Social Life

Since I began to write as more than a hobby I’ve been told you have to ‘have a online presence’, ‘the days of the reclusive writer are over’, ‘Myspace is where it’s at’. Only some of that turned out to be true. To start my online presence I joined Myspace and every other social media I could type my name in. before long I had my name in everything and was coming up for plans on how to make each account different from the next.

Then reality set in.

There was clearly too much to do. We’re given 24 hours in a day and some of that time needs to be spent on writing. Like actually writing. Who could imagine such a thing? But how are you going to do that when you’re spreading yourself thin on multiple platforms?

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In the past couple of weeks I’ve been seeing the mass exodus of Instagram users to a new platform called Vero. the familiar sensation to follow suit and not be left behind…then I thought better of it.

I’m not saying that I’m a hero, but when the call arose I stood up and said no.

I’ve learned that if something is the next best thing or the Facebook killer chances are it’s not. Remember Ello? How about Google+? Heck, even I don’t remember Peach. These things come and go. And by the time you learn how to build a brand on there it’s dead and you haven’t written a thing.

It’s true that the time of the reclusive writer is over and social media can have you connect with so many amazing people from across the world. If it weren’t for social media I wouldn’t be on this blog. But it has to be used responsibly.

As a writer it’s your job to, well, you know, write. If social media is hampering that then remove it. At the very least make your social media work for you. For myself my Facebook posts to my Twitter. My Instagram posts to my to my author page and my Tumblr. And my blog posts everywhere. That’s kind of it for me. Three main social media outlets that I use sparing throughout the day. With what few hours I have this works for me. What works for me won’t necessarily work for everyone but the issue is in finding your own balance. Whatever your social media outlets may be just remember to write, write, write! Also if you join a new site read the terms. This Vero thing keeps your posts as their own, along with some other very shady stuff.

Until next time have a writeous day!

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Matt Williams is an avid reader, a collector of many pens, an ever improving father of two, and an all-around fanboy. When he’s not wrestling with cats or building the inkslayer army you can find him hunkered down writing something imaginative. You can read his first book Beyond Here, a middle grade story involving a coma and a singing flower with a bent stem, along with a few projects with his other daughter. Follow him on Facebook and Instagram.

Celebrate Your Accomplishments

Hey you! I see you! Toiling away! Biting your nails with worry! Not sure you’ll ever make it/do it again/finish that book/be successful. I totally get it! This writing thing is tough! It’s only for the strongest, most awesome people! Which is why you deserve a gold medal no matter where you are on the journey.

 

Celebrate YourAccomplishments

Here. I made you some! So stop moping and start celebrating every little thing!  (These are words I’m saying to myself as much as you.)

Got a great book idea!

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Started writing a book!

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Completed a first draft!

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Sent your writing to CPs or beta readers!

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Conquered the impossible revision!

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Polished your MS to a shine!

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Revised even after you thought you were done!

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Sent a query!

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Got a rejection!

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Got a request!

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Got a new CP or writing buddy!

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Attended a conference!

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Entered a contest!

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Pitched to an agent/editor!

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Got an agent!

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Revised with an agent!

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Almost emailed your agent seventeen times in one day, but restrained yourself to only two times!

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Went on sub!

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Got an editor rejection!

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Made it to second reads!

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Made it to acquisitions!

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R&R!

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YOU SOLD A BOOK!

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Revised with an editor!

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Survived copy edits!

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ARCs!

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Your book has a cover!

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Your book is on Amazon!

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First review from someone you don’t know on GR!

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First trade review!

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A starred review!

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Book launch!

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Survived people emailing you with the errors they found in your book!

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Started writing the next book!

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Amanda Rawson Hill grew up in southwest Wyoming with a library right out her back gate, which accounts a lot for how she turned out. Her debut novel, THE THREE RULES OF EVERYDAY MAGIC, will be published by Boyds Mills Press September 2018.

 

Reading as a Writer

We’re writers, but we’re also readers. Some of us were readers long before we had the idea to become writers (raising hand). Some of us read a lot, some a wee bit less (hand creeping up again).

I admit that I read less these days. Partly because life is so busy that by the time I sit to read, I struggle to stay awake for more than a few paragraphs. I used to make Fridays my reading days but that hasn’t been happening as much lately either. But I still read. Every. Day. And I almost always have multiple things going, because there are different types of reading:

  • Reading to learn
  • Reading to keep up
  • Reading for inspiration
  • Reading for the sake of reading

It’s the last two I want to talk about, though.

Most of the books I read these days are in my genre, not only because I’ve always preferred women’s fiction, but also because most of my author friends write women’s fiction.

When I’m working on a project, I seek out books that deal with similar issues to the one I’m working on and authors with similarities in our writing styles. I know there are authors who won’t read anything that resembles the project they’re working on for fear that the other author’s words/voice will seep into theirs. That’s never been a fear for me. I read them for ideas, for inspiration.

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A few years ago, I was reading a review, and while the book sounded interesting, it was this line from the reviewer that stopped me: “I am constantly on the prowl for something that will distract me from the ‘task’ of reading and remind me of the joy of reading.”

I just finished reading a novel that reminded me why I love reading. And why I love writing. Okay, so first, it made me question whether I should give up writing and become a unicorn farmer because the more I read, the more convinced I became that I would never, ever be able to write that well. Which, of course, led to massive panic about the proposal chapters I’d recently submitted to my agent, a slightly-very neurotic email, and a gummy-bear filled pity party.

Yes, dear friends, that’s one of the pitfalls of reading in your genre. There will always be authors who are better than you.

But once I stopped freaking out and relaxed into reading this beautifully written story, I loved every word. I couldn’t put it down and I didn’t want it to end. And as soon as I stopped comparing my inadequacies to her brilliance, I was able to pin-point the thing that had been bugging me about the project I’ve been working on.

When I read a book that takes my breath away, makes me pause to reread a particularly perfect phrase, I copy it into a notebook that’s titled “inspiration.” I refer to that notebook often when I’m writing, not for ideas but as a reminder of my goals.

I’m not an analyzer. I don’t like to dissect books to see what worked and what didn’t. I prefer the books to work their magic – or not, as the case may be. I used to think that made me less of a writer. But like with the writing process, what works for one person doesn’t necessarily work for another. Breaking a novel apart doesn’t work for me. It’s like plotting … I’ve tried it, it stresses me out and strips the enjoyment out of the act.

Writing is my job. It’s not always fun and there are days when even scooping unicorn poop sounds like a better career choice.

My goal is to write the kind of story that reminds a reader of the joy of reading.

So yes, when I read, I take off my writer hat. I read for the love of the written word. And as I’m falling into a world created by someone else, I know that by giving myself permission to enjoy the ride, I’ll come out the other side a better writer.

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orly

Orly Konig is an escapee from the corporate world where she spent roughly sixteen years working in the space industry. Now she spends her days chatting up imaginary friends, drinking entirely too much coffee, and negotiating writing space around two over-fed cats.

She is the founding president of the Women’s Fiction Writers Association, a member of the Tall Poppy Writers, and a quarterly contributor to the Writers In The Storm and Thinking Through Our Fingers blogs.

Her debut women’s fiction, The Distance Home, released from Forge May, 2017. Carousel Beach will release May 8, 2018.

Connect with Orly online at:
Website |Facebook | Instagram | Pinterest | Goodreads | Twitter

Story Core

Today’s classic was originally posted on November 17, 2011. 

A few days ago, I came across some advice that has transformed the way I’m thinking about my current WIP. I found an interview with Robert McKee (who’s famous for his book, webseminars, etc. on screenwriting) where he says this:

Story begins when an event, either by human decision or accident in the universe, radically upsets the balance of forces in the protagonist’s life, arousing in that character the need to restore the balance of life. To do so, that character will conceive of what is known as an “Object of Desire,” that which they feel they need to put life back into balance. They will then go off into their world, into themselves, in the various dimensions of their existence, seeking that Object of Desire, trying to restore the balance of life, and they will struggle against forces of antagonism that will come from their own inner natures as human beings, their relationships with other human beings, their personal and/or social life, and the physical environment itself.

I knew, of course, about the concept of an “inciting incident”–that thing that happens that starts the hero or heroine on their journey, the thing that sets this particular day off from all other days. However, I’d been thinking of it more in terms of the “call to action” that takes place in the classic hero’s quest.  And I knew that my character had to want something–and that there had to be something that prevented her from achieving what she wanted.

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But I find that this idea of balance clarifies my thinking about the core of the story itself: why is the MC’s life out of balance? What triggered this imbalance? (Was it a slow evolution or something that happened suddenly, catastrophically). In short, it’s not enough for the character to want something–she has to want something because it will restore something to her life that she feels that it lacks.

For example, in the lovely children’s book The Higher Power of Lucky, Lucky is continually searching for the “higher power” that she hears people talking about in the various twelve-step recovery programs that she eavesdrops on. Her search is intensified when she begins to fear that her guardian, Brigitte, is going to leave her and go back to France. Once this fear develops, she searches for a way to keep Brigitte in Hard Pan (pop. 43).

Sometimes this imbalance is dramatic: the death of someone in the MC’s life, a divorce, a break-up. Sometimes, though, it can be as simple (and complicated!) as falling in love, realizing something unwanted about yourself, or feeling like an outsider.

So now I’m back to another revision–but one I feel hopeful about, because I feel like I’m finally peeling away some of the issues that are holding the story back. I know what needs to happen (if not how it happens). (Also, McKee reminds me that 90% of what we write is crap–and that’s why we revise.)

What about you? What tricks have you discovered for unearthing the core of your story? And what sustains you as you revise?

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Rosalyn Eves is a part-time writer, part-time English professor, and full-time mother of three. She loves all things BBC, especially costume dramas and mysteries. When not wrangling children (and sometimes when she should be wrangling children), she’s often found reading. Her debut novel, BLOOD ROSE REBELLION, is now available. The sequel, LOST CROW CONSPIRACY, comes out March 27.

A Study In Humanity

One of my passions is buying and selling vintage décor. I’ve been to a lot of estate sales, and they are a fascinating study in humanity. Estate sales are basically indoor yard sales where everything in the house is for sale. They’re usually run by an outside company that prices the items and receives a percentage of the profit. In most cases, the homeowner has passed away and the remaining family members need help sorting and managing all the belongings left behind.

At first, I admit it felt intrusive—even disrespectful—to traipse through someone’s home alongside all the other eager buyers, snapping up people’s earthly possessions for bargain prices. How would I feel if my whole life was on display, up for sale, reduced to boxed-up objects carted away by strangers?

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But soon my perspective shifted. Apart from the typical trappings of daily life—bedding, dishes, sofas, clothing—I started to pay attention to the fascinating touches that make every person precious and unique. I began to see these sales as a form of tribute to the people who had passed. I’ve found old family photos, love letters, and recipe boxes stuffed with carefully copied, hand-written recipes. I’ve purchased trophies, amateur artwork, and travel-worn suitcases.

Every house is different. Every life is one of a kind.

My favorite spots to explore are the garage and the basement storage room. Those spaces tell endless stories: there’s the man who stockpiled rocks and fossils; the seamstress with boxes upon boxes of fabric and ribbons and patterns; the family that collected antique tools and kitchen gadgets. All were people with their own dreams and passions, loves and losses, disappointments and triumphs.

Inevitably, many of the homes also contain the typical objects associated with the end of life: walkers, orthopedic shoes, oxygen tanks. There’s no avoiding the twinge of sadness I feel at the sight of those reminders that life is fragile and finite. Plenty of those items could be found in my own home before my mom passed away. But such reminders are important. They keep us rooted in our own humanity.

In my mind, these sales are more than a means to keep my business afloat. They are a source of Story, a prompting to pursue my passions, and a visceral nudge to make the most of every day I am granted in this life.

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Growing up, Christine Hayes loved reading stories about creatures that curl your toes and legends that send a shiver down your spine. Now she loves writing about them, too. Her debut novel, MOTHMAN’S CURSE, was released in June 2015 through Roaring Brook Press/Macmillan. Christine seeks inspiration by haunting flea markets and estate sales, searching for cool vintage finds with a story to tell. While earning her degree in music she visited Asia for the first time, and later moved there with her family for several years. She has been addicted to travel ever since. Christine and her clan now live in northern Utah. Find her online at www.christinehayesbooks.com.</div

Letting Your Character Tell the Story

There is a scene in my manuscript where two of the main character’s friends have a disagreement and the main character is understandably upset by this rift between her friends. When I was writing the first draft of the scene, I tried to show how upset the main character was by describing how she was feeling. I tried to make it powerful and poignant—I even included a metaphor!

And it did not work at all.

In fact, after writing the scene, I left myself a note that went something like this: “Ugh! Too melodramatic! Fix this!!”

(Yes, even my editing notes were too melodramatic. It was bad.)

I knew there was a problem with the scene, but I didn’t know how to fix it. Really, I didn’t even know what the problem was, just that there was one. I couldn’t identify what, though. After all, I was trying to show, not tell. That’s what we’re supposed to do, right? But the scene just wasn’t working.

Sometime later, my brother and I had a conversation about journal writing. He mentioned something by Arthur Henry King that stuck with me.

King said:

Abstract statements about our feelings are boring and don’t really communicate. But a plain account may communicate a great deal. If we write down faithfully what happens to us, our feelings will come through, and they will be felt indirectly and therefore truly. So rather than say how we felt on our marriage day, we should try to describe what happened to us on that marriage day. Our feelings will come through much better than if we just say how we felt.”

Huh. That was different. The more I thought about it, though, the more sense it made.

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What I was doing in that scene was trying to convey how my character was feeling through those kind of abstract statements King was talking about, and they didn’t work. Although I was trying to show how she felt, in actuality, I was trying to convince readers of it by telling them how she felt. Oh, sure, I was in her head and telling things from her perspective, but it was still telling. There are times when a story needs telling, I’ve learned, but this was not one of them.

As I revised, I tried to keep King’s statement in mind. Rather than trying to show how she was feeling through physical sensations (like stomach churning and fists clenching) or her descriptions of her emotions, I tried to stick with what actually happened in the scene from her perspective.

It works so much better. When I kept the story focused on what was happening in the scene as she would see and interpret it, the scene started coming together. It turned out that I didn’t need to think of a new, creative way to describe being upset. I didn’t even need the metaphor. What I really needed was to let my main character tell what happened in her own words.

What tips do you have for writing scenes with strong emotions? Do you have any favorite books that you feel deal with emotion well?

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20180131_162833 (4)Jenilyn Collings loves to read and is always looking for books that will make her laugh. She has an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts. She enjoys watching Korean dramas, BBC period pieces, and thinks Avatar: the Last Airbender is the best show ever made.

Preorder Campaigns

Most authors, whether independently published or publishing with an established press, are responsible for at least some of their own marketing. One marketing option is putting together a preorder campaign for your books before they release, offering a small gift to readers who send you proof of their preorder. Erin Bowman has a great post about what such campaigns entail and some ideas for them; I want to focus more on the nitty-gritty of setting up such a campaign.

Why consider a preorder campaign?

Unless you are a big lead title at your imprint, your publisher probably won’t do a preorder incentive for you. However, preorder campaigns can be a useful way to build buzz about your book before it comes out, particularly if readers share the campaign or their swag on their social media platforms. Preorder campaigns provide you with media content to share, and they can be a fun way to say thanks to readers.

Preorder campaigns can be time consuming and (depending on your swag) costly, however, so if organizing a campaign doesn’t sound fun to you, there’s no shame in not doing one. As for me, gift giving is one of my love languages, so preorders are precisely the kind of marketing I enjoy.

Step One: Figure out the size and scale

The first thing you’ll want to establish is how many preorder gifts you’re willing to send out, and whether the campaign is local or international. If you’re in the U.S., it’s a good idea to send swag that fits in a standard envelope with a forever stamp (.50 in 2018) or an international stamp (1.15). If you only have a limited number of swag packs, you may want to cap the number of preorders, or say “while supplies last.”

In Bowman’s post, she talks about setting up different tiers for your preorder: everyone in the first tier gets a basic gift, and are entered into giveaways for the higher tiers. If you choose to do giveaways, you should know that most states forbid sweepstakes, where entrants have to pay for their entry, so you’ll need to provide an alternative entry that does not cost money. (Or be prepared for your publisher to not be able to help promote your campaign on their social media platforms).

Step Two: Design and Order Swag

If you’re not sure how much you want to invest in a preorder campaign, you can opt for a simple bookmark and signed bookplate. Personally, I like preorder campaigns that offer exclusive content for readers, whether that’s a digital content related to the book (a chapter from a different POV, supplemental material, etc.), maps, character cards, etc. I offered a map that I’d drawn with BLOOD ROSE REBELLION that got an enthusiastic response; for LOST CROW CONSPIRACY, I opted for flat fridge magnets and temporary tattoos.

As far as vendors, there are lots of options out there. Here are my preferences (though I’d love to know other ideas in the comments).  It can take several weeks for swag to arrive, so plan ahead.

For bookmarks, Gotprint is fast and pretty inexpensive. I had mine designed by Icebooks.com.

For bookplates, any 3×4 stickers work well. This time around, I used UPrinting and I loved how well they turned out.

I used Vistaprint for my fridge magnets, and Tattoofun for the temporary tattoos.

Step Three: Advertise

You’ll want to make sure the preorder information is prominent on your website and any social media you use regularly for readers who go looking for it. Graphics are an easy way to advertise it on social media (I used Canva for mine). Be aware that if you’re planning a Facebook promotion for your campaign, you’ll need an image with minimal text.

Canva graphic for my Lost Crow Conspiracy preorder

 

Step Four: Collect Information

Most preorder campaigns require some kind of proof of preorder (screen shot, email) along with a mailing address. Some authors opt to have those sent directly to their author email; I prefer to create a separate email dedicated to preorders so the information doesn’t get lost.

Ultimately, setting up a preorder campaign can take time (and money), but it can be a fun way to say thank you to readers and generate some excitement before the book comes out.

What kind of swag do you like to see in preorders? Do you have any suggestions for swag vendors? Or questions? Let us know in the comments.

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Rosalyn Eves is a part-time writer, part-time English professor, and full-time mother of three. She loves all things BBC, especially costume dramas and mysteries. When not wrangling children (and sometimes when she should be wrangling children), she’s often found reading. Her debut novel, BLOOD ROSE REBELLION, is now available. The sequel, LOST CROW CONSPIRACY, comes out March 27.