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Archive for the ‘Words on Writing’ Category

 

It’s the age old question. Just how the heck do you write with an 80 Lb dog in your lap?

Maybe you are on a deadline. It might be self-imposed. Or it’s the one moment in days you can carve out of your busy schedule for ‘you’ time, aka writing. It’s a rare moment. It’s that early morning you woke up despite your best intentions to sleep in on the one and only day you can all week, but your mind or body has other plans and you are up, wide awake, but OMG the house is quiet with everyone else sleeping, so you can actually WRITE. It’s the perfect time for it. Maybe it’s simply that the creative juices are flowing or your muse just bitch-slapped you with an idea that you absolutely must get down right now before you forget it.

And, naturally, at that very moment your dog decides life cannot go on without climbing in your lap, on your desk, on your keyboard, in your face, trying to force play time, squirming and wriggling and won’t take ‘No’ for an answer.

Maybe it’s not an 80 Lb dog. Cat? Baby, toddler, kid, teenager, or partner. Your squawking bird, hamster, pot bellied pig, or other pet. They all have the same goal, to have your 5000% undivided attention.

So, what’s a writer to do? Give them a few minutes of total attention and hope they are happy. Deflection. Here’s a toy, someone else to play with, cookie, boozy latte with extra whipped cream (please only try this with adult humans), send your dog outside in the back yard to, “Go find your rabbit” (just don’t tell them it only exists in the world outside the front living room window).

Meow at them or squeak the squeaky toy until they go mad.

Give them a craft, project, job, or anything you can grasp that might get their attention for five minutes or more.

It’s frustrating, yes. But ultimately you have to realize they are bugging you because they love you and are yearning for your attention like a puppy full of energy and starved for playtime.

In the case of the oversized purse-dog, I find the best solution is to exhaust her with attention. Give her some time of hard play, love, petting, tricks for a cookie, rabbit seeking, and ultimately hope it’s not the super hyper loud frantically playing with the loudest squeaky toy in the house while shrieking and riling the dog up under your feet and impossible to string a single thought together because of the hyper loudness kid who takes her attention next.

And, sometimes, you just have to resolve to having to try to single finger type around an 80 Lb dog in your lap because she really does think she’s the size of her head.

 

Above all else….

Keep writing, my friends.

 

L. V. Gaudet Books:

Vivian Munnoch Books (and Roxy photobomb):

Roxy aka The Big Dumb Bunny

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In this spookytascular month of October (yeah, I totally made up that word! Kind of a combo of ‘spooky’, ‘task’ and ‘spectacular’.), I’ve divided up the Writing Markets and Contests into multiple Google Doc documents because it’s so darned large.

Here are the list of links:

MARKETS & CALLS FOR SUBMISSIONS – FICTION

MARKETS & CALLS FOR SUBMISSIONS – POETRY

MARKETS & CALLS FOR SUBMISSIONS – MIXED/MULTI-GENRE

MARKETS & CALLS FOR SUBMISSIONS – OTHER GENRES BY GENRE

Now with all this madness that is 2020, sharpen your writing pencils and get out there and get writing and submit submit submit!

Keep checking back with these links for new markets!

Photo by Alexander Rumpel on Unsplash

 

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Photo by Rajiv Bajaj on Unsplash

While waiting in the car the other day, I watched an incredible display of nature.

The seemingly mundane and commonplace pigeon.

Not so special, right? Rats with wings, some unlovingly call them.

This particular flock of pigeons were hanging out in the upper tier of a two-level store roof. The decorative section. I’ve seen other birds do the same thing I am about to describe, but never particularly paid attention to pigeons before to witness it.

With some signal I was oblivious to, sometimes cued by a few taking flight from the far side out of my view, they repeatedly took flight in group, falling naturally into their predetermined places like a choreographed dance troupe. In perfect unison they swooped and dodged through the air, a single unit without any bird losing its place. They rose in an upward arc, cut a hard turn, swooped down, arced around again, always in a tight unfaltering formation.

The Snowbirds (the Royal Canadian Air Force’s 431 Air Demonstration Squadron, an aerobatics air show demonstration team) would have envied their maneuvers.

Photo by Zac Ong on Unsplash

I had to marvel at the ability of (seemingly mere) birds to perform such a dramatic aerial synchronized acrobatic display. Does this somehow come naturally? How do they just know when to dive, dip, swoon, swoop, loop, arc, all in perfect unison? Is there some communication we are not privy to? Some telepathic communication? A joined hive brain?

Zoologist Wayne Potts’s (who published in the journal Nature in 1984) research suggests they anticipate sudden changes in the flock’s direction of motion.

Or do they spend hours training for this? Note: I did witness one bird appear to give another hell for getting a hair off their perfect formation when they all flew back onto their rooftop roost before taking off for another run. But, that interaction could have been for any reason. I watched for a good ten minutes while they repeatedly flew off into their routine and landed to take off and do it again over and over and over.

Observations like this can be turned into inspirations in building your literary world. Strangely luminous dust motes behaving in a very uncharacteristic way, mimicking these feathered air dances in an ethereal moment of bizarre clarity as a precursor to a discovery of something beyond this realm. A creature in your world taking on a behavior not natural to it, or one you created for your world that simply does this for reasons unknown to your characters.

Watching the world around is like foraging for story enrichments.

Photo by Timon Studler on Unsplash

Observing people, how they dress and move, their interactions and speech. How they band together, or in the new days of Covid-19 ‘socially distance’ (I don’t like that term. It sounds so… socially isolating.). Like moms clustering on a Facebook group to revel over the awesomeness of each others’ offspring when one of them shares their achievements. Cliques that form in every organization, workplace, and extended group. It is also watching traffic and housing trends. Shopping and dining habits. Social media and news also give insights into how you can twist things in your fictional stories or reveal them in any genre.

It’s more than people watching. It’s observing with a clinical eye.

Nature is rich, too, in suggestions and inspirations for your writing. From watching dogs in the dog park, how the squirrel, rabbits, and birds interact with each other at your bird feeder, to wildlife clips and documentaries. The strange behaviors of birds like the flock of pigeons, or the infamous false Tweets of pelicans ‘cooling off’ by throwing their spines outside their mouths. (Actually, it’s just a yawn and that is their long neck, not their spine). Do, however, research these odd things before using them and deciding how much fact vs. fictional artistic license you want to take in creating your world.

 

 

The world everywhere around you is full of ideas you can twist and form into enriching your stories.

Keep writing, my friends.

 

L. V. Gaudet Books:

 

Vivian Munnoch Books (and Roxy photobomb):

Roxy aka The Big Dumb Bunny

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Even though the world feels like it is disintegrating around us, we still write and write and write.

Is it the Four Horsemen of the apocalypse come to wreak havoc on us all? Conquest, War, Famine, and Death. It does seem like current events have brought these horrors upon us, doesn’t it? Political conquest, civil unrest, people starving both from natural disasters and economies across the globe shutting down, and the inevitable deaths of a virulent pandemic.

What more do we need to write stories of pain, drama, dire need, urgency, horror, hope, and longing?

And with that, thankfully, there are still writing markets surviving the scourge ruining us everywhere.

Photo by Edwin Hooper on Unsplash

With that, I present an ongoing list of writing markets and contests I am working on.

I am checking and updating links, removing markets with dead links and that appear to be defunct, clinging to hopefuls (ie. I’m hopeful they will return), and will add new markets and contests as I learn of them and when I can.

The intent of this listing is to be inclusive. Suggestions of additions are welcome (share them in the comments of this post).

The markets link is a Google Docs document so, hopefully, a wider range of readers can access and open both the document and its links to markets. And, every time you revisit it, any additions will automatically be updated.

Here is the list of writing markets and contests. Keep reading and writing, my friends.

MARKETS & CALLS FOR SUBMISSIONS – SEPTEMBER 2020 –

 

 

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Photo by Anthony Cantin on Unsplash

A writer friend and published author once told me of how she learned about the power of three. Three times repetition. No more and no less. If something is important for the reader to remember, you should repeat it. Somewhere throughout the story, bring it to reader three times.

And there, I did. In the above paragraph, as an example, I repeated telling your reader three times. (This makes four and breaks the rule, so you can now forget with impunity that I ever said it .) Although doing it all so close together is highly not recommended in your story.

In teaching and learning, repetition again stands out. From teaching toddlers to learning yourself as an adult, remembering comes easier with repetition. Tell me your name once, and you can bet on my forgetting it. (It’s not you, it’s me. I’m atrocious for my inability to remember names, and no, I do not think people are unremarkable or unworthy of remembering. Quite the opposite. It’s just something I’ve always been very bad at.)

And as a parent, who has not found themselves repeating repeating repeating? And then perhaps secretly or unknowingly repeating again while talking to yourself? Seriously, it can feel like no one hears you otherwise in the hubbub of a household.

 

While your thrice said story development spread across your book can help lure the reader into that aha moment when the pieces begin to fall into place at the end of the narrative, revealing that what may have seemed irrelevant now seems obvious, repetition can also harm your story.

 

This is something I’m guilty of. Particularly in my earlier writing. It is also something another writer friend and published author pointed out in a review of one of my earlier books, which was a reminder I need to always be vigilant about it while writing and editing.

That thing is committing the blunder of bad repetition. Even in writing this piece, I catch myself repeating the same words in the same paragraph, and even in the same sentence. It is a terrible habit, and one that can be hard to break. I do it when speaking to people, repeating my words over and over (After years of having only small children to talk to all day?). I do it without even knowing as the words flow from my head through my fingers to the keyboard.

 

Regardless of the cause, and regardless of your actual efforts, It comes across as lazy writing, poor editing, and an oversimplification of the story.

See? In the above paragraph, ‘regardless’ shows its face twice in the same sentence. It might make sense coming out of your head, but on editing, this should be revised. You may mean the same thing, but change your wording, if only a single word.

Regardless of the cause, and in spite of your actual efforts, It comes across as lazy writing, poor editing, and an oversimplification of the story.

Marginally better.

 

The lesson here? If it’s important for the reader to remember, tell them three times over your 5,000 to 150,000 writing piece, and be ever vigilant of your word choices. (I way over-spoke the power of three references in this article. Yes.) Analyze every sentence, every paragraph, every scene and story bit for poor wording, less than ideal word choices, unnecessary and damaging repetitions, and the whole host of other writing pitfalls that can harm your work.

 

 

Keep writing, my friends.

 

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

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Photo by Perchek Industrie on Unsplash

When is your story ‘enough’ of whatever it needs to be? When is it sci-fi enough? Fantasy enough? Enough romance, gun slinging, drama, steampunk; whatever the genre is?

 

On the surface the answer might seem easy. Toss your characters a few hundred or thousand years into the future and imagine a world with tech we don’t have now. Throw in some extraterrestrial planets and beings for good measure. Maybe push them back into the past in a historical setting complete with the lack of tech and medicine, period clothes and speech, and some historical drama. Invent a world with magic and mythological creatures and, wham bam thank you Ma’am, you have a fantasy story. Monsters, be they vampires and werewolves or other imagined monstrosities; seemingly impossible monsters or the all too real ones that thrive in some humans’ black souls, and you have a horror or thriller. Throw in a few more cogs, spaceships, dragons, kisses, gun fights, romantic drama, or car chases.

 

But it takes more than a future setting and space tech to make a science fiction story. More than dragons, magic, and various Fae Folk to have a compelling fantasy. Romantic moments and unrequited love alone do not make a romance the reader wants to read.

 

While the make or break of the story is and always will be a compelling storyline filled with rich characters, diverging strings of narratives woven throughout, and the roller coaster ups and downs of drama; that is not the complete picture. Science tech, fantastical creatures, love and romance, those are the things that categorize your genre.

 

But what actually makes the genre, and the story?

 

A good start is to get your head into it. Fully and completely; head, heart, and soul; into both the genre and the story. Weave that insidious web of treachery around your unsuspecting, or fully cognizant suspecting, characters. Push your characters to the brink, draw them back to safety, then push them a little further until they surely must break.

 

Even then, when do you know it is <insert genre> ‘enough’?

 

Is there truly an answer to this question?

 

Readers and writers alike of any given genre may feel they have the answer. I don’t. I struggle with the same question too.

 

I write dark fiction. Horror, thriller, things that don’t just go bump in the night, but may be the very stirrings of the nightmares that keep some awake in the dark. But is it enough? Is it thriller enough? Horror enough? Scary or gross enough?

 

Dark fiction is an encompassing realm that embraces all things dark and sinister. Twisted and deviant. It runs the gamut from shock and grossness to subtle whispers of fear. Fantastical or fanatical monsters imagined and real. Supernatural and remarkably, or unremarkably, all-too scarily human. It subverts all genres it infests into its peculiar twists of blackened souls and fears.

 

But is it enough? Is the story dark and twisted, terrible and traumatic enough? Is it too much? Who decides if it is dark enough? Thriller or horror enough?

 

I have yet to write something that scares me. So, is it ‘enough’? Will it, or can it, ever be?

 

 

Keep writing, my friends.

 

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

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With the world seemingly wreaking its global vengeance on us economically, emotionally, and physically with this wretched disease, Covid-19, it is no surprise that many writing markets and contests have also vanished into that black void of loss. (And this sentence has too many ‘w’ words.)

Photo by Edwin Hooper on Unsplash

Every country and each demographic has felt the pain of the economic devastation. Entire regions shutting down in an effort to slow the spread. Scores worldwide left jobless and businesses closed. Lives turned upside down and lives lost.

For our own sakes, we must cling to what normalcy we can. We must not lose sight of the passions that drive us into tomorrow.

With that, I present an ongoing list of writing markets and contests I am working on.

I am checking and updating links, removing markets with dead links and that appear to be defunct, clinging to hopefuls (ie. I’m hopeful they will return), and will add new markets and contests as I learn of them and when I can.

The intent of this listing is to be inclusive. Suggestions of additions are welcome (share them in the comments of this post).

This is my first experiment with Google Docs, so please bear with me. I am creating and posting this in Google Docs so, hopefully, a wider range of readers can access and open both the document and its links.

Here is the list of writing markets and contests. Keep reading and writing, my friends.

MARKETS & CALLS FOR SUBMISSIONS – JULY 2020 –

 

 

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Write this scene, any feel, writing style; any genre. This is a rough draft writing practice.

Photo by Daniel Lincoln on Unsplash

 

Paradise

 

The sun sparkling on the sea behind him in a dancing promise of hope fed into the lie that is the beach paradise. The breeze barely breathed on the softly swaying palm fronds. It was perfect. Each second we faced off it felt increasingly too perfect. Off.

This man, who refused to give his name, stood resolute in his defection from the normal. His eyes were narrowed in determination, or perhaps against the sun. His face held no real emotion. Not anger or determination. He just was.

“It’s all a lie,” he said. “Your world. The sea, trees, even this.”

He knelt and scooped up a fistful of sand. He stood again and held the fist out towards me as though I should take it. I could only stare at that closed fist. He waved it towards people in the distance, roaming slowly up the beach.

“They are a lie. Toxic.”

“They’re just people,” I said.

He shook his head slowly at my foolishness. He seemed saddened by my failure to see. This man, this stranger in a weakened paradise, thrust his fist toward me again.

“You would take strength from this… this false promise of a better tomorrow. It never gets better. It’s just another today. This earth,” he started letting the sand fall in a slow stream from his hand, “is weak. It’s is poisoned, pale.”

“It’s pale because it’s sand.”

He stared at me, pale sand trickling in a soft sieving from his fist.

My focus on his face and that falling sand, I did not see the twitch of his shoulder muscle preceding his body moving until it was too late. He had me by the shirt, fabric twisted in his fist as he yanked me off balance towards him, holding me up with seemingly impossible strength.

“I will show you then.”

My mouth gaped open in silent shocked protest; he rammed his fist at it. I was certain he meant to punch me in the teeth, but instead he was shoving sand into my mouth. I choked and gagged on the surprise of it, on its crunchy grittiness and the though in my head of its uncleanliness.

The sudden lurching of my heaving stomach felt like a gut punch. My eyes watered and my limbs felt weakened.

He released me then, letting me fall limply to the ground where I mewled and pawed weakly at the sand. The same sand that was inside my mouth, my throat. I coughed and it was sucked into my lungs, choking me with its grainy dust.

The burning foulness set in then, my tongue and mouth on fire, the sand eating through taste buds like dull acid.

Pawing at my mouth only made it worse. Mewling and simpering weakly in the sand, the granules clung to my hands and I only managed to shove more inside my mouth. My throat screamed with it and I moaned, gasped, inhaling it deeper into my tortured lungs. I couldn’t cry out. Could only gasp weaker as the strength and all of my feeble fight left me.

I lay in the sand softly moaning, stomach dissolving and lungs struggling. My nose was pressed against the sand, breathing in its subtle saltiness.

“If you are still here tomorrow you will be dead,” he said simply. “This place will poison you.”

He walked away and did not look back.

I would have swore I was already dead.

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Photo by Riccardo Mion on Unsplash

The other day I talked to a young budding writer with a kind of problem that can afflict writers of all talents, ages, and experiences. Perhaps especially so of a less experienced writer.

You might call it a writer’s block or any of a thousand names. This writer’s issue is that she gets through the beginning, the first two or three chapters, and then gets stuck. She is a linear writer, writing from start to finish, and at this point can’t push through the insurmountable wall that comes up.

She can’t think what to write next. Where the story needs to go. What the characters should do. It’s not for lack of thinking out the storyline. She does plenty of that, hours of planning, plotting, and working out an outline. She is convinced the writing is bad, the story, plot, characters, all of it. It needs to be fixed; that she needs to go back and not edit it, but completely rewrite it or even scrap the story altogether.

I’ve read some of this writer’s short pieces and she is not a bad writer. Inexperienced, yes, but not bad.

In this case, the block sounds like a combination of the desire for perfectionism and being filled with doubts. No surprise there. The story needs to be perfect before it’s ready for publication, no writer should settle for less, and doubt is natural.

The challenge is pushing past this wall to keep writing. For me, if I’m stuck, I’ll jump to writing another scene somewhere else in the book. Oh, the horror for a linear writer for whom that feels utterly unnatural and twisted.

 

So, how does a linear writer push forward without jumping scenes? I gave three suggestions.

  • Deeper outlining. Taking the outline to the next level can serve multiple purposes. Absorbing yourself in the details can help you forget the feeling of disappointment or failure with those first chapters. It grounds you in the story and characters. And, when you feel stuck because your mind won’t let go of those worries to let you write on, the more in depth your outlining, the more you give yourself to work with. You can’t tell yourself you don’t know what needs to happen next when you’ve detailed it in your outline.

 

  • Writing practices. I’m a fan of suggesting doing writing practices. Flash fiction, micro fiction, random scenery and scenes. My suggestion to this writer, who feels as so many of us do the drive to get this story done, was to use it for writing practices. Write little backstories about characters, places, and details of the world being created in the story. Things that will never be in the actual book and nobody is ever going to read. This will help with the character and world building, as well as finding her voice in the story. And the most important thing is that practice makes you better.

 

  • This is the toughest piece of advice. Get over it. That’s it. I’ve been there too, stuck and feeling

    Photo by sydney Rae on Unsplash

    like writing is impossible. You just can’t form the words in your head. You’ve inconceivably lost the ability to focus, to think, to make coherent things happen in your head in relation to storytelling. You have to just make yourself get over it and force yourself to write. Write something, anything. It doesn’t have to be good writing because editing fixes that. The challenge here is to get over the need for perfection, get over letting the self-doubts control you, and push on. Push through that wall and just write.

 

Keep writing, my friends.

 

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

Read Full Post »

If you look inside the front matter of any published book you will find an ISBN number. If you don’t know, ISBN stands for International Standard Book Number.

 

The ISBN has nothing to do with copyrights. It simply is a catalogue number. If you are looking for a particular book, you can search it by its ISBN (catalogue) number.

 

An ISSN – International Standard Serial Number is the same thing as the ISBN, but is for periodical publications (ongoing series), such as magazines or a book series. You didn’t know you needed that for your book series? That’s okay. Not all books start with the intent of making them a series. With the wonders of technology, some sites will still link your series as belonging together. Just fill out that “series” box.

 

Now, if you’ve self-published with Amazon KDP, you might find they assigned you an ASIN instead of an ISBN. Oh, the horror. What have they done?

 

The ASIN (Amazon standard Identification Number) is the same thing as an ISBN, a catalogue number, only it is specific to Amazon. So, it only shows up in Amazon’s market. If you are publishing both a print and eBook at the same time, they will likely give the eBook an ASIN that is the same as the ISBN. Still, only the print book version with the ISBN will show up in ISBN searches outside of Amazon’s marketplace.

 

The EAN (European Article Number) should not be confused with an ISBN, ISSN, or ISIN. The EAN is a barcode. Think of it as the same thing as the others, but for products that are not books.

 

 

 

Breaking Down An ISBN – International Standard Book Number

The ISBN is broken down into parts.

 

  • EAN – Bookland country code. Apparently books live in a world of their own separate from ours called “Bookland”.  In the land of books, this identifies what country the book comes from.  Luckily for us non-book beings, the numbers also coincide with the countries of our own world.

 

  • Group – identifies the language the book is written in

 

  • Publisher – identifies the publisher of the book (aka the person or business who filed the ISBN number for the book)

 

* oddly enough, it seems that when a publisher exhausts its block of ISBNs, instead of receiving an additional block with the same publisher identifying number, they are given a new identifying number for the new block of ISBNs.

 

  • Title – identifies the book title

 

  • Check Digit – this is akin to a spell check for the people assigning ISBNs. If this number is not what they are looking for, then an error was made.

 

 

If you are being published with a publisher, they will look after your ISBN needs. However, if you are self-publishing, you need to do this yourself. And, you will probably need multiple ISBNs for each book.

 

 

Photo by Annie Spratt on Unsplash

Why do you need multiple ISBNs for one book?

Because each format is a separate catalogue item. Every place you upload your book to sell, every print on demand printer, every eBook distribution, is a separate catalogue listing. Every ‘version’, i.e. trim size, paperback vs. hardcover vs. eBook, vs. audio book, is a separate catalogue listing. Every change that affects the description and quality of the product, like trim size or doing revisions to the book beyond fixing a few typos, creates a new catalogue item.

 

Think of it this way, each of these is a different catalogue item:

  • Print book on Amazon KDP
  • eBook on Amazon Kindle
  • Print book on Lulu
  • McNally Robinson pod printer
  • IngramSpark/Lightning Source
  • Kobo books

 

Also, each of these is a different format; therefore each is also a different catalogue item:

  • Paperback book
  • Hard cover book
  • Audio book
  • eBook mobi
  • eBook epub
  • Other eBook formats
  • Large print book
  • You uploaded your book in a new trim size
  • You uploaded a new edition (2nd edition, 3rd, etc)

 

 

 

Photo by Kelly Sikkema on Unsplash

Getting an ISBN is not difficult. And, depending where you live, you might have to pay for it.

 

If you live in the United States, you have to buy your ISBN. ISBN’s are sold by a commercial company.  (They are cheaper in bulk!) After getting your ISBN, it is up to you to have it registered with RR Bowker, the US database for the ISBN agency.  www.bowkerlink.com

 

One of the things many large US based self-publishing companies like Draft 2 Digital, Smashwords, and Amazon KDP does to encourage authors to publish with them is they buy up mass volumes of bulk ISBNs and provide them free to authors and publishers publishing with them. Of course, that only applies to the book listed on their service. You still need ISBNs for anywhere else you upload your book to.

 

Photo by Ryan on Unsplash

The wonderful thing about being in Canada is that FREE ISBNs is one of the little ways the Canadian government supports the arts.

 

To get your ISBN visit the Library and Archives Canada website and create an ISBN Canada Account.

Once you have your ISBN Canada Account you simply login to request and update ISBNs. There is no cost for this service.

 

Once you have your ISBN and have published your book, it is recommended you submit copies of your books to the Legal deposit program with Library and Archives Canada (read the article on that for more information).

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

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