Tag Archives: editing tips

Book Promotion: What’s Hot, What’s Not

These days there are so many ways of promoting a book—yet also so many chances of that book not being noticed at all in the flood of promotion that washes over people daily. So as an author, what do you do? In this post I’m listing a few things that have worked—and not worked—for me. These are very personal observations of course; you may have had a totally different experience.

What’s hot:

Cover reveals on social media—accompanied by an intriguing ‘tag.’ These can start a buzz well before publication.

What’s not:

Book trailers on You Tube or similar channels. Heaps of fun to make but in terms of effects on sales, pretty much nil. You don’t get half as many people looking at them, compared to cover reveals. However, as long as they don’t cost you heaps of money and time to make, there’s no reason to not do it as it can be a nice adjunct.

What’s hot:

Interviews with local radio stations—a brilliant promotion, in my experience, although that may be because at our local radio station there are at least two presenters interested in books and publishing. They and their producers are very keen on local publishing/literary news stories. I have had many people over the years say they went to their local bookshop to find a book I’d spoken about on radio. If you have a similarly engaged presenter on local radio, cultivate them; it’s really worth it.

And by the way in my experience local TV can be good but is hard to get on board.

Book launch for ‘Jules Verne’s Mikhail Strogoff’. Photo by Sophie Masson

What’s not:

Blog tours. Great for the bloggers but a fairly large amount of work and time-consuming for the author doing the tour—as either you have to write separate guest posts or answer interview questions over the whole tour. And you can’t just recycle the same guest post, of course, or insist on the same interview questions. My experience is that the payoff in book recognition isn’t necessarily there, especially given the amount of work you have to do.

However, interviews/posts on blogs often work really well. I just think it’s better, for an author, to restrict them to one or two blogs at a time for any one book.

What’s hot:

In-person visits to schools and libraries. These small, single-author events often work much better, in my experience, than being included along with a whole lot of other authors in a festival program. Poets have long known that performance poetry events are a great place to sell books: it’s the same for authors in other genres. I like to get in touch with the local bookshop in the place I’m visiting, to see if they want to come along to the event and sell books: this is a good way of not only avoiding having to cart large numbers of books with you, but also the bookshop will continue selling them afterwards, as they have had the personal contact with you.

What’s not:

Facebook and Twitter ads. You might get thousands of ‘likes’ but not a single sale out of them; ‘organic’ or unpaid-for posts are much better, especially if you angle them less like ads and more human interest—with good photos! Instagram is a good option too, but only around photos and just a few intriguing words—not too promotey-sounding either.

What’s hot:

Reviews in good print and online journals, magazines and blogs. And good early reviews can be used as part of promotion for the book.

What’s not:

Don’t expect too much from local newspaper pieces about your new book. Unlike with radio interviews, for some reason, though people will often say they saw it in the paper, it doesn’t seem to unleash a ‘get thee to a bookshop’ type of reaction. Perhaps, as far as traditional media is concerned, the radio interview more closely resembles the ‘word of mouth’ or ‘viral’ effect that is the Holy Grail of promotion. However don’t let that put you off doing newspaper interviews—they are fun and are good to have on hand if you are putting together a promotions scrapbook.

What’s hot:

In-person book launches. They are still a lovely way to celebrate the book with your family and friends—worth organising for yourself: even if your publisher isn’t doing one, they can usually help with posters, flyers etc, electronic or print. You can also have a virtual launch of course but I’ve never organised one or found them satisfactory to attend. You may well have a different experience of course.

What’s not:

Book signings, unconnected with a launch—you rarely get enough people coming, unless it’s for an event.

What’s hot:

Posts on your own blog, if you have one, about the story behind the book—readers like to know not only about the inspiration but the process. I have found that making sure my blog has a mix of stuff about my own books and other people’s, and interviews not only with creators but also publishing professionals, brings in a lot of readers. Doing that makes the blog feel a lot less like self-promotion and more about being involved in the wider literary/publishing landscape. And that’s a lot more fun!

What’s not:

Flooding your social media networks—Facebook, Twitter, Instagram, whatever—with promotional posts about your books. People stop looking after a while.

Over to you: What’s your experience of book promotion, and do you have any other tips for what’s hot and what’s not?

By
Source: writerunboxed.com

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Learn How to Write and Finish a Novel

According to Kurt Vonnegut, “The primary benefit of practicing any art, whether well or badly, is that it enables one’s soul to grow.” If this is true, then nothing makes for more mature souls than writing a novel, a form that particularly requires perseverance and patience. Though there are no hard and fast rules for how to get from the first draft to bookstore shelf, these guideposts on how to write a novel will help you find your way.

 

01. Give Some Thought to Plot.

 

Writing a novel can be a messy undertaking. The editing process will go easier if you devote time to plot in the beginning. For some writers, this means an outline; others work with index cards, putting a different scene on each one. Still, others only have a conflict and a general idea of where they plan to end up before diving in. If you’ve been writing for a while, you already know how your brain works and what kind of structure it needs to complete big projects. If you’re just starting out, then this may be something you’ll learn about your writing process as you revise your first novel.

 

 

02. Get a First Draft Down.

Though it is a good idea to test your idea out on other writers, resist getting feedback on the writing itself at this stage. Focus on getting the complete story down on paper instead. If you have trouble with writer’s block or tend to let, projects stall, NaNoWriMo might be helpful. Other writers maintain a regular schedule and spread the writing out over a longer period of time. Still, others enroll in novel classes, which provide weekly deadlines and community.

 

 

03. Be Prepared to Revise.

 

At a reading for his first book a few years ago, novelist Dominic Smith commented that the one thing he wasn’t prepared for in writing a novel was the amount of work between first draft and published book. In one way, this is heartening. However inspired you might feel while writing it, the first draft will probably be bad. It will be clunky, disorganized, and confusing. Entire chapters will drag. The dialogue will be unconvincing and wooden. Rest assured that it’s this way for everyone. And like writers everywhere, you just have to roll up your sleeves and get to work rewriting it.

 

 

04. Solicit Feedback.

When you think it’s time to start contacting agents, get feedback from writers you trust. Don’t be surprised if they send you back to your desk for another draft. Address any large structural problems first, and then go through the book scene by scene. Anytime you have a question about whether something is working, stop and see what you could do to make it better. Don’t just hope the reader won’t notice. If you want your book to be good, revise with your most intelligent, most thoughtful reader in mind.

 

 

05. Put It Aside.

If you find yourself banging up against the same problems with every draft, it may be time to work on something else for awhile. Sixteen years elapsed between the first draft of Jane Austen’s Pride and Prejudice and the published version, for instance. Katherine Anne Porter likewise took years on some of her most famous stories. If you find yourself losing your way, go back to the fun parts of writing. Create something new; read for fun. With each new project you take on and each book you read, you’ll learn new lessons. When you come back to the novel — and you will come back — you’ll see it with more experienced eyes.

By
Source: thebalancecareers.com

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Elements of Suspense: The Cliffhanger

Once upon a time writers actually left their characters hanging from cliffs. In the early days of movies, when theaters ran serialized episodes of a story, a cliffhanger ending was a good way to ensure viewers would make the effort to come back next week. The same was true for serialized novels run in newspapers and magazines. Writers intentionally left characters hanging (not necessarily from a cliff) to entice readers to purchase the next installment.

Today’s readers and moviegoers may roll their eyes at Pauline hanging by her fingertips from a cliff, but the cliffhanger technique is still very much in use. If we change the definition of cliffhanger from:

a situation of imminent disaster usually occurring at the end of an episode of a serialized film

to the broader concept of:

a moment of unresolved danger or conflict

then a cliffhanger can happen anywhere a writer needs to crank up the tension. The key here is unresolved. Something is left hanging.

Consider the commercial breaks in a typical detective show. When do the breaks happen? Just after some new evidence is discovered that threatens to take the investigation in a whole new direction. Viewers are left hanging during the commercial, wondering what the hero will do with the new information.

In a similar vein, writers use the cliffhanger technique at the end of a chapter, scene, or beat to keep readers turning pages.

How to use the unresolved tension of a cliffhanger to increase suspense in your manuscript

  1. End a scene in the middle of danger. The tried and true cliffhanger ending—a bad thing has happened and the character is left some kind of danger at the end of a scene. You might switch to a different set of characters in the next scene and leave the poor hero hanging for a scene or two, or you might continue the action in the next scene. Either way, the reader must keep reading to find out how the situation is resolved.
  2. End a scene by hinting that a bad thing is about to happen. The doorknob turns… A shadowy figure appears in the window… The heroine hears the voice she’s been dreading for pages… This is similar to number one, except the danger is only implied, leaving the reader to imagine all sorts of horrible things that are about to ensue.
  3. End a scene by hinting that a bad thing might be about to happen. A subtler variation of number two. Instead of the heroine hearing a voice she recognizes and dreads, what if she hears a voice she doesn’t recognize? Is it a friend or a foe? The reader doesn’t know until they read on.
  4. End a scene on an ambiguous note. Instead of making it clear exactly what happened and how that affects the main character, try leaving things a little less clear. Sometimes a writer can accomplish this simply by backing up a few sentences. Instead of ending the scene with the sleuth deciding she needs to question the shop clerk, back up a few sentences and end with the information that could be interpreted to mean the clerk was guilty.

The cliffhanger technique isn’t just for the end of chapters or episodes, however. You can use subtle touches of cliffhanger anywhere in your story.

  1. End a conversation with a tantalizing bit of information. Imagine the sleuth is talking with an informant who tells him about a new clue that’s come to light. But instead of giving all the details right away, the informant says, “I found something in the wall of the garage. You’d better come take a look.” The sleuth will naturally ask for details, but the if informant refuses to give them, both sleuth and reader will be dying to find out what’s been unearthed. Ratchet up the tension further by forcing the sleuth to finish his current task before he can go take a look.
  2. Leave a character in a high emotional state. Tension is not only created by external danger. Sometimes the conflict is within a character.  Examples: The hero gets word his wife has cancer while in the middle of a meeting, or the heroine has an argument with her fiancé but has to break it off to interview a key suspect. These bits of unresolved life issues can add tension even when they have nothing to do with the main plot.

Bottom line: Look for places in your story where you can leave a situation unresolved, however briefly. Closure is important at the end of story, but unresolved tension is what keeps the reader turning page after page to get there.

By Lisa E. Betz
Source: almostanauthor.com

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How to Talk About Policing In Crime Fiction

A few weeks back, I was drinking with some buddies at a writers’ convention when I felt a tap on the shoulder.

“I want to introduce you to a fan,” someone said.

Like any dignified author at this stage of my career, I whipped around so fast that the Brooklyn Lager bottle nearly flew out of my hand. A man in his sixties stood before me with his hand out—square-jawed, clear-eyed and firm of grip, in a well-tailored suit. He looked like exactly the kind of well-respected man who smiles and says “I don’t read novels” when I meet him in other circumstances. Exactly the kind of reader I’ve been trying to win over for most of my career. A prosecutor, I was told. Even better! Someone who had been in the trenches and would appreciate the nuances and shades of gray I tried to bring out in my novels.

“I just want to see you people get it right,” he said, shaking my hand.

“Thank you.” You people?

“Every week, I never miss the show.”

“Oh, that’s terrific.” I nodded. “Glad you like it. I’ll tell my friends who work on it.”

Of course, he was talking about one of the broadcast network television series I’ve written for. The ones in which justice usually wins out in the end, and the police and prosecutors are unmistakably the heroes.

We exchanged a few more pleasantries and then went back to our conversations. And quietly, I laughed at myself. Of course, he was talking about one of the broadcast network television series I’ve written for. The ones in which justice usually wins out in the end, and the police and prosecutors are unmistakably the heroes.

Now don’t get me wrong. I’m not anti-cop by any means. In fact, I wanted to be a police officer for most of my childhood. And I don’t even think it’s enough to say, as many leftists like myself grudgingly do, “the police have a tough job.” There are parts of police culture that I don’t just respect, I envy. The hard work, the diligence, the ability to knock on doors day and night and talk to literarily anyone. And the humor. For Christ’s sakes, no one tells darker jokes or can make you laugh harder than an honest cop after a few drinks.

I have more than a few good friends who I revere in various police departments, and truth be told there have many years when I would have had a very hard time doing my job without them. Their stories need to be told, and I’m proud to have been among the people telling them, and grateful to have had the opportunity.

But those aren’t the only stories.

***

About a month after the writers’ convention, I had lunch with a guy I know named Sundhe Moses. We met at Junior’s, on Flatbush Avenue in Brooklyn, near the housing project where he grew up. Sundhe spent 18 years in prison for allegedly shooting and killing a four-year-old girl as she roller-skated past a building in Brownsville. Earlier this year, Sundhe’s conviction was overturned and his name was cleared. In the decision, the judge cited the involvement of one Detective Louis Scarcella, who Sundhe said had coerced him into making a false confession by beating him and choking him. Scarcella denied doing any such thing, but it’s worth noting that twelve other convictions have been overturned so far in cases where the same detective is said to have abused defendants, fabricated confessions, and—this is true—used the same crack addict-prostitute as a key witness in six separate investigations.

“That’s thirteen people’s lives,” Sundhe told me over his sandwich. “People talk about police corruption. But if you take it out of that context, it’s almost more like the story of a serial killer.”

“That’s thirteen people’s lives,” Sundhe told me over his sandwich. “People talk about police corruption. But if you take it out of that context, it’s almost more like the story of a serial killer.”

Now it just so happens that I’m about to publish a novel about a cop who may be a serial killer. Such a thing is possible. A former California police officer named Joseph DeAngelo now stands accused of being the Golden State Killer, responsible for at least a dozen murders and more than fifty rapes over a forty-year period. And there are other cases around the world, including the infamous 10 Rillington Place killer John Christie, a War Reserve police officer who raped and strangled seven women in the 1950s.

But my novel, Sunrise Highway, isn’t really about that kind of individual pathology. It’s about how the rest of us could allow it to happen, in smaller ways, by being complacent, self-satisfied, or comfortable with the status quo. Making the decision not to ask the wrong questions at the wrong time, because it would unsettle the system and make our lives more complicated.

I wanted to tell a story about the pathology of a system that would not only permit a criminal to survive within it, but to rise up and get promoted as a leader (obviously, that couldn’t happen in, say, politics or corporate life). Yes, there have been books, a few movies, and a couple of TV shows like The Shield about individual dirty cops, but those are the exceptions. Most audiences want the lines between good and evil to be drawn clearly, and they want the heroes to trail no shadows in their wake. I wanted to write a book that asked some tougher questions about the world we’re living in.

“It’s not just the Scarcellas doing it on their own,” Sundhe told me. “A lot of other people have to be involved when there’s an injustice like this.”

I think it’s no accident that there’s never been a long-running TV show (at least none that I can think of) about a lawyer or a cop who defends the innocent and gets them out of jail. People want familiar stories after a long day at work and they certainly don’t want to be lectured. And I don’t blame them. I’m not in the business of lecturing anybody or showing them the light anyway. What I do want to do is give you something you’re not expecting, a suspenseful story from an angle that you might not have considered. And if you’re alive these days and halfway sentient, you have to admit the good guys aren’t always good. And getting down to the reality of that can be as riveting and scary as Silence of the Lambs.

If you’re alive these days and halfway sentient, you have to admit the good guys aren’t always good.

At the end of our meal, Sundhe, who is writing a book about his experiences, started talking about the difference between real life and what you see on the screen.

“You know what’s funny?” he said as the waitress dropped the check next to the pickles and cole slaw. “The other night I was watching a horror movie with my girlfriend. Can’t think of the name but there was all this tension in it because the killer was stalking this woman and her daughter.”

“Yeah?” I shrugged and picked up my water, thinking it could be one of a thousand films.

“And then at the end, just when you think they’re going to escape, he kills them both.”

“Ha.” I put down my glass. “Didn’t see that coming.”

“No.” Sundhe nodded. “And my girlfriend hated it. Because she didn’t think that’s how it was going to be. But sometimes life is like that. You don’t always get the ending you want.”

Source: crimereads.com

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Un-dead Darlings

Please welcome guest Barbara Linn Probst to WU today! Barbara is a writer, teacher, researcher, and clinician living on a historic dirt road in New York’s Hudson Valley. She holds a PhD in clinical social work and is a dedicated amateur pianist. She is also the author of When the Labels Don’t Fit–a groundbreaking book on nurturing out-of-the-box children. To learn more about Barbara and her work, please visit her website: http://www.barbaralinnprobst.com/

Un-dead Darlings

Kill those darlings.

We all know the cliché (actually, it was Faulkner, not Stephen King, who coined the phrase) and, accepting its wisdom, do our best to kill those beloveds no matter how much it hurts. Sentences, paragraphs, whole scenes – deleted, leaving a cleaner and stronger narrative.

Deleted from the story, but not from our laptops or minds. Many of us (okay, me, but I bet I’m not the only one) squirrel them away, hoping we’ll be able to squeeze them into a future manuscript.

Of course, that rarely works. Unless, by some amazing chance, a grandfather scene exactly like the one I just deleted is precisely what the new book needs, the darlings need to stay in their coffins.

However, there are other possibilities for this excised material if we abandon the idea of keeping our darlings intact as chunks of prose and consider, instead, what they indicate, arise from, and serve.

A good way to do that is by adjusting the lens and zooming in or out. Zooming in means identifying small bits of language that can be extracted from their context. An image, a descriptive detail, a noun or verb that captures a particular sensation – that may be all that’s worth saving from the passage.

In stockpiling these usable phrases, it’s important to note their referents so you’re clear about how they might be used later. Does a phrase denote arrogance, the experience of unexpected emotional softening, a sense of foreboding? Later, you might be searching for a way to convey that very quality, and you’ll have a private dictionary to turn to. Retaining the meaning, along with the words, also helps to check the tendency to insert a phrase where it doesn’t really belong, simply because you can’t stand not to use it somewhere – the hallmark of a soon-to-be-dead-again darling.

Zooming out, in contrast, means stepping back from the specifics of what you’ve written to its source. What was that grandfather scene really about? Was it remorse at having taken someone for granted, nostalgia for a sense of safety that’s no longer possible? Perhaps it was the yearning to be someone’s favorite again, or the memory of a child’s frustration in not understanding an older person’s allusions. What was the feeling at the scene’s core, and why did it matter to my character? What purpose did I think it would serve in the story?

These sensations, intentions, aversions, and desires are only accessible when you zoom out and view the passage from a wider perspective, letting the trees blur so you can see the forest – that is, ignoring the words so you can perceive their source.

You may not need to retain the specific words and sentences. Often, in fact, it’s best not to – since they can influence, limit, and obstruct your vision – but their source can become a wellspring for fresh material. By letting go of the verbal formulation and connecting, instead, with the origin of the deleted material, you’re free to discover new possibilities.

To give an example:

In my earlier now-abandoned novel, the adult daughter of the protagonist was writing a master’s thesis on Georgia O’Keeffe.  The “reason” I had her doing that (ouch) was so I could sneak in a backstory scene in which the protagonist came upon O’Keeffe’s Black Iris and had a profoundly transformative experience. The adult daughter’s thesis served no real purpose in the story, however, nor did the museum scene. They were, appropriately, killed off.

Yet there was something about the O’Keeffe painting that stayed with me – something it implied and evoked that I needed to express. It noodled around in that murky in-between part of the brain where creativity often occurs and then burst into life unexpectedly a year later, providing the genesis for the (much better) novel I’m currently working on. Without that now-dead darling, the new novel wouldn’t exist.

Zooming in and zooming out are inverse processes. In the first, context is discarded, freeing the words from their moorings; the focus is narrow, precise. In the second, words themselves are discarded, freeing the intention that gave rise to them; the focus is wide, diffuse, not yet confined to a specific manifestation. In neither case is the “darling” preserved intact, in the hope of shoe-horning it into a new slot. We’ve all tried that, and it doesn’t work.

We need not adopt either strategy, of course. Darlings can stay dead. But that would be a shame, since they often contain much that’s of value. That’s why we love them.

Do you, like me, have a file of deleted material?

What life might the material still contain if you approach it in a fresh way?

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LATE-LIFE FICTION NEVER GETS OLD

“The sooner growing older is stripped of reflexive dread, the better equipped we are to benefit from the countless ways in which it can enrich us.” ―  Ashton Applewhite, This Chair Rocks: A Manifesto Against Ageism

Time to Tell the Stories

Don’t tell me I am too old for that.

I know how it feels, perhaps you do too……to be 60, 70, or even 80, reminding yourself that you can no longer do what you once could, wondering if you should even try.

It is instinctive, I suppose, the need to push back against those perceived limitations. Accepting that ‘age-based’ prognosis feels so much like giving up, as though my forty-year-old mind is surrendering to my eighty-year-old body. After all, I arrived at retirement years ago knowing there were still things to do, feelings to experience, mysteries to explore…along with the surprising realization that there were stories I wanted to tell.

Scratching the Writing Itch

To be sure my literary adventures, the stories I wanted to tell, have taken me down roads less traveled, but that has been the beauty of it. In this day of high-tech, low-cost Print-on-Demand publishing my storytelling efforts have not been held hostage by agents, publishers, critics, or my modest bank account. I am writing to please myself…and thankful for the opportunity to do that, even when I am my harshest critic.

Yet those less-traveled highways offer their own storytelling choices. One fork in the road may have me creating a warm and fuzzy, happily-ever-after tale, while the next one leads to twists, turns, and dangerous intersections…where unseen troubles may lurk.

Late-Life Fiction

Perhaps you can guess which path my late-life travels have taken.

LATE-LIFE FICTION NEVER GETS OLD two drops of ink marilyn l davis I call it Late-Life Fiction. It’s an obscure corner of the storytelling universe that feels like home to me.

In the course of twelve Tanner Chronicles books, my fictional friends have faced a litany of October and November challenges…good times and bad, illness and accidents, poverty and depression. Still, like real life, a healthy dose of caring love can soften even the harshest trauma. Consider, for instance, stories that include:

* Returning to the scene of an earlier desertion
* Wooing the stroke-stricken lady who was his high school crush
* A Second Chance pursuit has men playing with guns
* The down and out couple who are Going Poor together
* An infatuated pair too timid to take a relational chance.
* Life, love, and frustration with an Alzheimer’s spouse
* Life partners lost and found
* Second loves found, then lost

Even the longest journey may begin with a single stumble.

The November Adventure Stories

I have spent the last couple of weeks exploring the possibility of a new ‘November adventure’ story. In the process, I have paused a time or two to ask myself if I am on to something real. Or is the story I have in mind more apt to be cataloged under ‘Adult Fantasy’? In that case, I probably ought to turn up my oxygen, lay back, and chill out.
We all understand, of course, that ‘adventure’ is a relative term. I know beyond a doubt that the septuagenarian friends whose story I will be telling are more timid than bold, and more tentative than confident. But they have been around the block a time or two, and are the sort who keep trying, even in the face of long odds.

LATE-LIFE FICTION NEVER GETS OLD two drops of ink marilyn l davisStill, the questions remain. Can I imagine, and then tell, a convincing story about a handful of seventy-five-year-olds who are inexplicably convinced that they still have things to do, to see, to learn, and become?

Am I the only one?

Before long the next round of questions had bubbled to the surface. Am I the only November remnant, male or female, who harbors childish notions of how much potential Becoming remains at my age? Am I whistling in the dark …unwilling to face the reality of a worn-out, used-up life standing at the edge of a steep and slippery slope?

Of course, it is an ego thing …telling a tale about old folks who are unready to cash in their chips so soon, reluctant to discard the dreams they have nurtured for so long. From beginning to end my goal will be storytelling, not literature. I aim to make it quality storytelling.

Once Upon a Time, We Were…

LATE-LIFE FICTION NEVER GETS OLD two drops of ink marilyn l davisAny story that deals with what my creaky old friends can still do, and not do, will necessarily include age-appropriate depictions of the dynamic, idealistic young men and women they like to believe they once were.

Will I be able to put into words the challenges my November Knights and their ladies face? Will their geriatric capabilities be enough to win the day?

How about telling your own story?

Now or Never

What if you are among the multitude of October wannabe writers, most of whom do not share my unorthodox interest in Geriatric Adolescent fiction? Let’s say that your sort of story takes you somewhere else. Well, my friend, you are in luck. For no matter what you write, today’s self-publishing universe has a place for you.

First, however, let’s begin with this bit of cold reality. The latest numbers I have found indicate that more than 700,000 different e-books were self-published in the US in 2016. That’s right……a couple thousand a day, every day of the year. That, my friend, is serious competition, which ought to temper anyone’s expectations of finding an audience. Of course, your book might be the one that rises above the crowd, but I wouldn’t bet the farm on it.

In my aging mind, the best approach to that reality has been to tell the stories I want to tell, the way I want to tell them, and take pride in my creations. At the end of the day, if they make a dollar or two, that’s great. If they don’t, I am still left with what I wanted.

I have charged ahead knowing that everyday people in every corner of the world are writing and self-publishing a growing tide of novels, family histories, family adventures, self-help manuals, even coloring books. Best of all in my tired old eyes, publishing an original novel in e-book and paperback formats and scoring your own Amazon Author’s page can be done for next to nothing. I have done that twenty times, beginning at age sixty-nine. You can too.

Rattle Those Bones

What’s in your closet?

Forty-five years ago our family moved to England so I could write the novel I knew was in me. We spent most of a year there, living out my foolish notion that serious writing required an exotic locale. Turned out that Winchester filled the ‘exotic’ bill much better than my original typed manuscript, which lay on a closet shelf for more than forty years before I resurrected it, whipped it into shape, and self-published it three years ago. As literature, it may have left something to be desired. As a memento of a particular time in a special place, it means a great deal to me.

By the time I was through with that project Roma was suggesting that we create a new story, recounting our family’s English adventure…the life we lived there, the sights we saw, the mistakes we made, and the life-long friends we met. The two of us spent a few months creating the story, before ordering five copies of the handsome paperback edition for Christmas gifts. Our total investment, from beginning to end was $37.00.

Is This the Day?

What is your life calendar telling you?

I cannot in good faith recommend late-life writing and self-publishing as the means to strike it rich. Yet, as an affordable and satisfying creative experience, it hits all the right notes for me.

Storytelling has allowed my June/July mind to engage with my October/November body, as I depict the forces of late-life playing in the lives I am creating.

That has worked for me.

Hopefully, others will find my results worth reading.

By Gil Stewart
Source: twodropsofink.com

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How Story Affects Us

Continuing in our four post series on the foundation for harnessing your readers’ psychology, today we’re exploring how story affects us. We’ve already explored where story is (essentially, everywhere), and why we love it so much (because it serves a very useful function!), and now we’re going to discover exactly how deeply it’s been wired into our grey matter.

Genes are the building blocks of our DNA. They mutate and blend, creating an myriad of possibilities for survival of the fittest to select from. Each gene is a blueprint for a particular characteristic, and if that particular characteristic helps us survive, it receives a tick of evolutionary approval and is spread throughout the population. Evolution thought opposable thumbs were pretty cool, language was pretty useful, and that being drawn to story was pretty important.

Evolution thought the benefits of narratives were so important that it actually wired us for story. In fact, it thought it was so important that it deeply embedded it into our grey matter in two significant ways. The first is in the chemical communications that happen in our head. Namely dopamine, the little molecule involved in pleasure and reward. Cheesecake, coitus and cocaine all trigger the release of dopamine in our brain.

And so does devouring a good book.

In the case of reading, dopamine is your brain’s way of rewarding curiosity, so you can learn the hard-won lessons the character is enduring (in the safety of the library or your bedroom). Interestingly, the more dopamine is released, the more of a high we get, the more we want to keep doing what we’re doing. Most importantly, if the brain anticipates doing that activity again, like reading, it will release dopamine accordingly.

Think about it, we’ve all been there when our favourite author releases a new book. When that book finally rests in your palms, that happy, heady feeling has you diving into the first page no matter where you are. It’s the brain’s way of encouraging you to go for it because it felt so good last time.

The second has us probing right down at a cellular level. Neurons are the spindly, spidery cells that make up our brain matter. They’re the little suckers that zip information and messages all around our brain and body. A relatively recent discovery was that of mirror neurons, cells that fire both when you do something but also when you see someone else doing it. Oh, like hear a story, watch a movie…or read a book! Mirror neurons are why we get just as excited watching sport as playing it, why we scrunch up in our seats and turn our eyes away from a horror film.

Or why we have a physical, visceral response to a great book. One study scanned participants brains whilst they watched scenes from Clint Eastwood’s The Good, the Bad and the Ugly. What the functional magnetic resonance imaging machine (fMRI) showed was that viewers’ brains ‘caught’ whatever emotions were being acted out on the screen. When Eastwood was angry, the viewers brain was angry. When the scene was sad, the viewers brain was sad, too.

In a similar study, a team of neuroscientists popped some research subjects in a fMRI scanner while they played a short clip of an actor drinking from a cup and then grimacing in disgust. They also scanned subjects while researchers read a short story, asking participants to imagine walking down the street, accidentally bumping into a retching drunk, and catching some of the vomit in their own mouths (anyone else have an instinctive, visceral reaction to that?!? Actually, that’s our very own mirror neurons working right now!). Finally, the scientists scanned the subjects’ brains while they actually tasted disgusting solutions.

In all three cases, the region of the brain associated with disgust (the anterior insula, in case you were wondering) lit up. It’s fascinating to appreciate that whether we see a movie or read a story, the same thing happens—we activate the sensation of disgust. This is exactly why reading a book can make us feel as if we are literally experiencing what the characters are going through.

Pretty cool, huh?

What’s more, in addition to the evidence that the brain responds to depictions of smells and textures and movements as if they were the real thing, science has also discovered it treats social interactions among fictional characters as real-life. A review of 86 fMRI studies by psychologist Raymond Mar concluded that there is substantial overlap in brain networks used to understand stories and those used to navigate interactions with other individuals. What’s more, this is particularly evident in interactions in which we’re trying to figure out the thoughts and feelings of others.

Actually, it’s not surprising that reading fiction can improve a reader’s ability to put themselves in another person’s shoes. But what’s really cool for us lovers of the written word is that recent research has discovered that people who read score higher in empathy and understanding others. Readers who frequently read fiction are better able to understand other people, empathise with them and see the world from their perspective. Yes, it literally makes you a better person! And when empathy is linked to prosocial behaviour and health benefits for the individual, it seems everyone wins when you pick up a book.

Are you noticing the overlap of this information with the earlier chapter on why we’re drawn to story? These studies of the ‘brain on fiction’ are consistent with the theory that story functions as a virtual reality, a place for us to safely learn so we can improve our ability to deal with real-life problems, but more specifically, the complexities of social life.

Straddling the unique position of both reader and writer, authors already appreciate that story offers a unique opportunity to engage this capacity—it’s a space where we can identify with characters’ longings and frustrations, guess at their hidden motives and vicariously experience encounters with friends and lovers, competitors and enemies. As a reader we’ve felt the heady sensation of immersion, and as a writer we try to capture it.

For you as a writer, this neuro-soup of cells and chemicals is one you want to tap into. When a reader is experiencing that rush of dopamine, they will keep reading. When they are experiencing your story world as if it were their own, they will keep reading. Building on what we’ve learned, there’s one big thing you have into include in your story, and that’s what we’re going to explore next.

By Tamar Sloan
Source: psychwriter.com.au

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How to Overcome the Smothering Fear of Marketing Your Writing

If there’s three words which have always brought discomfort to me as a writer, they would be ‘marketing’, ‘promotion; and ‘hustle’. They are major parts of the work of being a writer I really don’t enjoy. I know I’m not alone in that struggle either. Many of us struggle with promoting ourselves and our work, “getting attention,” as it were.

But if we want to get our work out to a wider audience, the reality is we’re going to have to market and promote our work, we’re going to have to hustle.

The big conflict I always had was how to market and promote my work authentically – to promote my work, maybe even ask people for money, but to do it with integrity, honesty, and decency. To market without being deceitful or manipulative.

But it is possible. I discovered this almost by accident.

Back in 2012 I’d been promoting my work for a year or two, using a lot of tactics used by successful bloggers to help promote my blog and increase my following – but making little headway.

Then I took some time out to connect with my true, authentic voice. And it became the most creative period of my life. Blog posts pouring out of me – often two or three drafts a day. These became not only a series of blog posts, but an e-book, ‘Dance of The Writer’, which I decided to give away free on my blog.

I used all the same tactics I’d used before – but it was different this time. I was sharing something I cared about. I was sharing something which was part of my story. I was sharing something true to me, which I genuinely wanted others to hear. I had become more interested in helping people than getting people to read my work.

And the book, the posts, connected with people. A lot of people.

Suddenly my blog following and subscriber list began growing quicker than it ever had before. My work was getting out to more people than ever. And it’s been growing steadily ever since.

Here are four basic lessons I learned in this period, and since – lessons about marketing with integrity, four key tips to overcome my fear of marketing and finally, getting attention for myself and work.

1) Serving others – The time when my platform grew the most was when I was more interested in serving others than growing a following. The people I know who grow platforms fastest are people whose heart is to serve. If all you are interested in is building your own kingdom, people will know.

2) Know your story and tell your story – Again, the time my platform grew them most, were when I was most true to my own story. Your story, your perspective is unique. It might be similar to others, but it’s uniquely yours. This is what people are dying to hear. You.

3) Be generous – When I found my story, a story I wanted to share with others and serve them with – I gave away a free e-book, and wrote blog posts, for my own blog and guest posted for others. I gave some of my best work away for free. And this makes such a difference. An e-book, guest posts, helpful FB posts, and Facebook lives are all ways to help people for free – it’s a way to give people work / advice which you could legitimately charge money for, for nothing.

4) Meet a need that you care about – one way I grew my platform more recently was by looking at a basic need people had – building a daily writing habit — and creating something which met that need, my free 31 day writing challenge. This is an area I had expertise in, a cause I cared about, part of my story, and a way to serve. It’s often where people’s needs meet with our passions, that we find our authentic voice, which makes marketing a lot easier.

If you put these four principles into practice, then marketing and promotion will come almost naturally. In my experience, when we’re really excited about a cause, when it’s part of our story, and we ally that with generosity and a desire to serve, suddenly marketing comes far more naturally.

Try putting these four principles into practice. Spend some time free writing, connect with your authentic voice, and then create and promote work you care about – and see what happens.

My bet would be marketing comes a whole lot easier when it’s a cause you care about.

What has been your experience marketing and promoting your work so far?

By Bryan Hutchinson
Source: positivewriter.com

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Are You Riding the Horse, Or Is the Horse Riding You?

Are you in control of your life? Or do you let life control you?

You may have expected a blog on writing craft from me. But this time, I decided to use my psychological expertise to help you take charge of your writing life.

Many people let the negatives control their lives. They take their black cloud of doom with them everywhere. You know those writers. Shh… No names.

The horse is riding them—and they don’t even try to climb back on and ride that horse.

They think that due to negative circumstances, they can’t reach their goals, can’t have writing success.

Others realize they are in charge of their lives, in spite of the negatives. They ride the horse—take the reins, control where they are going.

I’m awed by Helen Keller. How many of us could face severe adversity with such courage and grace?

Here’s one of my favorite quotes from Helen Keller.

One cannot consent to creep when one has an impulse to soar.

 Wow. Talk about riding the damn horse.

 How can you ride the horse?

Your life consists of what you do each day, each hour, each minute.

When you put yourself in charge of chunks of your day, you’re in charge of your writing life.

Consider my Winner and Super Star Lists.Cue the drum roll.

WINNER AND SUPER STAR LISTS

 Keep reading. No skimming!

My Winner and Super Star Lists are way cooler than To Do Lists.

Creating WINNER and SUPER STAR lists every day will boost your productivity and boost your mood.

WINNER LISTS:

WINNER LIST items are things you know you can complete in the block of time you have available that morning, afternoon, and/or evening.

They are DOABLE in the time you have allotted. Doable.

Don’t go all delusional. Don’t load your list with things that would take eight hours and expect to accomplish them in two.

You can’t put everything you need to do, or everything you want to do, on one Winner list.

For a 3-hour block, my WINNER list could have these two items:

 

But – Super Star items don’t always move to the Winner List right away. It depends on deadlines and priorities.

It’s important to keep assessing your needs. Do what needs to come next, not what you’d rather do.

If you have several chunks of writing-focused time in your day, make a WINNER list for each chunk of time. Revise as needed as you go through your day.

Did you quit your writing task to answer the phone? Make a call? Do laundry? Declutter a room? Check e-mail?

Did you waste 25 minutes supposedly fixing a cup of tea, but you really did five other housey-things or time-wasters too?

SUPER STAR LISTS

 SUPER STAR LIST items are the things you’d like to do AFTER you’ve completed your WINNER LIST.

If you complete your WINNER list in less than your allotted block of time – you have the remaining time to start a Super Star item.

You must COMPLETE THE WINNER LIST FIRST.

 NO LIST HOPPING. 

Here’s where people set themselves up to fail. They make awesome lists, then item-hop, or list-hop, or never look at the list again.

YIKES!  They do what they’d rather do instead of what they need to do to succeed.

You may make WINNER and SUPER STAR lists for your week or weekend also. I call those long ones Master Winner and Master Super Star lists.

But always make a short WINNER list for each block of time. Blocks can range from a half hour to three hours.

Winner Lists keep you accomplishing your goals. You succeed. You stay motivated.

If you create a 53-item mega-list, you may be so overwhelmed, you lose your day to NetFlicks.

Other items will try to sneak on one of those lists.

STOP. THINK.

Do not go on autopilot and slap it on a WINNER or SUPER STAR list. It may belong on one of those lists, or not.

Maybe it belongs on a third list–the MAYBE List.

MAYBE you’ll do it, MAYBE you won’t.

 No snickering.  This is an important list!

Put that item on the MAYBE List. You won’t lose the idea.

MAYBE you’ll put it on one of your real lists (Winner of Super Star) the next week.

MAYBE you’ll look at that item next week and realize it should be on a list for three months from now, after your book is completed.

Start that AFTER MY BOOK IS COMPLETED list. Don’t lose a good idea.

Creating Winner and Super Star Lists should become as automatic as buckling your seat belt.

Create those lists every day, and you’ll be in control of your life. You’ll be riding your horse, and you won’t get thrown off.

I’ll digress. But the story below is all about staying on track.

My husband’s a private pilot. Years ago on a family vacation in Florida, he broke some ribs surfing. But we had to fly out the next day. A hurricane was expected to strike the coast that afternoon.

Since my husband was in pain from his broken ribs, it was up to me, non-pilot me, to do some of the easy-breezy flying from Florida to the mid-west while he tried not to move.

I’d flown single engine planes before for hours at a time. Flying was easy and fun. I maintained speed and altitude, switched fuel tanks every 30 minutes, checked for air traffic, and followed a railroad track.

I was happy about following a railroad track. So much easier than navigating with the fancy avionics.

I told myself I could fly the plane. I enjoyed flying. It was a fun challenge. And — I didn’t have to land.

I didn’t focus on the negatives. I didn’t catastrophize.

If I needed help, I had the expert sitting next to me. He could take the controls anytime I woke him up.

I had fun flying and followed the railroad track. No problems.

A couple of hours later I read a water tower that named a town I wasn’t supposed to be near. I was 200 miles off course.

I’d followed the wrong railroad track.

Follow the right tracks. Don’t get off course.

Winner and Super Star Lists help you stay on track every day. Keep your Winner Lists doable for that block of time, and you’ll accomplish your daily goals. And weekly goals. And monthly goals.

You’ll ride that horse, you won’t let it ride you.

Source: writersinthestormblog.com

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Why Writers Need Confidence—5 Ways to Boost Yours

I attended a week-long writing workshop once that nearly destroyed my confidence as a writer. Though workshops can be very helpful, it depends on the teacher, and this particular one didn’t know how to guide and motivate writers.

There are many times in a writer’s career when something happens to zap our confidence, and that’s not good, because self-confidence may be the one thing that separates successful writers from those who never reach their goals.

The question then becomes: How do you get that confidence back, or find it in the first place?

What Kind of Confidence Do Writers Need?

First, it’s important to know what kind of confidence we’re talking about here. This isn’t about inflating your ego, bragging, or believing you’re special. In fact, these types of beliefs—often associated with the high “self-esteem”—can actually be detrimental to success.

In a 2013 study, psychologist Jean Twenge and colleagues examined the results of the “American Freshman Survey,” which asks students to rate how they measure up to their peers. Results showed that over the past few decades, there’s been a dramatic rise in the number of students who think they’re “above average.”

These students are also more likely to label themselves as gifted in writing ability, interestingly enough, even though objective test scores show that actual writing ability has decreased since the 1960s.

A related study showed there has been a 30 percent increase in narcissistic attitudes over the past few decades. Unfortunately, despite popular belief, the “self-esteem” movement that encouraged parents and teachers to tell children to believe they were great no matter what, has not been found to lead to success.

Students who were struggling with their grades, for example, who received encouragement aimed at boosting their self-esteem, were actually found to perform worse. Scientists believe these types of interventions removed the motivation to work hard, which is always necessary for true success in anything.

Instead, the way to bolster achievement is to nurture a form of self-confidence called “self-efficacy.” This is the belief that you can succeed in a specific situation or accomplish a particular task if you set your mind to it—you can finish that novel, self-publish your book, recover from that scathing critique, or create a successful launch.

“You need to believe that you can go out and do something but that’s not the same as thinking that you’re great,” Twenge says. She suggests you picture a swimmer attempting to learn a new skill, like turning quickly. Self-efficacy means the person believes she can obtain that skill if she works hard enough. Self-esteem is the belief that she’s a great swimmer, regardless of whether she learns the skill or not.

Self-efficacy is the type of confidence we need as writers.

Why Writers Need Self-Confidence

Self-efficacy (or self-confidence) effects a number of things that determine whether or not we reach our goals, including one super important thing—how well we learn.

Learning is a huge part of a writing career. Not only are we continually learning how to improve our skills as writers, but we’re also learning about publishing, self-publishing, marketing, building a platform, and more. With each change in the industry or new technological wonder, we have to go back to being students, just to keep up.

Self-efficacy also determines how well we respond to the inevitable difficulties that crop up. In their findings, Tuckman and Sexton (1992) suggested that participants with higher self-efficacy were better at searching for solutions to problems and were more persistent when working on difficult tasks—qualities that writers definitely need. People with low self-efficacy, on the other hand, were more likely to give up more easily.

Albert Bandura, psychologist at Stanford University, wrote in a paper on self-efficacy: “Perceived self-efficacy is defined as people’s beliefs about their capabilities to produce designated levels of performance. Self-efficacy beliefs determine how people feel, think, motivate themselves and behave.”

Note the huge implications there – self-efficacy effects how we:

  • think,
  • feel,
  • motivate ourselves, and
  • behave!

And isn’t that everything that’s involved in writing? If any of these things are off, don’t we falter in reaching our goals?

Says bestselling author and speaker Margie Warrell, “It’s been long established that the beliefs we hold—true or otherwise—direct our actions and shape our lives. The good news is that new research into neural plasticity reveals that we can literally rewire our brains in ways that affect our thoughts and behavior at any age.”

That means if you don’t feel this type of self-confidence when facing the page, or considering any other move in your career, you can change that.

5 Ways to Boost Your Writer’s Self-Confidence

There are several practical, realistic ways you can boost your writer’s confidence. (Find more in the free report, below.) Here are five ways to get started.

  1. Don’t Give Up On Yourself

As noted above, those with low self-efficacy give up quickly, while those with high self-efficacy—or self-confidence—continue to work to find solutions. We often put limits on ourselves in terms of how much we can learn—when things don’t go well the first time, we tend to think it’s hopeless.

“[The learning curve] is really steep initially,” says professor and study author Darron Billeter. “There’s some pain associated with it, but we’re actually improving. You’re going to be better than you think you are and are going to learn it quicker than you think you are.”

Here’s where you need to be your own best cheerleader. Tell yourself you can do it, and keep trying.

Here’s another tip: talk to yourself in the third person. Research has shown that you can motivate yourself better that way!

For example: “Eileen, you can finish this novel. Just keep going.” Or, “Adam, just because your first self-publishing attempt didn’t turn out as you hoped, that doesn’t mean you can’t do it better this time.”

  1. Remember that Actions Lead to Results

Too often we think we’re just supposed to “believe in ourselves,” but in truth, it’s when we take clear, concrete action that we boost self-confidence.

Typically when you start anything new—whether that be writing, publishing, or some other related activity—you’re likely to feel unsure about it. Your confidence may be low, and your fear may be high. The important thing is to act anyway. The moment you do, your energy and motivation will increase, which will help you keep going.

Then, with every action you take, your skills will increase. You’ll learn something, and that learning will boost your confidence. So don’t let fear stand in your way—just do it!

  1. Be Realistic About Your Abilities

True self-confidence stems from knowing exactly what your skills are, so you can take steps to improve them.

“Exceptional achievers always experience low levels of confidence and self-confidence,” says Tomas Chamorro-Premuzic, professor of business psychology at University College London and at Columbia University, “but they train hard and practice continually until they reach an acceptable level of competence.”

For a writer, that means getting those critiques, working with an editor, and being open to improvement. Just be sure to guard your creative self when you’re going about these activities.

Your best approach: always get more than one critique. Submit to contests that supply more than one, or ask two editors to give you a sample edit. That way you can compare and contrast the feedback, ignore the subjective comments, and work on those all the critiques have in common.

  1. Imagine Yourself Successful

This is a type of meditation in which you imagine yourself going through all the steps you need to go through to succeed, and eventually succeeding.

Keep in mind—this isn’t simply imagining yourself with your published book in your hands, or your sales numbers rising. It’s imagining the process you’re going to go through and the hoped-for outcome. Imagining each step puts your unconscious mind to work at making sure you follow through on those steps.

If you want to increase those sales numbers, for instance, imagine each task you’re going to complete to reach more readers.

“If you can’t imagine yourself being successful,” says Hendrie Weisinger Ph.D., “confidence will be hard to come by. Confident people have a history of having playful positive visualizations of themselves in all sorts of moments.”

  1. See Failures as Successes

So your agent wasn’t able to sell your first book. You can look at that as a failure, or you can reframe your view of the event—thus, boosting your self-confidence.

According to the authors of the book, Learning, Remembering, Believing: “If one has repeatedly viewed these experiences as successes, self-confidence will increase; if these experiences were viewed as failures, self-confidence will decrease.”

How can you view what seems to be a failure as a success? Write down everything you learned, including the skills you gained, and realize that even if it didn’t turn out as you hoped, you still pocketed the experience. That means you are, essentially, “more experienced” than you were before, and your next attempt will likely benefit from that experience.

By the way, the more difficult the experience was—writing a novel, publishing a book, launching a book, etc.—the more it may boost your confidence. “The influence that performance experiences have on perceived self-confidence also depends on the perceived difficulty of the task,” the authors wrote, as well as on “the effort expended.”

Stay Confident In Your Ability to Improve

In closing, remember this: you can always learn more and improve your skills, no matter what. Have confidence in that.

“There will always be people smarter, there will always be people richer, there will always be people more competent,” says psychologist Audrey Brodt. “The issue is self-improvement, and that will come if you apply yourself and persevere.”

Source: writersinthestormblog.com

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