Helping Indie Authors Amid the COVID-19 Pandemic

I’ve been spending my social distance-time staying at home as much as possible, reading books, writing books, catching up on some scriptures, enjoying time with my family and binging my favorite TV shows. Earlier last week I got an email from someone whose email I don’t remember subscribing to, but, it mentioned the point that Self-Publishers are small businesses too.

And I concur.

Small businesses are taking a big hit amid the COVID-19 crisis and I thought I’d share a way we can help Self-Publishers in this time of uncertainty.

Buy the author’s book directly from them if you can.

If the author has a website, purchase a paperback or digital version of the book from the author’s website. If you are an author and you don’t have a website or you’re not selling through your website, Joanna Penn’s article here goes into detail on how to set up a store.

Something to keep in mind:

Amazon pays authors royalties for print and ebook sales. A royalty is a percentage of a sale. An ebook going for $2.99 at 70% according to Amazon Kindle Direct Publishing will make the author $2.09. This means the author will have to sell at least 10 ebooks to make $20 and still have to wait a month to see that.

“If you publish through traditional publishing, royalties can take many months to arrive. You can’t control the schedule of payment and you don’t get any details of the customers.

If you publish independently through online publishers like Amazon, Kobo, Apple, Google, and other distributors, you will get your money sooner — but it will still be 30-60 days later and once again, you don’t get any details of the customers.”

Authors who sell direct can buy author copies of their books in bulk at a discount, sell those books from their website and fulfill the order themselves. The author also gets to see who their customers are which helps them to build a stronger relationship with them.

I wouldn’t be keeping it authentic if I didn’t also mention authors will have to account for shipping, state tax, and whatever website fees are associated with their platform of choice. The benefit, however, to selling direct is that the author doesn’t have to wait 30-60 days to get paid.

If the author got ten print book sales at $20 through their author website, they’ve already made $200 and $200 in the age of COVID-19 can be very helpful to families. Consider that most Indie Authors with day and night jobs are either working from home or not working at all. People are being fired, furloughed, and layed off left and right. Besides this, if we are being honest, some Indie Authors don’t even see $200 in royalty checks from Amazon from their Self-Published books.

Of course, there are pros and cons to everything. The major pros have already been stated, you are helping a small business to keep going at a time when money is scarce for everyone. The cons for authors include:

  • Not having the sale go toward your Amazon sales or ranking.

 

  • You must have the right to sell through your website first. You can’t, for example, sell your digital book anywhere outside of Amazon while enrolled in the KDP Select program and if you are signed with a publisher (includes Indie Publishers) you might be restricted from selling your print book through your own website depending on the details of your contract. You will have to check this and see.

“Many authors are so obsessed with chart rankings on Amazon that they forget the point is to reach readers who love our books — and for many of us, make a living with our writing. Selling direct enables readers to support us and money to arrive in our bank accounts quickly — but you will not see a spike in your Amazon rankings. So what do you really want?” – Joanna Penn

Here are ways to help Indies Amid the COVID_19 Pandemic:

  • Buy Directly From the Author (from their Website) If You Can.
  • Those ebook sales do add up. If you can’t afford the print book, buy the digital book.
  • Be sure to leave a review on Amazon so the author can attract more readers and get more sales.

Read Joanna Penn’s entire article “How To Sell Your Books Directly To Readers And Get Paid Immediately” here.


Book 2 is on the way! Get started on Book One.

Order a Signed Paperback* Here

Get it in ebook here.

*Due to the COVID-19 Pandemic, stay-at-home, and shelter in place policies I am shipping books in shifts so I don’t have to keep going out. If you want to be included in this week’s shipment, be sure to place your print book order today so you don’t miss it! Paperbacks are signed and includes my author seal.


Want more Indie Author Tips? I’ve written over 50 articles sharing my tips, process, and publishing journey as an Indie Author. You can find them on this page. Enjoy!

Revising The Stella Trilogy: Book Two – Beyond the Colored Line

Book one is out and we are on to book two!

My main challenge for book two is making sure that it stays consistent with book one. This is important for any series, but for Historical Fiction, it is even more critical.

Since writing Historical Fiction is writing set in a time that has already occurred, the details of the past must be realistic to what was going on. A good Historical Fiction book places fictional characters somewhere in a world that has already existed in a way that reads authentic. Readers should be able to reimagine what that world was like by immersing themselves in the life of the characters and the world around them. I like to think of it as a time machine, which is also what makes writing #Histfic fun to me.

Style, Language, Dialogue

Like book one, book two opens in 1996 and picks up where we left off at Mama Sidney’s house in book one. But book two also takes us back into the life of Mama Sidney, and we revisit history from the 1920s through the 60s. My focus for book two was to make sure the dialogue, language, racial and political events occurring during this time were realistic to what was happening in the world. We talk about The Great Depression and touch on the reoccurring lynchings taking place in both the north and south. We look at the brutal murder of Emmett Till, the shooting of Dr. King, Jim Crow Laws, and The Black Panther Party. While I immerse Stella in her own world, there is still the larger world to deal with and we watch how she navigates both. How does Stella’s personal identity crises correlate to the identity crises plaguing her larger community?

Racial Terminology

The biggest thing to deal with for book two is the racial classifications of blacks during this period. African Americans are the only people whose racial terminology has changed with the census. We have been “Niggers,” Negros, Coloreds, Blacks, and African Americans, and this can get confusing when trying to use the right term for the right year. This is also not to mention other racial “nicknames” we called ourselves, such as Afro-American and The New Negro.

The challenge of using the right term for the right years is because there were terms that blacks preferred to call themselves and terms used discriminately by the wider society. Although by the 60s Black Americans were preferring to be called blacks or Afro-Americans (as Malcolm X used a lot after leaving the Nation of Islam) white separatist signage still referred to us as coloreds. “Whites Only / Coloreds Only,” or “Welcome to the Colored Zone,” banners and store signs could have read.

Credited to W.E.B. Dubois and Booker T. Washington, blacks advocated for a switch from Colored to Negro in the early 1920s. As blacks redefined themselves, terms like “The New Negro,” became popular and sparked a movement that later became known as The Harlem Renaissance.

By the 1960s, though, African Americans had transitioned from being “Negros,” to “Blacks.” (Malcolm X specifically didn’t like the term Negro).

During the Black Power movement when sayings such as “I’m Black and I’m Proud,” were popular (think James Brown “Say it loud, I’m black and I’m proud!”) blacks wore their hair natural, read and published black literature and did what they thought would reconnect them with their lost heritage. In this process, many black political leaders of the time, such as Kwame Ture or Stokely Carmichael, helped to shift the terminology away from Negro and toward Black. Black publications like Ebony followed by switching from Negro to Black.

While a large majority of people still preferred Negro, “Black“ was becoming the preferred term with the New York Times and Associated Press abandoning “Negro” in the 1970s.

By the 1980s, Jesse Jackson called for a shift from Black to African American and while the change is still not as accepted or monumental as black was during the 60s, it is the term most socially acceptable when referring to black Americans.

I had to consider these changes when referring to blacks throughout this part of the book. What did they call themselves? What did society call them? How do I integrate this into the dialogue and setting realistically?

Setting, language, and dialogue is the backbone of Historical Fiction because the setting makes the story seem real and determines the character’s beliefs and actions. Not only do I strive to make the characters stand out but the culture of the time in which they live.


About Book Two:

In book two, we dig deeper into the McNair family’s legacy. Named after her great-grandmother, Stella has a very light complexion causing her to be the tease of her classmates. Unable to find solace among her African American contemporaries, Stella finds it challenging to adjust to a world where she is too light to be black.

After The Great Depression of the 1930s forces Stella’s family to move to Chicago, a conversation with Aunt Sara provokes Stella to do something that will dramatically affect not just her life but the life of her children and grandchildren.

Stella: Beyond the Colored Line will be available through my website and back up on Amazon in digital and print by April 24th. I am not putting the rest of the books up for preorder, so you’ll be able to order it immediately on 4/24.

If you have not already read book one, click one of the links below.

Amazon Kindle

Signed paperback

https://www.yecheilyahysrayl.com/bookstore/stella-between-slavery-and-freedom

Book Publishing in the Age of COVID-19

Kayana Szymczak (for STAT)

I know some of you are wondering about the effects of the Coronavirus on the book industry. Some of you have asked if you should still publish your books.

Yes, I do think you should proceed with publishing your books.

Based on the current climate, I also think it is wise for all businesses to expect some changes as a result of COVID-19, which is now a global pandemic, according to The World Health Organization. On Wednesday night, President Donald Trump also suspended travel from Europe to the US for thirty days, excluding the UK.

What we know for sure is there have been significant changes due to this virus. We have seen changes in the stock market, cruises, theme parks, tourism, sports, and travel. Factory closures in China (the world’s largest exporter, responsible for a third of global manufacturing. China accounts for more than 80% of imports of toys alone) led to a record low in the country’s Purchasing Manufacturing output. Italy, which has the world’s ninth-largest economy, is on lock-down, and the state department raised the worldwide travel advisory level to Level 3: Reconsider Travel. This advisory means there is an official warning against nonessential travel.

The entertainment industry has seen changes as well with Tom Hanks and his wife testing positive for the virus.  In the sports world, the NBA has suspended the season until further notice because of Utah Jazz center Rudy Gobert, testing positive. Yesterday morning, a second Utah player, Donovan Mitchell, also tested positive.

The NCAA men’s and women’s basketball tournaments have been canceled, the MLB suspended training, delaying opening day two weeks, the NHL suspended its season, and tons of other sports activities are being canceled.

Trillions of dollars have been wiped from the financial markets this week, and small businesses are already seeing signs of struggle as supply chains dry up. Yes, human suffering can be due to illness, but it can also be due to people not being able to pay their bills, subsequently losing their homes and going hungry.

Consider too the 24 states (more by the time this post is live) under a state of emergency.

What we are seeing is the potential unfolding of several crises, all happening at once. People are panicking and making up stuff, buying out the toilet paper for some strange reason, leaving their jobs; children are not going to school, and conferences, venues, and even sports games are being suspended until further notice.

Whether you want to believe this is media sensationalism or not, the reality is that things are different and there have been changes in the world that are affecting the lives of real people.

This post is about adjusting to these changes as a businessperson in publishing, the hope I see for authors in an age where the go-to form of entertainment (sports) is brought to its knees, and the good news in store for Self-Publishers.

Here are the changes I discovered so far in publishing. Please add on to them by commenting below on what you are hearing as well.

  • Book Fairs and Conferences (where large communities of people gather) are being canceled. This “social distancing,” as it is being called, includes The London Book Fair (The UK’s largest book fair event), the Bologna Children’s Book Fair, and the Leipzig Book Fair.

 

  • An employee at Amazon was diagnosed with COVID-19. The bookstores in NY have been holding up so far, I hear, but amazon workers from New York are working from home. “Sellers on Amazon’s marketplace are reportedly struggling to bring goods into the country.”

 

 

  • Not exactly sure if this is directly linked to the Coronavirus, but I am hearing it’s been a hard week for big publishers. Three of the big five are struggling, specifically MacMillan, Hachette, and Simon & Schuster.

 

  • Some individual authors have reported a decline in book sales since COVID-19, but some have seen an increase. There is no telling to my knowledge if there are any significant cases of falling book sales among Indies. I do know sales of apocalyptic type literature is on the rise.

 

 

  • Some Authors/Publishers are focusing on the online version of their book business to avoid contact with large groups of people. Examples include releasing digital products, blogging, and live streaming events and conferences. ALLi’s Self-Publishing Advice Conference will be online.

The good news for Indie Authors is that Self-Publishing has its strengths online. Making use of the internet by continuing to release books and digital products through author websites, blogs, live streams, and social media is a smart move in the age of COVID-19. Small book signings might be okay, but most states are now restricting larger gatherings.

My final thought is this:

If you are planning to publish a book in the next few days, few weeks, few months, my thought is to go ahead and keep to your schedule, but take the effect COVID-19 can have on small businesses seriously. Make preparations for working from home as much as possible just in case your city is the one on lockdown.

Update:

The US is officially under a National Emergency, so movement is even more limited, and there is talk of more travel bans.

Virtual Book Tours, Online Presentations and Conferences, Facebook and IG Live, Digital Products, Radio shows, Text Interviews, Online Services, Blogging, Guest Blogging, Blog Tours…are all things you can do as an author that doesn’t require face-to-face contact.


Preorder Stella: Between Slavery and Freedom today.

Don’t forget to pick up your copy of book one in The Stella Trilogy. Something tells me you’re gonna need something to read 😉

>>Get it Here<<

The Stella Trilogy: The Research (Book One)

Cane River Creole National Park – Oakland Plantation, Natchitoches, Louisiana, November, 2016.

Since the meat of book one focuses on what life was like for a little girl, and then a young woman, growing up in slavery, the bulk of my research had to do with reading slave narratives and studying enslavement through the eyes of women and children.

Between Slavery and Freedom centers on Stella’s enslavement on The Saddler Plantation in Louisiana. As I introduce us to the first Stella, she is a six-year-old girl enslaved with her mother, Deborah. At this age, she is not aware that she is living property, which was typical for some enslaved children in their early years. She plays with the other children, including the slave owners’ daughter, but she does not yet understand the value of her flesh, that she could be bought, sold, traded, transferred, deeded, and gifted. Stella describes the plantation as a “big family.” She loves running through the dirt and the way it feels on her toes. She talks of childish things like eating sweet cakes, playing with Miss Carla, and trying to convince Mama, she touched the sun.

“One time, I made it where I touched the sun. It wasn’t even hot either. It didn’t feel like nothing but air. I told Mama the sun was tricking us. 

“And how it do that?”

“Cause Mama. I touched it, and it ain’t burn my finger none. It feels hot, but it ain’t really.”

– Stella, Between Slavery and Freedom

Historically, enslaved children who had a “childhood” in this way realized their status gradually. Their awakened consciousness may have been signified by seeing a family member sold for the first time or being sold themselves. The research points to ten as the age where the enslaved child knew and understood that he or she was property, except in the circumstances, as I have mentioned. As soon as they were old enough, the enslaved child’s life changed, and they realized that their lives as enslaved differed greatly from the lives of the white children they once played with as small children.

Slave-owners raised southern white youth as enslavers in training. Sometimes slave-owners gifted their children an enslaved person as a pet (sometimes it was the same child they played with). Literature also played a role in the training of southern youth to not only accept slavery as a regular part of society but to prepare them to own slaves of their own. Examples of such books is The Child’s Book on Slavery; or Slavery Made Plain. In a chapter called The Duty of Learning about Slavery, it states:

“if slavery is good, we ought to help it forward…”

In a chapter called Does Color Make Slavery, it states:

“Moses and all his people, I have said, were slaves in Egypt, but they were not colored people.” 

This explanation was to try to explain to the children that slavery wasn’t based on skin color, and it is a lie. Egypt is in Africa. Moses and his people were “people of color.”

In a chapter called What is a Slave, the author compares the enslaved to a horse, saying:

“Perhaps your father has a horse. That is his property. He has a right to make the horse work, only he should treat him kindly and give him good food. If the horse is his, nobody has a right to tell him he must not use the horse so. And then, if he thinks it best, he has a right to sell the horse to somebody else. Nobody has a right to forbid him. He need not go and ask even the horse, if he may have him plow the garden, or draw the wagon, for the horse would not understand him, and could not speak to him, and will never grow so old or so wise, that he can understand our words, and talk himself.”

Source: https://archive.org/details/ASPC0001969600/page/n5/mode/2up

Speaking of literature, another part of writing book one was reading many slave narratives, including Frederick Douglass An American Slave, and Up from Slavery. Other books included When I Was a Slave: Memoirs from the Slave Narrative CollectionBullwhip Days: The Slaves Remember, and Remembering Slavery: African Americans Talk About Their Personal Experiences of Slavery and Emancipation.

Cane River Creole National Historical Park

Cane River Creole National Park – Oakland Plantation, Natchitoches, Louisiana, November, 2016.

“Some people have to take the cotton and pick out the seeds, and others have to spin and weave. They don’t do nothing but spins and weaves. Some people even had to turn the weaves into threads.”

– Stella, Between Slavery and Freedom

More profound than this is my visit to a former slave plantation at The Cane River Creole National Historical Park in Natchitoches, Louisiana.

You might ask yourself why anyone would want to visit such a place. I was writing about people living on a slave plantation and what better way to get inside their heads than to visit one.

Originally called Bermuda, the founder of Oakland was Jean Pierre Emmanuel Prud’ Homme, who began farming the land in 1785 and received a Spanish land grant in 1789. The land’s first cash crops were tobacco, indigo, and cotton. The Prud’ Hommes were the first family west of the Mississippi River to farm cotton on a large scale.

Cane River Creole National Park – Oakland Plantation, Natchitoches, Louisiana, November, 2016. Slave Quarter turned home of Sharecroppers

“Down in the quarters, every family had a one- or two-room log cabin. Mostly one room though. We had mattresses filled with corn shucks. Sometimes the men build chairs at night. We didn’t know much about having anything, though. There were a lot of cabins for the slaves, but they weren’t fitting for nobody to live in. We just had to put up with them.”

– Stella, Between Slavery and Freedom

After the Civil War, sharecropper and tenant farmers continued to live on the land until the 1970s, and slave quarters became homes to sharecroppers later. The people worked twelve hours a day, six days a week. Seeing this with my own eyes put it into perspective how the south had reconstructed slavery by returning land to former slave owners and putting former slaves back into the fields under another name. Slave codes designed to control the enslaved became black codes intended to control freedmen, and cotton pickers became sharecroppers.

Martha Ann, an enslaved Laundress, worked in this wash house in the 1850s. In the 1940s, her descendant, Martha Helaire, earned $4 an hour working here as a Laundress. All we have to do is walk a few steps to the washer and dryer.

I blogged about this visit years ago. Get the full picture and see more pics by revisiting that post here.

Living on 40 Acres of Land

Finally, part of my preparation for book one also included where I was living at the time I started writing these books.

At the time I released the first book in this trilogy, my husband and I lived in an old house owned by our elderly cousin on 40-acres of land. Over the years, we planted a garden on the property, built a chicken coop and raised chickens, owned several dogs, goats, and even a horse. My grandmother-in-law also recounted stories of when she and some cousins picked cotton on this land.

The elderly cousin and her father built the house we rented many years ago. It was an old house and an old land. It was easy for my overactive imagination to envision what it would be like if we were not renting this house from our cousin; if we were not free to live life on our own terms; if this was not the 2000s, but the 1800s, and if we were not free but enslaved. I walked the property, breathed the air, and looked up at the trees. I had dreams of black people hanging from those trees and visions of people trying to escape.

We lived on that land for five years, eventually moving away in 2015, and I had a completed manuscript.


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Revising The Stella Trilogy: Cast of Characters

I am always thinking about why Stella is so set-apart. Why are these books so effortless for me? The first time I released the series, things went smoothly, and the same is happening now. I can sit down, open Stella, and flow (or as I told a room of students, I sit down and bleed, to quote Hemingway).

A good fiction book, to me, has great character development. The characters are realistic in dialogue, how they talk to each other, what their lives are like, the decisions they make, and so on. When I am writing novels, I typically write Historical Fiction, so setting and dialogue are paramount. The setting is a significant element because the environment affects the plot and the characters. A story set in the 1800s must have language authentic to that time, and the characters must speak and interact like they are in the 1800s, not 2020.

My books tend to include a wide selection of people, some minor characters, some major characters. This is risky, but I’ve been told it’s one of my strengths. Somehow, I am capable of keeping up with everyone and letting them interact authentically.

Family Tree

I’ve never fleshed out a family tree with any other series as I have with Stella, and I think it has helped with the writing. It doesn’t mean everyone in the tree are part of the central cast of characters or that I should include every detail, but it does make it easier for me when I am writing to remember who belongs to who. Stella is a short series (each book only about 100-115 pages). As Nathaniel, Hawthorne says, “Easy reading is damn hard writing.” Some may think a short book is quick and easy to write, but this is not so. It’s an easy read but requires just as much work as a full-length novel.

Let’s meet the family!

Paul Saddler and Deborah – Saddler is the owner of slaves on The Paul Saddler Plantation, including a young woman named Deborah. In 1845, Paul and Deborah had a little girl named Stella.

Stella and Solomon – Stella later gives birth to a little boy named Solomon. He is very light-skinned with jet black hair and green eyes like his father, John. Stella met John through her sister Clara, but you’d have to read book one to learn more about this awkward relationship.

Solomon – Solomon marries a white woman, and together, they have four girls: Deborah (named after Stella’s mother), Rebecca, Judith, and Sara.

Judith – It is in book two, we see that Sidney’s mother is Judith. Judith dates a black man and gives birth to a little girl she names Stella, in honor of her grandmother. But this Stella changes her name later in life (you have to read the book to find out why) to Sidney. Sidney marries a white man named Clarence McNair. Sidney and Clarence have four children: Edward, Karen, Joseph, and Glenda.

Edward – Edward marries a white woman named Vanessa, and together they have three children, Cynthia, Ryan, and Solomon. Ryan and Solomon aren’t major characters, but Cynthia is.

Karen – Karen dates a Black Panther in the 60s named Noah, and together they have a son, Noah Jr.

Joseph – Joseph marries a black woman, Fae, and together they have a boy and girl, Tanya and Micheal. It is in book three we learn what happened to Joseph after he left his mother’s house after the fight with Edward in book two, how he met Fae, and how he got mixed up in The Freedom Rides and Civil Rights Movement. His children are minor characters but add to the family tree and help to establish the depth of Jo and Fae’s relationship.

Glenda – Glenda is a single mom raising triplets, all boys.

In book one, we meet everyone here, including additional characters like Paul’s wife Elizabeth and their daughter Clara, Stella # 1’s friend Lola, Aunt Cecily, and others on the plantation.

What does writing out a family lineage as this do? 

It helps me to create vivid characters. Everyone didn’t come to me at once. I started with the first Stella and her mother, Deborah. The first time we go back to Stella’s time in book one, that first chapter is what started the series, with Stella and her mom at the store and Stella trying to tell mom she has to use the bathroom. I then went back to write what became the first chapter, with Cynthia and Alex later.

Even though the book is called The Stella Trilogy, I wanted to focus in on Cynthia in book one to explore how not passing down history can affect our children. In book two, Cynthia is two years old, and the year is 1979. In book one, we opened in 1996, and Cynthia is a young woman. The decision her dad made in ’79 causes her to grow up and not know who she is. We recount Stella’s story in book one because it is the glue that ties everything together. We then go backwards with books two and three to see just how things unfolded.

Why does Cynthia express racists thoughts toward blacks even though she has black blood? Why did Edward leave his daughter in the dark about the true nature of her race? What happened in 1979? What is Mama Sidney’s big secret? How did the history of this family get so lost? Will Stella’s legacy bring her family back together again?

One inspiration for this family tree was Roots. I love the “six degrees of separation” this groundbreaking series has to it. To learn more about the motivation of Alex Haley’s Roots, click here.


Coming March 24, 2020

About Book One:

Cynthia McNair and her boyfriend, Alex, express some racist feelings toward blacks. The visit Cynthia’s grandmother Sidney McNair, who recounts the story of her ancestor, an enslaved woman named Stella Mae. Cynthia has no idea of her African ancestry or how deep this rabbit hole goes. Will she accept the truth about herself?

Why I Write Black Historical Fiction

Historical Fiction (specifically Black Historical Fiction) is my favorite genre to read and to write. I have to specify “Black” because I am not a fan of all Historical Fiction. My interest lies specifically in fiction stories that explore black history in some way.

Historical Fiction is the past recreated around the stories of people who seem real to us, including actual historical figures at times.

As we witness how fictional characters we care about interact with our ancestors and navigate a world now gone from us, it allows us to experience the past vicariously. Through the stories of the characters we can “visit” history and get a feel for what it was like to live in that time. But why is this important? I think a quote from the Toni Morrison Documentary “The Pieces of Me” (Hulu) sums it up:

“You imagine the past because the past has been ruptured. The record of the past of your people has been degraded. It’s been burned up, it’s been taken away.”

Tbt. The Historic Lorraine Motel, Memphis, TN

Not only has the black past been degraded but also entirely and tragically whitewashed. Dr. Martin Luther King Jr. is a good example of someone whose humanness has been reduced to the one “Negro” who bridged the gap between blacks and whites. A Civil Rights hero who succeeded in making blacks docile enough to accept that merging with white people was the best version of themselves possible. That, if we integrated, we were better people than if we had our own communities and businesses, and could determine the direction of our own destinies. Not that segregation was wrong, but that integration was better. That blacks were better when mixed with something else; that we could not be the midwives of our own selves. 

Although King was known as a civil rights leader and Malcolm X as a “black radical” both men were advocates of oppressed people. King told black people their blackness was beautiful, believed in economic freedom and establishing black businesses, preached on black power, and even owned a gun. King was just as “radical” as he was patient…but this isn’t the version of King we are given.

White America adopted Dr. King and used him as the black friend that is used by some to say, “Hey, I can’t possibly be racist because I have a black friend.” King is that friend. Sadly, we have someone whose name is widely known, but who, as a person, is not very well understood.

Forget about the Civil Rights icon, who was Dr. King as a man? Who was Malcolm X as a man? What could we imagine their persona’s to be like? Those of us born after they lived do not know but we can imagine.

What I do as a writer is to take the part of history not taught in schools, and use it as a tool to invent people who could have lived in a world that did exist. To then take these people and let them show us the truth about that time and place. To give these people real feelings and a voice that is authentic to what they could have said or what they could have done. I love to go back to a time before I was born and, through research and creativity, imagine what it would have been like to live in that era.


Stella Returns!

Book One Re-releases on March 24, 2020

About Book One:

Cynthia McNair and her boyfriend, Alex, express some racist feelings toward blacks. The visit Cynthia’s grandmother Sidney McNair, who recounts the story of her ancestor, an enslaved woman named Stella Mae. Cynthia has no idea of her African ancestry or how deep this rabbit hole goes. Will she accept the truth about herself?


There are only TWO days left of the $200 Amazon Giveaway! You can enter as many times as you like! Go, go, go! Link below:

$200 Reader Giveaway

Revising The Stella Trilogy: A Behind the Scenes Look

Tomorrow will mark five years since I released the first book in The Stella Trilogy. Wowzers! I am celebrating by introducing the new cover to book one and two. If you haven’t heard, I removed the books from amazon for some much needed polish and am re-publishing them. To learn why check out the blog post “Quality Over Quantity: Why I Pulled My Trilogy from Amazon.”

While I changed the cover to I am Soul after its release and got a new cover to The Aftermath, my first novel (2012), I’ve never wholly revised my backlist before. The Stella Trilogy is getting an entirely new makeover, which includes editing, covers, formatting, and ISBNs. Why go through all the work for an old book?

Books do not expire. Every book is new to people who have never read it which is why it benefits Indie Authors to go back and update “older” works every now and again. Here are some things I saw needed work on Stella:

Editing – It wasn’t enough to slap a new cover on the books. I knew these books had to be revamped altogether. Like most newbie Indie Authors, I had a friend to edit the first version of these books because I didn’t have the money to pay someone. This time around, I am getting the books professionally edited.

Song Lyrics – The first book had song lyrics in it—rookie mistake. You need permission to include the words to a song in your books. I promptly removed those lyrics. I can’t afford to get sued.

DIY Covers – I like the cover to book one, but it was a DIY premade from Derek Murphy’s website, offered freely to authors. I added the image of the black woman, but the rest was unoriginal. I cringed every time I saw it on his site. Book two was more original as I purchased the winter lady image, but it was still poorly applied to the cover. I did everything in Microsoft Word, and since I didn’t know that super-thin books don’t need a spine (if there aren’t enough pages to warrant one) when the books printed the spine folded over to the front. Yuck. For this reason, new covers were something I knew I needed to get done.

Free ISBN – I am done with the free ISBN game. Listen, if you don’t include the cost of the ISBN in your book budget, you are still a beginner. Have I always purchased my own ISBN? No. ISBNs are expensive, but having your own is worth it. They (ISBNs) are also cheaper if you buy them in bulk. 10 ISBNs can cover ten different books. Applying your own ISBN number to the book ensures that your imprint name will be applied to the book. In other words, you are the publisher, not KDP, and not Lulu. This time around, all books in The Stella Trilogy will have its own ISBN so I can register the books to me.

BONUS: Alternate Ending – I am excited about adding an alternate ending to excite Stella fans who have already read the books. The conclusion to book one is not the ending of the original book one. Why the change? It is to tighten the link between all the stories for a smooth transition from one book to the next.

Lessons I learned so far:

Work with what you have until you can do better.

You don’t have to know everything to start. I didn’t. Work with what you have until you can do better. (If a free ISBN is all you have to work with right now, use it until you are able to move up. I did.) I do not regret putting Stella or my first books out there, even though they weren’t properly edited, and the covers were DIY. These books gave me my start, and the courage and the freedom to step out on my own. These books gave me my beginning, and I am forever thankful to Yah for them.

Then, when you can do better, please do it. 

The other part of this, though, is doing better once I knew better. If I produce mediocrity, I will only get mediocre results. Once you’ve stepped out there, it is okay to go back and change what you see needs work. We may not be perfect, but this doesn’t mean we cannot strive to maintain a level of excellence in all we do, even if the best we can do still falls short. We don’t have to stay at the same levels in the latter part of the journey as the first. We can tweak and correct and improve with time. We have that freedom, to sharpen, and to elevate.


About The Stella Trilogy

Readers reading Stella. Circa, 2015.

Stella is a work of Historical Fiction and is distinctive in its focus on one woman’s road to self-discovery, against the backdrop of the African American fight for justice, racial equality, and freedom. We discover how three individuals living in separate periods strive to overcome the same struggle, carefully knit together by one blood. The three-part series features elements of enslavement, Jim Crow, Passing, and the Civil Rights Movement.