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Awakened: BBW Paranormal Shape Shifter Romance
by J.S. Wiley

Kindle Edition published 2016-01-30
Bestseller ranking: 427006

Product Description
From her curvaceous hips to her whiskey colored eyes, plus-size beauty Abagail Cole should be at the top of her dating game. But after a recent breakup with her cheating fiancé, she's never felt more like the stereotypical lonely cat lady.

So, determined to move forward and have some fun, Abagail decides to take a spontaneous trip to a local sports bar and get her buzz on. There she attracts the attention of tattooed, bad-boy millionaire Caleb Delaney, a mysterious and passionate wolf shifter who is immediately bewitched by Abagail's charms--and would do anything to claim her as his future mate.

But when a gorgeous new neighbor also catches her eye, Abagail soon finds herself torn between the affections of two gorgeous, intense love interests. And to make matters even more confusing, she's been experiencing steamy encounters with a presence in her dreams, waking up breathless and longing for more.

As she …

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Messages - Elizabeth Ann West

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Writers' Cafe / Re: What is a mid-list author in 2018?
« on: March 16, 2018, 05:15:39 PM »
So for us, we could have books in our catalog that are "midlist" that we aren't actively promoting but economically make sense to still be published. As for being a midlist author, unless we are running more than one pen name, there is no top list, mid list, bottom of the list. The list is one name: mine.

Writers' Cafe / Re: Six months to get traction when going wide...
« on: March 15, 2018, 12:33:14 PM »
Some of us chronicled our moves to wide, granted the thread was begun in 2015: http://www.kboards.com/index.php/topic,209963.0.html

But I think some things are still applicable :

You need a catalog.  > Other vendor readers are jaded and for good reason, they've taken chances on indies and since 2012 they've had favorite series etc. get yanked. And that's a fairly new concept if you think about it . . . sure there's been book store release exclusives, but eventually favorite authors and series worked their way everywhere. Since KDP Select dawned in December 2011, we've had 7 years of books going back and forth, exclusive to Amazon. And since 2011, people have predicted we would lose the other vendors in six months or a year or two years... it's been SEVEN YEARS and we have more places open to publish than we had open in 2011.

You need a strategy. >KDP Select sort of has a strategy built into it: run a countdown X days, or free, sell books and let other readers borrow it. So what does that look like when you're wide? Well, I blog chapters on my websites as my way of being that free/discount/let readers try me. That doesn't work for everyone, it works for me. It let's my marketing be a perpetual machine even when I am sick or unwell or have my hands full with family stuff. I wake up in the morning KNOWING my marketing machine is ON (low cost google adwords pushing traffic to a chapter with all the buy buttons there).

You have to be proficient in more than one storefront. > Many of us are experts in Amazon. We KNOW how Amazon sells books, promotes books, we can jump in there and know the categories etc. But what about Kobo? and BN? If you the salesperson can in one breath tell a reader the bullet points of the KU program, can you also talk about the Super Points program on Kobo? What about the how to find the featured Free and .99 books on iBooks? Do you know to message help on Google Play and ask for an author page so that then on Google when you get searched, BA BAM! you have the little extra box on the right? Do you know what categories the different stores have in common with Amazon and what they are missing and how you will adjust?

It's tougher in that there's more moving parts, and there's almost a blank canvas to make your mark. Yes, I've had Bookbubs, in 2015 I had a free feature in July, about 5 months after I went wide. I defined SUCCESS on wide for me to mean money each month that was greater than my expenses so IF anything dramatically changed on Amazon, I could still stay in business. What success being wide means for another author, I couldn't say. That's a personal thing. It could mean more money overall, it could mean a path heading for working with a bigger publisher or agent, or it could mean an insurance policy so you can stay in business from multiple income streams.

But it definitely takes a catalog + strategy + leveraging the strengths of each vendor.

We hashed this report when it came out and it was ugly. Many of always knew there was a change of the guard all the time, I'd seen it from the disappearance of big names in 2010-2012 by 2014-2015. Some got trad contracts, some change pen names (so yeah who knows of the top is the same it could be), and some rest on their laurels because their goals changed.

Anyway the long thread is around her somewhere.

Writers' Cafe / Re: Tips and Techniques for Selling In Person
« on: March 12, 2018, 01:37:10 PM »
The one handselling thing I did I had balloons and a costume and bookmarks and "wedding favors" to give out. We folded over 100 golden boxes with candy in them and gave them away. I stood in front of the table and greeted people and complimented them to get them to talk to me. I began every conversation NOT SELLING BOOKS because then it eventually led to them asking about my books.

I made $80 in 2 hours, which was all the time we had for the author signing event.

I agree that at those kinds of events you need to stand out and anything you can do to attract people to your table and KEEP THEM THERE with like a little game of chance or something to make a bit of a crowd gather, it will attract other people.

Writers' Cafe / Re: AI will write a best-seller by 2049
« on: March 04, 2018, 06:02:59 PM »
Even when I WAS a voracious reader in my early 20s, I was an anomaly in my peers. Like at a dinner out, I was the only one with a paperback.

I don't think the reading for pleasure population has ever been a majority.....

Also, so far none of the other ways to enjoy a story (movies, video games, TV shows) have eradicated the book. We'll be okay.

No attorney change I am aware of. When all of us got named as cross complaints the game changed so to speak. Federal laws, according my lawyer, are much tougher on anti-slapp.

All of that is moot though and it was just a possible strategy early on when my lawyer and I were trying to get an idea on what the best course of action was. Even if we could have requested a move to federal court, I don't know that we would have or that it would have been granted. And it is more complicated because what might have been best for me might not be best for others.... These are all welcome consequences I am sure of naming all of us in the first place.

Bottom line from my limited experience... This is all an exercise in who has the deepest pockets. As your publishing company grows, keep money aside for legal fees. For sure.

Bill did, he was one of the authors named presumably because he was a California resident, there isn't the ability to quash based on improper venue if you live in California. Also, naming some California residents in the cross-complaint prevented any of us named from asking it to be moved to federal court which is what my lawyer wanted to do initially, until he realized we couldn't do that because there were California residents named too.

I think starting with some standards isn't a bad thing. I think OUR community would be wise to start something like this, standards of things we know from experience.... like on co-writing.

I see good co-writing setups and setups I wouldn't wish on my worst enemy... vague things that do not define what are "upfront costs" and exactly what costs and when come out of the royalties etc. Some people ARE doing co-writing ethically and awesomely. And other stuff . . . . well by this summer I predict we will start to see some fall out from the more slapdash set up shared world/cowriting/one person writes the other person does marketing and business decisions etc.

Then again... no matter what industry standards there are out there, people with a dream getting told they're just one credit card swipe away from having it all will often do exactly that. Swipe away.... because our brains aren't wired well to assess risk and probability of failure when given success stories and promises of wealth.

Gee, do you think we should warn the judge about quoting song lyrics?  ;D

(For anyone too young to know, the judge was quoting from the Beatles' "Paperback Writer.")


Does the Fair Use doctrine cover legal decisions? Hmmmm... that's a very good question. LOL.

Writers' Cafe / Re: Price Matching to Free via D2D
« on: February 24, 2018, 10:28:01 AM »
And D2D when they reopened Amazon distribution shared that part of their deal with Amazon is no permafree. :(

You look at how difficult it is to get to the free part of the store (can't even get there on mobile) you can see Amazon is doing their most to slowly take away that tool from non KDP Select participants.

Writers' Cafe / Re: NEW TO KBOARDS - Looking for Writing Sprint Spreadsheet
« on: February 16, 2018, 06:03:26 AM »
I highly recommend pacemaker.press for tracking progress and having it automatically adjust as you go ahead or fall behind. It's free for 2 projects.

As for sprinting, I keep track in my planner. Minutes and words yieldrd on transcription. I also set my phone for 10 minute alarms to edit that up so I have an accurate picture of how long it takes to produce prose ready for a copy editor.

Then I put it in a spreadsheet. But now I'm just using pacemaker. And I only add words when they are edited vs raw dictation.

The best of luck to you Susan. I hope your outcome is the same as ours. HUGS

As someone who has had their name, and still has their name on the very public paperwork, the smart approach is to take all bites at the apple that you can. Because if you don't, and on any given sunday things don't go your way in court, you can't get those other chances back.

I don't fault ANYONE from taking every opportunity to defend themselves on these allegations. Because even an anti-slapp is not guaranteed, not an automatic reimbursement of legal fees. Collection is a whole new expense entirely.

Am I understanding correctly that the argument is "bookstores in California sell her book, therefore she does business in California"?

I believe so. I worry the judge will get confused that these listings are somehow signs that we interact directly with these bookstores... it's just a metadata feed from ISBNs. The bookstore says "Oh yeah, we can get that book by that obscure author you know, we can special order it for you...." and more recently, Amazon opening up the 3rd party vendor listings to compete directly with the Amazon links...even though we all know there's no actual book in stock, becuase we've had not sales through Createspace, the company actually doing the business with the independent bookstore.

Opposition to Stec's motion to quash. Different arguments than what was used against me and Wayne. In my opinion, it's troubling to me they're now trying to use 3rd party vendor listings as proof of business in California when we all know those are just that bookstore doing business with Amazon and Createspace, not us.


Writers' Cafe / Re: 1 Week Training My Dragon
« on: February 09, 2018, 02:29:43 PM »
Usually by the time you change laptops, a new version of Dragon is out anyway.... but yes, you would have to re-download the software and train it. I'm sure there's some way to transfer over the profile etc. but I've never done it.

TBH, it's pretty darn accurate out of the box these days. I don't even train my MAC one anymore. I just plug in the MP3 recorder and go transcribe and like magic, there are words.

I keep track of my sessions, how long, how many words how long to edit and final word count. Dictation is most often vomit draft for me. I average 1,000 words per 20 minutes. Then I will edit that up and add to it, usually ending up with between 125-165% of the original words.

So 1 hour of dictation + 1 hour of editing that equals about 4000 words ready to go to my copyeditor and post as a chapter to readers to find snafus. I'm on the slower side these days as I have my hands full with homeschooling (somethign i was NOT doing back in December 2014) and a high school senior. But, 2 hours a day is about what I get to work, so it could still allow me to do a novel a month.

Right now I'm experimenting with writing 2 genres at once and using Pacemaker to keep life interesting. I don't LIKE to hit the same word count goal day in and day out.

As for getting the hang of dictation, I would say test out Google Docs dictation. And try dictating your TEXTS. Yep, all smart phones now have the microphone. But really, the BEST speeds come from recording an MP3 file and transcirbing it. When I'm on my game and continuously dictating, I can get to speeds of 2,000 words in 20 minutes. But I have a BAD BAD habit of going days of not writing that I'm trying to fix, and it's harder to dictate when you aren't loose with it.

Writers' Cafe / Re: 1 Week Training My Dragon
« on: February 08, 2018, 05:37:54 PM »
3 year later. I'm still dictating and slaying with Toothless. How is everyone else doing?

Oh and paired with Pacemaker's random word count generator, writing is back to being a GAME for me. GOOOOOOOOOAAAAALLLLLLL


Writers' Cafe / Re: I can't get my book classified as Teen & Young Adult
« on: February 07, 2018, 01:32:09 PM »
Try emailing kdp support and specifically request categories. :)

Writers' Cafe / Re: Pronoun - anyone making progress with payment?
« on: February 03, 2018, 04:36:51 PM »
I've been paid all owed monies as well, last one was Feb 1.

Writers' Cafe / Re: Google Play Publishing W2s
« on: January 30, 2018, 11:29:18 AM »
It should be 1099. Not a W2

When I first started at Kboards, there were lots of threads I came on as a greenhorn and was like "Nu-huh!" to the people with decades of experience in publishing, "this (unicorn of an idea) is DIFFERENT!"

Sadly, I was wrong. Things are NOT different just because we now have mass digital distribution. The only thing has changed is the reach of individuals in the publishing world. But bad contracts, slippery terms, and disproportionate work amounts are intrinsic to our industry. We put on blinders saying it's only about the money today when deals are made between indies with zero consideration to the value of the IP in 15 years, 20 years from now. Here are some hypotheticals to think about:

Newbie Author gets an offer from Established Author to write 3 books in a storyworld Established Author owns and will run. "Don't worry," says Established Author, "I will pay for the editing, covers and publish and manage advertising, all you have to do is WRITE." Newbie Author goes "Where do I sign up?" Established Author goes "Oh, well, you know, this is going to be a huge deal... I need to make sure people are serious about this, so there's a small startup fee of $500 BUT you will get that back FIRST in the royalties, you can't lose!" Newbie Author goes "Oh, that's so reasonable! Totally! But I don't know, $500?" Established Author goes "I know it's a lot, but listen I really like you and I really want to work with YOU. I can't really hold this spot for long, so if this isn't right for you right now.... I understand. I'll let the others who want your spot know." Newbie Author "No! No! I'll find the money, don't worry! I am serious, I want to do this!"

This is a combination of a number of things that have been shared with me privately that I have given my personal opinion on. But let's play, HOW WILL THIS GO!

Outcome possibility A: everyone wins! yep, there was a smart contract at the beginning that specifically outlined what happens to every derivative right including film, videogames, new formats we have yet to dream up, audiobook, print, hardcover, braille, large print, dramatic arts, if a screenplay is getting shopped, if an agent is coming in etc. Both Newbie Author and Established Author high five each other when they go to writer conferences as being the smartest people in the room, everyone told them it couldn't be done, but they DID IT.

B: There was a lot of money made but Newbie Author realizes Established Author kept coming up with expenses with why he or she couldn't get paid.

C: There was NOT an ironclad contract, and litigation broke out over later rights to the property.

D: Newbie Author completes his or her commitment to the project, walks away, breaks out on the NEXT project they do alone. Established Author starts running around in writer groups claiming credit for teaching that Newbie Author all that he knows. Newbie Author is stewing, because in their opinion, Established Author taught them everything NOT TO DO. Newbie Author doesn't want to speak the truth and come off as a jerk or risk legal ramifications. Takes the high road. Whole new generation of Newbie Authors are now lined up to work with Established Author.

E: The project fails. Established Author tells Newbie Author "you just weren't good enough." Newbie Author now has no confidence to even keep going.

and so on.


This is why I am hesitant on collaboration that is NOT developed from a previous business relationship. Are there authors I would work with? You betcha, because I've done promotions or other things with them for years, known them professionally for YEARS, chatted with them on the phone etc. And we all know there are authors I would never work with.... in the first place or again.

Yeah, again. When I was a newbie author, I, too, believed people who seemed more advanced than me that I had to "pay my dues" and work for them for FREE and learn the ins and outs. I suppose that's better than paying for the privilege, but I paid later on. I know the PAIN of someone who is top 100 in the whole store who when things don't work out, sabotages your marketing efforts and makes sure to tell you that your writing isn't up to par. It's crushing. I moved sideways into author marketing, but I didn't write for 3 years.

If you are in a collaborative situation and feel it's Outcome A above, hold onto it. I have a woman I've known in this business for 6+ years that is my ride or die friend. She's the person I have down if anything happens to me, hubby needs to call her and she will walk him through what to do with the books. And I'm that person for her. It was accidental we started working together, and neither of us made the other feel "now or never, I can get someone to replace you" on any project. I would say that's a huge red flag if you are in a situation and you feel replaceable.

If you are getting angry that some of us are pointing out the pitfalls of collaborations and how often they go badly, I am so sorry. Because it makes me wonder if deep down you know you have some of this negative side going on in your situation and you don't know what to do about it. My suggestion is to always walk away as professionally as possible and cut your losses. It's hard to do, but please know that many of us have been there and done that, you aren't alone. :) 

There have been companies that come and gone that have tried to do the whole "team" publishing thing. Ultimately, people figure out they are NOT doing anything new but being a publisher and as such they either start acting like a publisher or get in trouble with keeping the cash flow going (when you do not do things in established ways in publishing it becomes very easy to rob Peter to pay Paul until the music stops and the company goes out of business).

I personally would not allow anyone to be between me and my royalties unless it's money I'm willing to give up if it's embezzled or otherwise mismanaged or the company is a corporation (not LLC) with an extensive track record. Creatives are the last paid when debts are settled.

There are reasons authors started taking advances...because typically the whole "let's make money together" plan never matches risk and work input as in publishers put in the lesser of the upfront work on a book on the expectation they have more work later in managing the property....when a book fails though a publisher can cut their losses and the author still has the advance.

There was a Washington based company that used to arrange publishing teams and they were a good way to get noticed by Amazon imprints early on. They dissolved I think two years ago putting all those authors in a mess of reconciling the buyouts with their editors and cover artists that we're getting a percentage...

I really would not recommend in a blanket fashion cowriting to new authors. Their greenness puts them behind the eight ball in negotiating a fair deal in compensation and work balance from a lack of experience. Pretty much any deal you can't walk away from because you need it is almost exactly the kind of deal you will come to regret. And when people make bad business decisions they don't shout it from the rooftops, they quietly slink away and cut their losses. There will always be a disproportionate amount of positive "this is wonderful" in publishing opportunities because no one wants to admit when they messed up and run the risk of legal fallout to defend just speaking the truth. This is why right up the day before a publishing company or promotional company closes their doors, it's almost always something no one saw coming.

You had books in Top 100 Overall in Amazon and still made less than your day job?!!!?  :o Is this right? I thought you had to sell thousands of copies a day to get in the Top 100 overall

You can also sell 1,000 books over a month at $4.99 and make the same $3500 but never break into the top 100 on Amazon. Or at $9.99 and make $7000.  And in both of those scenarios, it is unlikely that money is pure profit either, it's gross revenue before covers, editing, expenses, and taxes. Just $3000 after federal self employment taxes in the US (15.3%) is $2541. That's equivalent to a 40 hour work week in a month at $15.81 an hour.

That was another thing about collaboration that I forgot to mention.... unless it's doubling output it could end up being just as much "work hours" because you have the added communication with a team or partner and splitting the proceeds vs. making the same sales on a project you do yourself to take to market.

I've done boxed sets before and other collaborative type stakes in projects with people I've worked with for years and sometimes it's just a good thing to have an additional revenue stream. But I think if 2018 is pushed as the year to get into a shared world or collaborative project as a movement, more people are going to go into that with the mindset of "this should be less work for me," which is like every darn group project in school. :)

"When I die, I want my pallbearers to be all the people I had to do group work with in school, so they can let me down one last time." :) :)

Out clauses and windfall clauses. Who owns what in derivative rights? In a shared story world, if book one is picked up for a movie or series, are co-authors later in the shared world entitled to compensation? Perhaps you may think we'll of course not but yet an argument could be made a Book 1 is only made more popular the more and more books are added to a series... Etc.

I made naiive mistakes early in my author career with people who did not see me as a colleague but an intern. Yet I taught them and helped them in their careers... I hear second hand too many slap dash collaboration deals all because it is the buzzword du our like writ to market was last year. I would say get a lawyer to look over all contracts, HAVE a contract and during your elation of feeling like "wow this big name noticed me and wants to work with me squeee" feelings consider how it will feel of this person you admire and look up to devastated you in a professional split up. Not speaking about a specific person here, Russell Blake I've known since 2011 he's very good people, but there are others out there that will smile and play you with pretty compliments and twist a knife in your back the second a better gullible person, I'm sorry, opportunity, comes along.

Finally, in my experience the algorithms in a collaborative effort favor the lager names in the arrangement, not bring up the lower name up. Check for yourself, without looking it up, name three James Patterson collaborators. :)

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