One of the most common indie mistakes: RUSHING INTO PRINT. 99% of the time the book’s not ready and neither is the author for the monumental task of being their own publicist.
BACK PUSHED AGAINST the closed door, arms crossed over his knees, Asher cocked his head up at Cam. “Why’s there only one chair in here?”
Cam leaned back in the one chair, an ankle resting on the opposite knee. “I haven’t decided if I want people parking themselves in my office.”
“I should go?”
“No. You should tell me what you want to do.”
Asher’s face scrunched up, determined. “Not lie, that’s what I want to do. Not be something somebody has to hide.”
WHAT THEY WON’T DO FOR YOU, I WILL. YOUR WAY. EXACTLY.
Kittridge Burry stared at the text. He’d been searching for a suitable Dominatrix on dating apps for months. But this text found him. More an advertisement. A solicitation.
The last line stopped him.
BISEXUAL SWITCH (M)
It was from a man. A man willing to do exactly what Kitt wanted. Only Kitt wasn’t gay. He wasn’t “bi-curious.” Not homophobic. Men just weren’t a turn-on. He didn’t want to touch one.
YOUR WAY. EXACTLY.
Maybe it didn’t matter. He didn’t want to touch. He wanted to be touched.
If you’re with a big publisher, your critique partner should be your editor. But you don’t have that. So the first lesson is the most difficult: FIND A CRITIQUE PARTNER.
This is not a reader. This is not your friend or family or guy at the bar. This has to be a writer. And besides being a writer, they have to be as good as you are – or close. Not a lot better, because that’s a teacher or mentor. Not a lot worse, they won’t have anything to offer.
I am not here to tell you how to write. But I found out a lot about negotiating the wilds of indiedom I’m happy to share with you.
Adulthood is emailing ‘sorry for the delayed response!’
back and forth until one of you dies. — writer Marissa Miller