book news

The Precious Opals a hit with Teachers and Students

Posted on Updated on

Tina Adams-Carter, author of The Precious Opals, has found a rapt audience for her book readings in local schools among teachers, students and their parents. The story of The Precious Opals offers a lesson for helping young children deal with the bumps along the road in dealing with formative years friendships.

Tina enjoys the readings and questions from children who seem eager to learn about dealing with the ups and downs of childhood interpersonal relationships with friends and family.

She is hard at work on her second book in the Precious Opals series and we expect to publish it later this year – so stay tuned.

Teachers with author Tina Adams-Carter

Students with author Tina Adams-Carter

Tina Carter3

Tina Adams-Carter is a freelance writer residing in San Diego, CA. Tina is known for her quick wit, which she uses frequently in her style of writing

In her spare time Tina and her family help the homeless and their pets, by collecting pet food and distributing it through Pets of the Homeless, a non-profit organization.

Her first book in a children’s genre, The Precious Opals, is part of an ongoing series and is available on in both Kindle and paperback formats.

Young Adult Books Attract Growing Numbers of Adult Fans

Posted on Updated on

The Hunger Games and countless others are engaging a loyal following among those old enough to vote, drink and hold a mortgage

Reposted from: Young Adult Books Attract Growing Numbers of Adult Fans on

New Providence, NJ – September 13, 2012 – More than half the consumers of books classified for young adults aren’t all that young. Fully 55% of buyers of works that publishers designate for kids aged 12 to 17 – nicknamed YA books — are 18 or older, with the largest segment aged 30 to 44. Accounting for 28 percent of sales, these adults aren’t just purchasing for others — when asked about the intended recipient, they report that 78 percent of the time they are purchasing books for their own reading. The insights are courtesy of Understanding the Children’s Book Consumer in the Digital Age, an ongoing biannual study from Bowker Market Research that explores the changing nature of publishing for kids.

“The investigation into who is reading YA books began when we noticed a disparity between the number of YA e-books being purchased and the relatively low number of kids who claim to read e-books,” said Kelly Gallagher, Vice-President of Bowker Market Research. “The extent and age breakout of adult consumers of these works was surprising. And while the trend is influenced to some extent by the popularity of The Hunger Games, our data shows it’s a much larger phenomenon than readership of this single series.”

Indeed, thirty percent of respondents reported they were reading works in The Hunger Games series. However, the remaining 70 percent of readers reported a vast variety of titles (over 220), only two of which commanded more than five percent of overall sales – Harry Potter and the Deathly Hallows and Breaking Dawn.

“Although best sellers lead, there’s a long tail of rich reading that has interesting implications for the publishers of YA books in terms of discovery and consumer relationships,” said project editor Kristen McLean.

The trend is good news for publishers as these adult consumers of YA books are among the most coveted demographic of book consumers overall. Additional insights from the Bowker study show these readers are:

  • Early adopters. More than 40 percent read e-books, equivalent to the highest adoption rates of adult genres of mystery and romance
  • Committed: 71 percent say that if an e-book of their desired title was unavailable, they would buy the print book instead
  • Loyal: Enjoying the author’s previous books has a moderate or major influence over the book choice for more than two-thirds of the respondents
  • Socially active: Although more than half of respondents reported having “no interest” in participating in a reading group, these readers are very active in social networks and often get recommendations from friends.

Understanding the Children’s Book Consumer in the Digital Age is sponsored in the U.S. by Little Brown for Young Readers, Random House, HarperCollins, Scholastic, Disney, Penguin, DK, and Macmillan. To order a copy, contact Bowker Market Research at

Bowker Market Research is a service of Bowker, an affiliate of global information company ProQuest.

About Bowker® (
Bowker is the world’s leading provider of bibliographic information and management solutions designed to help publishers, booksellers, and libraries better serve their customers. Creators of products and services that make books easier for people to discover, evaluate, order, and experience, the company also generates research and resources for publishers, helping them understand and meet the interests of readers worldwide. Bowker, a ProQuest affiliate, is the official ISBN Agency for the United States and its territories. The company is headquartered in New Providence, New Jersey, with additional operations in England and Australia.

Why You Should Self-Publish

Posted on Updated on


Reposted from Huffington post: Why You Should Self-Publish

Originally published on Indie Reader

This past week, my latest self-published book debuted at #7 on the New York Times bestseller list. Crunching some numbers, it appears that I’ve sold a million books in the last two years. You might think I’m living the best days of my life right now, but that isn’t the case at all. I’ve had a lot of careers and have gone through quite a few distinct phases in my life, and several were happier than being a bestselling author.

There’s the decade I spent as a yacht captain, delivering boats all over the world. There are the years I lived on a sailboat while going to the College of Charleston, or the year I spent island-hopping through the Bahamas. I had a blast installing custom home theater systems in expensive homes, and I worked as a computer repair technician back when personal computers were first exploding onto the scene. But the two happiest years of my life were spent in Palmyra, Virginia while working at Rockfish Roofers.

My wife and I moved to Virginia in 2005. She was placed at UVA for her internship after completing her doctorate in psychology at Nova Southeastern University. I was still working on yachts, but I wanted to get out of that industry and be home more. The guy I bought my house from, Saul, told me to call him if I was ever looking for a little work. He had a roofing company, and they were getting ready to paint the metal roof on a massive community center out in the middle of nowhere. I never turn down an adventure, so I decided to drive across the county and see what the job entailed.

I loved it. The thrill of the heights, the hard work, the ache in my bones, the sweat-soaked clothes. For the next two years, I worked with Saul and David A. on dozens of roofs. We did a lot of slate, copper, and cedar shakes. Some of these jobs were enormous, and we would spend months at the same place. Others were quick fixes. I spent two years driving all over some of the prettiest land I’d ever seen, spent my days looking out over verdant valleys, watched the seasons change, enjoyed rainy days off, and reveled in the company of two highly educated and morally attuned human beings that I came to see as family.

I was home with my wife every night. We had a beautiful house out in the country and a dog that we loved immensely. We had flower gardens and vegetable gardens, a framing workshop, a stream, a water feature full of fish, and lots of places to go and hike or kayak right around us. We cooked more than we ever had before, gathered blackberries and baked them into cobblers, got to know our neighbors. Our bedroom was high off the ground in a canopy of trees, and when it rained and we kept the windows open, it felt like we lived in a birds-nest. We nearly cried when we first saw the house with our realtor and we did cry when we sold it two years later and drove away for the last time. It was more than the house, though. It was those two years. They were great.

I did most of my mental writing during those two years. I came up with the character of Molly Fyde and the idea of the wallscreen and Wool. I did my physical writing during a later stage of my life, which was nearly as glorious. And this is the point I want to make, because I spend so much time supporting the growth of literature through self-publishing, and I don’t want people to think it’s because I am one of the outlying success stories. That’s not the point. My happiest days were spent writing, not being a bestselling author.

I wrote most of my stories while working in a bookstore for very meager pay. It helped that I have been debt averse my entire life. My wife and I lived in a 750 square foot house that I paid $112,500 for. It was our third home together. I spent a lot of time and energy on all three of those homes fixing them up and making them better, mostly because I wanted to improve our environment. Even in the down market, and never thinking of “flipping” a house, this industriousness not only made me happy, it meant that every house we sold turned a profit. Rather than take expensive vacations or buy fancy cars, we put that money into debt reduction until we were debt free and fully owned our home. It meant I could work for $10 an hour, Amber could be a student/intern/postdoc resident for ten years, and we didn’t have to worry about money. We were poor and wanted for nothing. We hiked and did things that were free. That was part of the key to my happiness, and it required working hard for over a decade and forgoing immediate self-gratification for even longer.

All of that meant that I could work a 30-hour job at a university trade bookshop for just over minimum wage and fill my hours with writing. It was here that I began advocating writing to others. I hung out with creative writing majors in the bookstore, and we gabbed about craft and genre. I got to know professors who were also authors, and we discussed industry news. I met publishing reps and talked trade developments. I joined the Highcountry Writers and spent every other week critiquing works and learning about the art. I spoke at my public library, volunteered with the youth writing NaNoWriMo group, talked to middle school classrooms and college classrooms, all as a non-bestselling author.

I never went into these programs to hawk my books. Ever. It was about promoting writing, not myself. The talk I gave to college classrooms centered on a Stanford study that suggests we live in the most literate age in human history, a study that looked at all the myriad ways we read and write that have nothing to do with novels. I urged people to take reading and writing seriously since we do so much of it, since we are judged by it, since this is the face we put out there for public consumption. And I talked about the joys of self-publishing–not as a commercial venture but as a way of producing art and making it available to others. I saw myself as a small-time painter or musician might. Nobody tells these people to stop putting their works in local galleries or to quit playing local bars. We don’t rail against the proliferation of YouTube videos from aspiring filmmakers or DeviantArt accounts from future designers. We celebrate the act of bettering our craft by producing early works. This was my message to classrooms, to anyone who would listen. It still is.

Today, I saw a comment on a self-publishing success story from yet another cynic who thought that nobody should self-publish. Their argument was that these success stories are the exception, not the rule. But who says the only reason to self-publish is because someone wants to get rich? And who says publishing, any way you do it, is a route to financial independence? I think we all know it isn’t. I knew that better than most from working in a bookstore and meeting so many bestselling authors who had day jobs. That isn’t why we write. It isn’t why we publish. Do these cynics tell the youth strumming their guitars on the street to stop right then, to give up creating art because there’s no future in it? What about the present in it?

I’m just as fond of pausing in front of a friend’s refrigerator to study the magnet-mounted art their child created as I am walking through a national gallery. Or the art shows in the center of shopping malls from local schools. Or the local craft fairs. Here are the stages of creation. Here is genius of all ages.

If you are twelve, and reading this right now, know that I was twelve once, too. I was twelve, and I dreamed of being a writer. I filled composition books with stories, but I never finished them. Part of that was because there was no youth NaNoWriMo group showing me what was possible. And there was no KDP or Smashwords to give me the freedom to turn my stories into books. There was no easy outlet for my rampant imagination. Now there is, but it means ignoring those who say you shouldn’t go for it.

Remember that it’s okay to write and publish just to make yourself happy, to make yourself fulfilled. There will be authors out there, readers, publishing experts, and booksellers who say that this outpouring of unprofessional drek is ruining the industry, which makes me wonder if these same people drive through neighborhoods yelling and screaming at people gardening in their back yards, shouting at them that, “You’ll never be a farmer!” Or if they cruise past community basketball courts where men and women unwind with games of pickup and shout at them, “You’ll never make it in the NBA!”

There is a kid learning to dribble a basketball right now who will go on to play shirts-and-skins, lead their high school to a national championship, get drafted in the first round and make millions, and this is no reason for the rest of us to not go out and experience the thrill of a 3-pointer heaved up and swishing right through the net. There is some parent teaching a child how to grip a putter right now and take aim at a clown’s mouth, and that kid will get a $50 million endorsement from Nike, and this is no reason not to go whack a bucket of balls after work. Implicit in the message that only some people should publish is the stance that all publishing is commercial, it’s all about making money, about being a bestseller, a pro. But that’s not the reason I do it. It isn’t why I celebrate writing and encourage people to self-publish. I’ve been doing both for a long time. So if anyone tells you that you can’t do it, that you shouldn’t do it, that you’ll never make a living at it, I urge you to agree with them. And then go do it anyway.

Originally published on Indie Reader