I wavered for a while, on whether to do a book trailer or not. Let’s face it: a book trailer is not the most effective means of promoting a book. (Although, what is?) But in the end, I decided to go for it and I’m really glad I did.<\/p>\n
Because HIS AT NIGHT went through such repeated and arduous rewrites after it had been copy edited, I decided to hire an outside copy editor myself, just for quality assurance. Tiffany Yates<\/a>, a professional freelance copy editor who has worked with many of the New York publishing houses who also happens to be a member of my local RWA chapter, proved a totally awesome choice.<\/p>\n Her queries, suggestions, and story advice were spot on. Which meant, by the time final galleys came, and changes had to be handwritten in the margins, I made if not substantial then at least noticeable changes to the manuscript. It killed me. I find final galleys nerve-wracking as such, to make so many changes–every page almost–oh, Lord have mercy.<\/p>\n In the months after that, I wanted nothing to do with the book. Even when I was at the RT Convention admiring the finished copies, I still couldn’t bear to crack the book open. Beth Kery<\/a>, whom I met through Julie James<\/a>, suggested that I was having mini-PTSD flashbacks. And she was right.<\/p>\n But since making the book trailer required consulting the manuscript, last Monday I flipped open HIS AT NIGHT at about a few chapters in. I began with a lot of trepidation, but soon I started enjoying myself. With just the usual breaks to pick up Junior Kidlet and hold him captive until homework is done, I read the book all the way through to the end that same day.<\/p>\n Phew. What a relief. End of mini-PTSD.<\/p>\n And here, without further ado, the book trailer:<\/p>\n