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Slush I Read by Jim C. Hines

Laughs are lovely. I just came across this wonderful parody by novelist Jim C. Hines which will give you a few for free. Enjoy!

Slush I Read
by Jim C. Hines

(Apologies to Seuss)

I read slush.
Slush I read.

That slush I read.
That slush I read!
I do not like that slush I read.

Do you like fanfic with vamps?

I do not like them Mary Sue.
Why do these vamps all worship you?

Here’s a tale from D & D!

I do not want your D & D.
I do not like your elf PC.
I can not stand your purple prose.
I want to punch you in the nose!

Would you like a hot sex scene?
I wrote it for my online ‘zine!

Go to Hines’ site and read the rest right now

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  • Slides for my LDStorymakers Presentations

    I loved attending the LDStorymakers conference this year. It was awesome, fun. I chatted with old friends and met new ones.  Got (stole) a great story idea from Donald Carey, the Conference King. Enjoyed Provo–love the weather down there this time of year! Attended some great presentations on writing. Gave some that seemed to help a number of folks. It’s a special delight to deliver a presentation that both entertains and helps. Furthermore, my family came down with me. So I got to hang out with them in the evenings. My daughters sneaked into the mass booksigning and got autographs from some of their favorite authors.  They were giddy with delight.

    It was bliss.

    I also worked with Isaac Stewart on a mock up of the new cover for SERVANT, and dude. DUDE.  If we can swing it, the covers for the Blacksword Books version are going to rock.

    Anyway, I promised many people I would post my presentation slides here. Here they are in PDF format:

    Vivid and Clear

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    And for those of you in the Story Turns class wanting that fine car chase clip, here it is!

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  • Generating Story 13: The Scene Primer with Author Laurel Amberdine

    Laurel Amberdine was raised by cats in the suburbs of Chicago. She’s good at naps, begging for food, and turning ordinary objects into toys.  Having escaped the terrible weather of Chicago, she is now delighted to call San Francisco home. For many years she read a novel every day, until she got married and realized that her new husband didn’t enjoy being completely ignored in favor of fictional people. She’s working on writing science fiction and young adult novels herself now, and hopes you get to read them soon.

    I hope you get to read them soon as well. Until that glorious moment, Laurel has a fabulous tool to share with you writers. And I know it’s fab because I use it.  If you look at the text tools section on the my Story Development Framework, you’ll see that The Scene Primer is one of the tools I’ve found useful in helping me bring enough of the scene to life in my mind that I can draft it. I’ve used various bare bones versions of this for a few years now, but then I was on a forum where Laurel explained her “Template.”  And I immediately knew it would be a useful tool for me. Here’s what she had to say.

    Laurel

    While working on a complicated science fiction novel a few years ago, I found myself stuck looking the blank page with each new scene. I had already outlined the story and knew generally what was supposed to happen, but the setting was alien and the characters were strange. There was so much specific detail to figure out simultaneously, I was paralyzed. I couldn’t start.

    But I realized I did know some things, just not enough to write a new scene from the beginning. So I created a template, where I could fill in the bits I knew, and think about the bits I didn’t yet know in a simple, no-pressure way. After all, I wasn’t really writing yet, just making notes.

    The template asks enough questions that if I fill it all in, I know exactly how to write the scene. But most of the time I don’t have to fill out the whole thing. I just work at it until I know what I want to write. It’s not a worksheet; it’s a tool to get started. Once I am ready to begin, I cut and paste the template and answers over to a notes section, and get writing. Most of the time I don’t even look back at it.

    The template got me through that novel, and I continue to use it. I’ve refined the categories I use, and even discovered that I can improve my writing by adding template entries to cover aspects where I’d naturally slack off. Like, I often focus so tightly on plot that I skimp on showing a character’s emotions or unique behavors. Well, now I just put it in the template and make sure to figure that out too! Works great.

    Here is the current version:

    Summary:

    Opening/transition:

    Current Situation:

    Theme song:

    Setting, and significant details:

    Time span/transitions:

    Next big crisis or turning point:

    Foreshadowing:

    Background/worldbuilding details:

    Desired effect in reader:

    Events:

    Sequence:

    Emotions:

    Character’s unique reactions:

    Ending hook:

    Other notes:

    The colors encourage me to fill it out, because it’s pretty once it’s done. The “Summary” is what would go on a note card. In Scrivener, I just paste that onto the note card once I have it (or from the note card if it’s already filled out).

    “Events” and “Sequence” almost always wind up being the same thing, but sometimes I don’t know what order things happen in, so I fill in “Events” first.

    I listen to music while I write, and often a certain song seems to fit the scene. If I find one that does, I list it under “Theme Song.” This can be helpful when revising, because I can put the song on and get right back into the feel of the scene.

    The hardest part for me is almost always the opening line.

    John Sez

    After reading Laurel’s post on that forum, I immediately tried applying the idea to the current novel I was drafting.  I’d done sketches of the scene in my own way, but never with a list of questions to prime my thinking. That day I started a new chapter, but before I began to do my initial sketching, I took Laurel’s idea and tweaked it to my taste, coming up with my own “Template” that I call a “Scene Primer” or “Sketch Primer,” then let it direct my sketching.  It worked like a charm.  After answering five or six of the questions, I could see enough of the scene detail to begin to write.  Here’s my current version.  I’ve used it a number of times since that first day, and it’s always proved helpful.

    When starting to write a new sequence or scene, start filling these out UNTIL it comes alive and you can write. (That is my note to self.)

    WHERE ARE WE?

    • Transport: general, dominant impression then specific
    • Setting tags
    • Sights, sounds, smells, textures, tastes? 3s2t
    • Fun, cool, weird, odd, particular details
    • Time, sun, weather, etc.
    • Background or world building details?
    • Fun & cool stuff?
    • Surprises, different, twists?

    WHO IS HERE?

    • What’s the situation for each character?
    • Goals
    • Who is driving this scene?
    • What is the concrete objective for him/her?
    • What the concrete objective of other characters?
    • Motives?
    • Character transport: general, dominant impression then specific
    • Thoughts?
    • Tags?
    • Fun & cool stuff?
    • Surprises, different, twists?

    WHAT STORY LINES WILL HAVE BEATS HERE?

    • Progress or trouble?
    • Points of conflict?
    • Obstacles?
    • Fun & cool stuff?
    • Surprises, different, twists?

    OTHER OBJECTIVES AND THOUGHTS?

    A few things to note. First, like Laurel, my goal isn’t to fill in all the blanks.  My goal is to bring the scene to life in my mind in enough detail that I can write.  So I don’t fill out every blank. I use the tool to stimulate my imagination. It’s like using a match to light a candle on a birthday cake–you only use it until the candles are all burning, then you wave it out and set it aside because it has done its job. The goal isn’t to burn a match, but to light the candles.

    Second, there’s no one right version of this. My version is different from Laurel’s because she and I have different work habits and think about stories in slightly different ways. For example, sometimes I listen to music when writing, but most of the time I don’t. Maybe some day I’ll start using theme songs. But I know a lot of other authors who DO find music helpful.

    So who’s right?

    No, stop asking that question. That’s the wrong question. Music is a tool.  A tool can’t be write or wrong.  It can only be helpful or not helpful. If you find theme songs helpful, then use them. If you don’t, then don’t.

    Third, this is yet another example of the general creative principle of developing in iterations. Think of painters.  They will usually start by sketching.  The sketches are, by nature, rough and incomplete.  They’ll sometimes create a number of sketches. Some of what they sketch might make it into the final painting. Some of it may not.  At some point in time, they feel they have enough of the image (feel, composition, subject, etc.) in their minds to start applying paint to canvas.  So they’ll rough in the subject on the canvas and then began to paint in the details.

    It’s the same with writing. You start with a rough, incomplete idea. You sketch it out, inventing as you go.  Maybe you sketch the whole thing or just parts.  Then you go back and build up more detail, adding by degrees until you have enough character, setting, problem, and plot in your mind that you can form the story.

    For example, I recently sat down to write chapter 22 of my current novel. Here’s what I had on the outline (which is simply one type of sketch) :

    Recon

    1. Summarize wal-mart purchases etc.
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    3. Carmen or Pinto calls in—someone’s coming
    4. They’re dressed up as utility guys
    5. See her coming in the field. Not at the house. They wave her down or something

    Can you see that scene well enough to write it?

    No. Neither could I.  I knew roughly what would happen, but I couldn’t write anything because I couldn’t see anything.  Where was the house they were going to recon? What did it look like? What kind of security did they have?  Was it in a neighborhood or out in the country?  I only had the most general idea of character, setting, and plot. So I turned to my Scene Primer and started answering the questions.

    800 words later, I’d sketched out the scene and had enough detail in my mind that it had come to life. I used a lot of what I developed in that sketch. But there was some, by the time I finished my draft, that I didn’t use.  Why? The draft was another iteration of the story. And in that take, things changed and I didn’t need it. But it wasn’t wasted effort because it helped me get to the point where I could draft.

    The Scene Primer is an excellent tool to help you build up the detail when you’re starting to draft.  Give it a try to see if it’s useful to you.

    BTW, Laurel and I aren’t the only ones using the primer. Author Maya  Lassiter is also using it to good effect in her new writing experiment.  See, Maya is a pantser who is “sick of the wretched groping around in the dark” that comes with a seat-of-the-pants writing method. She decided to try to see if she could learn to use some tools to help her invent some of her story before she begins to draft. You can read about her decision in “Can a Pantser Become a Plotter?” Then come back because Maya is going to share a post here in which she describes her new method and some very promising results.

    For more in this series, see How to Get and Develop Story Ideas

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  • Good Stuff! The Highwayman by Alfred Noyes

    Alfred Noyes (1880-1958) wrote poetry that thundered and sang. It’s the kind of stuff that begs to be read aloud. And I want to share with you one of my favorites–“The Highwayman.” I love it for the sound, the story, and the awesome images (note all the color).

    All you need to know is that back in the 1600s and 1700s, a highwayman was a robber, often on horseback, who held up travelers. And that when it mentions “priming,” it’s talking about the charge of powder used to ignite a musket.

    For maximum pleasure, let me suggest you start Loreena McKennitt’s killer ballad version I’ve embedded at the end, then scroll back up and read along as she sings.

    THE HIGHWAYMAN
    By Alfred Noyes

    The wind was a torrent of darkness among the gusty trees.
    The moon was a ghostly galleon tossed upon cloudy seas.
    The road was a ribbon of moonlight over the purple moor,
    And the highwayman came riding—
    Riding—riding—
    The highwayman came riding, up to the old inn-door.

    He’d a French cocked-hat on his forehead, a bunch of lace at his chin,
    A coat of the claret velvet, and breeches of brown doe-skin.
    They fitted with never a wrinkle. His boots were up to the thigh.
    And he rode with a jewelled twinkle,
    His pistol butts a-twinkle,
    His rapier hilt a-twinkle, under the jewelled sky.

    Over the cobbles he clattered and clashed in the dark inn-yard.
    He tapped with his whip on the shutters, but all was locked and barred.
    He whistled a tune to the window, and who should be waiting there
    But the landlord’s black-eyed daughter,
    Bess, the landlord’s daughter,
    Plaiting a dark red love-knot into her long black hair.

    And dark in the dark old inn-yard a stable-wicket creaked
    Where Tim the ostler listened. His face was white and peaked.
    His eyes were hollows of madness, his hair like mouldy hay,
    But he loved the landlord’s daughter,
    The landlord’s red-lipped daughter.
    Dumb as a dog he listened, and he heard the robber say—

    “One kiss, my bonny sweetheart, I’m after a prize to-night,
    But I shall be back with the yellow gold before the morning light;
    Yet, if they press me sharply, and harry me through the day,
    Then look for me by moonlight,
    Watch for me by moonlight,
    I’ll come to thee by moonlight, though hell should bar the way.”

    He rose upright in the stirrups. He scarce could reach her hand,
    But she loosened her hair in the casement. His face burnt like a brand
    As the black cascade of perfume came tumbling over his breast;
    And he kissed its waves in the moonlight,
    (O, sweet black waves in the moonlight!)
    Then he tugged at his rein in the moonlight, and galloped away to the west.

    He did not come in the dawning. He did not come at noon;
    And out of the tawny sunset, before the rise of the moon,
    When the road was a gypsy’s ribbon, looping the purple moor,
    A red-coat troop came marching—
    Marching—marching—
    King George’s men came marching, up to the old inn-door.

    They said no word to the landlord. They drank his ale instead.
    But they gagged his daughter, and bound her, to the foot of her narrow bed.
    Two of them knelt at her casement, with muskets at their side!
    There was death at every window;
    And hell at one dark window;
    For Bess could see, through her casement, the road that he would ride.

    They had tied her up to attention, with many a sniggering jest.
    They had bound a musket beside her, with the muzzle beneath her breast!
    “Now, keep good watch!” and they kissed her. She heard the doomed man say—
    Look for me by moonlight;
    Watch for me by moonlight;
    I’ll come to thee by moonlight, though hell should bar the way!

    She twisted her hands behind her; but all the knots held good!
    She writhed her hands till her fingers were wet with sweat or blood!
    They stretched and strained in the darkness, and the hours crawled by like years
    Till, now, on the stroke of midnight,
    Cold, on the stroke of midnight,
    The tip of one finger touched it! The trigger at least was hers!

    The tip of one finger touched it. She strove no more for the rest.
    Up, she stood up to attention, with the muzzle beneath her breast.
    She would not risk their hearing; she would not strive again;
    For the road lay bare in the moonlight;
    Blank and bare in the moonlight;
    And the blood of her veins, in the moonlight, throbbed to her love’s refrain.

    Tlot-tlot; tlot-tlot! Had they heard it? The horsehoofs ringing clear;
    Tlot-tlot; tlot-tlot, in the distance? Were they deaf that they did not hear?
    Down the ribbon of moonlight, over the brow of the hill,
    The highwayman came riding—
    Riding—riding—
    The red coats looked to their priming! She stood up, straight and still.

    Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
    Nearer he came and nearer. Her face was like a light.
    Her eyes grew wide for a moment; she drew one last deep breath,
    Then her finger moved in the moonlight,
    Her musket shattered the moonlight,
    Shattered her breast in the moonlight and warned him—with her death.

    He turned. He spurred to the west; he did not know who stood
    Bowed, with her head o’er the musket, drenched with her own blood!
    Not till the dawn he heard it, and his face grew grey to hear
    How Bess, the landlord’s daughter,
    The landlord’s black-eyed daughter,
    Had watched for her love in the moonlight, and died in the darkness there.

    Back, he spurred like a madman, shouting a curse to the sky,
    With the white road smoking behind him and his rapier brandished high.
    Blood red were his spurs in the golden noon; wine-red was his velvet coat;
    When they shot him down on the highway,
    Down like a dog on the highway,
    And he lay in his blood on the highway, with a bunch of lace at his throat.

    . . .

    And still of a winter’s night, they say, when the wind is in the trees,
    When the moon is a ghostly galleon tossed upon cloudy seas,
    When the road is a ribbon of moonlight over the purple moor,
    A highwayman comes riding—
    Riding—riding—
    A highwayman comes riding, up to the old inn-door.

    Over the cobbles he clatters and clangs in the dark inn-yard.
    He taps with his whip on the shutters, but all is locked and barred.
    He whistles a tune to the window, and who should be waiting there
    But the landlord’s black-eyed daughter,
    Bess, the landlord’s daughter,
    Plaiting a dark red love-knot into her long black hair.

     

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  • 2 Great Cook’s Country Recipes

    Yeah, I know–I should be writing. But I promised you two wonderful recipes from my experiments with the Cook’s Country June/July 2011 issue. There were a whole bunch of other recipes we tried that worked out well, but these were our favorites and good enough to get me to subscribe.

    By the way, I found these recipes were not only tasty, but they were great to do on a date (in this case, with my daughters). Why just eat when you can enjoy the time together as well?  Besides, two people working together make these recipes a breeze.

    Chocolate Eclair Cake

    Chocolate, vanilla pudding, whipped cream, and graham crackers–baby, is this good!  I found I liked the cake best with HALF of the pudding and whip cream mixture. You’ll see the half amounts in parentheses. That way I got a taste of the pudding, graham, and ganache in every bite. The directions make it look like there’s a lot of steps, but they all go quickly.

    INGREDIENTS

    Pudding Mixture

    • 1 ¼ C sugar (1/2 + 1/8 C)
    • 6 T cornstarch (3 T)
    • 1 tsp salt (1/2 tsp)
    • 5 C whole milk (2.5 C)
    • 4 T unsalted butter cut into chunks (2 T)
    • 5 tsp vanilla (2.5 tsp)

     Whip Cream Mixture

    • 2 T water (1 T)
    • 1 ¼  tsp unflavored gelatin (1/2 + 1/8 tsp)
    • 2 C heavy cream (1 + ¼ +1/8 C)

    Graham Crackers

    14 ounces of Nabisco Honey Maid graham crackers

    Ganache topping

    • ¾ C  heavy cream
    • 1 C semisweet chocolate chips
    • 5 T light corn syrup

     DIRECTIONS

     Make Pudding

    1. Combine sugar, cornstarch, and salt in large saucepan
    2. Wisk milk into sugar mixture and bring to boil over medium-high heat, scraping bottom with rubber spatula.
    3. Immediately reduce heat to medium-low and continue to cook and scrape until thick bubbles appear on surface, about 4-6 minutes
    4. Take off heat and wisk in butter and vanilla.
    5. Transfer hot pudding to large bowl and place plastic wrap directly on surface.
    6. Refrigerate for about 2 hours until cool.

     Make Whip Cream Mixture

    1. Stir water and gelatin together and let sit for 5 minutes.
    2. Microwave until gelatin dissolves and mixture gets bubbly around the edges, 15-30 seconds
    3. Whip 2 cups of cream on medium-low for about 1 minute, until foamy.
    4. Increase to high and whip for 2 minutes, until soft peaks form
    5. Add gelatin mixture and whip for 1 minute, until stiff peaks form

     Combine Pudding and Whip Cream Mixture

    1. Wisk one-third of whipped cream into chilled pudding.
    2. Fold remaining whipped cream into pudding.

     Layer Pudding Whip Cream Mixture with Graham Crackers

    1. Line bottom of 13 x 9 inch baking dish with a layer of graham crackers. Break and cut crackers if you have to.
    2. Top the bottom layer of crackers with ½ of the pudding whip cream mixture
    3. Place another layer of crackers over the pudding.
    4. Top that layer with the rest of the pudding whip cream mixture
    5. Place one last layer of crackers over the second layer of pudding whip cream mixture

     Make Ganache and Pour Over

    1. Microwave chocolate chips, ¾ C cream, and corn syrup in bowl 1-2 minutes, stirring occasionally.
    2. Cool for 10 minutes to room temperature
    3. Cover top layer of graham crackers with glaze
    4. Refrigerate cake for 6 – 24 hours. Then serve.

     

    Dill Potato Salad

    A potato salad with a perfect dill zing. Everybody in the Brown household loved this. Super wife especially loved it because she does not like eggs. Please note that there’s fresh dill used in all three parts. So when you shop, make sure you get enough for all three.

     INGREDIENTS

     Dill Vinegar

    • ¼ C white wine vinegar
    • 1 T minced fresh dill

     Boiling Mixture

    • 1 disposable coffee filter
    • ½ C coarsely chopped dill leaves and stems
    • 3 pounds Yukon Gold potatoes (don’t get any other type), peeled and cut into ¾ inch pieces
    • 1 T salt

     Dressing

    • ½ C mayonnaise
    • ¼ C sour cream
    • 1 T Dijon mustard
    • ½ tsp salt
    • ¼ tsp pepper
    • 2 T minced fresh dill
    • 3 scallions (green onions) green parts only sliced thin

     DIRECTIONS

     Make Dill Vinegar

    1. Combine vinegar and 1 T minced dill in bowl and microwave until steaming, 30-60 seconds
    2. Cool at room temperature for 15-20 minutes

     Boil Potatoes

    1. Place chopped dill inside disposable coffee filter and time with thread.
    2. Put potatoes, dill sachet, and salt into large pot with enough water to cover the potatoes by 1 inch.
    3. Bring to boil on high heat then reduce heat to medium and simmer until potatoes are tender, 10 minutes

     Cool and Soak Potatoes

    1. Drain potatoes thoroughly and throw away dill sachet
    2. Drizzle 2 T of the dill vinegar over hot potatoes and gently toss until evenly coated
    3. Refrigerate until cooled, 30 minutes. This allows the Yukon potatoes to suck up the dill vinegar.

     Make dressing and Combine with Potatoes

    1. Wisk mayonnaise, sour cream, remaining dill vinegar, mustard, salt, and pepper until smooth
    2. Add dressing to cooled potatoes
    3. Stir in scallions and 2 T minced dill.
    4. Cover and refrigerate to let flavors meld, 30 minutes.
    5. Serve with salt and pepper to taste.

     EDIT 9/7: Somehow I deleted four of the dressing ingredients when I posted. They’ve been added back 🙂

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  • Good Stuff! The winning Lady Rebels and Lady Tigers

    RichRebelsBB360x240Cody Lundgren, Jesse Calder, and Louie Stewart led our Lady Rebel basketball team to a 10- 10 record in the regular season and a 2-2 performance at the state tournament that earned our girls second place in our region and sixth at state.

    It’s interesting that the wins and losses were split right down the middle, which means it wasn’t a losing season, but it wasn’t a winning season either.

    Or was it?

    Now, I love it when our kids win. But I’ve never believed that winning should be the ultimate measurement or objective of high school sports. In fact, I will go so far as to say that it’s possible to win every game and become the state champion and utterly fail. Because, for me, high school sports are not about winning games. They are about the lessons that can only be learned by striving for excellence through competition.

    Lessons such as learning to:

    • Work hard
    • Work smart
    • Push yourself over a long period to obtain something you desire
    • Not give up in the face of adversity
    • Not give up even when you’re behind or the odds are against you
    • Play on a team, including supporting other team members in their roles, especially during the bad times
    • See mistakes and losses as feedback and triggers for learning instead of labels
    • Exert control over your future instead of feeling nothing you do makes a difference
    • Deal with both success and defeat
    • Deal with competitors who haven’t quite yet caught the vision

    I could list many more. The opportunities for learning key lessons about winning in life litter the ground in our gyms and on our fields and on our mats.

    The question is: did our coaches help our kids seize those opportunities? Did they help them learn what really matters and have a good time doing it?

    I’m pleased to report from what I and others observed that the three amigos listed above helped our girls do just that.

    They built positive and fun relationships.

    They asked the girls to meet high standards of performance and kept the girls busy in practice with useful drills that built skills.

    They taught them instead of yelled at them, and they praised them when they did well and when they attempted to do well but weren’t yet able to execute the skills right.

    They taught them to play with skill, not with cheap shots, as was displayed by one team at the state tournament that had learned to punch the opposing team’s stomachs when they went up for shots.

    They demonstrated, by example, how to deal with losses and mistakes.

    Coach Lundgren also worked in a demonstration of how tricky the lines on the court can be for old guys, tripping them and causing them to slide across the floor (grin).

    This was a winning season for me. Coaches are really just a certain type of teacher, and I’m sure they have things they want to improve in their curriculum. But this was a fabulous season full of opportunities to learn the things that really matter in life.

    TabionaTigersBB360x240And it wasn’t just the Lady Rebels learning these kinds of lessons. For those of you that didn’t go to the tournament, you should know about the Lady Tigers from Tabiona. They’re one of our region opponents. One that we beat both times we met them in the regular season.

    In our second game of the tournament, one of our girls, one of our top rebounders, a demon under the basket, broke her hand. She knew it hurt like heck, enough to bring tears to her eyes, but didn’t know she’d broken it, and so she played the last quarter and a half with a broken hand. (Is there a lesson there?) Well, Tabiona was our next game.

    Now stop and think about this. We beat Tabiona both times this season. I think we’ve probably beaten them a lot more than they’ve beaten us these last few years. You know what you feel when a team keeps beating you.

    So the Lady Tigers found out that one of our starters, one of the players that was supposed to have played them the next day, had broken her hand. And the girls, not their coaches, decided to get her . . . flowers.

    Flowers. For a player on their region opponent’s team.

    Who does that?

    Well, the Lady Tigers do. I talked to their coach, and he said it was all the girls’ idea.

    They’re learning things down in Tabiona that go far beyond basketball.

    And they’re learning things that go far beyond basketball here, thanks to Lundgren, Calder, and Stuart.

    That’s good stuff, baby. That’s excellent stuff.

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  • Indie Thoughts: Resources for Indie Writers

    About this time last year I got the last of my rights back to the Dark God properties. I thought it would take twenty or thirty hours to figure out the whole indie publishing thing. And then the awesome John Brown story machine would kick in gear.

    Reality promptly woke me up and slapped me around a bit. This last year has been quite the learning curve. Here’s what I’ve had to pick up:

    • Designing book covers
    • Finding artists
    • Working with artists in a way that actually works
    • Copy editing
    • Formatting book interiors
    • Fonts, fonts, fonts
    • Using ISBNs
    • Using InDesign to create files for both POD books and epubs
    • eBook structure
    • Editing ebooks (okay, just get Calibre ebook editor right now. We luvs it, Precious)
    • Validating ebooks (http://validator.idpf.org/)
    • Converting epubs to Amazon’s mobi format
    • Uploading ebooks to the various ebook retailers: Amazon, NookPress, Kobo, iTunes (I upload via Draft2Digital), Smashwords
    • The pros and cons of CreateSpace vs Lightning Source
    • Using CreateSpace to publish POD books
    • Registering books with the US Copyright Office
    • Writing better book descriptions
    • Using keywords and categories on Amazon
    • Setting prices in the indie market
    • Creating an email list (I love MailChimp. They make me happy every time I go to their site)
    • Advertising and promoting as an indie

    One of the things I love about this business is that there is always more to learn. But I’m happy to be over that curve. For folks just starting out, let me share some of the resources I found super helpful with a number of the things listed above.

    Posts by a mega indie-seller Russell Blake to give you the right perspective about indie publishing. I’ve read a lot of posts the last few years about being an indie author. These are the best I’ve come across.

    Online courses to help you on the publishing side.

    • Designing Book Covers and Designing Book Interiors with Dean Wesley Smith (look for “Online Workshops”). I don’t agree with Dean on all his ideas about pricing and promotion, but these two courses helped a great deal.
    • InDesign CS6 to EPUB, Kindle, and iPad with Anne-Marie Concepción at Lynda.com. Awesome.

    The most practical and clear-headed books about indie promotion I’ve read. For other clear-headed advice, see the Russell Blake posts above.

    The most helpful book on copyright.

    The most helpful book on copy editing as well as info to put into front and back matter.

    Helpful threads on Kindle boards

    Other great resources

    Good luck!

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