general timidity, I recently took the opportunity to travel with my son to Germany. And I tried out for and got a bit part in our local theater’s production of “A Christmas Carol”. So, yeah, I’m working on it.
And this morning, I went to the dentist for the first time in…a while. My teeth are still sore. Like everything, I began to draw a parallel between sore teeth and publishing a book.
When you write a novel, you bare a part of your soul, and the more covering you can pull away (just like the dental hygienist did to my teeth this morning), the better your writing will be. And just like my teeth, which are now sore and more exposed to temperature changes, so the writer’s soul becomes exposed to critics.
The temptation is to keep part of the soul covered. A thin veil. Remove yourself from the story and tell yourself it’s the characters’ story you’re telling. And while this is true to a point, the truth is, the writer is in every story she tells. And once that story is published, the writer is exposed. Perhaps this is why Emily Dickinson published less than a dozen poems in her lifetime. So much of her soul exposed through her poems might have been too much for her to bear.
So publishing is a leap of faith in our own work and our own souls. It might be ignored or disliked or even loved, but it’s bound to be painful in one way or another. With that thought in mind, I present a taste of my soul in the form of an excerpt from Movie Magic:
“What’ll it be, Cowboy?” Her eyes flickered over him in a just slightly less than shameless fashion.
“What would you recommend, Gypsy?”
The woman looked pleased that he remembered her name. “Depends. Are you just here to drink tonight, Walt, or are you eating?”
“You know I’m not going to pass up the burgers.” He leaned on the bar. “We want beer. Maybe one of those pepper beers you guys are so proud of.”
The woman raised her eyebrows and looked at Sabrina. She nodded, her appraisal obviously satisfactory. “Two ghost brews coming up.” She reached beneath the counter and with a flick of her wrist produced two bottles with a label bearing a picture of an ethereal white spirit sporting a pirate hat. She stopped short of handing it to them. “They’re on the house if you do that trick again.”
“Which trick?” Walt raised his eyebrows, trying to look innocent.
“You know which trick.” She uncapped the beer and set it in front of him.
He glanced at the beer, then back to her. “You got a glass?”
“Better than that. I’ve got a bottle of cheap beer back here. You don’t even have to waste yours.”
“What if it doesn’t work?” He looked anxious.
Sabrina laughed and Gypsy grinned at her. “I like this one. She’s got faith.”
“I kind of like her too.” Walt’s sideways grin warmed Sabrina and she couldn’t help smiling back. Walt tapped the bar. “Bring it on, Gypsy. I’m up to any challenge tonight.”
Gypsy let out a whoop that attracted the attention of everyone in the bar area. By the time she’d set the bottle of beer and a glass in front of Walt, the other patrons were crowding around. Sabrina enjoyed her front row seat as she watched Walt pick up the bottle, unscrew the top and take a swig. Then he upended the bottle on the bar with a flourish, somehow not spilling a drop. The crowd oohed appreciatively, then waited as Walt placed a coaster on the bottom of the upended bottle, flipped it back over the right way, then upended it again over the glass. When nothing happened, he pretended to be confused, peered inside for a second while Sabrina and probably the rest of the crowd held their breath, then held it over the glass again, removed the coaster and tapped the bottom of the bottle, producing a gush of beer into the mug. Walt handed the mug to Gypsy with a bow while everyone applauded.
BREATHE: Michelle Garren-Flye 