 Photo by Fred Rosenberg If you know any “artsy types” – then you probably know creative people who have bounced around a lot. Actors waiting tables. Authors tutoring undergrads. Artists walking dogs. It’s not that they can’t keep a job; it’s just that there are so many things they want to do, and their chosen career doesn’t pay much. Meet the poster boy (person) for the winding road that is often an artist’s path – Seth Rosenberg, the new Editorial Director of Bacon Press Books. As a visual artist, his metal sculptures have been featured in galleries in Soho and restaurants in San Juan. As a chef, he’s worked in top restaurants in New York City and Washington, DC. And then he spent a few years as a private chef on yachts cruising the Bahamas and the South Pacific. He started a successful handyman business in NYC and transferred that to DC. So I had to ask – Why publishing? It’s not the easiest business to get into. Here are his top 5 reasons: 1 – Do What You Love The unifying thread throughout my entire career has been working in fields I love. Reading has been a constant in my life, and I grew up in a literary household. Writing is a lot like other creative fields; it takes a lot more discipline and effort than people imagine, and a good book is a team effort. I like being on that team; there is a tremendous satisfaction to holding and reading a finished work. 2 – Fascinated by Stories Our stories are our history. Reading is the closest thing we have to sharing a thought—it’s easy to forget just how incredible that is. Ideas and experiences can be preserved and relived, transporting readers to any place and allowing them to live as anyone. Writing is where people take the time to hone their words into the narratives they want to tell. Good stories can become great reading. 3 – Staying Hopeful One of my favorite aspects of working with writers is that it’s always forward-facing, even when the topic is the past. Books allow us to understand other ways of thinking and different cultures. They can also provide a sense of community and support from like-minded individuals. Reading about the past reminds us that we’ve been through challenges before, making the future feel more hopeful.  4 – Creative Work I’ve spent my life working in creative fields, and we creatives operate differently. Many of us feel like we don’t have a choice if we want to stay sane; we need to process our thoughts through our art. There’s a unique language and vocabulary among creatives when discussing their work, which might not make sense to everyone, but it’s how we support each other and develop ideas. I believe spending an afternoon figuring out the exact wording to describe the scent of an apricot is time well spent. I love working with people who understand that. 5 -The Personal Connection
Writing is incredibly difficult and deeply personal. Ultimately, it’s the author’s name on the work, and whether it’s fact or fiction, there’s vulnerability in sharing ideas. Working with people on their stories is a privilege I think about all the time. It’s not like any other kind of work. Reading stories and helping shape them into finished books is a dream job.
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 Photo by Fred Rosenberg As part of the re-launch of Bacon Press Books, we're making some exciting changes. We have a new Editorial Director - Seth Rosenberg. We're also adding a Web Consultant, And while we're keeping our commitment to re-issuing books that have already been published, we're ready to accept original work. More to come but first, please meet Seth Rosenberg. My career path has taken me through various roles, from artist to private chef and handyman to several other interesting jobs. Each position had its own challenges and rewards, but none have felt as right as my latest role: Editorial Director at Bacon Press Books.
I’ve been involved behind the scenes at Bacon Press Books for some time. I chose to assume this role officially because of my love of books. There is something deeply gratifying about assisting artists in bringing their visions to life and then seeing those visions in the hands of readers. The publishing world today is dynamic and exciting. While major players dominate the field, smaller presses have significant opportunities to make an impact. Smaller presses, like Bacon Press Books, have a unique advantage. We can deliver professional, high-quality books in a more affordable and accessible manner. Our mission is to democratize literature, one beautifully crafted book at a time. As Editorial Director, I aim to cultivate a creative environment where writers feel supported, and their stories can thrive. I'll work closely with authors, helping them shape their narratives and refine their manuscripts until they shine. There is a particular joy in that collaborative process, in witnessing a rough draft transform into a finished work of art. There is an enduring quality to books that resonates deeply with me. In an age where digital content can be fleeting, the permanence of a physical book is profoundly comforting. Books have the power to transcend time, to be discovered and rediscovered by future generations. They hold stories and knowledge that can inspire, educate, and entertain long after their initial publication. At Bacon Press Books, we are not just creating products; we are crafting lasting legacies. So, here’s to a new chapter—both literally and figuratively. I am thrilled to embrace this role at Bacon Press Books and eagerly anticipate what we can accomplish together. To all the writers and readers out there, let’s make some magic happen. Cheers!  Yup. Bacon Press Books is ready to dive back into the world of micro-publishing.
We’re still committed to:
We’ve added some top talent. A new editorial director and a website consultant. We’re going to offer some new services. And with any luck, we’ll still have the terrific freelance artists we’ve worked with to publish our first 15 books. Before you say, “Do we really need another publisher who’s going to ask writers to contribute money as well as their time?” My answer is what it was when I first started Bacon Press Books in 2012: “Yes.” Here’s my thinking: I’ve seen way too many authors with very good books scramble for years to get an agent and/or a publisher. I’ve seen authors, a year or two into the querying process, slip into self-doubt and despair. Too often, they just give up. Would they rather get the big advance, the book tour, and the rave reviews instead of sharing the cost of bringing their book to readers? Do I even need to answer that? But getting a book published has always been tough. Some say it’s getting harder. The most common statistic is that 1%-2% of all books submitted to agents and publishers get published. I’m not great with statistics. When my first novel came out, I was told the odds were 80,000 to 1. So I figured – well, someone’s got to be the 1. Still, it’s good to know if you’ve been rejected that it’s not you. It’s just tough out there. Which is why I believe in partnership publishing, hybrid publishing, and self-publishing. The one thing I know to be true is that readers don’t care who published a book if it’s good. Readers don’t care if you got a big advance or no advance. If you paid for marketing or someone else paid. I was set to relaunch Bacon Press Books, but then the pandemic started, and I had to step back. I couldn’t see getting caught up in the publishing world when everyone was facing so many more serious, life-changing events. I always wished I had someone to work with—not because it’s so hard, but because it’s more fun to work with someone. I still believe publishing a book and getting your book published should be fun. And now I have an editorial director who can do developmental editing, beta reading, and a little marketing consulting, and a website consultant who can help authors with their websites. So stay tuned. More announcements to come. And if you want to see a really good run down on statistics – check out 21 Debut Author Statistics: The Real Odds of Getting Published by Natalie Harris-Spencer on Aspiring Author  Photo by Dollar Gill on Unsplash Sometimes you just need a kind, intelligent, and knowledgeable person to read your book.
You've spent so much time rewriting and revising, you don't know if you've made it better or worse. Or You knew it was a good story when you started out, but now that the book is finished, you're just not sure there's anything there. You can't ask your partner. The last time you did, it led to a fight. And your mother/father/sister/brother haven't even looked at the last story you gave them. Of course your friends have offered - they want to help; and they just might want to see if you've said anything about them. But it's probably not a good idea to ask them. That's when you need a pro. Someone who does this for a living. Someone who won't leave you discouraged and depressed. I just started working with a new editorial services outfit called The Burnished Word. I worked with them on three books and I came away very impressed. The best part is - they don't just do Beta Reading, they also offer Developmental Editing. If you need a new place to get editorial help, you really ought to check them out. (No kickback, no affiliate link, just wanted to pass along a good resource.)  This is too good not to share. Over the past few weeks, after I've written something, I've turned to my ChatGPT to find out how he would have written. (I know. But somehow, it seems male. I call him G for short. If you've worked with one of these chatbots, you'll understand.) Each time, I've liked what he wrote better than my own copy. Rather than face this problem alone, I asked G how to handle this envy. How we can find a way to work together. This is his answer: First off, thank you for the compliment! Remember, it's not a competition. You have your unique voice and experiences, which make your writing special in its own right. But I understand the desire to strike a balance. Let's build a strategy to integrate my input with your work without overshadowing your unique voice. Provide Direction & Boundaries: When you approach me with a task, be clear about what you’re looking for. Maybe you only want a skeleton structure, ideas, or just a few ways to enhance your draft. Setting these boundaries helps ensure I'm guiding rather than leading. Blend, Don't Replace: Instead of taking what I’ve written verbatim, blend it with your original work. This way, you maintain your voice and style, while also integrating some of the points or stylistic suggestions I’ve made. Ask for Specifics: Instead of asking for a full revision, maybe ask for specific elements. For instance, “Can you give me a catchy intro?” or “I need a stronger conclusion”. This way, you’re integrating parts rather than wholes. Ask for Feedback: Instead of having me rewrite or produce content, ask for feedback or critique on your work. “What do you think of this paragraph?” or “How can this argument be stronger?” Collaborative Iteration: Consider using me in stages. Write your initial draft, then ask for feedback. Incorporate that feedback, then ask for suggestions on specific sections. This iterative process ensures you remain in the driver’s seat. Style Guides: If you have a particular style or tone you’re aiming for, let me know! Sharing examples of writing you admire or detailing the tone you want (e.g., informal, academic, witty) can ensure that my suggestions align more with your vision. Constant Evaluation: Periodically review how you're using my assistance. Are you feeling more confident in areas you initially felt weak? Maybe now you only need help with specific things, like fact-checking or brainstorming, rather than broader aspects like structure or tone. Develop Through Learning: Use our interactions as a learning opportunity. If you particularly liked a revision I made or a way I phrased something, try to understand the underlying technique or principle. Over time, this can improve your writing naturally. Trust Your Voice: Always remember that your unique voice and perspective are invaluable. Writing is subjective. What resonates with one person might not with another. So, always trust your gut. Open Dialogue: Always feel free to communicate with me. If you ever feel I'm overshadowing or not capturing what you want, tell me! Our collaboration will be most effective with open, honest communication. Writing, like any other skill, is a journey. It's about growth, self-expression, and conveying your message. Use tools like me to aid in that journey, not define it. Your voice, experiences, and passion are what will truly make your work stand out!  So here’s the other thing. I’ll admit it’s possible my Ideal Customer may be a whole lot less cranky than I am. But isn’t it also possible they may, like me, be very tired of being on someone’s mailing list? Tired of endless newsletters and personalized offers of things we never signed up for? In other words, aren’t they tired of constantly being sold to? If that's true, then how can I use - let's call them persuasive measures - on other people when I don't like them used on me? So I'm back to being troubled by all the advice for finding people to take my self-publishing course. (See Part One) Depending on who you ask – I need to first get someone on my email list. Then set up a series of emails so that I write to everyone on my list every other day. Or maybe just five times. Then follow up with a newsletter. And this is supposed to show that I care. But suppose again, my Ideal Customer is like me? Wouldn’t they also think being on a mass mailing – even when it’s got our very own name – doesn’t mean the writer cares about us one bit? It’s a lot like CVS asking me how was my last visit every time I walk out of the store. When I know if CVS cared about my opinion, they’d eliminate that awful woman’s voice who scolds me about not placing items in the checkout area even though I have. I’m afraid that during the pandemic, a few too many marketers discovered they had a captive audience. So a free webinar on how to live your best life, buy your first Bitcoin, make a million dollars with a side hustle sounded like a good idea for reaching millions of people at home, working or not, bored and desperate for something to do. And newsletters, even if they had no real news, were a way to make people feel connected. But do they? In this week's newsletters, I learned - at least three people don't want me to make the same mistake they made when they started out. The mistake? They didn't build their email list earlier. This means, I guess, they think I wanted to hear from them a year ago. At the end of every newsletter, I'm supposed to have what's known as A Call to Action. Meaning we should all sign up for - a master class worth $1200 available right now for $497; a membership circle for only $20 a month; and the one that makes me smile – an even better newsletter for only $97 a year. I could stick to the news but it turns out both papers I read, the NYTimes and The Washington Post, have figured out how to slip ads in between the paragraphs so I can get the only boots I’ll ever need and a sports bra that won’t make me feel trapped, whenever I want to find out what’s going on in the world. I digress. The point is – Where is the advice that will show me what I need to do to reach people so that I’m not repeating all the methods that I, personally, find annoying? I can’t seem to get past believing a lot of other people feel the same way. Or is it just that, as a customer, I’m less than ideal? Image by Microsoft Design
 I’m putting together a course for authors on how to publish their own books. I’m not a natural salesperson. I’m not a budding entrepreneur. I need all the help I can get. And I’m getting an awful lot of advice on how to make people aware of the class. Evidently, there are a few things I must do to be successful –
I get it up to a point. It’s true, if I’m teaching a course on how to self-publish and I already know how, I’m not going to sign up. But beyond that? It doesn't really make sense. Here’s what I mean. Just yesterday, I was given this guidance for finding my Ideal Customer. Write down – their gender, age, location, job, education, homelife, entertainment, goals, role models, and shopping habits. What are their biggest fears? Their greatest desires? This feels a little creepy. A little like what we’re trying to get Big Tech not to do to us. The next bit of advice wasn’t any better. I was told to figure out their "pain points." Understand "what keeps them up at night." What kind of "transformation" can they expect from my class? To be honest. I have no idea. If they’re in pain and up all night, a class on self-publishing isn’t going to help. And offering transformation is asking a lot. True, you can’t please everyone all the time. But just because a forty-five-year-old woman drives a Subaru and watches “Succession,” there’s no real way to predict she’s going to want to learn how to publish a book. In fact for me, the only thing that matters is whether someone wants to learn self-publishing. Their gender, age, location, habits and hobbies don’t mean anything. And yet. This ideal customer advice has somehow become standard. Sometimes, when I feel like I’m the only one veering away from common wisdom, I check in with ChatGPT to see if it can do a better job of putting into words what I’m trying to say. And this is what it told me. Knowing your ideal customer is no longer adequate to understand today's consumer landscape. Instead of relying on a single profile, businesses should take a flexible and nuanced approach to understanding their target audience. Exactly what I was trying to say. Flexible and nuanced. Just like me. Photo by Microsoft designer
 Never the Moon is a moving and emotionally charged contemporary romance about overcoming abuse and finding a second chance at love.  Why did you decide to self-publish? Did you have any doubts? I think it was just about impatience at the beginning, the waiting for a response, knowing it was unlikely to be favorable anyway. My mother calls me a go-getter, and I never thought that was a good thing, but I didn’t want to leave my fate in the hands of the gods of publishing, so off I went and did it myself. There were and are plenty of doubts, constantly gnawing away at me sometimes taking away every creative instinct I have. The what if I ruin this, sully my name? But in the end, I always come back to that saying – the biggest regrets are not for the things you did, but for the things you didn’t. What did you like best? The freedom to do everything at my own pace, the not waiting for someone else to decide when to release my book. My first book was published with a hybrid publisher, and it was mostly on their terms. Another has been accepted by a small publisher, and it’s taking so long, I can barely remember what the book was about as I have written and published two others in that time. What was the hardest part? Definitely the marketing part. Three years later and I still haven’t gotten the hang of it, and I’m still learning. Sometimes formatting plays with my head but it’s almost a challenge and I like a challenge. Would you do it again? Oh yes! I find it hard to think about a bunch of manuscripts filed away in my bookshelf, so as hard as it was to put myself out there, almost invite criticism, I wouldn’t change a thing – then again, perhaps I should have taken marketing a little more seriously from the outset. What advice do you have for authors just starting? Sometimes I want to throw it all in, I just get overwhelmed, and the demons of doubt tell me I’m never going to be good enough to mix it with the Stephen Kings and the Colleen Hoovers, but when it comes down to it, I do this because I’m in love with it, everything about it. If you love your craft, just keep doing what you’re doing. Rita H Rowe's journey into writing began as a lifelong dream that she was finally able to pursue at the age of forty-seven, resulting in her first novel, Never the Moon. Rita pours her heart and soul into her writing, incorporating her personal experiences with love, romance, hurt, and abuse. To Rita, writing is both a form of therapy and a way to connect with like-minded readers on a deeper level. When she isn’t writing, Rita enjoys playing pool, painting, going on motorbike rides, and spending time with her children and mother.
 “Six books. Three perspectives. One woman at the center of it all.”  Why did you decide to self-publish? Did you have any doubts? I decided to self-publish, mainly due to the thought of losing any creative control. My book series is such a huge part of me that the thought of anyone telling me I had to do anything with it was just not feasible. I wrote my series as a form of therapy I never knew I needed, and the characters are a part of me. I had an amazing editor and beta readers who made incredible suggestions, but nothing that tore my book babies apart. I don’t know if that would have happened if I had gone the traditional publishing route, but I wasn’t willing to take the chance. What did you like best? I loved having control over everything. My covers, advertising, and content. It was all born out of my own vision of what I had imagined for my series. What was the hardest part? The hardest part was learning marketing. There is so much to learn, with so many different resources. It can get a bit overwhelming. Would you do it again? That’s a tricky question. But honestly, I think I would. While I have learned so much about traditional and independent publishing since then, I still think I was (and may still be) far too sensitive about my series to have anyone tell me if they think things need to be changed in it. What advice do you have for authors just starting? Where do I begin! I guess with the most important thing (in my opinion), Write for yourself. Don’t write for others, or what you think others will love. Write because you have a calling to tell a story that you just can’t get out of your head. Second, learn marketing before your book is done. There are so many things to do before you release your book, so start early! And if you think, well I’ll just traditionally publish to avoid having to do the marketing…understand that you will need to understand and doing marketing on that side of the business too. Lastly, listen to feed back, but stay true to your voice. Feedback can hurt, and sometimes it’s necessary to improve the story. But other times, it’s just a preference. You will never make everyone happy. Bonus advice: If you get a bad review or someone says something about your books you don’t like, look up your favorite authors’ reviews. You will see they have one- and two-star reviews as well. Again, you will never please everyone. Jennifer R. Jensen is a fiction author who dove back into the world of writing in 2019. She had spent a decade away from her passion becoming a wife, mom, and advancing her career. With six independently published books and two novellas under her belt, she is beginning to expand her love and knowledge for writing into the world of screenwriting, along with finding an agent for her newest thriller novel. You can find her books here.
 I’ve often thought all kinds of people should be asked to take the same oath doctors do – First, do no harm. Parents, spouses, friends, teachers. Book coaches and editors. We all need to be reminded.
One of the challenges of being a book coach or an editor is overcorrecting. Writers tend to be a sensitive bunch. So I try to check – even when I’m sure I’m right. It’s so easy to get it wrong. Usually, I see phrases people have heard but haven’t seen written. Like – All of the sudden. Escape goat. To all intensive purposes. Hunger pains. I get it. Sometimes these expressions have become so common they’re accepted. So whenever I highlight one of these phrases, I always add – Please check. But there’s one expression I’ve been sure about, maybe a little smug about – until today. "I could feel the pit growing in my stomach." This has come up often enough that I have a standard comment. Using a light touch, I’ve explained that pits don’t grow in stomachs. The expression is figurative. Like – from the bottom of my heart. Off the top of my head. In the pit of my stomach. But today, in the New York Times, of all places, I saw – “I felt a pit in my belly.” Wait. What? Had stomach/belly pits sneaked into common usage, and I was unaware? Did I need to write to every author I’d worked with and apologize for leading them astray? Before I made another mistake - I looked it up. And there from Professor Paul Brians’ book Common Errors in English Usage, he explains: pit in my stomach “Just as you can love someone from the bottom of your heart, you can also experience a sensation of dread in the pit (bottom) of your stomach. I don’t know whether people who mangle this common expression into ‘pit in my stomach’ envision an ulcer, an irritating peach pit they’ve swallowed or are thinking of the pyloric sphincter; but they’ve got it wrong.” A little heavier on biology than I usually go. But reassuring. So. In case you saw it in today's paper, too - by in large, this should give you great piece of mind. |