APE: Author, Publisher, Entrepreneur. How to Publish a Book by Guy Kawasaki, Shawn Welch

By Guy Kawasaki, Shawn Welch

"Essential examining (and reference) for contemporary authors, despite experience."
- Kirkus e-book Reviews

"Nuts, bolts, and notion too. once more, man supplies, kicking the shiitake out of a person who could let you know that you just shouldn't, wouldn't or couldn't write a book."
-Seth Godin
Author and founding father of The Icarus Project.

This model of APE was once up to date with the latest content material, evidence, figures, instruments, and assets on March fifth, 2013. to determine what content material has been additional because the final replace of APE please stopover at apethebook.com/updates. this is often model 1.2 (Baldacci).

In 2011 the writer of 1 of my books, appeal, couldn't fill an order for 500 booklet copies of the booklet. due to this event, I self-published my subsequent publication, What the Plus!, and realized first-hand that self-publishing is a posh, complicated, and idiosyncratic approach. As Steve Jobs stated, "There has to be a greater way."

With Shawn Welch, a tech wizard, I wrote APE to aid humans take regulate in their writing careers. APE's thesis is strong but uncomplicated: filling the jobs of writer, writer and Entrepreneur yields effects that rival conventional publishing. We name this "artisanal publishing"--that is, while writers who love their craft keep watch over the publishing procedure and bring high quality books.

APE is three hundred pages of step by step, tactical suggestion and useful concept. if you'd like a hype-filled, get-rich-quick e-book, you need to glance in different places. nevertheless, if you'd like a complete and real looking consultant to self-publishing, APE is the reply.

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In fact, he yells something unprintable in this book. Has the dialogue become inconsistent? It doesn’t match the previous diction or sentence structure. But it does match the new circumstances. Furthermore, it’s still recognizable as something that a basically amiable person would say, in that it doesn’t employ racial epithets, or go on for pages of invective, or lapse into Victorian epithets or outdated slang or threats of retaliation—none of which would have been in keeping with what we’d already been shown of the character.

It doesn’t have to be in the book, or in your character’s mind. But it should nonetheless be in your mind, because even if it’s never mentioned, it will still influence the way you write him. And if you don’t have some sense of his background, you are far more likely to write a bland, colorless, generic sort of protagonist. Yes, the fast-paced and ingenious action might compensate for that—but wouldn’t it be better to have both? What can you lose? No book was ever harmed by having interesting, layered characters—but many are never published because they don’t have them.

Use that conflict to build plot. A warning: To serve this function, your setting must be real. That doesn’t mean it has to exist in the actual world (I write science fiction, after all). But it does have to exist complete in your mind, with not only physical features but also prevailing values, beliefs, class structure, economics and social customs. To do you any good as a generator of incidents, a setting must be as complex as real-life settings are. ’’ There are many Rochesters. The mansions along East Avenue are not artsy Park Avenue is not the working-class suburb of Spencerport is not the academic-heavy neighborhoods around the University of Rochester is not the northwest quadrant, parts of which have a higher per-capita murder rate than Manhattan.

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