Love a Tree, Read an E-Book Blog Hop

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This is a special event so I am postponing my usual Friday DIYday post until next week, but don’t worry, it will be there ;) Okay, so Earth Day is not exactly a pagan holiday, but it’s as close to it as modern society will probably ever get to honoring the Earth which, you know, keeps us all alive. I was going to post another episode of Wacky Weres but then I realized I have something better. So instead, I am sharing a little excerpt from my latest release The Royal Wizard, which is both pagan and a teasy. Enjoy!

* * *

Beltaine

* * *

TRW_ERRTorches were lit all at once when the sun kissed the western tree line, flooding the courtyard with blazing light. It was magic as much as fire; hundreds of hearts beating together in the same wish for children and a healthy harvest later in the year. Saeran could almost see their prayers shimmering interspersed with torchlight, floating among the sparks thrown by bonfires. It was a beautiful sight to behold.

Every house was decorated with vibrant flags and ribbons to celebrate the beginning of summer, every man woman and child dressed in their finest. The music was loud, the laughter even louder, but through it all the breeze teased him with secrets of things unseen. The Others were walking among them tonight. Saeran strained to catch a glimpse of even one, but he saw nothing.

He weaved amidst the crowds, searching for anything that was out of place. The courtyard was a melee of dancers and revelers, the great hall open to everyone on this holy night, for all were equal before the gods. Instead of formal feasts, everyone would go to the altar on the hill where offerings to the gods would be made.

Nia would lead the procession. She would weave spells around her to make sparkling lights follow in her wake and her white robes would glitter in the dying light with a magic of their own. There would be flowers in her hair and a golden mask covering her eyes and nose.  She would be the embodiment of the goddess Frigga.

They come, they gather, the breeze whispered. They come to see…

“What?” Saeran asked.

See, the breeze repeated, swirling around him once and then streaming toward the castle. See…

Saeran walked in the direction of the wind. He focused his intention as Nia had taught him, willed it into a vision to See the Others among his people. It took him long moments to realize he was following a leyline, and when he saw what it was leading him to, the young king almost dropped to his knees.

In an instant, all became quiet and the crowds parted to create a passage. They bowed deeply as Nia passed, paying homage to her and the goddess of fertility she embodied. Saeran forgot to breathe. She glided along the uneven ground on bare feet, her step silent but for the tinkling of tiny bells that none could see. It was an illusion, the king told himself, but couldn’t be certain.

See…

He saw.

He kept his features calm, falling in step behind her; the first in the procession. It was his right as king. The breeze wafted over him, bringing with it the scent of her. She was summer. She was sunshine and flowers, rainstorms and life.

As they passed the outer gate, a cheer went up and the music and revelry resumed, following in their wake. Nia never faltered. She led the way to the hill, oblivious to everything else. When she reached the altar, she turned to face the crowds and raised her arms above her head, speaking to the heavens and the setting sun. She called for blessings upon the land and all who lived on it, asking for a bountiful harvest and happiness for couples young and old.

When she finished speaking, she rounded the altar and passed her hands over it. Then the villagers came forward, placing their small offerings onto the slab of stone. They brought wreaths of wild flowers, pieces of fruit, if they had any, or puppets made of hay, ribbons and cloth. They brought what they could spare to please the gods, laying it before Nia and speaking soft prayers as if she truly was the goddess who looked after them.

Nia accepted the gifts formally, thanking each person and blessing them as they passed. The offerings would be left on the altar for the gods to do with as they pleased. No one was allowed to take from them, lest they incur their wrath.

The foreigners came forward at the end, each taking part in the ceremony as they would. Sir Frederick gave a silken handkerchief, saying a prayer of thanks to both the gods and Nia herself. He bowed deeply to her as he stepped away and Nia nodded to him in acknowledgement. The rest of the knights followed suit, one bringing a piece of bread, another a carved wooden horse, the third a piece of chain mail, and the last a single red bloom. She nodded in thanks and blessed all of them as well.

Finally it was the king’s turn and, for him, Nia rounded the altar once more to face him without barrier. The king had no tribute to give. It was tradition for him to show respect to the gods by proving his humility.

Saeran stepped forward, grateful the ritual required no words. His mouth was too dry for him to speak. The fires sang out with the wind, even the sky added its voice to the chorus. He bowed his head before Nia and knelt. The crowd echoed with a prayer for the king, that he might find a wife soon and sire offspring, and their voices made the earth shudder beneath him.

Nia touched a hand to his chin, urging him to look up. When he did, she leaned down and kissed him, as was custom. Saeran balled his hands into fits, fighting the urge to pull her to him and kiss her the way he wanted to. He was drunk with the scent of her, the feel of her lips so chaste against his.

Too soon, she withdrew. In the darkness, only he could see the hesitation in her movements as she straightened and he wished the others would disappear. “Rise, King Saeran,” she said, her voice ringing out over the hill. “May your reign be prosperous for all the years to come.”

He obeyed, but he couldn’t make his feet move him from the spot. For a moment they merely stared at each other, caught in an instant of pure magic. It pulsated in the air around them like a heartbeat, making it difficult to breathe.

Another cheer went up, startling them both, and Saeran forced himself to walk away. The bonfire would burn all through the night, and few would leave before the sun rose again to light their way home.

Nia faced the altar and once more raised her arms above her head, her own tribute and offering. She removed the flowers from her hair and placed them on the altar, saying a soft prayer. Then she turned in a circle thrice and dissolved into mist, disappearing from sight.

When she reappeared next to Saeran, her golden mask was gone. Instead of white robes, she wore the blue ones she’d received at her presentation and the wolf skin over it. She watched the celebrations with a smile on her face, though it seemed a disguise for something else lurking beneath her carefully composed mask of calm.

Only those too young or too old stayed to the side; the rest danced around the fire in celebration. The foreigners, Saeran noted, did not dance either. But while four of them watched the revelers, the fifth’s eyes searched through the crowd until they settled on Nia. It was the selfsame knight who had gazed at her in the great hall, the same one who’d presented her with a red bloom and placed it so close to her hand. Arnaud was infatuated with the wizard, and he’d scarce seen her once since he’d arrived.

Lady Brigit spun out of the circle and caught Saeran’s hands. “A dance for the fire spirits, your Majesty?” She pulled him into the throng before he could answer, obliging him to dance. She held him so close he was tripping over her skirts, but Brigit only laughed. Saeran suspected the lady had sampled the mead one too many times. It loosened her tongue enough to say, “A finer king Wilderheim has never had! Maidens are praying for you tonight, that you will choose a wife and make her queen, but each of them wants you for herself.”

It was nothing he hadn’t heard before, but tonight the flattery only served to remind him that he’d already chosen.

Brigit grabbed his waist and spun them around. She leaned in and said, “If you choose me—”

Saeran didn’t hear the end of it because the seamstress sisters, Finna and Maeve, pulled him away, chattering one over the other. He danced around the fire thrice, and each time he thought he was free someone pulled him back into the jig. Saeran heard Nia squeal. The woodsman, Dahl, had picked her up one-armed to dance her around. Like Saeran, she was passed from one to the next, but unlike him, she seemed to enjoy it. The fire illuminated her laughing face as she spun and hopped directly across from him.

Then, out of the corner of his eye, Saeran saw the knight Arnaud step into the fray, following Nia. She was in Hundr’s arms now, but before Arnaud could join them, Hundr passed Nia to Geir and away from the knight. Geir lifted Nia by her waist to spin her around while Saeran found himself with the shy Dagmar in his arms. He smiled at her briefly, but his attention was on Nia and the knight following after her from Geir to Konall, to old Sigmarr, and back to Geir.

“Your Majesty!” Brigit called, but Hundr pulled her away as Elsa replaced Dagmar. Maeve caught the knight’s hand, but he shook her off and continued around the circle after Nia like a bloodhound after a scent. Saeran turned Svana around to go the opposite way. Hundr with Brigit danced quicker than the rest, past him and halfway around the circle in a few steps. And just as Nia spun away from Tannir, as Saeran was preparing to switch partners yet again, Brigit stuck her foot out and tripped Nia in the direction of the blazing bonfire. Saeran let go of Svana with gasp and made a grab for Nia as she tipped forward, arms flailing to stop herself.

He caught hold of her sleeve and pulled her upright into his arms just in time, and when her gaze met his, Saeran went deaf and blind to the world. Nia.

She shivered as if she’d heard him speak her name. She couldn’t have. Only in the deepest, most secret corner of his heart would he ever dare to say it that way, with the whole of his soul calling out in anguished longing to the mate it could not reach.

“Lady Nia,” Arnaud said close enough to startle him.

Saeran felt his mouth pull into a snarl. With Nia in his arms, he spun out of the circle of dancers. Darkness pulled around them and a facsimile of them broke off to continue in the current of dancers. The darkness was his; the illusion Nia’s. Taking her hand in his, he pulled her into the woods, far from prying eyes.

Want to know what happens next?

Check out The Royal Wizard at your favorite eBook retailers:

Amazon | Barnes and Noble | iTunes | Sony | Kobo | Smashwords

DIYday Lesson 9: GIMP 102: Brushes

Hi and welcome! You’re here, which means you haven’t been scared away by my last post. Awesomeness. This one will be solely dedicated to GIMP brushes.

GIMPGIMP comes preloaded with a handful of brushes–essentially the basics to paint with. Yeah, they’re cool and cute and fun, but if you really want to get into it, you will probably need to find some more brushes. If you have read this post on Stocks and Resources, you know how to go about it. If not, read it first before you go communing with the mighty gods of Google.

First thing’s first. How to install a brush (or brush set). It’s actually pretty easy. They’re not mini programs, but files and you just have to save them in the right folder. In Windows 7, this will be in the following directory: (C:)–>Users–>YourUserName–>gimpX.X–>brushes (substitute X.X with the latest version you have installed). Note that you are NOT going into Program Files at all and you never  will with GIMP. You can install brushes or patterns at any time, whether GIMP is running or not. If GIMP is running, however, the new brushes won’t appear until you refresh the brushes window. The same goes for fonts as well.

Brush tool is right under the "A" text tool and right next to the pink eraser tool

Brush tool is right under the “A” text tool and right next to the pink eraser tool

Once you have the brushes installed, you’re ready to go. There are different styles of brushes. Most work more like stamps. To use  a brush, first select the brush tool, and then select the type of brush you want to use. With the stampy brushes, all you have to do is click where you want it and it will appear on your layer. If you click the same place again, the stamp will be thicker. The more you click, the thicker it will be and depending on the brush you may not want to go too crazy with it. There is also a History window where you can undo something if you go overboard.

You can size the brushes but be careful of resolution. Not all brushes are meant to be stretched out to 2000 pixels. Always zoom in to 100% on your image to make sure the resolution is still good. A good thing to do is to put brushes on transparencies over your image. That way you don’t mess up the image if you make a mistake and you can try several different ones to see which is better without having to start all over again if you change your mind. Remember, layers are your friends. Don’t be afraid of them.

Also, if you have different layers, you can manipulate them with special effects. It’s always fun to experiment. =)

If you have Photoshop, note that you cannot use a Photoshop brush in GIMP. The file types are incompatible. I am sure there is a way to convert them, because it is possible to create brushes in GIMP, but I have not done it so I cannot tell you how to go about it. There are, however, tutorials out there and many brush sets come customized from Photoshop to GIMP or vice versa.

DIYday Lesson 8: GIMP 101: Open, Save, Layers and Tools

GIMP image

My best friend in image manipulation

This will be a first in the GIMP series. You’ve seen me write about it before and that is because this is one resource I cannot do without. I have tried Photoshop–a ridiculously expensive piece of you-know-what if I’ve ever seen one. They nickle and dime you for anything you want to add on or update, and it’s so convoluted I couldn’t figure out more than the most basic of things after a year of it sitting on my computer. With GIMP I was up and running in a week.

GIMP stands for GNU Image Manipulation Program (and GNU, in case you were interested stands for GNU is Not Unix… don’t ask…). It is available for Windows, Mac, and Linux operating systems. It is free and open source, which means you can use it without having to pay anything, and if you’re a programmer, you can also alter the program itself to do something different if you would like. A word of caution, it is a RAM-heavy application, which means if you have less than 1GB RAM you should not run it. Then again, if you have less than 1GB RAM what you need more than a program is a new computer.

Although GIMP performs most (if not all) of the same functions as Photoshop, it looks and works differently. If you’ve used Photoshop before and look at GIMP for the first time, don’t be scared! It really is fun and easy to use. Just take it one step at a time. If you’ve never used a program like this before and the words RAM-heavy freak you out, take a deep breath, it’s going to be okay. =) I’ll walk you through the basics and before you know it you’ll be a GIMPing pro!

For the purposes of these tutorials, all instructions will be for Windows operating systems because that is what I use. If you have a Mac or Linux computer, there are tutorials out there, so don’t be afraid to Google. This being a very basic intro class, it will be a most basic How-To for the simplest tools. I will have more for you next week.

So let’s get started!

Open

The GIMP Home screen

The GIMP Home screen

This is what GIMP looks like when you open it up. In addition you will have two other windows (toolboxes, see below). Do not close those. Take it from someone who’s done it. They’re a pain to get back.  To being, click on File –> New to open a blank canvas. You will get a pop-up asking for specifications. The default measurements in GIMP are in pixels. That is what most sites measure in also. If you’re not comfortable with that, you can change it to inches or centimeters. Enter the size you would like and click OK.

You can also open an image you have saved on your computer. Just click File –> Open and find the file you need in the browse window. Another cool trick is Open As Layers, which opens the image as a new layer in your current file, as opposed to a separate window. Don’t use this if you want to only use parts of the image. It creates an image-on-white layer, which means when you erase part of it, you get only white underneath and can’t see the bottom layers. To get it onto a transparency, open the image on its own, copy it, and then paste in your project on a new transparent layer.

HINT: When you paste something onto a new layer, GIMP allows you to manipulate it before it is “anchored” or attached to the layer. Until it is anchored, you will not be able to manipulate the other layers. When you anchor, the image automatically crops to the size of your canvas. This is not an issue, unless the image is larger and you later decide you like a different part of it more. To preserve the original size of the pasted image, click Layer –> To New Layer. This creates a new layer from your pasted image without cropping it.

Save

Saving in GIMP is a little tricky, but in a good way. By clicking File –> Save you save the project you are working on in separate layers, however many you have in .XCF format, only readable by GIMP. This is a cool new feature in the latest version. So helpful because it preserves everything in case you want to go back and change things. I can’t tell you how many times I accidentally saved something as .JPG and had to redo the entire graphic again from the start.

To save in a format you can post on a website or print, you need to Export or Export to. The most common image formats are .JPG, .PNG, and .GIF. Each is good for something different. For example, I use .JPG for covers because it is high resolution and all detail is preserved–it is optimized for printing which always requires the highest resolution image possible. But this format also creates a large file which is slow to load in a browser, so for website graphics I use .PNG. This compresses the file, makes it easier to load, and also preserves transparencies if you have them. But some of the details might not be precisely print quality perfect so if you want an image for printing, go with .JPG. The last format, .GIF, can be used for regular images. To be honest I am not quite sure what the difference is here. But I do know .GIF allows you to save animated images (ones that move or switch between one picture and the next).

This is an animated .GIF image

This is an animated .GIF image. It took me about 5 seconds to create using Filter –> Animation –> Ripple. I Exported as a .GIF image and saved as animation. You can see around the edges of the glow that the gradient isn’t very smooth. That is because by saving the animation, some other information was lost.

HINT: The more you compress something, the less detail it has. Image resolution tells you how much detail is saved. In simple terms, if you zoom in on a picture, is it still sharp? How about if you zoom in more? Resolution can be measured in pixels per inch and the more you have the better the image will look, but the larger it will be. For print purposes, larger is better, because small images do not stretch well (they blur or pixelate). However, for websites, a large image can make your page slow to load. You don’t need super high resolution images on your site unless you are making an image portfolio. For things like buttons, banners, decorative touches, etc. it’s better to have smaller, more compressed images.

Layers

LayersOne window in one of the toolboxes is Layers. Layers make cool graphics possible. They let you add elements and integrate them together, move them around together or independently. When you create an animation like the one above, you essentially create a bunch of different layers that cycle through and “animate” your image.

As you can see here, you can have many layers. The checkered pattern indicates that layer is transparent. When you paste something onto it and erase a part, the layer beneath it will show through. The Background layer in this example is a white background layer, when I paste something onto it and erase a part, only white will show through regardless of how many layers I put beneath it.

Mode lets you set how the layer behaves with the others. I most often use Normal and Overlay (This superimposes the layer onto what’s under it, with interesting results). Opacity is how transparent you want the layer to be. 100% means all you see is the top layer. 0% means the top layer is invisible.

Speaking of invisible, see that eye symbol? If you click it it disappears and that layer becomes invisible so you can see what’s underneath. See the blank space between the eye and the mini layer? If you click it a chain image will appear. Click it on another layer and it will lock those layers together so when you move one, the other moves also. Great tool when you have the perfect grouping of texts in the wrong location. Move one and they all move. Easy!

HINT: Depending on what you paste onto a layer, it might not be the same size as your image. This is fine while  you’re working with the image, but to export it, it’s best to have all layers the same size. It trims unnecessary information and makes the file a little smaller. One trick is to click Edit –> Copy Visible and then create a new canvas with the same dimensions and paste there. That “flattens” the image (sticks all individual layers together) and makes it one size.

Tools

ToolsThere are many. I use some, but not all. This is the third window you will work with. Select tools are awesome. You have five of them, the first row of icons and the first one in the second row. The cool thing about them is that when you select an area on one layer, unless you click elsewhere to deactivate the blinky dotted outline, the selection carries to every other layer. So let’s say I have a square on my background layer. I select it, then click on the topmost layer. The same area is still selected. But when I use Bucket fill to paint it blue, it’s on the top layer, and my square in the background is still the same.

Move tool (the four-directional arrow) does exactly that. Crop (the one that looks like a knife, 3rd row, 2nd icon from the left) will crop your entire canvas, so don’t use it if you just want to make one layer smaller. For that, use the eraser tool. Rotate, Perspective and Shear are great for manipulating different layers to get just the right look. The Text tool lets you add in text (which creates a new layer so don’t worry if you mess up). GIMP automatically searches your computer on startup and imports all the fonts you have on your computer. Can’t find the right one? You can always find more online.

Bucket fill is a fun one. You can fill in selections or whole sections with flat colors or with patterns. This is one thing that is worlds easier than Photoshop. You just select the bucket tool and then make sure you fill the selection with Pattern, rather than Foreground color. Click where you want to fill and voila! Easy as pie.  Brushes are a topic onto themselves, so they will be elaborated on later. The clone tool lets you copy parts of an image and paste not in chunks, but with a brush. This tool tends to be overused when people don’t know how to use the other tools and filters. I did it in Photoshop a lot. I haven’t done much in GIMP. Blur tool blurs with a brush (there is also a blur filter which applies to the entire layer and can add cool effects).  Smudge does exactly that and a Spot Healing brush does something really cool which I have no idea how to define. It’s like a clone stamp, but not. It integrates one part of the image into another seamlessly.

Wow, that was a lot for an intro. Take a breather.  It may seem impossible at first but, trust me, GIMP is addictively easy. You’re going to love it. If at any point in time you get confused about how a tool is used, don’t despair. The Help button takes you to an easy-to-read online manual where you can find more instructions. If there is a special effect you want to create, type it into Google. Odds are you will get tons of results for manuals and videos on how to create it.

One last hint: If you use images in your creations, always use high resolution images and always make the canvas larger than you think you will need. You can easily make a big thing smaller, but a small thing won’t stretch easily into a bigger frame.

DIYday Lesson 7: Stocks and Resources

StocksThis is a follow-up post for the Author Finance lesson. The aim is to show you where to find resources, how to choose which one is right for you, and how to use them responsibly.

Part 1: Images

Whether you’re designing your own cover, or want to spruce up your website or blog with a few pictures, it’s always good to be responsible when looking for the right ones. Do Not use Google search and take whatever you find there. A search engine is just that, it tells you where to find images. It does not give you permission to use them. Be wary of sites like Photobucket and DeviantArt. Those are meant to display images, not give them out. Although the waters are murky with DeviantArt, since it has a Stock Images category. In that case, always contact the artist for permission before you use their images.

There are a couple of great blog posts I’ve read in the past and unfortunately can’t find them to pass on to you. They talked about an author getting sued for using images under “Fair Use,” citing the creator and giving proper credit on her blog, but without permission. Here is the thing: You can’t freely use everything and anything you come across. And it’s not always easy to suss out what you can use and how you can use it. When in doubt, turn to royalty free stock image websites. Royalty free means you don’t pay beyond the first purchase. Meaning, if you put the image on the cover of your book, you don’t have to pay royalties to the creator for each copy sold. The sites I use most are Stock.Xchng, Fotolia, and iStockPhoto. Stock.Xchng is all royalty free and free images. Meaning, you pay nothing. BUT the permissions vary from image to image. I’ve found that most images of people have a different use requirement than landscapes (they require you to  contact the owner when using it for public works, or contact them for permission). These are always stated on the image page so pay attention. Fotolia is a paid site, but they have daily free images, which you can download at no cost. They also have subscription plans which makes buying images cheaper, but although you can get images for less than $1 that way you might not necessarily need 100 of them. They also make it easy with licenses and have a general rule for all images. Read it to make sure you know what you’re getting into. iStockPhoto is a little pricier. It works the same as Fotolia and I think they have subscription plans as well.

Part 2: Fonts

I could spend days on sites like DaFont. And there are tons more out there. Most of these fonts are “free for personal use” which means you can use them in images, graphics, etc. Some will allow you to redistribute the font, with the condition that it must be in its original format and cannot be sold for money (in other words, you got it free, it needs to stay free). Some will ask for donations, and others require you to pay a small licensing fee to use it. The toughest part about fonts is finding a site that is easily navigable. Not all of them will give you categories or searches. I love DaFont because it gives you both and the fonts I find there are many, varied, and well made.

One thing to keep in mind is be careful when using exotic fonts on your website. Every computer, browser, operating system, and screen translates fonts differently. If the font you use is not supported on someone’s computer, it will default to a generic, sans serif font (most often) and you will lose your creative flourishes. Same goes for eBooks. Don’t use special fonts or characters because they will not always be translatable by eReaders. I found this out the hard way. The best use for custom fonts is in graphics and cover pages. There, they are embedded into the image, so there is no question of how they look.

Part 3: Music and Videos

Looking to create a trailer video for your newest release? Great! But don’t use songs you hear on the radio. That is a copyright infringement and will get you sued faster than you can whistle the first note of the song. Instead, just like with images and fonts, look for sites with royalty free music. There are some sites which offer musical pieces for a price. Some offer them for a voluntary donation or free. Sites with stock images will often have videos as well. I use Incompetech for music. It is free (although donations are welcome and encouraged), as long as you credit the creator. You will notice that at the end of each of my trailer videos I have a slide that says “Music by Kevin MacLeod.” This is why. With so many people spending hours browsing videos these days, making a trailer for your book might turn out to be a good investment. Just be smart about it and give credit (or money) where it’s due.

Part 4: Application Resources

This is confusing for me. I never know what’s going on with what I can use or how. If you have GIMP or Photoshop, you can do Google searches for brushes, patterns and scripts (more on that in later posts). The trouble is, there are many sites which say “Free GIMP and Photoshop Brushes Here”, and link to places like DeviantArt. Always make sure you are clear on what you can use for what purpose before you make it public. There are artists who require you to give them credit for these resources when you use them, and some ask for a licensing fee. If you’re using a brush for a small part of the border of your cover, it might not make much sense to have GIMP brush artists mentioned in the credits, but you never know. When in doubt, ask the creator. And be careful, especially with GIMP brushes because they are often times adapted from Photoshop brushes created by someone else. Always make sure to contact the original creator for permissions of any kind.

Do you have sites or resources you use? Please comment and share.

DIYday Lesson 6: Author Finance 101

Time is moneyThis is my first Links and Resources post. The lesson I have to impart can be read in more detail in Mark Coker’s The Secrets to EBook Publishing Success and as Maroon 5 says, ” it goes like this…”

Authors don’t make a lot of money to start with. At least I don’t. If you do, congratulations, you’re in a very lucky minority. But odds are, you have a full or part time job and write on the side (which is what I do). If that is you, great. I tell you this with only the best intentions: Don’t quit your day job. Why? Because your job offers you three things: money, stability, and a social network to help spread the word about your books. It’s better to suffer through a job for the income than cut yourself off from it and risk going broke. The reality today is that the longer you are without a job the smaller your chances of finding a new one so don’t break the legs you stand on until you are sure you can support yourself another way.

So, that being said, you have two commodities to spend on your writing and publishing: Time and money. It’s up to you to decide which is more valuable and how you want to spend it. I don’t have the perfect formula for everyone, but I am working on developing one for myself.

Writing aside, are you good at (or interested in) building websites? Do you like to play with image manipulation and creating covers? If so, you’re better off spending a few hours (or days) making your own than paying someone to do it for you. Pennies saved! Actually, in this case it’s hundreds of dollars. Even if you have no clue how to go about it, there are resources out there. I mentioned WordPress before. You’re looking at it. Even without any custom work, WordPress gives you a beautiful canvas to write on. Make use of it. You don’t even have to touch any code. Just type what you want to say and click “Publish.” You will see a link to GIMP in my list of links. It’s what I use all the time, for covers and website banners, and everything in between. It’s easy to use and best of all, FREE. I will have How-To posts about it later on. Easy, right? Okay! moving on.

Three things you really, really, really should invest in–with time or money or both–are your website, your cover page, and a professional edit for your book. Why? Because these are the three faces of you.Your book is the skeleton that supports you, but those three things are the muscles that move it. They say not to judge a book by its cover, but a lot of people do. A poorly designed cover sends the message that this is an amateur, low quality book and people will be less inclined to read it. Even with a beautiful cover, if a reader opens your book and finds ten typos and errors in the first chapter, they won’t bother reading on, and they definitely will not come back for the second installment. This is one time where your eyes alone are not enough. I, for example write, re-write, and edit so many times that after a while I stop noticing the small things. Invest some money and have a professional edit your book before you publish. As I said, your readers give you their time, attention and devotion. Don’t short change them with a subpar book.

Let’s say, then, that you did all the right things, you have a beautiful cover and a polished book. Let’s say that after reading it, a person looks for you online (as most people these days do). What will they find? What they should find is a neat, well-put-together website with information about you and your books and maybe a way to contact you. They should find it at a custom URL (see my post about this here) and they should be able to navigate it without major effort. It doesn’t need to cost you an arm and a leg. It doesn’t need to have the latest and greatest Flash intros, dynamic graphics and all those other bells and whistles. But it does need to look professional and be something you are proud to show off.

After those three things, everything else is gravy and you need to negotiate. What do you want to buy or invest in? Do you really need it? How will it help you? Beware of review sites that offer reviews and with the next breath hawk their advertisement packages at you. There is no research to support any correlation between purchasing such ads and higher sales (and since all such sites say they will accept submissions but cannot guarantee a review, think twice before you fall for it). This is not to say you should not ask for reviews, by all means do, just be sure it is at a reputable site you are familiar with who will give you an honest review and does not charge reading fees. If you can’t find one, you’re better off with a website and a blog you update every once in a while.

Tags are your best friends. Look for forums where you can participate and put a link to your website in your signature. Sites like The Romance Reviews give you free headline ads or something similar for having a link to their site on yours. It doesn’t have to be big and obvious and already you have free advertisement because not only do you have those ads, if you make a profile on TRR, that is one more place where people can see you. Again, though, negotiate. Don’t overstretch yourself. Make sure whatever you decide to do, that you can sustain it. Don’t join a hundred sites and expect to post on a weekly basis because you are first and foremost a writer, not a marketer. Your time is valuable. Balance how you spend it and if you find you’re spending more time on browsing your websites, forums and blogs instead of working on your book, reassess and restructure.

Good luck!