Tuesday, December 9, 2014

How Can You List Your Book Worldwide

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An important question for any self-publisher is:  How can readers, bookstores or librarians in Japan, Australia, UK or Belize find your book and read, buy or lend it?
Few authors have ever heard about BowkerLink:  a source for publishers and distributors seeking to update or add to title listings, found in Books In Print, Global Books In Print, and the Publisher Authority Database.
   Books In Print helps book retailers or librarians to search the market place, find the right titles, and explore all known format options, including eBook sources. 
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Free Listing of Your Book 
This  FREE portal allows you to market titles through Bowker products to many sectors of the book industry including wholesalers, distributors, retail chains, independent retailers, online retailers, schools, libraries, and universities.  You may know Bowker from ordering your ISBN numbers, but they are also the provider for Books In Print and Global Books In Print that contain listings of bibliographical information for international book titles available in the USA or any other part of the world.   

In addition, Bowker sells its products worldwide to retailers and libraries, so your titles are exposed to many facets of the book industry through a single web application including other Bowker products like inventory status checks, library catalogue information, and sales data reporting services. Your data is circulated to all of these customers free of charge. To market you book successfully worldwide you need to have it listed worldwide!
Their website is: http://www.bowker.com/en-US/products/servtitlesub_default.shtml 

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Setting Up A New Book on Bowkerlink is easy, just fill in: 
ISBN 
Title 
Subtitle 
Translated title 
Number of pages 
Number of illustrations 
Binding type 
Language 
Subject (1 or 2) 
Contributors names and functions 
Length, 
Width and Height 
Weight 
Year of copyright 
Year of original publication 
Library of Congress Card Number 
Annotation (description) 
Country of Sale 
Imprint 
Title 
status 
Publication date 
Price 
Price type 
Currency 
Target market 
Age range of the readers 

(Items in bold are required, the others optional.)
You should try to fill as many of these fields as possible, as completely as possible, in order to be found easily.
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Why register with BowkerLink? 

Listing your titles is absolutely free. The BowkerLink Publisher Access System allows you to announce your new release titles, as well as price and status updates to a wide audience of book, audio and video buyers. Your titles are WORLDWIDE exposed to many facets of the book industry through this single web application. 

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Thanks a lot for following: 
 @111publishing 
http://pinterest.com/111publishing/ 
http://on.fb.me/TvqDaK 
http://bit.ly/VmtVAS 111Publishing @ Google+ 
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How to Get a Movie Deal for Your Book

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 Book-to-Movie .



Don't expect getting a movie deals is easier, than to find a publisher for your print book!  Here are some beginner insights into how movie deals work.  Check out the links for more.  Movie rights are part of sub rights or subsidiary rights - even so these rights are hard to sell.
And even if you get a foot in the door: Almost all production companies and film producers offer first an option for a film. 


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What Exactly is an Option?
Fred Rosen explains: "It is a rental.  A production company or studio reserves the right to make your work into a film, MOW or TV show for a specific length of time.  In the past, the standard option was for a year, with two renewable one-year options.  Taking advantage of the recent recession, producers have now been able to negotiate the first option to 18 months.

Each time a company picks up the option, you get paid just for sitting on your movie rights. In the meantime, they will try to secure the money to make the adaptation and get someone to write the script (though it probably won’t be you—Hollywood prefers to use its own writers to adapt work)."
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He Furter Explains: What Can Get Optioned?

"Just about anything.  Published novels and nonfiction books.  Magazine articles.  Short stories. Unpublished work can break through, too, when someone who has a connection with a production company discovers something and passes it on.  Frank Capra for example based It’s a Wonderful Life on an unpublished short story by Philip Van Doren Stern.  But you should generally focus on getting published first—because the print imprimatur still demands the highest price when optioned."

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How Much is a Film Option Worth?
"Options start at $500 and go up. In today’s market, $5,000 and more is excellent.  It’s impossible to offer an average because it depends on so many factors, the most important being how much the production company wants the work."

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Do I Need a Film Agent to Make the Option Sale?
Rosen says: "Generally, yes.  If you have a literary agent, look at your contract and see if the agent gets points for a film sale; if so, encourage him/her to send your work to a film agent she’s familiar with (the two will split the commission).
If you don’t have an agent, it’s fine to query film agents directly.  They’re always looking for salable stuff to pitch to Hollywood.  Be straightforward in your pitch: Briefly summarize the work to be optioned, where it’s published and your bio."

Read all of Fred Rosen's Tips Here and get an idea how much you might earn. 


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Tips by John Kremer "Most movie deals involve as many as a dozen decision makers.  One of the best ways to get a movie deal for a novel (I presume your book is a novel) is to target the A-list actor or actress who would be the best person to play the role of your main character.  Many A-list actors have their own production companies or in-place deals for a certain number of movies – and can sometimes (not always) pick which movies they’d like to be in.  For most movie deals to get completed, though, there has to be key actors, a director, a screenwriter, and a producer committed to the movie.
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That’s why 90% of potential movie deals never get completed – because the package can’t be put together to sell the investors on funding the movie. Of those four key pieces, the easiest to target is the actor or actress, because most non-industry people know what movies have been made by actors and actresses.  Plus it’s generally easy for a novelist to picture who should pay the key role or roles in a movie made from their novel.
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How do you get in touch with the actors you have identified as potential role players?  You can try through their management company (agent or manager), via their personal website (if they have one), or sometimes even via a tweet to their @profile on Twitter.  But probably the best way is to use your connections to see if someone you know knows the actor you want to reach or the best friend of that actor or a close relative, etc.  Once you have located a connection, ask them to get you a personal introduction to the actor.  Not just a kind word, or a token email, but – if possible – an in-person introduction."

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Tips by Courtney Carpenter
"If you don’t have an agent, and have no contacts in the business, you can still market your script on your own.  Before you try, however, take one preparatory step: Register your script with the Writer’s Guild of America.  Registration provides a dated record of the writer’s claim to authorship and can be used as evidence in legal disputes about authorship."

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Mark Terry Cautions:
"Movie contracts are a byzantine mess and unless you have an agent who specializes in movie contracts, your agent might suggest hooking up with a film agent or entertainment attorney, who will either get a flat fee or perhaps another percentage ...." "What you do have to do is to watch out for production companies that want to have an option dirt cheap or hold on to the property for an unreasonable length of time."

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However, he has also an interesting story to tell about the movie rights / options for Catch Me If You Can.  That book was optioned about 20 times before Spielberg made the movie with Tom Hanks.  The author commented it was great, he kept getting about $20,000 per year for a book that wasn't really selling any more."

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Sunday, December 7, 2014

All About Literary Agents


Why do authors use the service of a publishing agent?  Except for those publishing houses which deal exclusively with agents, authors don't really need an agent to submit their work for publication consideration.  In Canada, just to name one country, very few book deals are done by agents, only under five percent.  An author can do everything an agent does, though an agent might have better knowledge of the market and what the publishing houses are actually buying.

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 Writers-Market 



For those writers who might think they need an agent, have a look at the do's and don'ts of both sides:
  • Reputable agents will not charge you a fee up front to represent your book. They earn their living by selling your book to a publisher and gaining a commission. That commission is a percentage of the proceeds your book earns. For one thing, this gives the agent an incentive to actually market your book around to various publishers likely to buy it for publication. This is another reason why many agents pick submissions carefully. They know what publishers are looking for and they will not accept anything which isn't ready for submission or close enough that a few days of editing will make the difference.
  • Most agents these days charge 15% commission on domestic sales (USA & Canada). Never under any circumstances should you pay expenses or any fees up front: the agent only receives money by deducting his or her 15% commission from your eventual earnings.  An agent telling new writers that she/he was charging 15% commission plus expenses — that's a rip-off; don't agree to it. The Association of Authors Representatives (professional organization of literary agents) also forbids the charging of "reading fees." If an agent asks you to pay a fee for his or her "evaluation" of your manuscript, refuse! 
  • Agents have differing commission rates though you will not have the option of shopping around as much as you might like. Most important, the agent has to be willing to represent your work.  Once an agent offers representation, the author better takes the offer. After having established a great reputation as a novelist, one can shop around for a better deal - if it is to be found.
  • If a manuscript is truly marketable in the agent's opinion but needs editing, most agents will tell so but not recommend a particular editing service.  A good agent might name some without recommending any editing service in particular.  Some agents have even been known to go above and beyond the call of duty in assisting with the editing themselves when they feel they have a sure winner to represent.
  • But authors should have ensured that a manuscript was edited prior to submitting it to any agent or publisher. Remember that the editors of a publishing house are not there to edit out any mistakes, they are the decision-making managers.
  • The agent is also the money manager besides being the one responsible for getting the best deal for the author with any publishing house. When the manuscript sells to a publisher, the agent is the one who receives the money. The agent subtracts the appropriate commission and pays the remainder to the author.
  • An inquiry letter is not a submission. Use an inquiry letter when contacting publishers who deal by invitation only.  If your inquiry letter gains the publisher's interest, the publisher will then request to see the manuscript.
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Agents are often reluctant to take on any new writers, especially first-time authors, no matter how well the writer writes.  However, if you feel you must have an agent, then you must sell both your manuscript and yourself / your platform to the agent.  A good query letter is the key to pitch your book.

  • Do not send manuscripts to agents unless the agent's guidelines expressly state that those are acceptable within initial correspondence.
  • Email messages should be kept to a length of one or two pages unless explicitly invited to send a manuscript or sample chapters.
  • Go to the agent’s sites and follow their submission guidelines to the letter.
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Find Addresses of Agents in these Books:
  • 2015 Writer’s Market  the best Resource for Authors
  • Novel & Short Story Writer’s Market
  • Children’s Writer’s & Illustrator’s Market
  • Poet’s Market, Writer’s Market
  • Publish Your Non-fiction Book
  • Guide to Literary Agents
  • Writer’s Digest
  • Editors, Literary Agents
  • The Canadian Writer’s Market
  • The Canadian Writer’s Guide for Canadian agents
  • Literary Marketplace
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Since the USA is the largest market with the most potential for sales you should seriously consider getting an agent there, before you commit to anything in Canada or the UK.  However Canadian Publishers don't require always agents, while American Publishers are almost always insisting on it.  Important for success are not only perfect writing skills and an enticing story, but also to have more than just one book, and to show a great Social Media author platform with thousands of potential readers.  “The smartest thing you can do today for your career (other than write)”. This is the motto of an amazing blog that I discovered:  http://queryshark.blogspot.ca


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Saturday, December 6, 2014

How to Avoid Book Returns as a Self-Publisher

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Bookstores rarely host signings by self-published authors — maybe if the author is local and offers books in consignment.  “Why not?” I asked a bookseller.  “We can not return them. When we order books from self-publishing press, such as CreateSpace, the books are non-returnable.  If the store can’t sell them well, then they’re losing money. 

Archaic practices in the publishing industry allow bookstores to return unsold books, often just weeks after their debut – for full purchase price.  No risk for book sellers, but lots of frustration and loss for authors.

Trade publishers ship books on a refundable basis - pretty much a novum in retail -  so if a book store orders 30 copies and only sells 20, they can return the 10 unsold copies and will receive a refund, meaning no risk on the site of booksellers. 

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Booksellers Don't Stock POD Books
Most booksellers will generally not stock POD books because they can't return the book if it doesn't sell and the percentage they get is lower. Printing one book at a time is more expensive per book (usually twice as expensive) than publishing a few thousand. “That’s why many self-published authors can’t get their books into the large chains,” he explained. “It’s all about non-returnability. We only order the blockbuster titles they know they can sell. Books-a-Million, one of the book store chains, for example states it does not allow POD books into it's stores at all."
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Solution for Authors However, author-publishers don't need to be stuck with the current system of bookstore returns: He pulled up several examples for me on his computer of self-published authors who use Lightning Source and offer both "Regular discount" (i.e 40%) and return-ability. He orders these books through Ingram/LightningSource, just like books from traditionally published authors. So it's possible with Lightning Source, at least. The easier authors make it for independent booksellers and the big book chains, the more likely they will be treated like mainstream authors - if their books are well edited and have an attractive cover.

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Offer Both: CreateSpace & LSI / Ingram Distribution
If you don't plan to sell many books, CreateSpace works fine. But if you DO plan to sell lots of books, you will earn a lot more from Ingram / LSI (LightningSource Inc.) with a 20% discount than you will from CS with a 40% to 60% discount. Those setup fees everyone complains about at LSI are meaningless, compared to the difference in per-unit margin.  You will make up the difference in set-up fees within the first 100 books you sell. in order for bookstores to order them you have to make your books returnable.

In average, bookstores return about thirty-five per cent (35%) of the hardcovers they buy, according to the NEWYORKER and publishers (or author-publishers, that's you!) write off the cost of producing those books. Don't forget to deduct these returns from your tax.

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Benefit: Book Signings
You will be able to have book signings at Barnes & Noble and other stores, taking part in store events if you distribute for example through LSI / Ingram.  Bestseller Author Stephanie Chandler wrote a great article how to sell to bookstores and also offers a free Consignment Agreement form for you to download and modify if you want to make an arrangement with a bookstore to carry your books as a consignment.  Her statement: "It certainly can’t hurt to place your books at a few stores, but it probably won’t lead to fame and fortune!"  - It might work with an author who has a strong local following.  Last but not least: there is even some shifting in booksellers attitude towards the author-published books, Kobo for example has agreements with independent bookstores, and when you use eBookpartnership not only your print, but even your digital version can be delivered to bookstores.  Read more about it in these blogs: 


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Wednesday, December 3, 2014

How to Travel the World While Working

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Visiting a Starbucks, you will always see half of the patrons glued to their laptop or tablet.  Some of them might not be living in town, not even in the country, they could well be from the other side of the world.  And they could easily make their living from the internet, giving them the freedom to travel around the world, sometimes with their whole family. 


It's Called Internet Nomads
Now with Skype, Internet, Cloud storage and Google Voice, you can conveniently work from places such as Munich, Amsterdam, Istanbul, Melbourne or Santiago de Chile, traveling the world, and things aren't much different for their clients, they might even not know your whereabouts.
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Business Worldwide
Entrepreneurs who are rarely meeting their clients in person, for example:
  • Graphic Designers
  • Web Developers
  • Social Media Strategists
  • Marketing Specialists
  • Translators
  • Writers / Editors / Bloggers
just to name a few.  There are certainly many more fields where it's not necessary to meet with clients in person and which allows worldwide travel for extended time.  Write Your Way Around the World is a great article that gives you tons of ideas. Check it out here.
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Chris and Danika are Traveling the World
Chris says:  "The fact that I'm sitting here in Berlin dealing with a client is exactly the same as being down the street. "A lot of the people I work with have been clients for years, and they're aware that we're traveling. They don't see a difference, but we feel it."
After nine months away from home, they have proved their working-on-the-road strategy is pretty sustainable.  The whole 9-5 working thing completely stopped," Chris says. Because we don't have distractions of going into an office, we're able to work far less and still have the same amount of progress on projects," he says.  Depending on how much work they have, they estimate they work about 20 to 40 hours a week.
"Important is a smartphone with internet. Perfect in case the Wi-Fi in your apartment fails, or you have a four-hour train ride," says Chris. Make sure you know where the cafes are that have Wi-Fi."
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The Best Cities to Live and Work Remotely
Worldwide Info for Internet Nomads if offered in a free list that contains among others:

  • Monthly short and long-term cost of living
  • Co-working space
  • Basic Meal costs 
  • 1-bedroom Apartment rent in downtown
  • Climate and air quality of this city
  • Internet Speed*
It's a very helpful listing, containing information that are otherwise not easy to get, and even shows which cities are popular or trending among internet nomads.
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So Popular That Even Forbes Writes About
Read an interview on Forbes with Ally Basak Russell, a digital nomad, based currently in London.  She gives insider tips, based on several years of travel and working independently abroad, which includes, among others:
  • Add the World Clock Google Calendar widget
  • Get an unlocked phone and local SIM card
  • Give up Skype for Google Hangouts
  • Buy an inexpensive USB Ethernet Adaptor
  • *Before you rent, test the Internet with www.Speedtest.net
See for yourself if it is worth, living the life you want to, not the one you think or even worse: others think, you should live. Better blogging from Paradise ...

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Kentucky Romance Author Jan Scarbrough and Her Books

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Jan Scarbrough is one of the most prolific writers I ever got to know.  She has written more than 30 Romance books. Visit her author page on Amazon. 

She is the author of the popular Bluegrass Reunion series, writing heartwarming contemporary romances about home and family, single moms and children, and if the plot allows, about another passion: horses. Living in the horse country of Kentucky makes it easy for Jan to add small town, Southern charm to her books, and the excitement of a horse race or a big-time, competitive horse show.
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Jan also contributes to the Ladies of Legend series, a collaboration with writers Maddie James, Janet Eaves and Magdalena Scott. Set in fictitious Legend, Tennessee, these romances bring together the small town family atmosphere so many readers enjoy.

Leaving her contemporary voice behind, Jan has written a medieval romance My Lord Raven, and several sensual Medieval novellas. Her Gothic romance, Tangled Memories, was a Golden Heart finalist. Timeless is her newest Gothic romance. 

A member of Novelist, Inc. and the Romance Writers of America, Jan has published with Kensington, Five Star, ImaJinn Books, Resplendence Publishing and Turquoise Morning Press.  Join Jan's mailing list at http://www.janscarbrough.com for news about new books and other possible appearances in your area.  Follow Jan on Twitter @romancerider
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Some of Jan Scarbrough's Books:
All Books are available as e-book, most in print as well.

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See the "Christmas Bundles" - all for only $0.99 on Jan's Amazon Author page.




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Tuesday, December 2, 2014

Two Days in June - John F. Kennedy

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TWO DAYS IN JUNE John F. Kennedy and the 48 Hours that Made History  
by Andrew Cohen.

In June 1963, John Fitzgerald Kennedy has been president of the United States for almost two and a half years.  That spring he is grappling with the two seismic forces of the early 1960s:  the proliferation of nuclear arms and the struggle for civil rights.  On two consecutive days, in two lyrical addresses, he appeals to Americans to see both the Russians and the “Negroes” as human beings. 
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His speech on June 10 leads to the Limited Nuclear Test Ban Treaty of 1963, the first arms control agreement of the Cold War. A day later, his next speech on June 11,  leads to the famous Civil Rights Act of 1964, a watershed in American history.  In lily-white, Cold War America, this kind of language is unprecedented, if not almost subversive.
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Andrew Cohen, an award-winning journalist and bestselling author, evokes the writing of William Manchester and Theodore White as he presents a president pivoting dramatically and decisively on the two biggest issues of his time. Based largely on hours of unseen documentary film shot in the White House and the Justice Department on these two days, as well as fresh interviews and a rediscovered draft speech.  Two Days in June elegantly captures Kennedy at the high noon of his presidency in new, rich, granular detail.
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There were 1,036 Days in the Presidency of John F. Kennedy Moment by moment, JFK’s feverish forty-eight hours unspool in suspenseful, cinematic clarity as he addresses “peace and freedom.” Kennedy faces down George Wallace over the integration of the University of Alabama, which Cohen shows was not scripted, as many argue.  

In this tick-tock of the presidency, we see Kennedy up close as never before: signing a bill on pay equity for women, and planning a secret diplomatic mission to Indonesia, reeling from the midnight murder of civil rights leader Medgar Evers.  Big issues converge while smaller ones emerge – open immigration, lower taxes, physical fitness, space exploration...


Under Cohen’s steady gaze, we see Kennedy’s extraordinary relationship with his brother, Robert, who acts as field marshal as the administration manages George Wallace;  his partnership with Theodore Sorensen, his gifted if mercurial speechwriter; and his affair with Mary Meyer, a free-spirited painter.
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About the Author Andrew Cohen is an award-winning journalist and former Washington correspondent whom the New York Times has called one of “Canada’s most distinguished authors.” He has had an interest in the Kennedys from the time he learned of the president’s assassination as a third grader at Roslyn School in Montreal.  He attended Choate Rosemary Hall (where JFK went), McGill University, Carleton University and the University of Cambridge.

  Among his Best-Selling Books

He has written for United Press International, the Financial Post, the Financial Times of London, Time and the Globe and Mail from London, Berlin, Toronto and Ottawa, where he is a professor of journalism and international affairs at Carleton University.  In Washington, he covered the Clinton administration and reported on his impeachment and trial and the disputed election of 2000. He made several trips to the South, writing about the re-opening of civil rights cases from the 1960s.  He has won three National Magazine Awards and two National Newspaper Awards, and he has been twice been awarded the Queen Elizabeth Jubilee Medal. Cohen writes a nationally-syndicated column for the Ottawa Citizen and appears as regular commentator on CTV News.

What’s New in: Two Days in June 
Two Days in June is an original, intimate reconstruction of two momentous days in the presidency of John F. Kennedy. It is a chronicle like no other in the Kennedy literature, brimming with fresh insights and revelations, drawing on hours of newly-uncovered documentary film shot in the White House on June 10 and June 11, 1963, as well as the days before and after.

Andrew Cohen is said to be the first to see the raw footage since it was shot for a celebrated documentary broadcast fifty-one years ago. In revisiting these two days, the single most important resource is Crisis: Behind a Presidential Commitment, the 52-minute cinéma vérité film made by Robert Drew, one of the pioneers of the genre in the United States. Drew, a photographer at Life, would become one of the acclaimed documentary filmmakers of his time.

In making Crisis, Drew had unprecedented access to President Kennedy in the White House and to Attorney General Robert F. Kennedy in the Justice Department over these feverish days. Drew also sent crews to Tuscaloosa, Montgomery, Birmingham and New York City with Richard Leacock, Greg Shuker and D.A. Pennebaker, all emerging filmmakers. The subject was the confrontation between George Wallace and the Kennedys over the integration of the University of Alabama, which climaxed on June 11, 1963, what some historians call the most important day in the civil rights movement. Crisis aired on ABC in the United States on October 23, 1963, less than a month before JFK was assassinated. Its reputation grew. In 2011, it was named to the National Film Registry of the Library of Congress, one of twenty-five films a year deemed “culturally, historically or aesthetically” significant.
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The archivists believe that Andrew Cohen is the first to see the film since they received it sixteen years ago, and quite possibly, since it was made fifty-one years ago.  Two Days in June also draws on the recently opened diaries and letters of Arthur M. Schlesinger Jr., the eminent historian and presidential assistant, as well as those of Charles Ritchie, Canada’s Ambassador to Washington that spring.

Excerpt from a press release of McClelland & Stewart Doubleday Canada Publishing Group, part of Random House of Canada Ltd.


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Saturday, November 29, 2014

Funky Reindeers and Where You Can Find Them

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Years ago I took a photo of these funky Reindeers / Caribous
at a Christmas Party, but never found out who sells them
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Rudolph the Reindeer
Chuck Barney wrote about the most famous Reindeer in the Hamilton Spectator:

“Laugh and call him names all you want, but there's no denying that the furry misfit at the heart of "Rudolph the Red-Nosed Reindeer" has outshone his naysayers to become the most famous holiday TV star of all.
The seasonal perennial was the brainchild of producers Arthur Rankin and Jules Bass, who in 1964 took Johnny Marks' novelty song and turned it into an instant television classic. When "Rudolph" first aired during a Sunday afternoon on NBC, it drew a 50 share of the audience, which was sensational even in a three-channel universe. Five decades later, fans are still shouting out with glee."

"This year on CBS, "Rudolph" celebrates its 50th anniversary, extending its reign as television's longest-running special.  Like "A Charlie Brown Christmas," which turns 50 next year, Rudolph is a beloved heirloom handed down from parents to their children.”

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Animated Lighted Reindeer Family Set 3 Christmas Yard Decoration Outdoor





More About Reindeers / Caribou

  • Lego Santa and reindeer land in Covent Garden, London, UK.  700,000 tiny Lego bricks make up the sleigh, reindeer, presents and Father Christmas designed by Lego builder Duncan Titmarsh.
  • Two life Reindeers are outside the Hotel: Reindeer are a quintessential symbol of Christmas, and on December 13, the St. Regis Hotel in New York City will celebrate the holiday by having two of them outside its doors in Midtown Manhattan from 11 a.m. to 3 p.m.

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Scandinavia's Sami Reindeer Herders

Two hundred miles north of the Arctic Circle, near the jagged tips of Norway's crown, the sun does not set for weeks on end during the summer months, and the midnight sun bounces off fields of midsummer snow. The solstice comes and goes, but the Sami reindeer herders are too busy to pay much attention. "We're always in the middle of calf marking at this time," Ingrid Gaup says, referring to the yearly ritual in which the herding families carve their ancient marks into the ears of the new calves. In the Sami's homeland, spread across northern Norway, Sweden, Finland, and Russia, the notion of time is untethered from the cycles of the sun and is yoked instead to something far more important: the movement of the reindeer.
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Where You Can find Reindeer / Caribou in North America
The Reindeer (Rangifer tarandus), also known as Caribou in North America, is a species of deer with circumpolar distribution, native to Arctic, Subarctic, tundra, boreal and mountainous regions of northern Europe, Siberia, and North America, writes Wiki. I recently saw a couple in a mountainous region of British Columbia, Canada.
National Geographic shows their habitat here at this map:
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The Joy of Decorating for Christmas / Winter

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Get the Most Beautiful Decorations from Nature - for Free

Why buy when you can get the best Christmas Decorations out in the forests - or maybe even in your own garden?  And it's so much more fun than to go to the mall and buy some over-priced bland decorations.

Winter Berries, Pine and Fir twigs, Mountain Ash Berries, Rose Hips, Mistletoe or Christmas Holly are making for lovely decorations from Mother Nature.  Mix them with Pine cones and have a lovely nice smelling attraction to deck your halls.

Check out Martha Stewart's video how to arrange your twigs.



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