“Happy Birthday,” Lori



God saw you getting tired and a cure was not to be, so He put his arms around you, and whispered, “Come to me.”
With tearful eyes we watched you, and saw you pass away. Although we love you dearly, we could not make you stay.
A golden heart stopped beating, hard working hands at rest,
God broke our hearts to prove to us
He only takes the best!
Love and Miss you, Al and Mom

Meet and Greet

     Meet and Greet

Date: Saturday, September 17, 2016
Location: Smokey Bones, 1023 County Street (Route 140) Taunton, MA 02780
Time: 11:30am to 2:30pm
RSVP: September 12, 2016
Price: $5.00 at the door/ Refreshments Included
Associate Members -Free

Authors Without Borders would like to invite authors, artists, poets, writers, publishers, book agents, anyone in the publishing world to our event.

Come, enjoy refreshments in a relaxed atmosphere. Opportunity to meet others to find answers to questions we all have individually with writing, promoting, marketing and getting that book into publication. What works for some and not others? Let’s unite, network and find solutions that will move us to the next level.

Authors Without Borders: http://www.awb6.com: Email: 6authors@awb6.com

RSVP to Willie Pleasants at willieaweb@gmail.com or 617-282-5984 or Alberta Sequeira at alberta.sequeira@gmail.com or 508-938-5322

Interview with Laura Vaughan

DSC01697      Andy Ant

Co-host and author, Alberta Sequeira, interviewed author, Laura Vaughan, at the NBTV-95 Cable Show in New Bedford, Massachusetts.

Laura Vaughan has been a teacher for 20 years and a writer for a lot longer. She has taught both English and History in the Boston and Fall River public school systems, and is the author and illustrator of the children’s book Andy Ant, What Could Possibly Be On The Other Side To See. Over the years, she has written for a daily newspaper (the Winchester Daily Chronicle), editor of an adventure magazine, written and had published short stories in various publications, and has worked for the Associated Press.

She is presently working on a creative non-fiction novel about a Guatemalan orphanage, along with a fiction novel about an intelligent rat that runs a dump. She is also the founder of New Bedford Writer Studios—an organization offering writing workshops in Poetry, Fiction, Creative Non-Fiction, Short Story, and Memoir Writing in the New Bedford area.


Target Keeps Book Buyers in Sights


By Claire Kirch | Jan 24, 2011

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While all the big box stores carry books and all offer discounted bestsellers, Target competes most directly for those consumers who might otherwise make their purchases at bookstores. Of all the big box stores, the Minnesota-based company’s shoppers align most closely with the demographics of U.S. book buyers. Target’s selection of both trade fiction and nonfiction, plus a smattering of mass market releases in its 1,750 stores in 49 states overlaps with the offerings one would expect to find at a typical general bookstore.

“They look at books as merchandise, but, at the same time, they don’t see themselves in competition with Wal-Mart or K-Mart,” says one Midwestern sales rep, who has called on Target for approximately 25 years. “They see themselves in competition with Barnes & Noble.” This assertion makes sense, especially considering that Target doesn’t just stock books, Kindles, and Sony readers: it promotes its own book club picks and “Bookmarked Breakout” releases by emerging authors, similar to B&N’s “Discover Great New Writers” program, and occasionally offers exclusive items, such as special editions of select titles.

Customers of the retailer are younger and more affluent than those at typical discount department store chains; 30% of the latter are older than 65 years and 55% have a household income below $40,000. According to Target, 80%–90% of its customers are female, with a median age of 46; 83% have children at home. Almost half have completed college, and more than half are employed in professional or managerial positions. The median household income of Target’s customers is $55,000. According to a Bowker PubTrack survey of consumer book-buying behavior, in the third quarter of 2010 80% of Target customers who bought a book were women, with 62% of buyers coming from households with income over $50,000. Buyers spent the most money on fiction titles, with fiction accounting for 51% of spending, followed by children’s books, which took 31%. Nonfiction represented only 10% of spending.

Although Target releases little information on its own about its book operations, corporate spokesperson Tara Schlosser says that Target “aims to offer a broad-appealing assortment” of titles after taking into consideration exactly who their customers are and why they shop at Target. The company strives to offer a “balance of the newest content, bestsellers, seasonal and age-appropriate content” for “all occasions and at all stages” of the lives of customers and their families. Target stores sell all books at a discount, typically 15%–30%, and on Target.com, all 340,841 items listed in the book department are discounted between 5% and 30%, with free shipping for orders over $50.

Buying decisions for the books are made at corporate headquarters in Minneapolis by a team of buyers who each specialize in a different broad category, such as adult fiction, nonfiction, and children’s. Levy Home Entertainment, the distribution company supplying Target and many other national retailers with books, provides input, but the buyers make the final decisions.

While Schlosser stated that Target is “mindful of the regional and cultural differences within specific stores,” when PW recently visited a Target store in Duluth, Minn., its book department, which contained about 800 titles, included essentially the same titles as a slightly larger Target store in San Diego that PW also visited. Some titles were displayed differently in each store, however. For instance, while many of the adult titles in both stores would appeal more to female readers, the San Diego store displayed on aisle endcaps both nonfiction books by conservative political pundits and thrillers by authors with more of a male fan base, like James Patterson and Tom Clancy. Children’s and YA books were about half of the entire book department in both stores.

According to the publisher’s rep PW interviewed, the company considers itself a “trend merchant” above all else. He says that the company buys up to 50 new fiction titles each month, focusing on those offerings from the big houses with print runs above 100,000 copies and promotional budgets to match.

“They’re not as concerned with the overall literary value of a book as they are that it sells,” the rep notes. Tinkers, for example, published to critical acclaim but little fanfare in January 2009 by Bellevue Literary Press, was not stocked in Target stores until after Harding won the Pulitzer Prize. There currently are 350,000 copies of Tinker in print, with more than 20,000 sold through Target since last spring.

Difference between Self-Publishing and Traditional

Book on table



Choosing between self-publishing and traditional publishing methods is no easy task

A close-up of a movable type machine is on the left, a close-up of a keyboard is on the right. The word “versus” is written in the middle.
Out with the old and in with the new? The choice is up
to you when publishing a manuscript.
Purdman1 ©2008 and John Ward ©2006.
Today, authors who want to get published have many options. In this article, we focus on the two most prevalent—traditional publishing and self-publishing—as well as the pros and cons.

Traditional publishing

In traditional publishing, the author completes his or her manuscript, writes a query letter or a proposal, and submits these documents to a publishing house (or has a literary agent do this for them, if one can be acquired). An editor reads it, considers whether it is right for the house, and decides either to reject it (leaving the author free to offer it to another publisher) or to publish it. If the publishing house decides to publish the book, the house buys the rights from the writer and pays him or her an advance on future royalties. The house puts up the money to design and package the book, prints as many copies of the book as it thinks will sell, markets the book, and finally distributes the finished book to the public.


The process is a bit different for self-publishing. An author who decides to self-publish basically becomes the publisher. The author must proofread the final text and provide the funds required to publish the book, as well as the camera-ready artwork. The author is responsible for marketing and distributing the book, filling orders, and running advertising campaigns. In the past, the author had to decide on the number of copies to print, sometimes resulting in stacks of unsold books gathering dust in the garage! Fortunately, the Print on Demand (POD) technology now used by some self-publishing companies means that authors can have fewer copies printed—only as many as they need, in fact.

Fundamental differences between the two

With traditional publishing, a manuscript can take years to become a book. First, an author may have to pitch the manuscript to several publishing houses before it is picked up. Considering that the bigger houses can take up to six months to work through the “slush pile” (the multitude of queries on editors’ desks) to get to your manuscript and that you will likely have to try several publishing houses before you get one to show interest…well, you do the math! That’s a lot of waiting. Then, if a house does decide to take your book, the actual process of producing the book takes at least another year. Admittedly, this process applies mainly to fiction. Nonfiction books that are topical and relevant to current world events might be pushed through more quickly.

With self-publishing, depending on the company, an author can literally have a finished book—hardcover or paperback or both—in his or her hands within six months. And, with the advent of ebooks, this can be reduced to weeks, or even days. Of course, authors have to pay for this service, which raises the issue of money.

With self-publishing, you often pay thousands of dollars, depending on the company you choose. In contrast, with traditional publishing, you are paid an advance, ranging from small sums to seven-digit figures. In traditional publishing, the publishing house, with its huge resources, experience, knowledge, and contacts, vigorously promotes your book. When you self-publish, you pay for everything—design, editing, printing, advertising, distribution—to get your book into stores and ultimately into people’s hands. You’re all by yourself; self-publishing works best for people who are good at self-marketing. The major payoff for all of your payout, though, is control.

Often an author’s joy at selling a manuscript turns into despair when an over-zealous editor at a publishing house rips that manuscript into unrecognizable shreds. Publishers might refuse to publish a book because it is too controversial, doesn’t fit the house’s list, or simply because it won’t sell. With self-publishing, the author has much greater control over the contents, design, and appearance, as well as where the book is marketed and distributed.

It’s all up to you…

Having looked at traditional publishing versus self-publishing, ask yourself some tough questions about what is best for you, your intentions, and your manuscript. Are you willing to play the waiting game in order to earn a large advance from a traditional publisher? Or is control of your manuscript and a quick turnaround more important?

The good news is that the available tools—POD, the Internet, and online booksellers—are leveling the playing field between traditionally published and self-published books. Authors now have more options.

Remember, a document that’s free of spelling and grammatical errors is far more likely to catch the attention of a publishing house editor—or satisfy the customers for your self-published book. Submit your draft for proofreading today to ensure that your document is error free.









How do you start writing

Bring Your Manuscript

Bring Your Manuscript to Publication was my first handbook from one of my three workshops. I wanted to share things that I never knew with writing a book. I never had an author friend to turn to for help.

This is a book that is perfect for the writing who is lost on how to start, what to write, how to find an editor, publishers, what is a query letter, synopsis, book proposal, how do you promote, and market your books, where to you sell your book and many other questions.

There are many things you should be aware of with writing and who to choose for a publisher. This handbook is much cheaper than going to a workshop. You don’t have to take down notes and ask questions, along with never having to leave the house.

The book is available in paperback and Kindle, plus free to KDP Select members. Go to https://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=alberta+sequeira 

Which is better with publishers


I’m passionate about communications, especially public speaking.

Opinions expressed by Forbes Contributors are their own.
I get queries from potential clients who want to write books all the time and the first question they often ask is, “Should I self-publish or try for one of the traditional publishing houses?”

It’s a simple question with a complex answer.

First of all, the view is very different if you are a fiction writer or thinking about non-fiction. I occasionally help out fiction writers, but most of my clients are interested in non-fiction.

For fiction writers, the answer is increasingly pretty simple: Self-publishing is the way to go. That’s because you can keep 70 or 80% of your book sales revenue, as compare to 20% under the traditional model. Simple decision, right?

Actually, the math is the simple part. The rest is more complicated. Here goes: All books, fiction or non-, need to be marketed heavily in order to stand out in a field of something like a million books published every year in the United States alone. While many authors assume that getting a traditional publisher means that publisher will take care of the marketing chores, the truth is that a traditional publisher will only put real marketing muscle behind the one or two books per year that it truly believes has a shot at becoming a bestseller. If a publisher brings out a hundred books per year, it’s expecting that one of those will outsell the other 99 – combined.

So, unless you’re lucky enough to be that one book, you’re essentially on your own. Your choice at this point is two-fold – you can either be happy to sell three copies of your masterpiece, or you can start a new small business: marketing your work of genius.

Failure to be honest with oneself about this set of facts – secretly believing, for example, that your book will be one of those one-in-a-million bestsellers – is the single biggest cause of depression among writers, after writing itself.

Since, in short, your traditional publisher isn’t likely to market your book, you need to. In fact, if you’re a non-fiction-author-wannabe, most traditional publishers won’t take you on just because you’ve got a great idea. They want a great idea and a platform, their word for a way to sell lots of books. Perhaps you belong to a sect that supports its fellow members, or you’re an academic who can order up the book in your incredibly popular courses, thus selling thousands of books per year. Or perhaps you’re a public speaker with audiences around the world lining up to buy your book after hearing you give that incredible speech that has them jumping to their feet to give you the standing O and then mobbing the stage.

Both fiction and non-fiction writers typically need to be prepared to market their own books, but fiction writers seem to get the idea more readily than non-fiction writers. And – ironically, because everything about writing in the 21st century is ironic – non-fiction writers typically seem to have more ways to market their books.