Adventures in Genre-Hopping: The First Scene

The research and study is going well. I've already learned a lot and I've noticed that my style is changing. I'm still taking classes online when I get the chance, but in the meantime...

It's time to start.

Yeah. The first scene. The big one.

Okay, so it's not quite so dramatic because I can (and probably will) change it a thousand times and then delete it before the final draft. It's part of the job description. I must kill my darlings.

But the first draft is a big step. It's intimidating. I'm staring at a blank page on my computer screen. How am I going to start this? Who is my main character? Where is she?

I want to do this as a Young Adult story, so my main character should probably in high school. And when I write books from solely a male point of view, things go badly. (I haven't finished a single one yet. They just fall apart like a bad batch of brownies.) So she's a teenage girl.

My first idea is that my character needs to be dealing with mundane things until her grandmother shows up and tells her that she's special. She can travel through time and she's needed so the balance of time can be restored.

But that's been done a few times in speculative fiction. Just a few.

So maybe I could change it up a bit. Maybe she could be approached by someone else. Maybe they help her out of a nasty situation and they give her a wonderful opportunity.

Yeah. I like that better.

And it might be a little more fun if my character has some idea of her abilities before the story starts.

And she needs a name. Time to hit the baby names websites...

Adventures in Genre-Hopping: Craft

Before I dive into another series of books, I want to work on my writing craft. I'm a writer, and there's an endless amount of STUFF to learn. I spent years working on craft before I wrote The Fairy Tale Trap, and have dabbled since. Now, I want to dig deep again.

So I listened to a lecture on Science Fiction and how to write it more effectively. I'm also taking an online workshop on writing more in depth. This will take up a big chunk of my writing time, but it'll be worth it. Quality over quantity at this point.

I'd also like to go over some STUFF that I've read before, but need to review. I plan to go through Holly Lisle's massive online class: How to Think Sideways, as well as re-read some books on craft. (Dwight Swain comes to mind.)

That ought to do it for now. Let's see if I survive before moving on.

There's Always Something

There’s always something. Even as I write this, my two year old is hitting his sister and my four year old is trying to show me all the unusual things Mary Poppins can do. Finding time to write is both a science and an art.

A science? Well, yeah. I have to make sure the kids are on a regular sleep schedule. Otherwise they sleep at different times (or not at all) and I have no time to write. And no sanity.

And of course it’s an art. All the planning in the world can fizzle into nothingness if the toddler is stubborn enough. Or, like this week, I find out moments after going grocery shopping that we have no paper towels and I forgot to buy diaper rash cream. So it takes some creativity, if I want my book to grow.

Maybe the kids will watch a movie in the other room for an hour and a half? Unlikely. Maybe one of my sisters is just dying to take care of them for me? They have busy lives, too. Or maybe, just maybe, it’s a holiday that I forgot about and my husband will be home to watch the kids for me. It could happen.

Sometimes I only get a short amount of time to write. Actually, it’s usually only a short amount of time. You know what I’ve learned to do?

Take breaks. It seems counter-intuitive. If I only have two hours or an hour and a half, it makes sense to dive into my work and get as much done as I possibly can. But taking five-minute breaks (before I get tired!) goes a long way.

So, yeah. Some weeks the kids are really good at keeping me from my writing. I do what I can.

I try to be smart (and creative and methodical and thoughtful) and I keep making progress when I can. Every drop in the bucket counts. Eventually, I produce a story I can be proud of. Even if it takes a little longer than I’d like to admit.

Will You Like My Books?

I think it's high-time I answered this question. My books aren't for everyone, so you shouldn't waste your money if you're not going to like them.

My books are all about a spunky sense of fun. If you like strong, smart heroines (or characters that are so dumb, you laugh at them and wish they'd bite the dust already), you'll probably like my books.

If you like fantasy and magic, but done in a new way, you'll like my books.

You'll like Ivy Thorn (The Fairy Tale Trap, The Fairy Tale Twist) if you're looking for a light, fun read that will keep you rooting for a character in an impossible situation. If you like fairy tales, and modern, relatable characters, Ivy's books are for you. The Ivy Thorn series is quick-paced and funny, with a nice helping of fairy tale magic.

You won't like the Ivy Thorn series if you're looking for great literature with complete grammatical perfection. Also, you should know that the series is written in first-person present, which irks some people (though I have converted a few). If you like stories that take their time and explore various aspects of life, this series isn't for you. Also, you should know that these stories (like fairy tales) don't have many subplots.


Fairy Tales and Zombies (Snow White and Zombies, Cinderella and Zombies) are short novels, with a very different style from Ivy. Since everything takes place in the 16th century, the language is a little more adult. But that's okay, because the themes have more of a grown-up feel to them. These stories have death and zombie slaying with a touch of humor and a dash of fairy dust.
These books are for you if you 1) love zombies 2) Want face-paced action and 3) Want to see a fairy tale in a completely different light.

You won't like my Fairy Tales and Zombies books if you're expecting the constant quick, witty reparte that Ivy brings to the table. There's some humor, and the characters will banter, but that's not the focus of the book. If you hate reading about castles and knights and princesses in ballgowns, you probably won't like these books. (Of course, the princesses will often slay zombies, so that might make things more interesting.)

Breaking into a Secret Place

I love running. I've never run a 5k in under 30 minutes and I've never run a marathon, but I have hopes of someday reaching those milestones.

The running community is a close one. We're supportive and can celebrate acheivements at any level. (Kind of like the writing community.) But what is it that unites us? It's not that we've all hit the wall while running a marathon. It's not that we're all super-elite athletes.

Is it that we simply share an interest? Would we be equally supportive if we all loved cross stitch samplers or followed weather patterns? I know there are communities of people that do love these things, and I'm not knocking them, but any runner would have to agree that it's more than a hobby we share.

My theory is that we've broken into a secret place. We're the ones that figured out the combination to the lock and now we're enjoying the spoils. And while we can tell others how wonderful running is (no, really!) and we can give them the combination to that lock, until they want it enough, they'll never open it.

I share a lot about my writing endeavors on this blog. Writing has its own secret place, its own supportive community. I consider myself very fortunate to have two secret places.

Write Better Dialogue

I've had stories come to me (via Musefire-like inspiration) in two ways.

1) A really cool situation and/or plot twist comes to mind
2) A really cool character comes to mind

If the character comes first, usually it'll be in dialogue form. Lines of dialogue form in my brain like I'm having a thought about what I want to eat for lunch.

But if I start with a premise, it's harder to develop characters that are real. And dialogue is part of that.

So of course, I did some digging.

10 Creative Techniques for Creating Character-Specific Dialogue come from Emlyn Chand and compiles a list of ways to personalize a character's dialogue, from specific vocabulary choices to catch phrases.

Have you ever read over your work and said something like My Dialogue Sucks? The Creative Penn comes to the rescue by reminding us of the Functions of Dialogue and showing us how to keep the reader from getting bored or distracted.

How to Write Effective Dialogue in Your Novel talks about the ever-important beats: small units that have an action and a reaction. I personally found it was easier to craft good beats while writing longhand. But that's another post.

Finished a Book? Congrats! Now Do it Again.

Before I start, if you're not participating in WriteOnCon, why not?!

That said, I finished my book!

Roses and Mirrors has been done for a while. (This is the book about a sarcastic teenager that gets stuck in a fairy tale. You may have heard of her. Her name is Ivy Thorn and she is awesome.)

I jumped into the query process as soon as I was finished. I blogged about it not too long ago, about how I thrive on rejection and all that happy-sounding stuff. The truth is, rejection really is great. It's the gap of silence between sending the query and hearing a response that is absolutely maddening.

Seriously. And some agents tell you: If we decide to pass, you won't hear back from us. At all.

Really? REALLY? You can't send me a polite form rejection?! How will I know when to stop hoping for a reply? (I know, I'm pathetic.)

But I digress...

Now that I'm done with Roses and  Mirrors, and it's been sent out into the world, I'm moving on. My next book is completely different. That's right, I've gone from fairy tales to zombies.

But before you roll your eyes and say, "I don't like zombies," you should know that this isn't true horror, it's not gross for the sake of gross, and it's not totally far-fetched. This is a character-based story with a strong, witty voice (if I do say so myself) about a guy who happens to struggle with zombism. (If that's not a word, I will take it upon myself to coin it and spread it around the world because it is an awesome word.)

So, I'm working on this book, and when I say "working on" what I really mean is nailing down my premise and researching and building structure so my novel has something to stand on. I'm geeking out over all the cool little facts on biology and pathogens and parasites and neurotransmitters and especially the way the brain works, but I know that very little of it will be in the actual book. Because, let's face it, most people are not as dorky as I am.

But I have to know this stuff. I have to know exactly how my zombies work, where they came from, and--most importantly--where their weaknesses are.

The toughest part about this process is having the ideas and possibilities swirl around in my head. I can't possibly use all of them and I'm not even sure which ones will work.

So my muse is a little crazy right now. My creative side takes a back seat while logical me builds a playground. Creative Muse gives input, but it's about as much input as a kid gives to his dad for how he wants his tree house to look. It still needs to be safe and functional.

That's right. No chocolate milk fountain. :(

Get a Good Story Idea. And make it better!

It's time for a round of helpful links! (I know, I know. It's about time.) Continuing with the 'Building and Creating Your Novel' theme from my last post, here's what I found:

Agent Sarah Davies (of Greenhouse Literary) wrote A Recipe for Writing the Breakout Novel on Ingrid Sundburg's blog. She gives tips for making your story stand out from everyone else's. It needs to be different. Original. Your characters need to be vivid, unique, but not obviously constructed.

Building a Better Novel Premise is doable. Martina at Adventures in Children's Publishing wrote her query first, using it as a guide to make sure her story was an attention-grabber from the beginning. She also goes into the difference between a "good premise" and a gimick.

Middle Grade Weremonkeys. Agent Holly Root explains why she loves off-the-wall crazy ideas.

Writing a Novel that's Better (and maybe easier)

Wrapping up this series of posts on Creating and Building a Better Novel, I wanted to first share with you what two authors learned for themselves while writing the novel that got them published. (Because what writer wouldn't kill to know that?)

Author Holly Cupala did a guest post on The Other Side of the Story (great blog, by the way) on what she learned about writing. She asked questions and did research on other authors, but this post on What She Learned while writing her book Tell Me A Secret has some real gems in it.

On the same blog, Janice Hardy writes about what she learned while writing her first published book The Shifter and how it differed from her previous books.

And a couple of little tidbits that I think I worth reading: How to Avoid Pantser Pitfalls (in case you're not much of a plotter) and How to Create a Template so you don't keep having to adjust your margins and font and paragraphing for each book.

Good Story Ideas: Where do they come from?

Helpful writing tips and links have been sparse lately, and I apologize for that. I'm trying to redirect this blog so it has a piece of me in it. I want this blog to be helpful for writers, but I also want it to be MY blog. I'm still trying to find that balance. (Any feedback is appreciated.)

So, getting back that helpful stuff, I thought I'd blog about getting good story ideas.

I haven't been published yet, but I've already been asked The #1 Question Writers Get: "Where do you get your ideas?"

Um... I don't know. They just come to me.

Okay, okay. I've given it some thought. The first decent answer I came up with was: my story ideas come to me just like any idea comes to any person.

Inventors come up with incredible gadgets. Usually, when they answer The Idea Question, they talk about a problem they were having. Then, they'll say,  "So I invented the doohicky-o-matic!"

So... you got your idea from a problem? Didn't the idea come AFTER you had the problem?

Seriously, I think that's how our brains work. We see a problem, and we try to come up with a solution. Some of us are better at it than others. (But is it possible that it just takes practice?)

When I want a story idea, I have to define my problem, with specifics. And no, the problem isn't just 'I need a story idea'. My problem is: I need a character that lacks something, in an interesting setting, with the potential for a lot of problems to happen around him/her while he/she struggles with her own problems. And it needs to be entertaining.

But how can your brain work with garbage like that?

Be more specific!

I want a 70,000-word YA novel with a spunky female protagonist who doesn't know what's good for her, who finds herself in a situation with a fantasy element in it.

Usually, the more specific I am, the faster the ideas come to me. I analyze each idea until I find one I'm excited to work on. (Because, let's be honest, sometimes my ideas aren't all that good.)

Of course, there are other ways I get ideas. I got my idea for Ivy Thorn because friends challenged me to approach writing from a different angle. I wasn't looking for a story idea then.

And I got my idea for my zombie book from the voices in my head a dream I had while I was awake. I wasn't looking for a story idea then, either.

So my Top 4 pieces of advice for coming up with good story ideas are:
1) Be specific with what you want
2) Read a lot
3) Try new things with your writing
4) When an idea does come, pick it apart to see if it has "great idea" potential. If it doesn't, keep trying.

More on story ideas to come...

Cyn Balog Guest Post: What Career Novelist Know

I’m so psyched about this guest post. The lovely Cyn Balog has agreed to tell us a bit about what writing is like after the first sale. I’ve always been curious about this. Thank you Cyn!

Cyn's new YA fantasy Starstruck just came out (and her books never disappoint)

And now... here's Cyn Balog with insider information!

I’ve said before that writing is like eating my favorite flavor of ice cream. Writing on deadline is like eating that same ice cream while having someone hanging on your back, screaming, “EAT!” Yes, it still tastes good. I still love it. But there’s also a lot of nagging pressure. You can’t stop when you’re full. You can’t take the time to experiment, to, for instance, see if caramel syrup would make it taste better. You just have to dig in and keep going until you are done.

I’ve written four books under deadlines now, and sometimes it’s scary and frustrating. But it’s one of those problems I’m lucky to have. I’ll never wallow and say “poor me” because I love what I do, and I’m happy and grateful to be paid for it. But creativity is not one of those animals that does well in captivity; sometimes it needs time to breathe, to stretch its legs. And with a deadline, that freedom simply isn’t there. Considering the optimum schedule for a career novelist is one book a year, how does a writer get her creative well to abide by that timetable?

When you write your first book, it can take you three months or three years. It doesn’t matter. You don’t have a schedule. You can wait for inspiration to strike, for the well of creativity to be full. You can pore over every sentence, make sure every word chosen is perfect. But suddenly, when that book sells, you realize you don’t have that luxury. You’ll have agents, editors, fans clamoring for your next book well before your first book releases. Creativity isn’t one of those things easily forced, which is why, once the initial celebration of selling your first book is over, your immediate next concern will be if you can make it a career. There are plenty of one-book wonders out there, and you will wonder if you will be one of them. You will think that a hundred monkeys working in a room for a hundred days could probably write a publishable book, but well, writing two publishable books, that takes talent. How will you be able to recreate the same magic of your first book?

This is perfectly normal. I don’t think any writer out there thinks that everything he writes is amazing and will be published. There are always fears in this business, whether you are embarking on the first chapter of your first novel or penning the last word of your hundredth. Always. And you’re likely to have setbacks along the way, such as a book your editor hates, bad reviews, poor sales . . . there are a million things that might make you want to close up your laptop for good and go find a career that you don’t suck so badly at. But you’ll go back to it, partly because you’re a glutton for punishment, but mostly because you love it so much.

Every writer who has made the attempt to sell their work knows that writing is hard work. Most people dream of writing a book, talk about it, but never attempt it. Because they know that if they did put in the work, they’d likely fail. And actually publishing it? Well, that’s damn near impossible. And that’s the thing. If you do sell your book, you’ve done the damn near impossible, the thing that 99.9% of the world will never, ever do. Be proud. And when the time comes to write the second one, remember that you have already accomplished what can’t be done. You’re already a superstar.

And no matter what fear you’re hit with on the journey, the answer to overcoming it is always the same: Keep writing, no matter what. That is what career novelists do.

Define Rejection (and make it work FOR you)

Rejection. I've given my pep talk on why rejection isn't so bad because it brings you to something better, but I've been thinking about it. You know what? I'm really weird.

Rejection isn't just something I get through. I actually look forward to the query process. The form letters don't tear me apart. They used to. Man, those stupid emails filled with 'no' used to sting. But I think I understand more about the publishing industry and about my own weaknesses that rejection isn't personal.

We've all heard that: it's not personal. It's not a rejection of you, it's a rejection of this book at this time.

But if that's what the form letter isn't, then what IS it?

I'm not sure if that makes any sense. You can't define something by defining what it's not. You can't say that 'black' means 'not white'.

So what IS rejection?

When I'm querying, I check my email every day (okay, MULTIPLE times a day) hoping to hear back from an agent. Of course, I'm hoping for The One, but even if it doesn't come, I love to get replies.

Because a rejection is information. It's an evaluation of your query letter and maybe your first few chapters. Some agents request five pages or three chapters, others just want the query. Pay attention to who requests what. (I keep notes on each query using QueryTracker.net.) Because if you're getting form rejections from all the agents who requested pages, but you're getting personalized rejections or even partial requests from agents that only saw your query letter, you've learned something. It's your writing, and not your premise.Your query letter is fine. It's the writing sample that was weak.

There are lots of things you can learn by paying attention to your rejections. If you get nothing but form rejections no matter what you send, then you know you need to write another book. Don't bother killing yourself trying to make this book perfect. It wasn't even close. Go back. Try again.

So, I think that's why rejections don't completely suck for me. A rejection isn't a 'No'. It's a "No, but..." or a "No, and..."

How to Write a Book (And Stay Sane)

I'm a writer, so naturally, I'm a little crazy. I spend countless hours playing with imaginary things, trying to visualize things that aren't there, and then find the EXACT words to describe it. (You know those times when you're looking for the perfect word to describe a crazed, mentally-ill, soulless dying-to-rip-your-throat-out animal? The magic word is: rabid.)

The writing life is riddled with insecurity, which can also make you crazy. You spend hours upon hours (upon hours) writing a book (a BOOK for cryin' out loud!) and then you spend more hours revising it, usually more hours than it took to write the first draft. And then you wonder if it's good enough. And you worry about what you may have done wrong. And then you send it to agents and you find out that it's not good enough, or maybe it is and then you have a slew of other things to worry about (but I wouldn't know about such worries. Yet.).

Yes, being a writer is insane.

Here's how I cling to the scraps of sanity that I still have:
1) Take breaks. It doesn't matter how frequent or how long, I just take a break when my eyes start to glaze over. Usually, my head feels like it's full of mush. That's a good time to take a break. I get water, eat some fruit, close my eyes for a few minutes, or stare into space. (That's really fun to do in a public place, if you like to write in book stores or coffee shops. You get some great reactions.)

2) Accept your best for what it is. Do what you can and move on. I edited the pudding out of Shadow Bound. I learned a lot about revising and the last draft was ten times better than the one before it, but it still didn't sell. It was too far gone. The premise was good, but the characters weren't just flat, they were stick figures. The voices were... wanting. If I really wanted to, I could spend 6 or more months rewriting every word, but what's the point? I can write a better book from scratch.

3) Keep at it. This is similar to "get back on the horse". Just keep writing. Don't even think about it, just keep writing. It doesn't matter what you work on, but as soon as you stop, it gets difficult to start again. Every time I take a break from writing (like, you know, to have kids or something) it's so hard to start up again. And what do I think about during my off-time? My failures, usually. I think about how my last book didn't work out, it was weak, it was... Trust me. Move on and write something else.

4) Reach out. You may recall, Writers feed other writers, like vampires in a blood bank. If you don't believe me, go to a writer's conference. If you can't go to a writer's conference, check out the #amwriting tag on Twitter. Writers are so supportive. Part of it is because we're going through the same insecurities, the same frustrations. Another part is that we have the same goals. Yes, we all want to sell books, but more than that, we want to build a community of readers. And to do that, we all have to write the best stuff we can.

How to you maintain sanity (or at least the illusion or sanity)?

Writers: Rejection is a Good Thing

I'm closing in on the end of my fairy tale book. This draft, at least. I'm just itching to get it out into the world. With every book I write, it's hard not to think: "This could be the one."

"The one", of course, is the book that lands me an agent and a publisher and a check. I'd continue to write, even if I knew I'd never write "the one", but it's nice to have validation, you know? Besides, my stories need to be read. They need to be shared.

Anyway...

So I'm getting closer to finishing this book. This is Ivy's book. (She deserves it. She's been a great character and so entertaining. For me, at least.) And I've already built my agent list. A list of several agents that I think would be a good match for my book, my future books, my career, and me.

And I can't help but think about rejection. It's part of the biz. You query for the "yes", but you have to prepare for the "no" (and the "no thanks" and the "sorry" and the "this is a subjective business" and "I'm going to have to pass" and "this isn't quite right for me").

But rejection is good. Rejection means you're trying. I think of my rejection letters as battle scars, badges of honor. Every query I've sent is a little ping that I sent out into the world. And every rejection was a response. Not the response I was looking for, but it was a response.

And with every response I get, the closer I get to the one that's going to make me jump up and down, run and scream like a kid playing freeze tag, and then collapse on the floor with a smile on my face.

Because I may not be very good at math, but I know a bit about statistics. I was a psychology major and we're all about statistics.

Daryl Sedore did a guest post on the blog Write to Done on Why Rejection Letters Are Great and I completely agree. They're great.

He writes:

Years ago I worked as a door to door salesperson doing cold calls. We’d go knocking on doors all over the neighbourhood and eventually get in. Sometimes it took ten minutes, sometimes an hour. Once in a while it took all day. I learned quickly that it was just a matter of knocking on doors before I got in. What I mean is, the more doors I covered, the faster I got in a house to do a presentation and possibly make a sale. So I ran. That’s right, I ran from door to door. It kept me energized and fired up so when I finally got in, I was ready to present and sell. I outsold my team month after month. The rest of the salespeople got depressed when a door slammed in their face. Not me, I loved it, because I was one closer to the door that would welcome me in.

And he makes a great point later in the post:

[...]You miss out on 100% of all literary agents that you don’t query.

Of course, the quality of your book is what really counts. You can't just query 300 agents for the same book and expect the law of averages to work for you.

But still.

I'm writing the best book I can. And I can't wait for it to get rejected. Because that means it's that much closer to becoming "the one".

Writers Feeding Writers, Like a Vamp in a Blood Bank

Jonathan Maberry was one of the keynote speakers at Pennwriters this year. His speech was absolutely inspired.

He spoke about how he got his start as a writer. He'd heard that writing is a solitary life, that writers are reclusive and jealous of other writers. So he worked alone.

Then he went to his first conference. Not only were the other writers friendly, they lifted each other up. There wasn't any jealousy. These were people who enjoyed their work, who shared their ideas, and who worked to help others succeed.

The thing about writers is that we benefit by helping our "competition". With most businesses, you buy from either company A or company B. If you buy from company A, then B has lost you as a customer, and vice versa.

Not so with writers.

If a reader picks up book A and reads it and loves it, then that reader will continue to look for books written by that author. In the meantime, the reader is looking for another fix. They're looking for another book to read that will entertain them and move them like book A did. And so they pick up book B. If they love it, they now have two authors from whom they buy books. And the cycle continues.

The goal of writers is to create a readership. To write our best so that readers come back for more. Not just for our benefit, but for the benefit of the industry.

And so our community, the community of writers, is not a competitive one. We feed each other. As Mr. Maberry put it: a writer walking into a conference is like a vampire walking into a blood bank.

And that's why he doesn't put other writers down. If author A slams author B on his blog, Jonathan Maberry said he'll go buy author B's book. There's no room in this industry for negativity or malice.

For me, writing is a joy. I'd like to spread that joy to as many people as I can.

Finding What Works for You: Writing Longhand

Today, most writers use a computer to work. Why wouldn't you? It's faster and easier to edit.

At least, that's what your brain tells you.

I've been writing new scenes out by hand. (Crazy, I know.) It's been really helpful. I'm not exactly sure why. Maybe my brain just has more time to throw out the junk words and cliches before my hand can write them out. Maybe I'm using a different part of the brain. Maybe my muse just likes writing by hand, so she throws out the good stuff when I cooperate. Who knows?

What I do know is that my writing is much richer. The settings come to life, the voice comes naturally, and the conflict is everywhere. (I also haven't gotten writer's block yet, knock on wood.) I hardly feel like I can take credit for it. It's like something takes over and gives better words to my pen.

After I get a few chapters down, I type up what I've written. I do a little editing in the process. Mostly, I make sure the rhythm is right and the descriptions aren't too long. Sometimes I catch a place where my character notices things she shouldn't (like when she's injured--why would she have the presence of mind to count the windows?) or where the villain gives too much information. (He likes to hold back a little. It makes him feel in control.) So this method works in more than one way.

It doesn't take as much time as I thought it would. I can type 4,000 words in one day without too much trouble. That's a crazy number of words if you're weaving a story from scratch.

I'd highly recommend it. Just to try. :)

Building Your Brand with CJ Lyons Part 2

Here's Part 2 of How to become a Bestseller and Preserve your Sanity

You can find CJ's (absolutely fabulous) writing resources at her website No Rules, Just Write!  If the ideas in the handout are helpful, there's more on this in her Break Free from the Slushpile e-book.

[recap]
I'm going to tell you to ask yourself three questions.


Here we go!

1. Why did you write this book?

2. Who did you write this book for?

3. What are you willing to do for this book?

Dig deep with your answers! Why? Because the answers will frame your entire marketing strategy--and make it a custom fit tailored to you and your readers!

How?

Why did you write this book? Answer that truthfully and you'll find yourself telling all sorts of stories about what the book meant to you and what inspired you and why this character did that and how you researched various things, etc, etc, etc.

Key word in all of that? Stories!!!

Right there is the heart of every answer you need for interviews, guest blog posts, QandA's, press releases, etc, etc, etc.

Look at your answer. If you dug deep you'll find that you've placed a human, emotional face onto dry facts whether you're talking about your research or how you juggled your schedule to find time to write this book you were so passionate about.

Let that passion and emotion shine through--it's how we connect to an audience!

Answer that question truthfully and you'll never have to worry about a paint-drying-boring press release or interview or feature article again! Because you--the "real" you, authentic and passionate and honest!--will be at the heart of each story written about you (or by you).

Okay, so that's pretty much all the content you'll need. Now, you need to decide who to send that content to.

Sounds like the answer to question #2, doesn't it? Who did you write this book for? That's your target audience.

It might be one person, say your mother. That's fine, but dig deep, ask yourself why? Is it because you've been estranged and you're reaching out through your characters for a chance to reconnect?

Guess what? A large number of people have been there, done that! Use them, reach out to them via blogs, online groups, etc.

Did you add a Calico Cat character because you wrote the entire book with your calico cat sleeping on your lap and the keyboard (kinda like I'm writing this article, lol!) Then reach out to all the Calico Cat lovers out there!

Does the book wrestle with a social or political issue that you feel passionate about? Then reach out to the others who feel the same way!

This is targeted marketing. Reaching out and connecting with PEOPLE, not just anonymous blogs or websites or demographics. You want to connect, start conversations, tell stories.

Do not simply post a bunch of tweets, blogs, comments and turn tail and run….in other words, it's NOT about YOU--it's ALL about THEM!

With every audience you aim to connect with, first ask yourself: what do I have to offer them? What can I give them? What do they want?

Which brings us to question #3: what are you willing to do?

Knee jerk answer for any debut author is: ANYTHING or EVERYTHING.

Great way to burn out, fast!

Answer this one thoughtfully and honestly.

If you're terrified of public speaking and getting up to give a talk would make you lose a week of sleep and decrease your ability to work (remember your main job is to write the next book!) then acknowledge that and incorporate it into your plan: I won't do any live presentations.

Doesn't it feel better just to say it? Feel that weight off your shoulders? And hey, you're not ruining your career by focusing on the things you're comfortable with--in fact, you are PROTECTING THE WORK!

That's right, your job isn't to promote your work, it's to PROTECT it.

So make a list of promotional possibilities and impossibilities….play to your strengths. You may find only a few things under the "I know I can do this and rock it!" column--that's fine, then really focus on those.

They might not seem like promotion at all. They might be more along the lines of writing short stories, things totally in your comfort zone. No worries. As long as you're doing something to keep your name out there (and short stories are a great promotional tool!) you can count it.

You'll probably find that you have a third column: I'd like to do…but I'm not very good at…type of things. Great! Those are fun to try--as long as they don't get in the way of your writing.

For instance, you're an Introvert but really, really want to go to RWA so you can walk around smiling and wearing your First Sale ribbon.

Figure out a way to do it that won't sap your creative energy. Partner with an Extrovert friend who will introduce you and keep the small talk flowing. Schedule down time alone in your room so you can re-charge. Prepare a few topics of conversation ahead of time so you don't feel like you have nothing to say. Make appointments to meet people for meals so you don't end up eating alone in a crowd and feeling left out.

Bottom line: very, very, very few debut authors made it "big" because of their own promotional efforts.

BUT, if you know your strengths and play to them then you'll not only have fun but you'll be able to write the next book and build name recognition with YOUR audience.

And that's how bestsellers are made…one reader at a time.

Thanks for reading!

CJ

Building Your Brand with CJ Lyons Part 1

Bestselling Thriller Author CJ Lyons had some fantastic seminars at the Pennwriters Conference. She was kind enough to let me share her handout from her Branding Workshop. You can find her (absolutely fabulous) writing resources at her website No Rules, Just Write! 
If the ideas in the handout are helpful, there's more on this in her Break Free from the Slushpile e-book.

How to become a Bestseller and Preserve your Sanity


CJ Lyons
There are tons of places debut authors can find information on building a brand or platform--so many that it's often overwhelming. It's easy to feel like all you want to do is hide in your hermit cave and write the next book.

No worries--even I feel like that most of the time!!! You see, I'm an Introvert and my strength comes from my ability to sit alone and focus, get the job done.

I can put on a "party face" when needed, but it takes work and a lot of psychic energy--so much so that often for days after a convention I can't write.

Now, Extroverts--they usually don't need any help with promotion, they're walking/talking promotional powerhouses. Which can be a good thing as long as they learn to channel that energy and focus on the real work: writing the next book.

Because here's what I'm going to tell you that is different from all the other how-to-promote advice for debut authors:

Number one thing a debut author should do to promote their work and build their career? WRITE THE NEXT BOOK!

Number two thing? WRITE THE NEXT BOOK!

Number three? Repeat after me….WRITE THE NEXT BOOK!

Okay, you guys got that. Now, what else should you be focused on while preparing for your debut?

Most how-to posts will give you a checklist. In fact, I have a pretty good one that I wrote a few years ago called Birth of a Book: What to Do While You're Expecting. It's a pdf and you can download it here http://cjlyons.net/extras/for-writers/

But I'm not going to give you a checklist here. Instead, I'm going to tell you to ask yourself three questions.
Here we go!

1. Why did you write this book?



2. Who did you write this book for?



3. What are you willing to do for this book?



Dig deep with your answers! Why? Because the answers will frame your entire marketing strategy--and make it a custom fit tailored to you and your readers!


(I'll post Part 2 tomorrow, where CJ tells you how to use the answers to these questions.)

How to Create Better Characters

Yes, of course I have more on characters. (Because what writer doesn't need better characters?)

Miriam Forster did a 6-part series on character building, but my favorite is the Edward/Bella dilemma. How much better would the Twilight series be if it were told from the POV of a character that struggles with larger-than-life problems?

Arguably one of the best posts by The Great Nathan Bransford: What Do Your Characters Want?

Creating Sympathetic Characters

Even though your characters seems to do everything right, you hate them. Or your beta readers hate them. What went wrong?

Two things: your character must be interesting and your character needs to be sympathetic. Whether he's a good guy or a bad guy, he should have those two qualities.

So how do you make a character more sympathetic?

Mary Lynn Mercer at Why Stories Work posted a thorough answer in The True Nature of Sympathetic Characters. She also covers a few things to avoid like a character that whines.

Darci Pattison posted a couple of really great ones: 9 Traits of Sympathetic Characters and then you can use those traits to Make Your Character More Sympathetic.

Every hero needs his fatal flaw. Apparently, there are nine types. I didn't know this, but it's pretty cool. Laurie Campbell's Creating Your Hero's Fatal Flaw

And finally, J. Timothy King gives 3 Steps to Sympathy that makes inappropriate behavior okay.