It's impossible these days to read any posts having to do with publishing without the obligatory "the book is dead" comments. And yet with another click you'll find articles about how reading is up 20% from a decade ago among middle schoolers and teenagers, how more time is spent now reading for pleasure than in the past, and how the number of titles available is growing faster than ever. Clearly the book is alive and well.

So really, what we should be discussing is how we now define "book." What people are bemoaning is that fewer hardcopy, paper books are being published, and this is affecting the health of brick and mortar bookstores and libraries. And that's a legitimate concern, but it's very different from the demise of books and reading altogether.

For years, publishing and bookselling functioned on a business model that involved small profit margins, reliance on high-volume sales of some books to cover losses taken on others, and full credit for returns. This model is no longer viable, especially when eBooks have a much higher profit and the internet makes it possible for authors to reach readers directly and bypass the middlemen. What's needed is a new model, one that includes both hardcopy and electronic books. And, I believe, a new definition for "book" that encompasses the written word in all its formats.

I'm confident that print books aren't going anywhere. Some people just prefer to hold a book in their hands and turn the pages (and that includes a lot of teenagers I know). But there's a place for eBooks as well. Not only do some books benefit from multimedia available via apps and other platforms (think of what your high school science textbooks could have looked like with a little audio and video), but the price of eBooks means you can buy three novels for your Kindle for the cost of one hardcover. Customers deserve to have that choice.

Another point that's absolutely worth discussing is that the form of storytelling consisting of written words alone should be preserved. Novels — black words on a white page, with the reader filling in the gaps with his or her imagination — are just as important as apps that move and speak and sing when you touch the screen. Both are valuable experiences, both are ways the author (and in some cases the illustrator) can communicate with the reader. But if you're reading The Catcher in the Rye on a Nook, Salinger's words will be exactly the same as when you read them on paper.

Yes, the process by which we buy and read books is changing. And traditional publishers, bookstores and libraries need to adapt, just as the music industry, video rental and phone companies have had to adapt. But for readers and writers, we now have more options when we think "book". If you like to read only paper books and you despise Amazon, shop at your local bookstore. If you don't want your kids getting hooked on apps, don't give them an iPad. If you need a new book immediately (for research, because it's 2:00 AM and you can't sleep, or because you forgot to pack that vacation novel), download it in seconds to your Nook. And if you're an author, you can now reach readers in several formats, all over the world, and at numerous price points.

The book isn't dead, it's evolving. And whatever form it takes, it's still, at its core, a book.

When Brittany Geragotelis was writing her YA novel Life's a Witch, she posted it chapter by chapter on Wattpad, an online community for sharing writing and getting feedback from readers. Gradually, she gained 13 million fans. But despite that and an active blog, YouTube presence, and proving her chops as editor of American Cheerleader magazine, Geragotelis still couldn't attract a publisher. So she self-published through Amazon, and parlayed her online popularity into an article in Publishers Weekly. Fast-forward six weeks, and Geragotelis now has an agent, is fielding offers from foreign publishers and film companies, and has a big publisher looking at her work, which includes six unpublished novels. All this sparked a follow-up article in Publishers Weekly, which could only help raise her profile even more.

What's the moral of this story? If you want it bad enough, you can make it happen. Of course, it starts with the book, but 13 million fans is a pretty good indication that the story's working. And then you refuse to take "no" for an answer. While being published by a big house is still a worthy dream of many authors (including Geragotelis), the publishers no longer hold all the power. If you want to open that door for yourself, you can do it.

You know it's essential these days that authors market their books, and social media is often the most cost-effective way of doing that. Now, Pay with a Tweet lets you utilize the value of your readers' social networks to spread the word about your new books. You create a button for your website or blog  that leads to a free download (say, the first chapter of your new book) that readers get after they Tweet about you or mention you on their Facebook page. So instead of hoping your giveaways create a buzz, now it's guaranteed!

Back in the early 1990s I worked part-time at a book package called Parachute Press, which was creating a new horror series called Goosebumps. The series' author, R.L. Stine, had begun his career as a humor writer, then found a wider audience with his YA horror series Fear Street. But no one had ever done a horror series for the middle grade crowd, so Parachute decides to give Stine's series a try.

The rest is publishing history. Goosebumps made Stine the best-selling author of all time for many years. He now occupies the Number 2 spot, right behind J.K. Rowling. There's a Goosebumps attraction at Disney World, Goosebumps TV shows and merchandise, and new Goosebumps titles still coming out every year. Stine's journey is enviable, inspiring and amazing, and you can read about it in this Writer's Digest interview. Here's my favorite quote. When asked about the worst piece of writing advice he's ever heard, Stine said:

“Well, I hate it when authors come into a school and they say to kids, ‘Write from your heart, write from your heart, only write what you know, and write from your heart.’ I hate that because it’s useless. I’ve written over 300 books—not one was written from my heart. Not one. They were all written for an audience, they were all written to entertain a certain audience.”

The problem with such advice, Stine says, is that if you tell people to write from their hearts and to write only something they know, they get blocked totally. Instead, he says, it’s all about the imagination. (Hey, it worked for him.)

Yes it did. Check out this story of an incredibly hard-working writer and a really nice guy.

Those of you who are Fightin' Bookworms (members of our CBI Clubhouse online community) know that in the two years since we've launched the site, we've amassed a huge amount of information on writing and publishing children's books. So much information, in fact, that it was getting unwieldy.

So Jon's spent the last two months (days, evenings, weekends, even in his sleep) completely redesigning and improving the site. And as of this week….

The *NEW* CBI Clubhouse is now live at http://cbiclubhouse.com !   

The CBI 1-2-3 System is up and running, bringing you exactly the information you need, exactly when you need it.  No more hunting around through a massive library of information — it's all right there for you.

And, wow, wait until you meet our new Expert Guides!  A Newbery Honoree…multi-million selling authors…a magazine writer with more than 1600 credits….the most famous names in self publishing and book marketing…and on and on.  When we say All-Star, we're not kidding!

And this is just the beginning.  Private critique groups are coming soon. So are advanced and professional levels.  And webinars.  And…   well, we can't give away all our surprises now can we? 

OK, then – go check it out:  http://cbiclubhouse.com

And please let us know what you think. Your feedback helps us make the Clubhouse even better!

Seth Godin, easily the smartest man in publishing today, has once again nailed it with his post Reading Isn't Dead, But It's Changing on his Domino Project blog. His point (and he's talking primarily of young adult books, but this really applies to all ages) is that the job of authors is to write what people want to read, and then they'll read it. It seems obvious, but I can't count how many times I've heard writers bemoan that they'll never get published because kids just aren't reading the kind of books they're writing, the books they should be reading. Kids, they say, have shorter attention spans (not true — just count the number of pages in any Harry Potter book), they prefer plot over lengthy descriptions (who doesn't?), and they reach for books that open their minds to new ideas instead of the lessons adults know are good for them.

Godin pointed out in another post (I'm paraphrasing here) that it's not the job of readers to seek out your books; it's the job of writers and publishers to find their audience and give them the books they want. And what children want is often far better than what many adults initially offer. Yes, writing is hard, but kids deserve books that speak to who they are today.

If you open a restaurant that only serves blue food, and go bankrupt in a month because no one wants your blue meatloaf, whose fault is that? The unenlightened local community? The economy? The restaurant reviewer who gave you one star? No, IT'S THE BLUE FOOD!

And so it goes with books.

When I critique middle grade and young adult fantasy manuscripts, I often find myself jotting notes like "Why is this character the one called to this adventure?" and "What's at stake here of monumental consequence?" A cornerstone of successful fantasy is seemingly ordinary teen and tween protagonists who save the world. Without that, you're just writing a novel with quirky characters. Another hallmark is that this usually happens without (or in spite of) any help from adults. Teen heroes, impending doom, absentee parents. What's not to love?

Author Cassandra Clare understands this well, and has written an excellent piece about the secret world teens inhabit in their fantasy novels for The Wall Street Journal. Required reading for any author working on a fantasy, or for a parent with a fantasy-loving teen at home.

As the parent of a boy who desperately wanted an Easy Bake Oven when he was five, but couldn't bring himself to walk down the "girl" aisle in the toy store, I completely agree with three-year-old Riley as she rants over gender-specific marketing on this YouTube video. It's a good message for authors and illustrators as well. Why do girls who like superheros have to be "tomboys"? Can't they just be ordinary girls?

Maybe we'll get lucky and Riley will grow up to be a writer.

We talk about your novel needing a "hook" to sell. We talk about developing characters with whom readers can identify. We talk about combining words and images to create a unique format for your nonfiction project.

Why? So readers will talk about your book.

Word-of-mouth is the most powerful sales tool you have.  In today's cyber world where readers are virtually linked and can share their thoughts with the click of a mouse, it's more important than ever. So make sure your book gives them something to talk about.

In What Makes Word-of-Mouth Work?, Rob Eagar, founder of WildFire Marketing, lists qualities a book must have to generate a buzz. Does your book have at least a few of these attributes? If not, rethink your premise, especially if you're self-publishing. Even the most thoughtful book won't sell if readers have no reason to share it with their friends.

Are you drawn to Diary of a Wimpy Kid and Dork Diaries?  Do you enjoy reliving the angst of the middle school years? In recent years, writers for tweens have developed a new genre: the cartoon novel (which is usually written in diary form). Young readers feel like they’re reading a notebook or diary that is illustrated with cartoon sketches. So, have you ever considered writing a cartoon novel? Why not give it a try?  Here are a few tips:

1. Find an interesting premise. You’ll need an interesting idea to draw readers in.  Before you begin writing, think about the storyline.  What will your cartoon novel be about?  Why will it stand out in the crowd?

2. Find a compelling voice.  Cartoon novels are usually written in the first-person narration, and they are generally marketed to the 8-12 group.  When you read cartoon novels, you'll see why young readers fall in love with Greg Heffley from the very first lines, "First of all, let me get something straight.  This is a JOURNAL, not a diary."

3. Read the first lines of cartoon novels. The voices of main characters emerge quickly and boldly on the page. For instance, Dork Diaries: Tales from a Not-So-Popular Party Girl opens with the following line, “I can’t believe this is happening to me! I’m in the girls’ bathroom FREAKING OUT! There’s no way I’m going to survive middle school.” Young readers are immediately thrown into the angst and frustration of the character’s life; the author establishes the voice, setting, and situation in the first lines of the book. Can you draw readers in this quickly? Or should you appeal to readers with a less dramatic approach? Make a decision and start writing.

4. Try writing in your character's voice.  Whether you are describing the horrors of fifth grade or surviving high school as a zombie, you need to write with gripping, believable details.  Start writing a daily entry in this voice.  Can you pull it off?  Now, compare your journal entry to Dork Diaries and Big Nate: In a Class By Himself.  Does your voice compare?  Are you able to pull off this format?  Consider buying a diary and writing in it directly instead of typing the entries.  Remember, you want to feel like you’re in the character’s skin.

5. Invent a catchy, appealing title.  Cartoon novels usually have fun titles like Wonkenstein: The Creature from My Closet and Tales from a Sixth-Grade Muppet.  Don't make your title too long or complicated.  Experiment with a few possibilities, and consider how your book will be marketed to the general public.

6. Draw a few cartoons.  With a few diary entries under your belt, you need a nifty drawing style.  If you can only draw stick figures, you’re better off submitting the manuscript without illustrations.  Finding your inner artist isn't easy; the illustrations need to work with the tone and landscape of the story. Draw something funny!

7. Read cartoon novels.  Before trying your hand at this genre, read some of the books kids love.  My Life as a Book, Dork Diaries, and Diary of a Wimpy Kid are particularly popular.  Is your idea original enough to compete with these hits?  Consider whether it is essential to write your story as a cartoon novel.  Study these books carefully, and you'll see that humor and compelling characters are the backbone of a good cartoon novel.

7. Start writing your book.  Once you've developed a voice and premise, it's time to dive in.  Whether you are drawing readers in with a personal crisis (Dork Diaries), the day-to-day experiences of a wimpy kid (Diary of a Wimpy Kid), or an unconventional storyline (Wonkenstein: The Creature from My Closet), you need to get the ball rolling.  Create an authentic voice, and you'll win the hearts of young readers forever.

8. Ask young readers to look at your text.  Sometimes the toughest critic is a 10 year old, so ask kids if you've hit the mark – or missed entirely. Edit and revise.

Now continue writing. Have fun drawing pictures and writing text. Whether you are describing the antics of a fifth grade werewolf or the anxiety of a young vampire, have fun telling your story. If you are lucky enough to get your book published, you’ll be able to tell people (at the next cocktail party you attend) that you write cartoon novels for a living. What could be better?

Dr. Suzanna E. Henshon teaches full-time at Florida Gulf Coast University.  She is the author of several books for young adults, including Mildew on the Wall (2004) and Spiders on the Ceiling (2006).