Writing Archives - Joyana Peters

NanoWriMo: How Do WE Protect Our Most Vulnerable Authors?

NanoWriMo Young Writers Program

This post saddens me to write, as I have been a long-time supporter and participant in National Novel Writing Month challenges. You may even remember my post (here) from just last year citing the benefits of participating. I still stand by the benefits of pushing yourself to get into the habit of prioritizing writing for a month. But I can no longer say I stand by or respect the NanoWriMo organization or platform as a whole. Here is what is unfolding in this NanoWriMo controversy. (I will use the term allegedly for legal protection where necessary.)

Those of you familiar with the platform know that in addition to your own Dashboard where you create your work in progress and receive your milestone badges there are also a multitude of chat threads and forums.

Last spring, it was uncovered that a moderator of these forums was allegedly using the platform to lure teens to a fetish site that he allegedly owned which showcased content involving minors. There were also allegations made that this same moderator was approving users from that same fetish site into the forum and allowing them to engage with teen NanoWriMo users.

The story gets more upsetting in seeing how long it took for NanoWriMo staff to intervene and take action and in the lack of transparency and accountability the organization has been taking in regards to the situation.

My reasons for sharing this information are two-fold. One- I feel the writing community needs to know about what allegedly transpired and how the organization failed to respond. Especially since they offer a Young Writers Program targeting teens under the age of 18 and K-12 educators.

Two- I feel there is a larger issue here that needs to be discussed. How do we protect young writers who want to participate in writing communities? And honestly, is it even appropriate for teens to be participating in some of these adult writing communities?

Should age play a role in an authors’ journey?

This is a situation where I feel technology and its accessibility has played a role. For instance, I’m involved in a number of engagement groups on Instagram. These are all geared towards authors and bookstagrammers. But there is no limit on genre or content that participates. As a result, there are some very explicit erotica book covers and reviews being showcased.

Not long ago I saw that a thirteen year old girl was admitted to some of the groups since she had written a book. It was discussed in some of the chats that authors were uncomfortable sharing this content with her. I brought it to the attention of one of the moderators and she said she wanted to support the girl in her writing endeavors, but she did understand the concern. Eventually, the girl was removed from the group.

This is where the internet has blurred the lines. If this had taken place in an actual physical setting would we have had a sole child sitting in a room full of adults sharing this content? But with the faceless nature of online presences that incongruous distinction is easier to overlook.

I wish I could say I had an answer to this dilemma. As both a former educator and a once voracious young writer myself, I get it. Teens want support, they want to learn, they want mentorship and community. But online writing communities might not be that answer. In general, online hobby communities might not be the answer. They are too difficult to monitor and there is no way to ensure security.

Instead, look for in-person learning opportunities in your community. Check for school clubs and classes. Many local colleges offer camps and young writing programs. See below for some examples. Try entering young writer competitions- still the broader potential without the online presence.

What are your thoughts on this issue?

Follow up Resources and Ideas-

Young writers workshop

encourage a Young writer day

Washington college

Scholastic art &. writing awards

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How to Get Your Book on the Bestseller List

Once upon a time there was a procedure and specific order to everything in the publishing industry. An author would obtain an agent who would shop a book around until an editor picked it up. The book would be launched with a marketing team who would arrange for a publicity tour etc. And then they’d all wait with bated breath to see if the book would sell the magical number to get on the almighty New York Times Best Seller list. But that process has massively changed in recent years. Between self-publishing and cutbacks at traditional publishing houses an author is pretty much on their own for marketing. So in this day and age- how does a book get on the bestseller list?

Note this topic is important for both authors and readers because I want readers to also know that the best seller stamp on the cover of the book you’re shopping, might not mean what you think it means.

In the past, that New York Times best seller stamp truly meant a book was loved by the masses. It was pretty much the only list out there and was a true testament to sales in national bookstores, which were brick and mortar and the only way to get books at the time.

Today, there are obviously many more ways to purchase books, which also makes it more difficult to get an accurate count of books sold. There are also many more “best seller” lists out there. To make the NY Times Best Seller list today, a book must sell about 1,000 to 10,000 copies in a week. Big range there huh?

How Does a Book Get on the Bestseller List?

To make the USA Today Best Seller list- a book must sell about 5,000-6,000 copies in one week. Then there are the Amazon Best Seller lists which are honestly the biggest jokes of all. For one thing, they are updated every hour. So an author can take that picture and brand themselves an Amazon Best Seller after one hour of good sales. And there are a million Amazon best seller lists based on hundreds of random categorical lists. An author can winnow down an Amazon category list to the most obscure where they’re competing against only five to ten books for that bestseller status.

The other important thing to note is that all of these lists are based on a limited period of sales. Again, in the old days there was very little people could do to manipulate the sales period. We didn’t have the same newsletter lists, social media followings and book promotional tools that are available today.

But now, all you need to do is search in Google and you’ll find tons of videos and blog posts about how to get your book on a best seller list in five easy steps etc. There is collaboration and planning that goes into throwing everything you can at getting sales for that one specific week to get your book on the lists.

That one week scope has obviously been taken advantage of over the years. But it has actually been a complaint and shortcoming stemming back to the 1930s when the best seller lists launched. The list has always favored mass sales in a short period of time rather than slower, but steadier sales over longer periods. This means there have always been books that have had long-term larger sales that have never made the list

So are the best seller lists an accurate portrayal of a book’s quality? To me, I have to say no. Because of the above mentioned marketing angles, I do not see how these lists can really be the best judgment of quality.

Now I do see the potential value of aiming to get on a list. There is obviously a tempting marketing angle to that title. But it just feels gimmicky. Like a smoke and mirrors stunt for a one week span. But I’m just one person, what do you think?

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What To Know About Self Publishing Aggregators & Self Publishing Distributors

You’ve published your book, but how do you get it out for public consumption? This is where self publishing aggregators and self publishing distribution platforms come into play. If you’re scratching your head and going huh, don’t worry. I’m going to break it down and walk you through step-by-step, including how to weigh your options.

Learning the Lingo: Self Publishing Aggregators

First off, let’s start with definitions. Self publishing aggregators work to bridge the gap between authors and online retailers. Basically, they act as intermediaries between authors, libraries and all the different self-publishing distribution platforms.

What’s also nice about self publishing aggregators is they serve as a one-stop shop for you. Instead of you attempting to load your book individually to all of the vendor platforms, you can load it once to your aggregator. Many will even offer you a full dashboard to see all of the stores and places your book is available. They also display monthly sales reports, promotional options and more.

So who are some of these self publishing aggregators? You may recognize some of the biggest names like IngramSpark, Draft2Digital, and PublishDrive. I’ll get into some more detail below about the differences between them.

Learning the Lingo: Self Publishing Distribution Platforms

Now for self publishing distribution platforms. These are the actual stores or vendors who are getting your book into the hands of readers. Some of the names you will probably recognize are Amazon KDP, Barnes and Noble, Kobo, iBooks, etc.

It might feel obvious to try and get your book into as many places as possible. But before you choose an aggregator, make sure you strategize depending on your individual goals and target audience.

For instance, if you write children’s books your priority is going to be getting into school libraries and places where parents shop. You also might focus less on ebook distribution and more on print distribution.

Romance authors however, might be okay skipping this step entirely and putting their books exclusively in Kindle Unlimited where voracious readers will devour them and go from one romance book to the next and the authors get paid by the page read.

Genres are different. Target age and readership are different. These factors should all play into your decisions and distribution needs.

Aggregators and Self Publishing Distribution Platforms Strategy

So, how do you find and determine these factors? Research. Look for data and statistics. For instance, Pew Research shows that the average American reads five books a year. This number increases as adults grow older. Good to know for authors targeting older adult readers. Cozy mysteries, romances, spy novels, etc.

However, it would also be important to note that older readers are NOT the ones buying ebooks. The same Pew Research shows that as of 2023- 75% of ebooks were bought by readers ages 18-45. This is the same age group that is buying audiobooks. So if you’re writing for the 18-45 year old demographic you definitely want to make sure you’re getting your book into ebook and audiobook distribution. But if you’re targeting those older adult readers, focus on print distribution and libraries.

Comparing Your Options

With this information in mind, it’s time to look at these aggregators and determine their strengths and how to best use them. Ingramspark, for instance, is best for print distribution. But they’re not the best resource for ebook or audiobook distribution. Draft2Digital is an excellent ebook and audiobook distributor, but they’re just getting started and have limited print distribution. That’s where it might be best to use a combo of aggregators. I, for instance, use both Ingramspark and Draft2Digital to fulfill my needs.

If you’re targeting a demographic that might have voracious ebook or audiobook readers, you may want to look into an aggregator that distributes to subscription platforms. For instance, StreetLib and PublishDrive distribute to Bookmate and Scribd. If you’re not familiar with these platforms, see my blog post discussing ebook subscription services from last week.

All in all, there is some research to be done to best strategize your needs, but the tools are out there to help set you up for success. And luckily, once you decide, all that is necessary is uploading and pressing a button!

If you have further questions about any of this, or just want to discuss the best strategy for you, feel free to reach out or ask questions below in the comments. Happy Publishing!

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Writers Strike 2023 : What Do Writers REALLY Want?

The Writers Strike 2023 came up in conversation the other day as bbq conversation. This is not the first time and as things continue in their stalemate fashion, I’m sure it will not be the last. But what really struck me during this particular conversation is the misunderstanding people have about why the writers are striking.

I’m appreciative that Hollywood actors joined the picket line in solidarity. I think this was imperative for the writers to make any headway. But unfortunately, I do believe their joining contributed to the confusion about the issues at hand. They say they’re fighting for the same thing, but that’s not exactly true. All I heard from multiple people during this conversation was there was no way the writers could win, AI was here to stay. I finally asked, what do you think the writers strike is about?

Every single person answered that the issue was AI and the writers’ fear of replacement. My stomach plummeted at this response and it honestly proved my worst fears about the way the media has been covering the strike. While yes, AI is a concern that’s been brought to the table, it most definitely is NOT the chief reason the writers went on strike. And it most definitely is not why they walked away from recent negotiations and are still at a stalemate.

Working conditions for many across America have worsened. I’ve written about the abuses of mislabeling “independent contractors” in the past and how we’re being forced further and further into a gig economy that does not benefit the worker. The true heart of the Writers Strike 2023 lies in this same issue.

Your Hired! Job Title: Independent Contractor

In the past, writers were picked up to be employees on set for a show. They were employed for the full season of a show, creating sixteen to twenty something episodes. Writers were paid a living wage for all of those episodes, they also received contributions to their WGA pension fund and health insurance plan. They also received residual payments for TV reruns and movie showings.

Streaming has changed all of that. With shorter seasons with fewer episodes and content coming out constantly, all the protections of previous writer contracts have gone out the window. To avoid paying for more than the studios believe they need, they’ve opted instead to fall into the corporate abuses of the gig economy.

Instead of writers being hired as employees for a full season run, they’re now being hired as independent contractors for short gigs. Those gigs are paid with minimum hourly paid contracts. They’re pushed into writing pools, think tank rooms, where they’re forced to write an entire season’s worth of episodes over the course of a few days and then they’re dismissed. There are no contributions made to their pension or health insurance and there are no residual payments.

So, what are the Hollywood writers fighting for in the Writers Strike 2023?

They are fighting for the right to be employees. This a penultimate moment in American working history. Workers across the country are losing their employee protections by being forced to “independent contractor” status. Data from 2021 showed that an astonishing 1 in 3 workers are now classified as gig workers. This number rose to a record 51 million in one year alone. A 34% jump compared to 2020. Some of this was by choice, but many were not.

Most gig work does not pay enough to cover parental leave or health insurance. This puts gig workers at a major disadvantage to other regular employees. These numbers speak for themselves, it’s time to pay attention. If we don’t want this to be the future for American workers, we need to speak up and do something about it. The Hollywood writers are taking a stand. And man, I hope it’s enough.

What are your thoughts on this issue?

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Signs of Growth: The End of Blockbuster Names

Books and movies have always had a special relationship, so what does the end of blockbuster names in movies mean in books?

I recently watched a movie on Netflix with my husband and realized there was not a single actor or actress I had heard of in the movie. We discussed it and realized that’s happening more and more these days. I used to think it was because I’m getting older and more out of touch. But then I did some digging as I’m apt to do and found this is actually a “thing” now.

In the past there were always the gatekeepers. The content curators. The studio heads who would greenlight which few movies got made per year. Or which shows were chosen for the fall season on the main channels. We were limited on what exposure we got to content. We only got to partake in what the curators chose for us.

However, that’s all changed with streaming platforms. Movies and shows are now launched with regularity. Suddenly we can get access to almost anything. You can go down rabbit holes of niche topics and shows. Gone are the days when the curators kept us limited.

But with that constant stream of content there are less and less of those big Hollywood “stars” rising to the top with the notoriety of the past. How could they? They can no longer be cast in everything. More actors HAVE to come to the stage and play.

The same is happening in publishing. With self publishing becoming more popular and writers launching new books with regularity there is just more content out there. More content equals more competition and less opportunity to rise to the top like the John Grishams, J.K. Rowling, Stephen King and other “blockbuster” writers of the past.

So does that mean that fame and fortune is a thing of the past? Will there never be another Jennifer Aniston or Brad Pitt? Possibly.

I can honestly say I’m okay with that. This might sound surprising coming from me as a writer. Wouldn’t I want the possibility of becoming a “blockbuster” success? Yes, but so few ever got to be. Whereas, in this current oversaturated market it’s anyone’s game. How though?

It’s all about niche marketing. Think about it. As content consumers we all have our particular genres of books and films we prefer. Netflix sets up our recommended for you algorithms as does Amazon. There are also the follow buttons. You like an author’s book you can follow them on Amazon, Goodreads and Bookbub. Then you get an alert whenever they publish something new.

I do this with all my favorite authors. And as soon as I get that alert, I know to preorder the next book they have coming out. I just did this with Fiona Davis’s new book The Spectacular (was fabulous by the way) and Marie Benedict’s The Mitford Affair and The First Ladies.

There is the same loyalty garnered with these systems. Just like you’d always go see the new Julia Roberts movie, you’re continuing to follow people you like. It’s just more spread out and catered to your specific tastes.
In the long run, I feel it’s a more equitable and sustainable market. What are your thoughts on the matter? Are you enjoying the availability of more content or do you miss the days of content curators? As always, I’d love to hear your thoughts on the matter.

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AI Technology– is it the end for creators?

AI has arrived in the world of publishing. Is it welcome?

AI. Two letters that evoke such strong feelings. We have doomsdayers predicting the end of the working world as we know it. And then there are others who praise the technology as the best thing since sliced bread. So which is it?

I think there is a reason people are afraid. There has been evidence of competently executed manuscripts and artwork by this new technology. I believe it was Stephen King, who used the technology to generate an example of artwork that was spot-on for one of his potential books. The staff of sci-fi magazine, Clarkesworld, had to close submissions for their annual writing contest in January after they were flooded with AI generated submissions. But were those submissions successful? “It was “easy” to see which submissions were machine-generated,” said the magazine.

One can argue that will change in the future and people will soon be unable to differentiate as easily. But I still have to say, I don’t envision an AI program completely taking over the creator industry. Call me naive- but I just honestly don’t.

Thirty years ago the first computer beat the best chess player in the world. Everyone predicted the end of chess. Why bother anymore? And yet– my son just had over forty kids sign up for his after school chess club this past winter.

There will always be the fun in the “game” to draw people into wanting to create. And people will always still be drawn to the human element both in and behind the creation. People want someone to root for and relate to. People want to get to know the author or artist. They want to know what their inspiration was. What their thoughts, process, and difficulties were during the creation.

One can argue that’s not always the case– hence why I’ll even agree some AI generated work will most definitely enter the marketplace. But this is why I feel it will never dominate the marketplace.
Now, what I do envision happening is a divide between the creators who embrace this technology and the ones who don’t. Just like the technology in the past, those who grow comfortable and find ways to utilize it will be the ones to rise to the top.

And there are plenty of ways to utilize this AI creator technology without having it replace us. Who couldn’t benefit from gaining time by dictating and immediate editing software? Meaning in addition to grammar– it would correct awkward sentence structure and misuse of words. This alone could save hours of rewrites and drafts.

There is also AI narration. No, we do not want to replace human narrators entirely. But it is costly to use a human narrator, limiting what we can get made into audiobook format. Utilizing AI for shorter works, bonus content, sneak peek chapters etc., could greatly increase our marketing potential and library of content.

Overall, the Hollywood writers on strike are partly right that we need to examine how the technology is implemented and how it will affect writers and their pay scales. Jobs might change. But do I honestly envision an AI program writing a writer out of a job completely? No.
Instead of living in fear, let’s be strategic and discern how AI can make our lives better and more productive.

What are your thoughts on AI? As usual, I always love to hear from you. Please share below in the comments!

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