Habits Of A Book Junkie In A Digital World

Reading has always been my idea of fun!

Joanna Penn reading

Reading a (clearly serious) book on the Paperwhite

I love reading and I love books, plus I believe writers are usually great readers. We spend our lives immersed with our minds elsewhere, in someone else’s world or one of our own creation. Happy times indeed!

Hugh Howey posted a video about his reading habits and thoughts on the state of e-readers last week, and I was inspired to create my own version.

In the video below, I talk about how I read, I show you some of my book collection, how I discover books, what annoys me as a reader and how I review and share the love.

You can watch the video below or here on YouTube, or read the notes underneath, which include (affiliate) links to the books I talk about. The mic is a little off (I’ve got a new one on order) but I hope you enjoy it!

How do I read now … and how I ended up that way

kindle paperwhiteI read primarily on the Kindle Paperwhite at home, the Kindle app on the iPhone 5. In the video, I demonstrate my ‘reading on the Tube’ technique, page turning and highlighting!

I love the auto-synch between devices. I finish in bed on the Paperwhite and start on the Tube on my iPhone. I get highlights from non-fiction on the Kindle app on the Mac when I am working – I LOVE highlighting. I’m probably an addict! I later transfer my highlighted notes to my notebooks by hand.

I own over 1000 books on Kindle and have about 200 samples on my Paperwhite right now. In the same way that owning print books was part of my life even without reading them, it’s the same for ebooks.I also think it’s an extension of my brain and I use search on the Mac app when I want to research stuff and often find books I haven’t read in a while.

I rarely read paper and never read fiction in print anymore. I do own some non-fiction in print and I show you some of my books in the video:

I also listen to some non-fiction audiobooks: Jack Canfield – The Success Principles and Steven Pressfield’s Turning Pro. I own both of these books in ebook, print and audio formats as they continue to have a huge impact on me.

One of the reasons I believe digital is the future is the demographic shift into cities and smaller space living. Americans may not see this so much, but in Europe, we mostly live in smaller spaces and physical books clutter the place quickly.

We left behind over 2000 print books when we left Australia – many of which I had paid to ship from England to New Zealand and then on to Brisbane. It was practically impossible to sell them second-hand so we gave most of them away to local students. I find I am now replacing books I used to own in paper on ebooks even if I am not ready to re-read them yet.

I probably read about 5x as much fiction now as I used to in print, because of the prohibitive cost in Australia and New Zealand.

Why am I a Kindle customer?

It’s basically first mover advantage! I love Kobo and iBooks and Nook and all the other options but they weren’t around when I started on ebooks.

kindle in hammock

Reading the 1st Kindle in my hammock in Australia

I was living in Australia in 2008/2009 when e-readers started to emerge. At the time, print books were AU$25-$35 which is about 3x the price of UK books. I had almost stopped reading fiction and my non-fiction reading had dropped significantly.

The Sony Reader was the first on my radar but it wasn’t compelling. Then the Kindle launched and I was hooked. Here’s my review of the first international Kindle. [That brings back memories!]

I continue to be a very happy Kindle junkie!

How do I find books

If I know and love the author and the book is available on Kindle, I will pre-order it. I don’t worry too much about price.

For impulse purchases, I will buy anything I fancy under £2 (US$4), but I don’t usually download free books. I prefer to pay, and I’m not a member of Kindle Unlimited, mainly because so many books are not in KU that I want to read.

I don’t have a budget for books, so I buy what I want, when I want. I buy books almost every day, but then it’s pretty much my only vice!

I will buy books to keep for later and I don’t necessarily read everything I buy. When I’m researching something e.g. mythology, I will search in my own ebook library first to see if I have already bought something on the topic since I often buy in order to “own” books, as I did with print.

code zeroFor fiction, I browse the genre categories of thriller, dark fantasy, non-fiction etc for books released in the last 30 days.

I rarely browse the overall bestseller lists as my book turnover is so fast. I definitely download samples based on cover design – I picked up Jonathan Maberry’s Code Zero because I loved the cover and have spent the last month binge reading his Joe Ledger series.

I will pay more for non-fiction and will buy from unknown authors more easily if the topic grabs me. If I can learn a couple of new things per non-fiction book, I consider that worth the money.

I will often buy based on listening to author interviews on podcasts or books recommended by bloggers like Tim Ferriss. I also monitor the fantastic Brain Pickings site and get a lot of books from there. Plus, I find books on twitter through recommendations that way.

When I find things I like, I sample. That means that I download a percentage. I usually give the book 4- 5 clicks/page turns and if it hasn’t grabbed me, I delete the sample. If I make it to the end of the sample, I will usually buy and continue reading. I’ve talked in length about the importance of sampling for authors before.

What annoys me as a reader

  • Books not available as Kindle books, for example, the entire James Michener backlist, which is the sourcesubstantial and weighty. The Source is one of my favorite books and it’s not on ebook. Seriously Random House, sort that out!
  • US first releases. In a world of online marketing, staggered releases by region is just a pain and annoys readers. I will see a tweet from the author on release and then I will forget about it unless I can immediately download a sample.
  • Print only launches. I generally won’t buy books in print so if you don’t release a Kindle version on launch, I may well have forgotten it by the time the ebook version comes out. At least include a pre-order button if you want to do print first.
  • Samples that include acknowledgements, forewords, essays by someone else etc. That should all go at the back so I don’t have to wade through that. Make sure your words hook me and I don’t have to wade through
  • Ebooks that are clearly just scanned versions of print books so they don’t flow properly. Please invest in doing a specific edition for Kindle.

How I review books

GoodreadsSince the sock puppet controversy, I have mostly stopped reviewing on Amazon in case of any issues there. So I review on Goodreads instead – follow my reviews here.

I include book recommendations in both my newsletters – fiction for J.F.Penn subscribers and non-fiction for TheCreativePenn subscribers.

I do blog posts with lists of books like my Christmas reading list, or thrillers for a winter’s night. Plus I have this list of fiction books I love, and this list of non-fiction books for writers.

I also share a lot on social media, primarily Twitter, with buy links. Plus, I buy books for others as my primary gifting.

OK, now it’s your turn. I’d love to know about your reading habits so please leave a comment below or leave a link to a blog post or video on the topic. How do you read? How do you find books? How do you review and pass on the love?

Self Development. We All Need Mentors At Different Points In The Journey.

I love to learn, and I’ve been sharing what I learn on this blog for almost 6 years now!

still learningI had an email from a lady the other week and she asked me, “How do you continue when things are tough?” This could be about writing, or just life in general, but for me, it’s about constantly learning from others and changing based on what I learn.

When I first started this site, my mentors were people making a full-time living online and the mindset of entrepreneurship – which helped me escape my day job.

Then I learned about writing books and non-fiction, and then about writing fiction and deeper creativity. I feel like I circle around these topics, learning new things from new people all the time. I devour books every week, writing copious notes in my many Moleskine notebooks. I’m a learning junkie, but I also try to put things into action, and this keeps me constantly motivated.

There have been some key mentors in my life, but all their teaching has come from books, seminars and online programs, not from 1:1 discussion.

These people put their knowledge out in multiple formats to help a broader spectrum at one time, and I now try to do the same. When people email me asking to be mentored, I say ‘go read my books, read this blog, listen to the podcasts, or come and hear me speak’ that’s how I pass on the mentoring relationship. I hope you will do the same with what you learn.

Our mentors change over time, so I wanted to highlight some of mine at the moment.

Robert McKee STORY conference

storyI’ve just returned from the 4 day intensive STORY course taught by Robert McKee, and it was absolutely mind-blowing.

I’ve now written 8 fiction books – from short stories, to novellas and novels, and I felt that this was exactly the right time for me to learn what he had to teach. I was going to blog about what I learned but seriously, I have 130 pages of notes and it was way too deep to try and capture in sound-bites. I’m also going to be processing for a few weeks before trying to incorporate it all into my 2015 creative works. It’s not about screenwriting, so much as story itself and how that resonates through people for maximum human impact.

If you want to check out this stuff, read the book STORY, and if you are serious about investing in your creative writing career, then take the multi-day seminar. He also has an online video program, Storylogue, but to be honest, I think the live experience is far superior (but obviously more expensive!)

Dean Wesley Smith & Kristine Kathryn Rusch

perfectionDean and Kris have 30+ years as full-time writers and they’ve seen the full spectrum of what the publishing industry can offer – from trad pub deals, to indie, to owning their own publishing company and physical bookstore.

Their advice is completely devoid of any hype or short term tactics, it’s all about creating a long-term successful career as an author. They are also both prolific writers and incredibly humble, plus they’re fun, and seem to have a good marriage :) What better mentors to have!

I’ve read all their various non-fiction books and taken a number of courses. The ones that have particularly helped me are:

Steven Pressfield

Turning Pro Steven PressfieldTurning Pro is the only book I own in print, ebook and audiobook. Pressfield kicks my ass every time I read or listen to it, and I make sure to read it every January to assess whether or not I am closer to being a ‘pro.’

When I interviewed Steve earlier this year on my podcast, it was a true pinnacle, because talking to someone who had been a mentor to me for years was very special. You’ll hear it in my voice – I am a little star-struck!

I’ve been listening to the audiobook of Turning Pro in the last few weeks, trying to up my creative game. Pressfield’s books are really about mindset and what really matters, leaving behind the ephemeral to get to the heart of why we do what we do.

His quote from Krishna is particularly important to me right now: “You have the right to your labor, not the fruits of your labor.” Think on that before moaning about book sales!

Tony Robbins

money tony robbinsI’ve said before that I was so inspired by Tony’s self-help books and information that my aim was to become a professional speaker like him, and change people’s lives in the way he does. His book, Awaken the Giant Within, helped me to overcome a lot of mindset issues and start to create, another pivotal moment in my move from IT consultant to creativity. I’ve never been to one of his live events, although that is on my list for the next couple of years.

But Tony makes my list again at the moment because of his new book, Money: Master the Game. It’s his first book in many years and comes from his anger over the 2008 global financial crisis and how the lack of financial education costs people far more than they could imagine. I consider myself a decent enough business-woman, but I have made my share of financial mistakes, both in business and in property. I’ve been reading this book slowly, and will continue to re-read until I understand it and have made the changes necessary to my own financial setup. It’s incredibly value packed and may change your life! I have bought the print edition as well as digital as it is the kind of book you need to digest slowly.

Various podcasts

podcastI listen to podcasts when I do chores or go to the gym, or travel and I find it’s a great way to learn about new things and discover lessons learned from people in all walks of life. I’m loving the Tim Ferriss show at the moment and particularly enjoyed this episode with Kevin Kelly. I also like the James Altucher show, particularly this episode with Scott Adams, of Dilbert fame.

In terms of self-publishing and related topics, I also listen to the Self-Publishing Podcast (for laughs NSFW), the Sell More Books show (for news and marketing tips), the Rocking Self Publishing Podcast (for deeper interviews with top self-publishers), and I’ve just started listening to the Author Biz, about author-entrepreneurship.

Put away your self-development inner cynic!

I hope I don’t have too many cynics in my audience – after all, my relentless positivity would probably put you off over time! The world I live is in brimming with possibilities and exciting projects and a never-ending stream of learning and creating. If your world doesn’t feel that way, then you need a kick in the creative rear!

These are just a few of my mentors at the moment who help me push the boundaries of what I can achieve in my week, my year and my life. You will need to find your own mentors for what you need to learn, but DO find them. After all, if you’re the smartest person in the room, you’re in the wrong room!

I’d love to hear about some of your mentors, now or in the past, preferably from books/seminars/courses so others can benefit. Please do leave a comment below and join the conversation.

Flickr Creative Commons: still learning by Anne Davies

Beating Self-Censorship And How Embracing The Shadow Helps My Fiction

I recently did an all-encompassing interview with the lovely Deb Ozarko about changing the status quo.

red wineWe talked a lot about going indie, self-publishing and creative entrepreneurship, but we also got into some deep and meaningful topics.

I must admit to being fueled by pinot noir for the interview, so I opened up a lot about some of the things that really matter to me :) If you’d like to listen to the whole interview, I suggest joining me for a glass!

You can listen to the whole interview here [1 hr 44], or you can watch or listen to the 5 minute clip below or here on YouTube.

desecration deliriumIn this part of the interview, I talk about:

  • How I finally stopped self-censoring, and how my fiction helps me work out what I believe
  • The theme of good and evil is resonant in all my fiction, as well as aspects of my own travels and experiences
  • How I want to tell a good fast-paced story to keep people reading but that I also want to tackle deeper topics that leave you thinking afterwards
  • Carl Jung and the Shadow side, and how embracing it can make a person whole

I also talk more about Desecration, London Psychic Book 1, and what it means to me. You can find Desecration in ebook, print and audiobook formats here. The sequel, Delirium, is also available.

Do you use the Shadow side in your creative work? I’d love to know your thoughts so please share them in the comments below.

Top image: Flickr Creative Commons red wine by Wes Peck

Why The Writing Journey Is Just Like Skiing

Everybody wants to know the best way to write, to publish, to market.

skiingBut although there are tracks to follow and experts to emulate, there really is no single right way to do anything in the author life. We will all have a different journey.

Imagine that you want to ski down a hill.

Even if you don’t ski, hopefully you’ve seen enough Bond movies to know how it works! It’s similar to our journey through life and also applies to writing, marketing and any kind of business or career.

Here’s why.

(1) Your path is not a straight line. You have to zigzag.

Even though you know the general direction you want to head in, you can’t direct yourself straight down the mountain, or you will certainly have an accident.

Even pros have to change direction and turn their skis across the slope. There is no direct path, so don’t expect there to be.

There’s also not just one path – everyone has a different route to get down, so you can try to follow other people’s example but you will end up carving your own path. In my book, Career Change, I talk about all my various failed businesses before I found my true path as an author. It’s a zigzag journey for us all.

(2) It’s easier to turn once you’re moving.

You need some momentum in order to turn on skis, so you actually have to get moving before you try.

In the same way, you actually have to start writing in order to have something to edit and improve. You have to start with a crappy website so you can learn how to make it better.

You have to start marketing somehow so you can learn what works for you and improve over time.

(3) You can’t learn it all from books: you have to get on the slope.

You can’t be a great skier by reading about it or going to seminars or watching YouTube videos. You actually have to put in the hours skiing.

The same applies to writing, publishing and marketing. People often assume that I have some kind of degree in marketing, but I don’t. I’ve just been out there every day for five years learning on the slopes – emulating the pros, yes – but mainly doing it for myself.

(4) You’re going to fall over and it’s going to hurt. But you get better over time.

If you’re afraid of falling over, you will never be a good skier. Because you will fall, it happens a lot and it has to happen if you’re going to push yourself to get better and go on more advanced runs. So be prepared to fall, to fail, and to just get up again. Keep writing, keep putting your words out and keep experimenting with marketing.

(5) Some days, the weather is perfect and you can see for miles and the sun is shining and it’s amazing!

This is meant to be fun!

Yes, being an author can be a career and an income, but it’s also a passion. The reason we keep going back to skiing, keep going back up the slope, is that there is exhilaration and joy in the process, not just the outcome of getting to the bottom.

Some days, the weather will be perfect and we will have amazing runs on pristine, soft snow. Other days, the icy cold will make us grit our teeth to even manage one run and we wish we hadn’t bothered. But we keep going back because we love it, and those amazing days when it all falls into place make it worth it!

What do you think about this? Does a zigzag journey accurately reflect your writing life? Please do leave a comment and join the conversation below.

Top image: Flickr Creative Commons ruapehu skiing by Airflore

Adapting A Novel And Other Lessons Learned From London Screenwriter’s Festival

A few weeks ago, I attended the London Screenwriter’s Festival which was a cornucopia of fascinating information and networking packed into a couple of intense days.

london screenwritersAuthors can learn a lot from screenwriters, especially in an age where there’s some amazing television. After getting rid of the physical TV six years ago, we’ve been downloading and devouring shows like House of Cards, Game of Thrones and True Detective, and I am always a sucker for action movies!

Let’s face it – more people watch TV and films than read books.

More people devour stories through the visual medium.

So I decided to go and find out a little more about possibly adapting my own books into screenplays, and what the screenwriting world was about. As usual, I am not content to sit back and wait! Here are some of my notes from the days I attended.

“Storytellers need to be passionate, creative people and rise above the resigned and cynical world we live in.”

Chris Jones opened the festival with a rousing speech to get out there and create the stories that ignite passion within you. He talked about how others may think we’re crazy and tell us to get a real job, but at events like this, we are amongst peers. We know each other.

Choose the people you spend time with wisely and they will buoy you up in this creative career.

I feel this a lot in the author community, and avoid any toxic situations/ forums/ people as much as possible. Life is short – it’s important to make good choices about who we spend it with.

lynda la planteScreenwriter and novelist Lynda La Plante gave a great talk about her journey. She’s a fantastic example of an author-entrepreneur, moving from acting into writing and then into running her own company in order to have more creative control over her work.

She talked about ‘going back to Source,’ when researching her work, not in a metaphysical sense, but actually visiting criminals, prisons, police stations and morgues to learn the reality from the people who live it.

“The roots of a good story are in reality.” Lynda La Plante

She suggested always including comedic elements in dark books to break the tension, and that the gore level of the current crime scene will swing back soon as it has gone too far and people are more interested in the hunt than the violence.

William Nicholsonshadowlands, screenwriter for Shadowlands, Mandela and Gladiator, as well as many more screenplays and also novels, talked about his journey in one fantastic session. He talked, as did others, about the disappointment of the screenplays that get sold but never made. Many of the speakers commented on how some of their best work would never see the light of day as it wouldn’t get made but the rights had been sold.

The focus of the session was on heightening emotion, the heart of all great drama. William writes by choosing the emotion he wants the audience to feel, connecting to that within himself and then structuring around that.

“Screenwriters don’t write lines. They write stories.” William Nicholson

He also mentioned that researching too much was a bad thing, as we’re not writing reality, we’re writing stories that communicate values.

William mentioned that he only started screenwriting after several very serious novels, and his writing loosened up when he stopped taking himself and his writing so seriously.

[This advice is something I have also learned from Dean Wesley Smith in his brilliant Productivity workshop.]

William suggested choosing something that other people care about as a theme, and not focusing on yourself as the writer. You’re not as interesting as a resonant theme or topic.

the lost boysThere was also a great session with Joel Schumacher where the film of The Lost Boys was played on the big screen, and he talked about the various shots as the film progressed. We were also able to download the script and read along.

That process was a real revelation to me, and it was fascinating to hear from the Director himself how the story was structured to appeal to the audience. He said, “we had no idea it would be this big,” and Nicholson said the same of Gladiator.

It seems to be a theme, you just don’t know when things will blow up, so just keep creating the stories you love.

“Dialogue is not real conversation. It’s the illusion of conversation.” Claudia Myers

In one session on dialogue, Claudia Myers went through the four key elements. It must:

  • Advance the plot
  • Reveal character
  • Give exposition
  • Set the tone

One of the reasons I wanted to attend the festival was to focus on dialogue as it is something that novelists need to work on constantly. The first solution to revealing character is always action/ behavior, but then it’s dialogue. Not speaking is sometimes just as powerful as speaking.

Good dialogue should also work sub-textually – people often don’t say what they really think. There are forces that make us say things we don’t mean, and we need to communicate that through sub-text. A good example of this comes from the pitching sessions. When an agent says “I’ll get back to you,” without providing their contact details, it’s likely that they actually mean, “No thanks, it’s not for me.”

“Write a bad scene and then fix it.” Claudia Myers

quotation marksThe ‘rules’ for screenwriting are very similar to novels, and a lot of dialogue can be fixed in a second pass.

Pilar Allesandra did a session on the craft, and used some great examples from scripts to demonstrate how important word choice is for genre. She also suggested picking a small ‘tell’ that reveals what a character is really thinking i.e. subtext.

For example, two people bump into each other, one says “I’m sorry,” but rolls their eyes. You show their annoyance through the physical response, that’s the subtext to the dialogue.

She also had a tip for revealing character without constraining the casting options. Compare the two:

  • Vanessa, a beguiling vamp
  • Vanessa (25) tall, blonde, wearing a cocktail dress

The first option describes the character but leaves the casting open to actresses of all kinds.

“Eventually the book becomes this forgotten thing – a sacred text that nobody looks at any more.” Ted Tally

silence of the lambsThere was a revealing session by Ted Tally, who won an Oscar for the adaptation of ‘The Silence of the Lambs.’

He talked about choosing books to adapt, how he reads a lot and is always hoping to discover something unusual, but usually gets pitched and sent things from agents. He wants to find compelling characters more than anything else, since plot and dialogue can be fixed, but the character is critical from the start.

He’ll read a book several times and work on a treatment, and then a first draft. Subsequent drafts are done from the treatment, rather than the book.

Most execs and people involved in the film won’t have read the book, which is why so many films get further and further from the original text. They just don’t know the material and don’t necessarily want to. The original author and the screenwriter are not usually around on set – although they are in some cases, and Ted was for Silence of the Lambs, as was Thomas Harris, the author.

The adaptation is the screenwriter’s take on the book, their enhancement of the original work.

It’s not just the book turned into the movie.

The choices that the screenwriter makes can change the film into something different. For example, the choice of Clarice as the main focal character meant a lot of the book’s other POV characters were minimized, changing the depth of their characters in the movie. The adaptation screenwriter slashes the book apart and their freedom is that first draft, when they re-imagine. [That part does actually sound pretty fun to me, as I love editing!]

popcornVery occasionally, there is a brilliant book that doesn’t need much work in adaptation. Ted said of All the Pretty Horses, “it didn’t need a screenwriter, it just needed a typist.”

As an author, I felt a real respect for the screenwriters who adapt novels, and I’d be keen to work with someone to adapt my books, as I have done with translators and audiobook narrators.

Collaboration is a powerful way to move a story onwards.

Once again, the writers talked about their disappointment. Ted Tally said “some of the best scripts I’ve ever written haven’t been produced and maybe never will be.” That melancholic statement seemed to be part of the general acceptance of a screenwriter’s lot, and the aspiring screenwriters suggested this was just part of the journey. You work hard until the magical moment of seeing your name on the credits of a TV show or film. That’s what you’re working for, along with the pleasure of writing and the paychecks that (occasionally) come.

My personal conclusions

It was great to attend the event because it solidified a few things for me:

  • I love the control of being indie and I love the speed of getting my creative work into the world. I love reaching readers with my stories and being paid 90 days later for that work. I don’t want to wait years for someone to pick my book (or my script) and I don’t want to give up creative control and be ignored once the work is accepted. So basically, I don’t want to write a screenplay and I won’t be adapting my books into scripts myself. [At least right now! Never say never!]
  • I would LOVE to have my books (properties) optioned for film/ TV and I would be a gem of an author to work with when it comes to adaptation (honest!) I’m enjoying the collaborative process of translation and I think adaptation would be similar. It’s respecting someone else’s creativity and their interpretation of your work.

I had some great aha moments over the weekend and it helped me to formulate my own strategy for the film/TV market. I highly recommend the festival if you’re at all interested in screenwriting, or even if you want to learn some tips from another type of writer. You can find more here: London Screen Writers Festival.

I’d love to hear from you on any screenwriting tips, or whether your works have been optioned. This is a fascinating topic, so please join the conversation below.

Images Flickr Creative Commons: of quotation marks by Quinn Dombrowski, popcorn by Joakim Wahlander