Three Things to Consider When Purchasing a Book Review

With hundreds of thousands of books published annually, marketing your book can be a daunting task. One of your choices will inevitably come down to whether or not to purchase a book review. Here are three major factors to consider:

Be suspicious of a publication that refuses to reveal a reviewer’s name or credentials.

Professional Writing – A number of aspects go into a professionally written review. First, is the staff populated by professionals? This seems obvious, but many review sites are writer mills, allowing virtually anyone who is interested to pen a review. Other review sites barely compose a staff. These are mom and pop shops that tend to hang an Internet shingle for business, purport authority, and write reviews on their own. These are not professionals at work, no matter how slick or jazzy their websites appear. Look at the publication’s staff page, if it even has one. Are there more than a handful of writers? Be suspicious of a publication that refuses to reveal its reviewers’ names. The byline credit is a basic courtesy given to a professional freelancer, and virtually none would work without obtaining a byline for their portfolio. Second, is the review publication consistent across the masthead? A professional review publication has guidelines and an editor who keeps its staff and articles in line. Each review should have consistency, generating both authority and confidence in the publication. Third, does the reviewer address both the book content and the writing? Any sixth-grader can write a book summary, but a professional will critique a book through informed commentary that also addresses the writing itself. If the review narratives appear summary-driven, conversational, or employ a first-person tense, these are not professional writers at work.

Here’s a dirty little secret about the industry: Many review publications are purchasing Twitter and Facebook followers to create the illusion of having a large audience…

Authentic Readership – Are there dedicated subscribers, visitors, and followers of the review publication? A professional review means nothing if no one reads the publication. Weekly, monthly, and annual visitors are metrics that can be easily measured (and provided to the author). Does the publication have a subscriber base? If not (or if it’s insignificant), the publication cannot assert relevance for its work. And if the publication merely dumps its reviews on an on-line aggregator (that next to no one reads), it will not be of any service to the author. Next, validate the publication’s social media following with one of the free analytical tools, such as TwitterAudit for Twitter followers and LikeAnalyzer for Facebook likes. Here’s a dirty little secret about the industry: Many review publications are purchasing Twitter and Facebook followers to create the illusion of having a large audience, when in fact it is only a fraction of what it appears to be. This is useless to the author, as well as unethical on the part of the publication. See our article on this subject: Fake Social Media: More Common Than You Think.

A high price does not guarantee quality or readership.

Cost-Effectiveness – Most authors’ budgets are limited, and spending hundreds of dollars for a book review is not acceptable. Often these reviews are no better than that which you can obtain from a free book review site like The Midwest Book Review, which ranges from good, semi-professional coverage to amateur reviews. A high price does not guarantee quality or readership. A professional book review can be obtained for less than one hundred dollars, but be certain to closely examine the publication’s writing and readership in advance.

…you have to ask: What business is the review publication really in?

Warning: If the publication or its editors are up-selling manuscript editing services or the like, you have to ask: What business is the review publication really in? Are they a review publication, or are they a money-milking operation? The work of an editor and the work of a reviewer should never cross paths. An editor ensures quality, and a reviewer measures it. When the reviewer and editor become one entity, integrity flies out the window. (Hmmm… let us review the wonderful manuscript we just helped you edit… hmmm… not very trustworthy.) Furthermore, many of the side marketing services offered by review publications are built on a promise of viewership and not supported by real data. Ask for site traffic data or evidence of real of readership. For example, The US Review of Books is consistently a top Google search for “book reviews” in a very crowded field and has a strong monthly readership in the tens of thousands, as well as thousands of additional on-line visitors and followers on social media.

Remember, a book review is only the beginning of an essential conversation about the book.

Deciding to purchase a book review can be an effective tool when marketing a book. It can provide pull-quotes for marketing and stock materials for a media kit and press releases. It can even seed eventual sales. Remember, a book review is only the beginning of and essential conversation about the book, but it will neRead this article on creating a feedback loop to help kick-start your marketing efforts.

The US Review of Books is a professional review publication sent to more than 18,000 monthly subscribers, including thousands of additional followers on Facebook and Twitter. The US Review is staffed by professionals and is highly praised by authors and publishers

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Professional Revisions – Executing the Process

In this series, editor and author Christopher Klim takes you through a multi-level approach to revising your work. Excerpts taken from bestselling Write to Publish: Essentials for the Modern Fiction and Memoir Market.

All fine writing is the result of rewriting. I don’t know who coined that phrase, but it is certainly a fact. The first draft is the art of writing. The revision process exists to recognize mistakes and mop up the mess, and readers never witness the accident. Readers seek the ease of flawlessness.

EXECUTING REVISIONS

The four level revision process in Write to Publish a top down approach. Work the levels in iterations. Be comfortable with the work at one level, before moving onto the next. This builds the structure of the story before fixing the mess wrought by the construction. It also saves time. Why perfect a scene or paragraph that might not remain in the finished version? Upon passing from level two to three, a solid story stands in place. All scenes will remain on the story line and in their current position. It is now a matter of making them resonate in the reader’s mind.

A story is a unique creation, requiring a special effort to complete. During the draft process, pause to make note of ideas, weaknesses, and potential areas of research. I record story ideas and research information in a composition book. I also number revision concerns from the last page toward the front. I fill six to ten pages of notes on grammar, theme, tone, research requirements, and other specific story concerns. These are concrete problems, and I won’t slow the momentum of the draft to solve them. I might use too many passive verbs or fudge the details of an unfamiliar profession. Bad habits and the assumption of guesswork as fact are two comfortably dangerous behaviors, but the back of my composition book saves me, detailing my story’s shortcomings. It holds a checklist of needed revisions.

While good draft work is often brave and ground-breaking, the revision process requires another kind of courage. It is akin to self-surgery, knowing when to amputate one of your limbs. Be ruthless with your prose. If a word, sentence, scene, or chapter doesn’t serve the story, lop it off. It might contain the most brilliant prose of the piece, but it is cancer to the story, driving it off course and killing reader interest. Save it for another day. It might form the centerpiece of a new story. Trust your ability to think of even better words down the line.

SOLICITING FEEDBACK

There comes a point when a writer desires objectivity. Cultivate a trusted reader. I have a target reader in mind when I write, someone who appreciates the same aspects of storytelling. She knows when I miss the mark, and she is not afraid to tell me. I argue. I curse and moan, but in the end, I know she is right. She is not a writer. She is a reader. She doesn’t stay up at night considering character flaws or lifestyle element. She knows a good story. She laughs. She cries. She is entertained, and if I cannot do this for her, I have missed my objective.

Beyond that, build a reading circle. This is also com-posed of readers. Writers are a dangerous group to critique a work in progress. Each writer has a personal vision of a story, and it is often not yours. Good members of a reading circle are well read. They are just as happy with a biography of FDR, as the latest Robert Stone. They pick up TV Guide and The Economist in the same shopping trip. They love the written word. They are authorities to give the thumbs up or down on your work. They are a mere sample of the reading public. Try to remove your emotion and listen to them.

WHEN IS A STORY FINISHED?

Who knows? There comes a time when a writer must put the work down and move on. Writers often get a brain-storm and return to a particular piece with ideas to elevate the story, but overall, a point arrives when the writer can go no further and must let it rest on its laurels.

For my first published novel, I accepted countless pieces of advice from editors and agents, tweaking each nuance of the story. I reached a point where I was changing sentences because I was tired of reading the same lines over and over. I’d clearly spent too long with the story. I finally threw my hands up and told my writing mentor that I was finished accepting the often inane feedback leveled on my novel. An amazing thing happened. It was a moment out of a grainy kung fu movie. “Son,” my mentor said. “You’re ready to go to the next level.”

When the work is as good as it can be, move on. Begin another story. Hope for enlightenment, but learn when to quit spinning your wheels. If Michelangelo sought perfection – and he was darn near perfect in his art – he’d have chipped away at the statue of David, until it was small enough to clip on a key chain.

Finally, be patient with your talent at its current level. If you aspire to improve, you will sacrifice and work every day. You will get better. You will tell the stories you want to tell. Great artists learn to work in a vacuum, producing ideal works of art that hold a mirror to humanity, society, and themselves. Be brave.

EXERCISES

Outline your revision process. What do your talents require? Are you concentrating on your weaknesses? Can the ordinary be elevated?

Resurrect your old writing and run it through the aforementioned revision process. If the work is old enough, certain flaws will immediately stand out. See if the process doesn’t improve the story structure and prose.

Transpose a favorite writer’s passage to paper. Observe the sentence structure, pacing, and word selection.

Christopher Klim is the author of several books including the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Previous: Professional Revisions – Level Four: Presentation

Professional Revisions – Level Four: Presentation

In this series, editor and author Christopher Klim takes you through a multi-level approach to revising your work. Excerpts taken from bestselling Write to Publish: Essentials for the Modern Fiction and Memoir Market.

All fine writing is the result of rewriting. I don’t know who coined that phrase, but it is certainly a fact. The first draft is the art of writing. The revision process exists to recognize mistakes and mop up the mess, and readers never witness the accident. Readers seek the ease of flawlessness.

LEVEL FOUR: PRESENTATION

With the hardest work in place, take time to examine the basics of language, before submitting your work to agents and editors. Mistakes in this category should never occur, but too often I receive student prose with grammar and spelling errors. Solid presentation separates you as a professional writer in every form of the medium, from advertising copy to fine literature. Make a habit of presenting clean copy.

Basic Order

Put stimulus and response in the proper order. The following is out of order.

Joe hit the ground, hearing the explosion.

Organize phrases and sentences in order of occurrence. The following sentence is out of order.

Joe won the race, after he filled out the entry application.

Build lists in order of increasing importance or impact. Without intending to be outrageous, the following is out of order.

Joe had a pretty bad year. His dog died. His wife left him. His computer caught fire. His mail arrived at the wrong address, and he stubbed a toe.

The passage suggests that Joe’s priorities are clearly out of whack. If this isn’t the case, the story must present a reasonable justification for Joe’s thinking.

Grammar

Obtain The Elements of Style by Strunk and White, and memorize the first eleven rules. The English language is sinking into a lexicon of paraphrases, slang, buzzwords, and acronyms. Soon you will be one of the few remaining people who can still write and speak the language.

Spelling

Most of us work on a computer with a word processor. It is easy to check spelling. Don’t get caught with spelling errors, or you will appear as if you didn’t care enough to proofread your words. When in doubt, consult a dictionary. Computers won’t catch ‘bear’ when you meant to use ‘bare.’

Christopher Klim is the author of several books including the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Next: Professional Revisions – Executing the Process

Previous: Professional Revisions – Level Three: Style

The Book

by Julius Freedman
Old Stone Press

reviewed by Christopher Klim

“Books, I tell my students, are objects with stories both over and secret.”

It’s been a decade since an art book has taken the grand prize for the Eric Hoffer Book Award, but this beauty kept rising to the top of our judges’ scoring cards. Have you ever seen a book after it becomes wet and dries? It screams, with a puffed chest of curling pages like the arms of a roiling sea monster. Julius Freedman shows us this and more, as he takes on the book as both physical and symbolic object. In a sequence of building images, The Book begins with a book as art in its purest form—its complex leather bindings, the embedded tabs of a dictionary, the pages of sophisticated rag or weave. Then books begin to take flight, with pages misshapen, eventually cracking and splitting from their spines, the print itself escaping, until we enter the realm of collage, yet always tethered to the concept of a book itself.

Is a book a mere extension of our memories, or does it go deeper than its byproduct overlap with our brains? If Gabriel Garcia Marquez created a book to fit his prose, it might result in one of Freedman’s constructions. The organization, as well as thoughtful commentary by Pico Iyer and Jill Gage, strike the right balance with the art presentation. Unique, whimsy, thought-provoking, this beautiful coffee table edition is worthy of any collection. but it is so much more. It envelopes the very concept of the book itself. Bravo.

RECOMMENDED by the US Review

Professional Revisions – Level One: The Opening

In this series, editor and author Christopher Klim takes you through a multi-level approach to revising your work. Excerpts taken from bestselling Write to Publish: Essentials for the Modern Fiction and Memoir Market.

All fine writing is the result of rewriting. I don’t know who coined that phrase, but it is certainly a fact. The first draft is the art of writing. The revision process exists to recognize mistakes and mop up the mess, and readers never witness the accident. Readers seek the ease of flawlessness.

LEVEL ONE: THE OPENING

The opening is the first scene in a story, albeit a very crucial scene. It introduces the main character, her hopes and desires, and the point of view. Those are story basics, and not until they are known does the story get rolling.

The tricky part about drafting an opening is that this is the time when a writer knows the least about the characters and plot. Most writers agree that it takes roughly 100 pages to understand the main characters. This often invalidates earlier characterizations, and as a result, character desire and behavior seem unfocused or incorrect. Some writers toss out the first 100 pages and start over. That is a drastic measure, although it is common to labor over the first fifty pages and definitely the first twenty-five.

When revising, the opening must be arresting before I proceed. Everything falls out of the first line. Some writers say that the first line gives away the ending. Indeed, the open-ing scene starts the journey, and if it must change, the entire story path might change along with it. Try to get the opening in order before addressing the remaining story. You may return to tweak the prose, but it will be structurally sound before you edit the rest.

Chapter II of Write to Publish covers the important elements of story openings. Below is a checklist for review. The first three items are vital to the success of launching a story.

Introduce the Main Character

Show Predominant Point of View

Reveal the Story Question

Preview the Setting

Create Action

Set the Tone

Shorten the Time Line & Create Order

Christopher Klim is the author of several books including the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Next: Professional Revisions – Level Two: Structure/Content

Previous: Professional Revisions – The First Look

 

Book Reviews - US Review of Books

How We’ll Live on Mars

by Stephen L. Petranek
Simon & Schuster

reviewed by Christopher Klim

“There are some wildcards in terraforming Mars, including the possibility of reawakening ancient life-forms.”

President Nixon’s legacy, and resulting long shadow over history, rests with two monumental blunders unknown to most people. He took the US dollar off the gold standard, resulting in a global currency destabilization that may soon come home to roost. In addition, he canceled the Saturn V rocket—the largest rocket ever assembled by mankind, the rocket that would have launched astronauts to Mars. Without either of those decisions, the US space program might have already colonized the red planet and would have the money to accomplish it.

After a fifty-year malaise, NASA lacks both the funding and the technological will to get the job done. Although it appears to be catching up for lost time, it has purposefully suffered from a presidential lack of vision leading from Nixon to Obama. In short, the US is decades behind where it should be. Make no mistake about it; going as far back as the Mercury Program days and beyond, Mars has always been the goal. Its similarity to Earth and its close proximity to the mineral-rich asteroid belt make it the ultimate target within our solar system.

Petranek covers the basics of a potential trip to and the colonization of Mars in what appears to be a reprint of a TED lecture rather than any in-depth discussion on the topic. Still, he covers the necessary points regarding why, how, and then what happens next. Achieving Mars will be complicated. If cutting-edge engine technology doesn’t pan out, the trip will be a minimum of six to ten months, all the while exposing humans to an unprecedented level of radiation that doesn’t cease once they reach the planet. On the surface, humans must immediately tend to the basics of food, water, oxygen, and shelter. Temperatures range from 80 degrees to -225 degrees Fahrenheit, and the atmosphere is toxic. Luckily but not easily, Mars has water frozen at the poles, in regolith rock, and perhaps below the surface, and if you can reclaim water, you can make all the oxygen you require.

The author sticks with the theory that travelers to Mars will never return to Earth. This opposes a more ambitious plan for a Mars cycler commuting between planets while carrying passengers and cargo. Regardless of the approach, early arrivals to Mars will need to bring everything they need to survive, but to establish a colony, they’ll need to generate all vital staples on-site, including growing plants to eat and creating parts for repair and construction. Eventually they’ll go about the process of terraforming the surface to sustain life. A few theories regarding this latter transformation are kicked around in this book as well.

At times, the author pays too much homage to private enterprise players such as Elon Musk, but given NASA’s slowed pace and funding, it’s logical that humans aren’t going to reach Mars without the commercial interests of partners. Virtually no great human migration has been accomplished on idealism alone. For example, Christopher Columbus, like the Vikings before him, traveled to the New World in search of treasure for his homeland. Later on, the Pilgrims arrived via private funding with the hope of establishing a regular income stream for their investors.

Mars is the New World, and like the explorers that preceded them on Earth, travelers to Mars will go to change their lives, discover new frontiers for the species, and harvest the planet’s riches. Before long, our descendants will not return to Earth, but become Martians for future generations. This book provides an overview of how that might happen.

Professional Revisions – The First Look

In this series, editor and author Christopher Klim takes you through a multi-level approach to revising your work. Excerpts taken from bestselling Write to Publish: Essentials for the Modern Fiction and Memoir Market.

All fine writing is the result of rewriting. I don’t know who coined that phrase, but it is certainly a fact. The first draft is the art of writing. It should be accomplished as uninhibited as possible, held apart from the unforgiving conscience of the self-editor. The style of draft work varies between authors, from a bare bones outline to pregnant prose. Revising the draft involves the craft of writing. Prose is expanded and contracted, and elucidation is achieved. Writers spend most of their time rewriting. They make up for their perceived deficiencies in talent and level the playing field.

Another important precept of writing is that all drafts are bad. Bad is a general category, ranging from not too bad to pretty damn bad. In draft work, writers sometimes deliver lines that are pretty damn bad. An honest writer admits that the draft process is an inescapable flirtation with disaster. As he attempts to elevate his prose, he sometimes misses and suffers a bad fall. This is expected. The revision process exists to recognize the fall and mop up the mess, and readers never witness the accident. Readers seek the ease of flawlessness.

THE FIRST LOOK

Revision requires time and space. Allow time to forget the prose and return with the fresh eyes of a reader. After a story is drafted, put it aside and work on something different. This is also true during the revision process. The prose be-comes so familiar that the writer anticipates the words before reading them. When I spend too much time with a piece, my eyes see earlier versions, regardless of the words on the paper. I’m reading in my mind, instead of the pages in front of me.

Juxtaposing the cathartic process of draft work with the labor-intensive act of revision creates balance in the day-to-day life of a writer. Take a break during the draft of a story to write a nonfiction piece to completion. While performing lengthy revisions, pause to design your next creative project. One process feeds the other. It is a lot like absorbing and releasing energy.

After giving the draft work a rest, read it through with little or no pause. Prepare to be both surprised and embarrassed with the words on the paper. A writer delivers stunning lines in the draft, gems that pass from revision to revision untouched. A writer also drafts lousy prose – inappropriate, limp, or downright goofy phrases. Both good and ugly writing leap off the page. Keep the good, knock down the ugly, and aspire to elevate the mediocre.

This book introduces the elements of a solid story and methods for obtaining them. Try to embrace a few techniques, while modifying others to suit your storytelling approach. The following section details a process for draft revision. Take what you can use and incorporate it into your own revision process. Make note of the revision aspects that you like the least. Those are probably areas where you need work.

Christopher Klim is the author of several books including the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Next: Professional Revisions – Level One: The Opening