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Category : Resources for Writing
Over the years I’ve spoken at more than 200 writing conferences, usually talking about the publishing industry, proposals, agents, and the general notion of working as a writer in this crazy business. Recently the folks at the Profitable Authors Institute came to me with an idea… Why not record some of my sessions and make it part of a video course that writers could download?
So I did, and I’m very happy with the results. The Institute offers a bunch of good online seminars on topics like “Structure Your Book for Success” and “Independent Publishing,” and they’ve got some great, experienced people involved (including Holly Lorincz doing sessions on “How to Work with a Freelance Editor” that is fabulous). You can find out more, and see some sample clips here.
I’ve done several sessions with them, talking about traditional publishing — how to get an agent, how to write a proposal, how publishing houses work, etc. I did this introduction to my series, then recorded four talks and inserted a bunch of graphics. It’s just released, and for the grand opening they’re offering a 30% discount on the whole schlamozzle. So if you’re an author looking for an introduction to traditional publishing, you’re interested in learning about how to find an agent or how to work and make money in the publishing industry, check it out. They’ve got a really well produced series with good teachers offering sound advice. Thanks!
If you want to build your organization and impact people, while also providing at least a little bit of income, you need two things:
- A newsletter list
- Something to sell (your book, your online course, even your speaking engagements!)
Okay, technically you need 3 things. You also need people ON your newsletter list.
Seriously, though. That’s it.
Sure, it’s nice to have a blog, and social media can go a long way in helping you build your newsletter list, but the two things that you really need are just a list and a product.
Email still has the greatest return on investment, because emails don’t get lost in the noise the way that social media messages and blog posts do. You deliver your message right to people, and if you’ve targeted those people wisely–then you’ve made a connection that will pay off for everyone!
But let’s face it: Most of us are far more comfortable crafting a talk or writing a book than we are at actually building that email list.
And then there are others who have that email list, but we don’t send people actual emails because we don’t know what to say! And we know we should be creating some products, but we don’t have a clue what to create.
I understand. I’ve been there.
But I’m not there anymore. Today I have an email list with 31,000 people on it. I have five royalty published books and four self-published ones (and one of the self-published ones is my #1 income generator!). I speak dozens of times a year. And I do it all because I learned the principles of how to get my message out online.
This week, I want to share with you a tool that can help you do exactly what I did.
I spent about eight years “in the wilderness”, so to speak. Eight years where I was speaking, but not really building
In today’s publishing market, there are a handful of things I think every author needs to know about marketing. These are all things you can think through, and though none of this is going to be earth-shattering or terribly “new” to you (my guess is you’ve heard much of this before), sometimes we can think about choosing certain marketing strategies or ideas, then lose track of the bigger picture. Or we assume the publisher is going to take care of things, when in fact they’re busy worrying about the new 50 Shades novel they’ve just released, and they’re waiting for YOU to market your own book. So let me offer a big-picture look at marketing your book in today’s environment…First, you have to know yourself. What are your strengths at marketing? What do you do best? What is your message? How do you define your brand? What are the elements of marketing you love to do? The fact is, if you know your core competencies, know what you do well and what you’re comfortable with, you’re ahead of most authors who are just trying ideas they’ve heard from others. So think back through your history, and make a list of the areas where you were good and comfortable and successful with your marketing. What are the resources you have available to you? Next, make a list of the opportunities you know you’ll have — the people, places, organizations, media, and venues you know you’ll be able to count on.Second, you have to know your weaknesses. What are the typical problems you have with marketing? What are your struggles? What do you NOT enjoy? What are the roadblocks you face? (Hint: often these include lack of money, lack of time, and lack of expertise.) As you think through the problem areas, you’re trying to clarify both the strengths and the weaknesses, the resources and the roadblocks that are
Last spring, I was sitting in a class offered by a nationally renowned writing coach at a local writers conference. The coach was leading us as we brainstormed a story. The set-up—an English teacher who hated his job. “Why does he hate his job?” she asked the room.
I quipped, “None of his students know where the commas go.”
I was joking, and my friends laughed, because they know how I am about grammar. The word “Nazi” has been floated more than once.
The writing coach laughed, too. And then she said something I can still hear ringing in my ears. “Knowing where the commas go isn’t really that important.”
I didn’t argue the point at the time. Not out loud, anyway. From her perspective, grammar wasn’t important. She was there to teach us plotting and story crafting—and I was taking copious notes. But the idea that a bestselling author would say that grammar doesn’t matter gave me nightmares.
The fact is, knowing where the commas go is incredibly important. So is knowing how to spell. Knowing how to write fresh dialogue is vital to being a novelist, and so is the ability to punctuate it. Of course, no great novel exists without believable yet larger-than-life characters. And even with all that, if the plot is broken, the book will flop.
The truth is, there are thousands of things writers have to understand. And lest we feel sorry for ourselves, there are thousands of things agents have to know—and editors and airline pilots and real estate brokers. Being a professional at anything involves knowing a bunch of stuff.
And most of that stuff has to be learned. As a novelist, perhaps you started with some skills. Maybe you had an inherent understanding of point of view. Maybe you came to the game with a unique voice. Some folks are great at creating quirky characters. Personally, I came to
Your novel is ready to go. Your nonfiction book is fleshed out. NOW WHAT?
We’ve got a brand new book releasing to help all writers who are trying to create the best book proposal possible. Step by Step Pitches and Proposals: A Workbook for Writers is the new book from longtime editor Holly Lorincz and me.
This book uses clear, detailed explanations, work-sheets, and annotated examples to walk you step-by-step through: industry terminology, querying, pitching, creating a proposal, and formatting the whole thing. You’ll find helpful information regarding what to say, who and when to query, and how to find contacts. Suggestions on how to create a pitch are offered, along with sample pitches, as well as advice from a speaking professional on how to deal with a face-to-face pitch.
Inside, there are detailed instructions for building professional, industry-standard proposals, both fiction and nonfiction, using plenty of examples and multiple samples of successful, real proposals. In fact, that’s one of the things that sets this apart from other books on proposals — I went back to authors whose books I had sold, and asked their permission to use the proposals we created. So the text offers real-world examples of proposals from books that actually sold in the market, including a couple bestselling books. There are also worksheets available in each section which readers have found extremely useful, walking the writer through their own material. There is even a section on how to format a manuscript before attaching it to a proposal. Here’s what some people in the industry have said:“Chip MacGregor was my first literary agent and helped me get my very first book deal. I don’t know if there’s a better possible way for me to answer the question ‘Does Chip MacGregor know what he’s talking about?’ than that!” – Jon Acuff, New York Times Bestselling author of Do Over: Rescue Monday, Reinvent Your Work and Never Get
One of the things we talk a lot about at conferences and workshops is how to improve the craft of writing. But I believe we’re missing an important layer of what it means to be a writer. As writers, we have to dig deep into our inner being so that we can convey stories that reach our readers. Technique is easily learned, but the essence that goes into what we write, that’s something that can only come from deep within, the core of who we are as people.
Which is why we also need to focus on nurturing our writer’s spirit.
Writing is an incredibly deep and emotional process. Writing is one of the few endeavors where a person lays their soul bare, gets heaping criticism flung at it, then comes back for more. Yes, there is positive feedback, but many writers will agree that there’s far more negative than positive. How do you nurture a soul that faces regular criticism in the face of all the other doubts and fears that come with the job?
Writers, your work has value. The problem is, we’re so busy learning about techniques, markets, trends, social media, and whatever new toy the writing world has come up with, that we forget the absolute core of what we do and why we do it. All of us have different reasons for writing, different stories to tell, and a different impact we will have on the world. Yet sometimes, we lose sight of that because we’re so focused on the business of writing that we forget the soul of our writing.
That’s not to say there’s no place in our writing careers for the business of writing. The last time I checked, writers needed to eat, too. But if we do not take the time to go back and nurture our writing spirits, if we do not care for ourselves at our very core, then
Welcome back to Erin’s Tuesday blog on craft! After a few weeks off to accommodate back-to-back conferences on my part and an extremely important Bad Poetry Contest, I’m back to blogging and, inspired by my experiences at the aforementioned conferences, am starting a new series on the aspects of your craft you especially need to hone before taking your work to a conference. To kick things off, we’re talking today about finding the “hook” in your project so as to be better prepared to get an agent or an editor interested in seeing more.
You’ll hear a lot of different advice about what pieces and parts you should take to a writer’s conference– one-sheets, proposals, writing samples, your “elevator pitch,” etc.– and there’s really not one right answer as to what’s appropriate. Some agents want to see your one-sheet, others are only interested in the writing; some editors want to see the full proposal, while still others only want to talk about your platform. Whatever you decide to take to a conference, either on paper or as a prepared spoken pitch, the purpose of it should be 1) to gain the interest/curiosity of an agent or editor as quickly as possible and 2) stand out (in a positive way) from the crowd as much as possible. The “hook” of your project isn’t some elusive, magical tagline that you have to get exactly right or else you’re doomed– don’t get distracted by the jargon. When someone says they’re “hooked” on a book or tv show, they mean that they feel compelled to find out more/keep watching that story, so the trick with conference pitches or materials is to highlight all the most compelling/memorable elements of your project in order to gain an editor or agent’s interest to this extent. Hooks are going to be pretty short, sometimes one or two sentences, sometimes a short paragraph, but focus on keeping it tight
I’m nearing the end of my series on how to write great endings, and am talking briefly today about one of the most frustrating types of endings to read, for an agent, editor, or any other reader, the “bait and switch” ending, particularly in terms of the tone of a story.
I’ve talked several times throughout this series about the importance of being fair to your reader in your endings– that you satisfy their sense of justice, that you’ve laid some groundwork for any surprises, etc.– yet I’m constantly surprised by the number of manuscripts I read that end in a way that is completely dissimilar to the tone/story universe/set of expectations the author has spent the entire preceding manuscript establishing. If you’ve spent 200 pages developing a nice, sweet, wholesome romance, don’t try to get all depressing and cynical at the end. If your comedic cozy mystery stayed on mostly “safe” ground for the first 3/4ths of the book, don’t turn it into a chilling, violent crime novel at the end. If you spent the majority of a book developing deeper themes and a more literary voice, don’t just slap a conventional romance ending onto it and call it a day.
I want a book to end with the same “flavor” that compelled me to follow the story through to completion. It’s as if someone ordered a mint-chocolate-chip ice cream cone but the soda jerk decided to put a dollop of lemon sorbet at the bottom– even if the lemon sorbet is good, it’s not what the customer was expecting, and it’s not going to compare favorably to the mint-chocolate-chip, coming as it does when they’re not expecting it and have their mouth all set for something completely different.
There are a number of reasons this happens, even to experienced authors. First, writing is largely a solitary profession. Even if you have a critique partner/group to bounce ideas off
There are few things worse than being in the middle of a great book or movie and having someone spoil the ending for you, right? All the fun of the building tension, the suspense as to who’s going to live or die, the question of which guy the protagonist will choose– I personally feel that you’re totally justified in punching anyone who ruins the ending of a great book for you. Now, imagine someone is reading your book and some jerk decides to spoil the ending for them– and instead of being furious, the reader’s reaction is, “So… that’s it?” The best endings, the ones that readers can feel the strongest emotional connection to and find the most satisfying, aren’t just a checklist of “resolved the conflict, established the immediate future, wrapped up subplots.” While these elements might meet the “requirements” of an ending, your readers are looking for something more than just mathematical resolution at the end of a story. Our favorite endings are surprising, or complex, or poetic, or even aggravating or sad or cynical, but they’re rarely just “fine.”
The best endings are those that it is impossible for the reader to be ambivalent about. They should love it, or hate it, or be deeply conflicted about it, or be left with lingering questions about it (in a good way, not in a the-author-dropped-four-plot-threads-and-so-the-reader-has-no-clue-what’s-going-on kind of way). Think about some of your favorite books, specifically their endings– if asked to talk about how one of these books ends, you’d probably say things like, “It’s so beautiful!,” or “It’s SO sad,” or “It’s really happy!” Your reaction to the ending of a book isn’t specific to a certain kind of ending– happy, sad, poetic– but to your
I spent last week talking about all the resolution the reader expects from the denouement– resolve the events of the climax, answer unanswered questions, wrap up subplots, and establish main characters’ immediate futures. Sounds like a lot of content, right? But you as the author have a delicate balancing act to maintain, because while it’s true that the reader is going to be dissatisfied if you leave out the resolution they expect, it’s also true that there’s no better way to make sure your reader’s enthusiasm has flagged by the time they read the words “The End” than by dragging the book out two chapters after the story has actually ended. Ending on an anticlimax leaves a dull taste in the reader’s mouth and causes their last impression of your book to be a less positive one than if you send them out on an emotional high note, and the way to do this is to fit all your resolution in before the excitement of the climax has fully worn off.
The reader’s emotional high point usually coincides with the characters’, which is usually the climax– in a romance, the climax is not the wedding, but the dramatic moment when Slim rescues Peggy Sue from the train tracks and confesses that he always loved her, he just didn’t think a lawman had any right to ask a nice well-bred young lady to marry him and share his dangerous life. This is the moment when tension and emotions are the highest, and this is the moment that readers have been waiting for. Sure, they want to read that the happy couple got off the train tracks in time and know that Salty Sam is going to jail for his crimes, but the story is effectively over