The Muse Online - Archives

ACR: What is your connection to Florida, and what is it about the state that allows you to languish here...is it really about place and setting that makes a difference in your writing?

Brenda Jackson (BJ): I was born and raised in Florida. I am a true Floridian. I think it is one of the most beautiful places in the U.S. However, my writing gives me a chance to go to other places to appreciate their beauty as well.

Linda Walters (LW): Florida has always been intriguing and exotic to me, a native New Yorker. Growing up in Brooklyn with concrete and asphalt all around me, some of my most favorite memories were of summer camp due to the abundance of open spaces filled with trees, grass and just plain clean air. After visiting the Orlando area several times in the early 90’s, my decision was cast. Yes, it’s definitely about places and settings and environments but I have to be honest and say that all of the above emanates from the imagination. I believe I wrote as strongly from my home in Queens, New York as I have been able to do right here from my home in Orlando, Florida.

Robin Pendleton (RP): I am a transplant from North Carolina, having moved to Tampa to attend graduate school at the University of South Florida. Upon obtaining my Masters, the climate and cultural diversity lured me to stay. Two-thirds of my professional career in Corrections was in Tampa. The latter third was spent in south Florida, primarily Pembroke Pines, followed by a stint in Miami. While I have a special spot in my home where I prefer to write (sitting on the sofa with my feet tucked beneath a cushion, facing a large window in the living room), when I get too distracted, I appreciate south Florida most. At such times, my car seems to be on automatic pilot as we head east to the beach. Ten minutes later, I’m smiling as the sounds of the waves, the warmth of the sun and the passage of an occasional ship serve as the backdrop to my writing. Nighttime beach excursions provide the prime setting for brainstorming. Weeks or months later those bursts of inspiration may be channeled into a poem or seep into a chapter of a book.

ACR: As far as marketing is concerned, what have you learned over the years that have been influential in you having high visibility for your writing?

(BJ): I believe that word of mouth from a satisfied reader is the best form of marketing and promotion. Therefore, I always strive to put my best work out there. Second, I treat my readers with respect. They don't have to buy your books and when they do a writer should be grateful and thankful. I mainly write romance and I've discovered romance readers are an undying breed. Once they connect with you as a romance reader then they are willing to read other books an author may have written where the romantic element is not the central point. I don't market to two groups of readers, I market to one because they are the same for me.

(LW): It’s extremely important to market yourself continuously with the release of each title you publish. Book signings, mailings to publishing outlets and significant press releases are key in terms of getting the word out. The fans will do the rest by word of mouth but it’s always a good idea to engage a publicist too. 

(RP): The most important marketing concept I have learned is that self-promotion is paramount. The major work began when More Than You’ll Ever Know appeared on Amazon.com. In hindsight, publicity should have been more of a forethought. Staunch supporters are necessary to duplicate the energy I expend maintaining high visibility for my book. Nevertheless, the person most loyal to selling my book must be me. Targeting a specific audience for your book is also key. Recognizing and appreciating the buying power of African-Americans is prudent, especially when they are the consumers most interested in African-American literature. These are also the people most likely to say good things about your book and spread the word. Recommendations from fellow authors on marketing tips are also helpful. Try to get as much free publicity as possible. Carefully weigh the benefits to the costs of advertising. Reviews and testimonials should be solicited, encouraged and respected. Even negative reviews allow exposure which may precipitate curiosity and additional sales. Positive unsolicited reviews, testimonials and media coverage are great for press kits.

ACR: If you had to do everything all over again, what would you do differently, and why?

(BJ): In starting my writing career I probably wouldn't to anything differently. From the beginning I made my readers a very important part of my writing and I wrote at a pace that worked for me, considering my family life and work life. I write a lot more books a year now, but I worked up to that. I can handle it because my boys are not longer living at home and I can include my husband in my writing when he joins me by traveling with me to those exotic places when I'm doing research. Mr. J and I have taken a lot of nice trips together that we may not have otherwise taken.

(LW): I don’t think I would do anything differently. The books I have had published thus far are representative of where my head was at that particular time. Writing is definitely a “process”; so is the development of the author and his/her ability to develop the craft to a point which is reflective of relevant achievement. It definitely gets better with time!!!

(RP): If I had it to do over again, I would have self-published instead of using a print-on- demand (POD) small press company. Some major bookstores will not accept PODs, even on consignment. Additionally, although I paid for editing services, I performed extensive editing and proofreading that exceeded the level of the company’s editorial staff. Bottom line is, if you have to pay to get your book in print, do it yourself. Another thing I would have done differently is the ending of More Than You’ll Ever Know. I would have developed the characters and plot more fully, possibly avoiding the need for a sequel or rewrite. Lastly, I would have launched a website when my book was ready for release. One of the comments I heard frequently in my early promotional travels, was the absence of information on me as an author, a synopsis of the book and a means to contact me. My website debut was nine months too late. Such an oversight meant the loss of valuable feedback.

ACR: Explain in your own words specific changes you'd like to see as it pertain to African-American experiences in publishing. What types of these changes (if any) should be arranged for sustained levels of success?

(BJ): There aren't any particular changes I'd like to see made. I notice a lot of the publishing houses are now embracing AA Romance where they didn't in the past. It's all about economics and they have discovered that Blacks do read and spend their money on books. You can be successful as a romance writer, you just have to write from your heart and find a way to tap into those readers who have a misconception of what Black Romance is about.

(LW): I’d love to see more cross-over happening in all genres. Publishing houses should be on the look out for all types of fiction, non-fiction and every level of published works coming from the African American community. With the success of the Harry Potter books, we should all take a serious look at every possible genre of writing; there is no need to limit oneself to any single element of _expression as there is certainly an audience out there for everything.

(RP): I would like to see more name recognition for African-American authors in the publishing industry. My primary concern is that the window of opportunity which has opened for many via self-publishing will be closed or obscured as mainstream publishers offer contracts to a minute sector with a corresponding decline in major booksellers stocking their shelves with our books. The fact that independent bookstores owned and operated by African-Americans continue to close their doors may be an omen. In order to ensure our survival and prevalence, an African-American publishing company which contracts a wide array of authors is needed. Now that Zane’s role has changed with Strebor Books, the other companies are associated with urban fiction, street-lit and hip hop. Trailblazers such as Zane and Carl Weber have proven that talented AA authors will work within an AA organization.

ACR: What advice can you give authors just starting out in this business?

(BJ): Write what you enjoy writing and not what's selling. And be true to yourself and to your readers.

(LW): Advice to fledgling authors can sometimes sound either basically elemental or even pedantic but I’d simply say “keep writing. If you are unable to sit down and fill up the page with whatever it is that is on your mind, then rethink your commitment to being an author. It has to come from deep inside, all the words, gestures, descriptions, characters, ---- they all have to live within you. As you get further into the story, they will often awaken you at night with dialogue and the direction they want to go in --- that’s when you know you’re on to something. Just keep writing…….”

(RP): Authors just starting out should cultivate relationships with book clubs, bookstores, online reading and writing groups, libraries, churches, civic organizations and other groups BEFORE their books are published. In fact, a draft of the manuscript should be read in advance by persons the author can rely upon to provide feedback designed to ensure the end result is a good product. Aspiring authors should know that talent may drive their desire to write, however, a good book is more about honing the craft of writing.