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Kristen Lamb

Author, Blogger, Social Media Jedi

Kristen Lamb — Photo

Posts Categorized: Non-Fiction

Money is fundamental to our lives but taboo in polite conversation…much like sex. But just like sex, money is one of the main drivers of human behavior. And what do we pattern our characters’ behavior on? Yup. Exactly.

Now, of course, I would never be so crass as to suggest that any of our protagonists are motivated by such indelicate—even sordid—things such as money or sex (*rolls eyes, but soldiers on*). Protagonists are always ultimately convinced to act solely from altruism, and villains are the ones who simply must be avaricious and lustful. (*accidentally rolls eyes so hard I fall over backward*)

Money, writing, history, historical fiction

Except, sex and money are just shorthand proxies for deeper, more complex psychological stimuli. In this case, ‘sex’ as a motivator encompasses everything from our biological impetus to procreate—because the world by now totally needs more humans *eye roll…OW!*—to the pleasures and comforts of companionship.

‘Money’ is the stand-in for scarcity, acquisition, and competition for what we need to survive, from basics like food and water to the finer points of existential fulfillment.

And, while plotting is totally Kristen’s wheelhouse, it’s safe to say all plots boil down to one basic premise: a character wants/needs/lacks something and must overcome obstacles to obtain it.

No matter what genre we write, character motivation matters. Therefore, money matters.

Haves, Have-Nots, and Have-a-Snickers-Cait-You’re-not-Yourself

I am not the kindest editor, and I’m a downright PMS-ridden-harpy when it comes to historical anachronisms.

Wanna trigger the transformation? Just drop any of the following little gems into prose:

Characters using generic ‘gold coins’ to pay for bread and cheese (a whole other rage topic for another time);

WORSE, using those same coins across international borders (because universal currency, exchange rates, and value of goods was so standard and easily handled. Genghis Khan’s forced standardization of currency conversion across his empire is a totally underrated achievement of his. Too bad Europe was all like, “Yeah, no, thanks, we’re good with our seventy-five-and-counting different currencies. Try back next century, yeah?”);

Money, writing, history, historical fictionLook, I get that researching and figuring out how to include depictions of money sounds about as much fun as listening to Gilbert Gottfried read Strunk & White at open mic night. But, we just have to suck it up and look at it as penance for our sins. Or something like that.

Wanna see the harpy pop out again? Give me a servant girl with more wardrobe changes than a Lady Gaga concert. Or the poor farming family whose feisty, independent daughter is always buying and reading books. Or the Regency version of the Mary Sue Shopping Spree.

Quick, anybody got a Snickers? I’m feeling a little peckish.

Money doesn’t grow on trees

Here is the most important tip for using ye olde economics in historical fiction:

Ask questions.

What questions, you ask? (OMG, stop me, I’m so punny!)

Money, writing, history, historical fiction

ALL the questions, because to paraphrase/absolutely slaughter Socrates: we’re not always smart enough to know what we don’t know.Here’s a basic set of questions I use:

Where (literally) in the world are the characters? What are the local industries, geographical resources, etc.? Ship-building on the coast, sheep-shearing inland.

What are the major imports/exports of that region or country at the time? Robin Hood didn’t ever eat corn-on-the-cob (corn is SO 1492!).

What do the characters do for a living? How much is the wage or income for that time period/region/profession/social status? What would the modern equivalent be? The world wasn’t just nobles, peasants, and beggars. There were comfortable—even wealthy—craftsmen, tradesmen, physicians, lawyers, accountants, etc.

What is the currency of the region/country? What were the denominations in use? Was currency used at all, or was it a barter system? Nowadays, who remembers the French ‘franc’? How about the French ‘livre’ or ‘louis d’or’? Okay, yes, I do, but I’m a nerd.

Did they have servants? How many and what kind? What did they pay them? Elbow grease was the original renewable energy source, and even relatively poor families might have a ‘girl’ come in once a week to help out.

What exactly would a character own? Capsule wardrobe or queen’s trousseau?

If you are feeling a little freaked and a lot overwhelmed by the seemingly enormous, torturous research paper I have just assigned you…don’t. This is fiction, and while relative accuracy is necessary, footnotes are not required.In fact, I’m about to show you how to cheat.

My money’s on the answer…

I totally get it that not everyone dreams about spending hours organizing one’s non-fiction library by time period-topic-region. *cough*

Money, writing, history, historical fiction

So, for those out there who just want to get the job done, I present…the quick and dirty way to research just about anything for historical fiction.

Make sure you have a way to organize the research you gather because the last thing any writer wants is to find that *exact* detail we needed, then waste hours trying to find that page again.

Always start with Wikipedia. Print out or save the relevant articles. Make note of dates, places, foreign language words that will need translation if used in the story, specific terms, etc.

Don’t click away yet! Scroll down to the bottom and look at the footnotes! There’s gold in them thar hills! The cited books and articles are the next level of resources for when there’s time/interest.

Next up? Ask Dr. Google. The first entry is almost always Wikipedia, but usually the next hits are also established sources. Google also has great ye olde currency conversion links.

If you know an impecunious doctoral student, bribe them with home-cooked food in exchange for help accessing JStor, one of the largest online repositories of scholarly articles. Also, many public libraries and alma maters offer a wide range of research databases.

Often, Google provides the most precise results from Google Books (because Google is a self-referential bastard). Google Books basically is like a mini-Project Gutenberg (where all kinds of out-of-copyright primary sources are available for free download). Google Books will even HIGHLIGHT the relevant phrases on the pages of the book, and you just can’t get more silver-platter-research than that.

Adding it all up

All joking aside, here’s the process in a nutshell:

  • Get your questions ready.
  • Get ready to organize your findings so you can find ’em again.
  • Go to Wikipedia and print the heck out of the articles…and don’t forget the footnotes!
  • Do a Google search to find other professional or academic resources.
  • If you need to dig deeper, go to the public library or use alumni privileges to access JStor and other academic and research databases.
  • Search Google Books for info hidden in rare and out-of-print books, and Project Gutenberg for free, downloadable primary sources.

Money, writing, history, historical fiction

Time is money

I often get asked, “How long should I spend researching?”

The answer is easy.

It depends.

*ducks*

Money, writing, history, historical fiction

No, really, it does depend on a lot of individually-determined factors, like how familiar we already are with a time period, how comfortable we are with historical research, or even how much mind-numbing 18th-century prose we can take reading before we tear our hair out, wonder WTF we are doing with our lives, and go become meter maids because that looks like so much more fun than this *ish*.

However, I do think a good milestone is when our brains ‘click.’ Certain names, dates, facts, or events keep popping up consistently, and we begin to feel an almost-comfortable familiarity with them. Another good test is when we don’t need our notes to tell our long-suffering significant other/friend/stranger-duct-taped-to-chair/cellmate about the time period and what people lived like and could afford.

Money, writing, history, historical fiction

Like all things in writing (and life, but that’s another dissertation for another time), learning to research money takes time and practice. Luckily for penurious writers, the one thing researching money doesn’t take…is money.

(Unless people want to give me Amazon gift cards so I can make headway on my 35-page book wish list. Then I’ll totally take the money because then I can get more books and make things like this ‘Catalogue Raisonné about money, trade, economics, and shopping in history.)

money, history, writing
Want more of these Catalogues Raisonnes? I have a whole page of them over on my website. Just click the image!

NEW CLASS!

Instructor: Cait Reynolds
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Friday, November 16, 2018. 7:00 P.M. – 9:00 P.M. EST

So…how’s NaNoWriMo going for you?

The first 10k words? No problem. Another 5k? I can pants that.

Now…I’m at 18k words with 14 days left…and 0 clues about where to go from here.

Sound familiar? This is what I call ‘The Sticky Middle,’ and it is a treacherous swamp that can swallow even the most accomplished, focused writers. It is the moment when writers are most likely to be pulled under by the forces of writer’s block, insecurity, and exhaustion.

The Sticky Middle is the root cause of 98% (I’m guessing here, but I’m pretty darn sure I’m right) of all unfinished first drafts. This class will teach you how to get out of The Sticky Middle…not just for NaNoWriMo, but for every book you write from now on!

This class will cover:

  • Walking into Quicksand: Half of getting out of The Sticky Middle is knowing how we got in there in the first place…and how to avoid making these early mistakes next time;
  • Maslow Stripping: Assessing where characters are when we get stuck…and what we need to take away from them in order to move forward;
  • The Treasure Map: Making sure we have our eye on the prize (i.e. the ending), and how to use that to get through The Sticky Middle;
  • Stop! Break it Down!: (Couldn’t help myself with that…) A blunt, practical way to tackle the amorphous goo that is The Sticky Middle and wrestle it into realistic, achievable, bite-size steps.

A recording of this class is also included with purchase.

REGISTER NOW!

About the Instructor:

Cait Reynolds is a USA Today Bestselling Author and lives in Boston with her husband and neurotic dog. She discovered her passion for writing early and has bugged her family and friends with it ever since. She likes history, science, Jack Daniels, jewelry, pasta, and solitude.

First of all, I’d like to dedicate this blog post to Mrs. Barbara Bender who taught my high school sophomore year American Literature class. It wasn’t that the reading selections were all that riveting, or that we had any kind of “Oh, Captain, my captain,” kind of moments. What made the class so pivotal in my formation as a writer is the fact Mrs. Bender made us write papers…and we hated it.

papers, writing, blogs

Why?

Because we had to submit an OUTLINE for every single paper, and the points had to match up. The outline had to create and support a logical argument supported by evidence from start-to-finish. It was a pain in the butt. But…wouldn’t you know it, writing outlines before writing papers soon became a habit.

Once I mastered how to outline an academic paper, it was like I was unstoppable. Yes, I know. This sounds like the Passion of the Nerd. In reality though, it’s more like the Redemption of the Procrastinator. But, becoming a master outliner helped me write papers faster and get better grades every time.

papers, writing, blogs

(No, seriously, I spent an entire semester pulling procrastination punishment all-nighters every Monday night cranking out three-page papers for my anthropology of Papua New Guinea class and got an ‘A’ on every single one…all because I could outline!)

papers, writing, blogs

Whether its academic papers or blog posts, creating an outline is a skill that every writer needs, and unconsciously, every reader appreciates. And today, I’m going to share with you Mrs. Bender’s simple-but-magical outlining tips and tricks from the introduction, to the middle, to the end..

The Introduction

Just like in fiction, a good blog post or academic paper starts with a catchy opening. It can be challenging, evocative, shocking, or revelatory.

papers, writing, blogs

Then, we start to circle the topic in general, sharing reasons it is interesting, relevant, worthwhile, etc. A good technique is ‘within, without, backward, forward.’ We address why a topic is important from within the field, in relation to society in general, in the context of the past, and its potential impact going forward.

THE THESIS STATEMENT COMETH. Just like a logline for a story, the thesis statement for a paper or a blog is the BURNING REASON we are writing this. It’s the single argument that everything else—no matter how many thousands of words—supports.

papers, writing, blogs

The Plan of Attack: Right after the thesis statement come the three main points that will support our argument. It’s the old “Tell ’em what you’re gonna tell ’em,” schtick.

Here’s an example of outlining an introduction.

Papers, writing, blogs

The Middle

Now, we’re into the thick of things. We’re sligning facts and logic right and left, maybe even footnoting stuff (Heaven forbid!). But, without a coherent structure, all those facts are going to end up overwhelming us and the reader. Think “I Love Lucy” and the chocolate factory conveyor belt.

papers, writing, blogs

Whether it’s fiction or blogs or papers, the middle is always the longest and hardest part. Luckily, there’s a trick to setting up this section of the outline, from the main point down to the individual paragraphs. Okay, maybe the trick is more like the bastard child of an illicit affair between a formula and a checklist, but it’s still one of God’s creatures, and I love it.

I call it ‘The Telescoping Rule of Three.’ Catchy, non?

Yet, it is an accurate description of both the flexibility and order we need for the middle of papers and posts of all lengths. We need the limit of three to help us focus our high-level arguments. But, at the same time, we need the open-ended ability to drill way, way down into details. We can’t lose ourselves in irrelevant minutiae if we stick to The Telescoping Rule of Three. Even if we do, the structure will guide us safely back.

The Telescoping Rule of Three

The rule starts with the having a plan of attack with three main points that support the thesis statement. This isn’t to say that there are more arguments we could make to support the thesis. It’s simply that these are three points we are choosing to illustrate because we believe they are a relevant, cohesive angle.

papers, writing, blogs
Okay, not precisely relevant, but I couldn’t help it.

Once we are done with the introduction, we tackle each point as its own section. We turn it into a mini-paper, complete with its own introduction with a thesis and plan of attack. From there, we illustrate each of the supporting points with three points…aaaaand you begin to see how this rule ‘telescopes’ to expand for a dissertation or contract for a 1500-word blog post.

It’s easiest explain this with a graphic.

Papers, writing, blogs

‘Three’ is not by any means a hard and fast limit. Think of it more like a boogie board in the ocean. It can help us surf the waves with that rush of speed and ease. But, it can also help us stay afloat when we get swamped by that unexpected swell..and get salt water up our noses like a gratuitous neti pot accident that makes us cough and swallow some of the saltwater while snotting the rest of it back out into the ocean.

papers, writing, blogs
Because we can’t have too many cat memes, especially on a boogie board. Check out Kuli’s story here!

Bonus—Paragraph Structure

Because it’s all starting to come full circle now…

I know you know what’s coming.

The fact that writing a paragraph starts with an introductory sentence that states the point of the paragraph.

The fact that there are three sentences that support that point.

The fact that there is a concluding sentence that segues into the next paragraph.

It’s getting kinda trippy, amiright?

papers, writing, blogs
Don’t hate it because it’s logical.

The Conclusion (in more ways than one)

By the point, it should be 4:00 a.m., and the caffeine shakes should just be starting to kick in.

In the prehistoric times when I was in college, we didn’t have Red Bull. Instead, I drank cold, black coffee from the mini coffeemaker in my room. That’ll wake you up. And put hair on your chest.

papers, writing, blogs
All of the stages are funny-not-funny, and sorry-not-sorry for sharing.

Until I figured out the secret to writing a conclusion, I struggled with this part of a paper. I would even go so far as to shower and fold my laundry instead of writing this bit. I know, right?

However, when I discovered that a conclusion is just an introduction in reverse, it was like the clouds parted and heavenly hosts appeared bearing white chocolate mocha lattes (no whipped cream).

This is the “Tell ’em what you told ’em” part of a paper. I used to feel it was repetitive, but then I realized it was okay. That’s the point of the conclusion. We have to remind the reader why the topic is important and affirm the fact that we proved the bejeezus out of our argument.

papers, writing, blogs

Isn’t it beautiful? Doesn’t the symmetry of it all move you to tears? Don’t you feel like you can write a better, more coherent blog or get a better grade on your paper now? *sniff, wipes away lone tear*

It’s like a full-circle-reverse-rule-of-three-telescoping…oh, whatever. I need more coffee.

SHARING TIME! Tell me your best all-nighter or turned-it-in-by-the-skin-of-your-teeth story! Also, if you’d like to suggest a topic for me to use for a fake paper to illustrate using this outline, put it in the comments. I’ll pick one and work it up. Maybe we can see if I still have the old zip and polish and do it as a timed event on Twitter, LOL!

Everything You Ever Wanted – A Weekend of Cait & Kristen!

Kristen and I are having a teachapalooza this weekend, starting with my class on Friday night – Keywordpalooza: Tune in, mellow out, and learn to love keywords for Amazon.

Then, Saturday is going to be out-of-this-world (literally) with The XXX Files: The Planet X Speculative Fiction 3-Class Bundle. I’ll be geeking out on world-building for sci-fi, dystopias, apocalit, zombies, horror, paranormal, etc. Kristen and I are co-teaching how to take all that world-building and create characters we love to love and love to hate. Then, Kristen is going to wrap up the day with a master class in plotting for speculative fiction.

Even if you’re not writing this genre, there is so much here that is relevant to all fiction.

You can purchase each class individually, or, you can buy the bundle which essentially is all three classes for the price of two. And if you can’t make the classes live this weekend, they all come with a free recording so you won’t miss a thing.

Hope to see you this weekend!


Keywordpalooza: Tune in, mellow out, and learn to love keywords for Amazon

Instructor: Cait Reynolds
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Friday, September 7, 2018. 7:00—9:00 p.m. EST

REGISTER HERE

It’s one of the universe’s great mysteries… the same word can both boost and drown your book in a category (mind BLOWN, man!).

Keywords also seem to evolve every five minutes…or are we the one evolving, like a butterfly having a dream of SEO (trippy, dude!)? Like gravity and Jane Fonda’s hair in ‘Barbarella,’ the popular rules for using keywords value over-inflation and the slavish following of fads.

But, like Talbot’s tweed and mother’s pearls, certain marketing strategies and techniques are enduring classics that stand the test of time. They’re not flashy like bellbottoms, nor do they yield dramatic overnight results like ironing your hair. Yet, ignore trends, and we risk getting left behind…kind of like buying electric typewriter ribbon because that whole ‘computer word processing’ thing will never take off.

This class won’t just help you turn on, tune in, and drop out of the keyword rat race. We’ll also cover:

  • Fully body contact SEO: when and where to use keywords, and what publishers know that you don’t;
  • Fantastic keywords and where to find them: which websites, lists, search engines, and Magic 8 Balls yield the best keyword research results;
  • Mix and match like a Parisienne: no, seriously, how to mix consistent ‘classic’ keywords with the latest trends like a Frenchwoman wears a crisp white shirt with this season’s Hermes scarf;
  • Same bat genre, same bat book, different bat keywords?: learn the differences between keywords for ebooks, print, and audio;
  • And so much more!

A recording of this class is also included with purchase.


Building Planet X: Out-of-This-World-Building for Speculative Fiction

Instructor: Cait Reynolds
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 8, 2018. 10:00 a.m.—12:00 p.m. EST

REGISTER HERE

Speculative fiction may be a way of seeing the world ‘through a glass darkly,’ but it can also be one of the clearest, most pointed, and even most disturbing ways of seeing the truth about ourselves and our society.

It’s not just the weird stuff that makes the settings of speculative fiction so unnerving. It’s the way ‘Normal’ casually hangs out at the corner of ‘Weird’ and ‘Familiar.’

But it’s trickier than it seems to get readers to this intersection without letting them get bogged down in the ‘Swamp of Useless Detail’ or running them into the patch of ‘Here be Hippogriffs’ (when the story is clearly about zombies). How do we create a world that is easy to slip into, absorbingly immersive, yet not distracting from the character arcs and plots?

This class will cover:

  • Through the looking glass darkly: How to take a theme/issue/message and create a world that drives it home to the reader.
  • Ray guns and data chips: The art of showing vs. telling in world-building.
  • Fat mirror vs. skinny mirror: What is scarce in the world? Valuable? Forbidden? Illegal? What do people want vs. what they have vs. what they need?
  • Drawing a line in the sand: What are the laws, taboos, limits of this world? What is unacceptable to you/the reader/the character? How are they the same or different, and why it matters.
  • Is Soylent Green gluten-free and other vital questions: All the questions you need to ask about your world, but didn’t know…and how to keep track of all the answers.

A recording of this class is also included with purchase.


Populating Planet X: Creating Realistic, Relatable Characters in Speculative Fiction

Instructors: Cait Reynolds & Kristen Lamb
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 8, 2018. 1:00—3:00 p.m. EST

REGISTER HERE

It’s a time-honored tradition in literature to take an ordinary person out of his or her normal life and throw them into a whirlwind of extraordinary circumstances (zombies/tyrants/elves/mean girls optional). After all, upsetting the Corellian apple cart is what great storytellers do best.

It’s also that very same ordinariness and normalcy that first gets the reader to identify then empathize with the characters and stick with them (and the book) through to the end.

But, what do we do when our ‘ordinary’ protagonist lives with a chip implant and barcode tattoo, and our antagonist happens to be a horde of flesh-eating aliens…or a quasi-fascist regime bent on enforcing social order, scientific progress above ethics, and strict backyard composting regulations (those MONSTERS!)?

How the heck is the reader supposed to identify with that? I mean, seriously. Regulating backyard composting? It would never happen in a free society.

This leaves us with two challenges in creating characters for speculative fiction: 1. How to use the speculative world-building to shape the backgrounds, histories, and personalities of characters, and 2. How to balance the speculative and the relatable to create powerful, complex character arcs.

This class will cover:

  • Resistance is futile: What does normal look like for the characters? What’s different or strange, and how to get readers to accept that retinal scans and Soylent Green are just par for the course.
  • These aren’t the droids you’re looking for: What are the discordant elements around the characters? What are their opinions about it? What are the accepted consequences or outcomes?
  • You gonna eat that?: Whether it’s running from brain-eating zombies or fighting over dehydrated space rations, what is important both physically and emotionally to the character? What is in short supply or forbidden?
  • We’re all human here (even the ones over there with tentacles): The basic principles and techniques of creating psychological touchpoints readers can identify with.
  • Digging out the implant with a grapefruit spoon: In a speculative world, what are the stakes for the character? The breaking point? The turning point?
  • And so much more!!!

A recording of this class is also included with purchase.


Beyond Planet X: Mastering Speculative Fiction

Instructor: Kristen Lamb
Price: $55.00 USD
Where: W.A.N.A. Digital Classroom
When: Saturday, September 8, 2018. 4:00—6:00 p.m. EST

REGISTER HERE

Speculative fiction is an umbrella term used to describe narrative fiction with supernatural or futuristic elements. This includes but it not necessarily limited to fantasy, science fiction, horror, utopian, dystopian, alternate history, apocalyptic fiction, post-apocalyptic fiction.

Basically, all the weird stuff.

Gizmos, gadgets, magic, chainsaws, demons, fantastical worlds and creatures are not enough and never have been. Whether our story is set on Planet X, in the sixth dimension of hell, on a parallel world, or on Earth after Amazon Prime gained sentience and enslaved us all, we still must have a core human story that is compelling and relatable.

In this class we will cover:

  • Discovering the core human story problem.
  • How to plot these unique genres.
  • Ways to create dimensional and compelling characters.
  • How to harness the power of fear and use psychology to add depth and layers to our story.
  • How to use world-building to enhance the story, not distract from it.

***A recording of this class is also included with purchase.


The XXX Files: The Planet X Speculative Fiction 3-Class Bundle

Instructors: Cait Reynolds & Kristen Lamb
Price: $110.00 USD (It’s LITERALLY one class FREE!)
Where: W.A.N.A. Digital Classroom
When: Saturday, September 8, 2018. 10:00 a.m.—6:00 p.m. EST.

REGISTER HERE

Recordings of all three classes is also included with purchase.

memoir, biography, autobiography, family history, oral history

Cait here. I know, I know. I mention the word ‘memoir,’ and we get nightmare visions of Snookie’s autobiography prominently positioned on a table at the front of Barnes & Noble with New York Times Bestseller emblazoned on the cover.

I could reduce you all to a mass of existential angst and tears of futility by bringing up the 1991 epic Ice by Ice from Vanilla Ice, Paris Hilton’s Confessions of an Heiress, or even Justin Bieber’s First Step 2 Forever: My Story, but, I won’t. Because I’m a nice person.

Memoir, biography, autobiography, celebrity biography
I don’t even have to caption this or meme it. It just is… (Image courtesy of Justin Bieber Wikia and Harper Collins)

These days, memoirs, oral histories, and biographies seem less like a valid genre and more like an exercise in creating cringe-worthy categories like:

      • The autobiography (not written) by some 16-year-old pop sensation who has yet to get a driver’s license or go to rehab (hint: post-rehab books sell much better);

     

      • The true, inspiring story of struggle and strength from some athlete (who later will turn out to have been pumping more pills than pounds to achieve the incredible goal of <insert homeruns/touchdowns/speed record here>);

     

        • NB: The athlete may be substituted by any combination of one-gag-wonder YouTube sensation, HGTV host who rose to fame through aggressive full-body-contact crafting, or washed-out child star/rock star/Disney sitcom teenage actor from the 1990’s (because we’ve already run through most everyone from the 80’s).

       

      • The *gasp* SHOCKING *gasp* UNAUTHORIZED *gasp* NEVER-BEFORE-REVEALED TRUE STORY OF <insert politician, Hollywood icon, serial killer, royalty here>.

     

      • Let’s not forget the deeply personal and agonizingly extensive accounts of ordinary individuals suffering through chronic hangnails. These stories read like vaguebooking and an encounter group got drunk at a bar and hooked up for a bad one night stand that neither wants to remember in the morning;

     

      • The garden path paved with good intentions to mind-numbing boredom of listening to our aged relative go on and on about a half-century’s worth of knitting projects while we record her in the hopes of capturing the essence of a bygone era, but which in reality ends up being a special kind of hell because once we’ve recorded her, we realize we have to listen to it all over again in order to transcribe everything she said;

     

      • Finally, I should also toss a bone to the self-deprecating rags-to-riches archetype whose stories are meant to uplift and change our lives (well, until we spend the $3,000 for the weekend warrior seminar, workbooks, videos, and nutritional supplements that leave us exhausted, broke, and confused as to whether we’re supposed to do the ‘good dog’ head-patting self-empowerment exercise before or after we spend three minutes dancing naked before the $249 dreamcatcher add-on product that we bought in a moment of mid-seminar ecstatic dissociative fugue).

     

Legacy…it isn’t just for software any more

Like any cult leader worth their Kool-Aid, now that I’ve completely broken you down and destroyed your will to self-actualize and write any kind of personal story or work on a family history…let me build you back up…in my glorious image. *stops and shakes self, doesn’t know where that last part came from*

Memoir, autobiography, biography, family history, oral history

Truly, though, somewhere in the middle of all this mediocre dross are two truths that are so fundamental to humanity, we often overlook them or fail to recognize their power as a driving force behind everything we do. What are these truths?

Narrative is the most primal and primary form of human communication.

We all want to leave a legacy.

When we tell our friend/spouse/partner how our day was at work, that’s narrative. When we comfort a friend who has just been dumped by sharing our own dating war stories, that’s narrative. When we explain how to do something to a new employee, that’s a form of instructional narrative.

Our histories, morals, lessons, entertainment, and culture are all passed along in various forms of narrative, from Grandma’s stories to *shudder* the faux-scripting of reality television. On the scale of what is of real value to humanity, frankly, YOUR life’s story has more to offer the world as a legacy than anything the Kardashians can come up with. Fan of the Kardashians? Fight me. *Warning: I am a mean-spirited, 5’1″ Slytherin who fights dirty. I will win.

Cue Bon Jovi

*sings* It’s my liiiiiiiife, it’s now or never….

Ready to start that family history or share your own story? Great! Let’s get started. Ready?

Ready?

And?…..

Bueller?…..

Memoir, autobiography, biography, family history, oral history

Having trouble getting started, or even just knowing WHERE to start? I totally understand. It’s a common problem, and kind of ironic considering that we know the plot really, really well and aren’t just pantsing this particular story.

Let’s take a look at the 3 most common obstacles to getting a memoir project off the ground.

1. The Naturally Outgoing, Extroverted, Boastful Nature of Writers (NOT): If there’s a downward-facing-dog adjective for derision, we will find a way to put a ‘self’ in front of it–self-deprecating, self-effacing, self-sabotaging, etc. Even if we have something of real value to say that could either entertain or help others, we hesitate to convey it through narrative of our own personal experiences. We’d rather find a way to slip it as a theme into a plot where Taylor and Seraphina must stop a drug cartel from taking over a small Texas town populated by gluten-intolerant wolf shifters. We somehow believe that our own experiences are not worth it. If there’s not a jewelry heist, an AR-15, and Michael Bay-esque explosions involved, we think no one could possibly be interested in our lives.

2. An Embarrassment of Riches…: Okay, say we’ve gotten past the self-effacement syndrome and are ready and willing to share our story (or a family story). How do we start? Where do we start? From the egg? From the accidental backseat fumble to the accompanying crooning of Buddy Holly that led to that particular egg taking off on a spectacular career that lead to you? The first time we successfully made it to the training potty in time and the glorious lollipop of victory? The first date (the parental introductions alone could be an entire chapter in instructional humiliation)? For a body of material that we are entirely in control of and know to the last detail, it’s ironic that we can be so at a loss as to how to structure a narrative.

3. Truth, Libel, and Who Has to Die Before You Can Publish?: Ready to become an unwitting (and maybe unwilling) historiographer? When we undertake any kind of nonfiction biographical project, we are forced to join the ranks of historians who study the study of history, easily identifiable by the premature grey, dark circles, and habit of walking around muttering to themselves about theoretical frameworks, revisionism, primary source authentication, and hagiography. Any project involving people and history will have certain inalienable facts, but we’re also dealing with mushy memories, opinions, changes in perception over time, evolving social contexts, and some sticky legal and family issues when it comes to bringing some things to light. (Aunt Muriel’s Thanksgiving dinner is gonna be wicked interesting this year…)

Looking at all of this, it’s no wonder we would rather volunteer for the 7:00 a.m. Saturday morning carpool for the rest of eternity than tackle writing a memoir.

When in doubt, turn to M&M’s (&M)

Yes, chocolate is always a viable answer, but I’m actually talking about three ‘M’s’ that help break down the gargantuan project of a memoir into workable rules, structures, and craft.

Memoir, autobiography, biography, family history, oral history

1. MESSAGE: The idea of the message isn’t all that dissimilar to the theme of a work of fiction. What is the main truth/moral/advice/idea we want to convey in the telling of our story? Are we telling a story about survival against the odds, the power of love over hate, creating our identity anew after a life-changing event? Just like fiction, we can’t put everything into this narrative, so whatever we choose to include should be driven by and always tie back to the message. So…out with the glorious potty-training-lollipop-of-victory and in with how our first date taught us we can not only survive rejection, but learn to thrive and grow stronger.

2. MATERIAL: Before we decide what to put in or leave out, we have to get all the material we can in one place. This is the part of the process where we leave no stone unturned, no story unrecorded, no photo (however embarrassing) in the ‘out’ pile. From birth certificates to postcards, digital recordings to that unfortunate VHS video where you fell asleep face-first in your second birthday cake, it’s essential to chase down pretty much everything. In some cases, the material refreshes our memories or corrects a mistaken impression. In other cases, the material can help shape the message, raise challenging questions, and reveal unexpected truths. Gathering, organizing, and learning to interpret our resources is the foundation from which we build the narrative to support the message.

3. METHOD: There is no one-size-fits-all general methodology for memoirs and family histories. There is however a single one-size-fits-all rule: CONSISTENCY. However we decide to deal with blanks or gaps in the ‘record,’ we need to approach it the same way every time. This also goes for if/how much/what kind of family secrets we share, because let’s face it, once we publish anything, it’s the equivalent of running the dirty family underwear up the digital flagpole. We have to examine our own subjective viewpoints on people and events to see if we need either sensitivity training or ‘roid rage. There’s also the tedious bit where we have to do a basic survey of copyright, libel, and slander laws to make sure we don’t end up getting sued because we couldn’t resist sharing the story about the time Cousin Vinny ran 10 kilos of cocaine across the border in a riding lawn mower while singing Jimmy Buffett songs at the top of his lungs.

Maybe the goal isn’t to publish our story, but to create something we can give to the next generation of our family, or it’s a series of blog posts about something in our lives that was truly meaningful, or, it’s going through and organizing the boxes of old letters and photos to learn more about ourselves, who we are, and where we come from. Maybe, it’s just about spending some quality time with the people we love and learning things we never knew about them.

They say life is stranger than fiction, and I have to agree. Otherwise, where would Investigation Discovery get all the ideas for its shows? We all have something of value to share with the world, whether it’s our own story or our family’s story. Sharing narrative is the common thread that ties together all of humanity’s experiences into one beautiful, kaleidoscopic vision called life.

Life as a Story: How to Write a Memoir 

Instructor: Cait Reynolds

Price: $65.00 USD

Where: W.A.N.A. Digital Classroom

Date: Friday, January 26th, 2018. 7:00-9:00 p.m. EST

We all have a story to tell, something worth preserving or even sharing. This might be the tale of our own life, or the life of someone dear to us.  Maybe we long to capture oral histories of relatives before the living past disappears forever.

Regardless, the memoir is a genre that requires an approach, voice, and technique vastly different from fiction.

Topics we cover in this class include:

  • Developing the thematic frame of the memoir;
  • Creating a compelling narrative structure out of facts and timelines;
  • The art of the follow-up question: going beyond the generic questionnaires to dig deep and mine memories to get the extraordinary details and important information;
  • Developing and refining your memoirist voice;
  • Knowing when extra research is needed, what is needed, and how to find it;
  • Filling in the gaps when no information exists;
  • Understanding legal constraints (i.e. libel) and how to maneuver around them yet maintain story integrity;
  • Recreating dialogue and excerpting from original documents (letters, journals, etc.);
  • Positioning your memoir for multiple markets.

A recording is included with class purchase.

Business of the Writing Business: Ready to ROAR!

Instructor: Kristen Lamb

Price: $55.00 USD

Where: W.A.N.A. Digital Classroom

When: Thursday, February 15, 2018, 7:00-9:00 p.m. EST

Being a professional author entails much more than simply writing books. Many emerging authors believe all we need is a completed novel and an agent/readers will come.

There’s a lot more that goes into the writing business…but not nearly as much as some might want us to believe. There’s a fine balance between being educated about business and killing ourselves with so much we do everything but WRITE MORE BOOKS.

This class is to prepare you for the reality of Digital Age Publishing and help you build a foundation that can withstand major upheavals. Beyond the ‘final draft’ what then? What should we be doing while writing the novel?

We are in the Wilderness of Publishing and predators abound. Knowledge is power. We don’t get what we work for, we get what we negotiate. This is to prepare you for success, to help you understand a gamble from a grift a deal from a dud. We will discuss:

  • The Product
  • Agents/Editors
  • Types of Publishing
  • Platform and Brand
  • Marketing and Promotion
  • Making Money
  • Where Writers REALLY Need to Focus

A recording of this class is also included with purchase.

Self-Publishing for Professionals: Amateur Hour is OVER

Instructor: Cait Reynolds

Price: $99.00 USD

Where: W.A.N.A. Digital Classroom

When: Friday, February 16, 2018, 7:00-10:00 p.m. EST

Let’s get down to brass tacks. Are you going to go KDP Select or wide distribution with Smashwords as a distributor? Are you going to use the KDP/CreateSpace ISBN’s or purchase your own package? What BISAC codes have you chosen? What keywords are you going to use to get into your target categories? Who’s your competition, and how are you positioned against them?

Okay, hold on. Breathe. Slow down. I didn’t mean to induce a panic attack. I’m actually here to help.

Beyond just uploading a book to Amazon, there are a lot of tricks of the trade that can help us build our brand, keep our books on the algorithmic radar, and find the readers who will go the distance with us. If getting our books up on Amazon and CreateSpace is ‘Self-Publishing 101,’ then this class is the ‘Self-Publishing senior seminar’ that will help you turn your books into a business and your writing into a long-term career.

Topics include:

  • Competitive research (because publishing is about as friendly as the Red Wedding in Game of Thrones)
  • Distribution decisions (because there’s actually a choice!)
  • Copyright, ISBN’s, intellectual property, and what it actually all means for writers
  • Algorithm magic: keywords, BISAC codes, and meta descriptions made easy
  • Finding the reader (beyond trusting Amazon to deliver them)
  • Demystifying the USA Today and NYT bestselling author titles
  • How to run yourself like a business even when you hate business and can’t math (I can’t math either, so it’s cool)

Yes, this is going to be a 3-hour class because there is SO much to cover…but, like L’Oréal says, you’re worth it! Also, a recording of this class is also included with purchase.

The class includes a workbook that will guide you through everything we talk about from how to do competitive research to tracking ISBNs and distribution, and much, much more!

Time is MONEY, and your time is valuable so this will help you make every moment count…so you can go back to writing GREAT BOOKS.

DOUBLE-TROUBLE BUSINESS BUNDLE

BOTH classes for $129 (Save $55). This bundle is FIVE hours of professional training, plus the recordings, plus Cait’s workbook to guide you through everything from how to do competitive research to tracking ISBNs and distribution and more.

It’s Cait Reynolds again, and you know what that means…muahahahahahaha

Image courtesy of memegenerator.co

Historical romance is full of strong-jawed heroes in possession of a good fortune and in want of a wife…whether they know it or not.

In fact, if you add up all the fine, vast estates throughout England, you’d probably end up with a country the size of the North American continent. Actually, better add in Central America just to make sure we have enough acreage. (Thanks to my friend Britt for pointing this out to me all those years ago.)

For every Lord So-and-So, and Duke of Blah-Blah, there is a lovely, feisty young lady who much overcome a sad lack of fortune, sudden misfortune, or the tragedy of unfortunate connections in order to save the day, the estate, and the hero…who naturally obliges by falling in love with her.

Oh, wait. Sorry. Gone off the rails there.

We’re not talking puerile plotting today (and besides, that’s Lamb’s specialty). I’m here to talk about how to write about an ingratiatingly indignant and independence-loving heroine together with her seriously sensitive and sinfully seductive hero so that they are not walking, talking anachronisms that make readers want to tear their eyes out with the pickle fork.

Before we jump in, can I just ask…does it always have to be Regency England? Really? Historical writing is hard enough without thousands of experts ready to jump in and point out any inaccuracy or anachronism. I mean, I have seen virtual fisticuffs break out among the delicately natured about the precise method of shining Hessian boots as mentioned in a particular book.

Anyway.

We have to do the research. There is no silver bullet, no short-cut. We might not be doing the world-building of fantasy, but we are re-building a world that impacts every single thing our characters will do, say, think…and eat. Yes, certain emotions and reactions are consistent across time and fundamental to human nature. However, the way our characters understand the actions and circumstances that create those emotions and the way their reactions are expressed are absolutely rooted and shaded by their contemporary context.

Let’s take a look at a sample of the areas that we need to consider when tackling historical world re-building.

Dentistry, Dandruff & Deodorant

Perfume was invented for a reason. Back in ye olde, personal hygiene was far more…shall we say…individualistic? Perhaps optional would be a better word. I’m not saying people didn’t try to wash—somewhat. But, ‘somewhat’ had very different connotations and practices in the 12th century and the 19th century.

Even nobility had issues with the stink. I mean, think about it. You try walking around on a sunny, 70-degree day in several layers of silk and linen while having your internal organs constricted by whalebone. Oh, and don’t forget the wig (and attendant weevils and other creepy crawlies that would take up residence therein).

Bathing involved servants, buckets, lots of wood or coal, and a short soak in rapidly-cooling water. We should be considerate of Sally the under housemaid when deciding that your character is going to have a bath every day. She already has a lot of work to do around the house (including emptying your chamber pot), and helping to prepare a bath for you under the watchful eye of your abigail isn’t making her job any easier.

We don’t have to write that everyone stinks or about the housekeeper’s armpit hair. But, we need to think twice and do some research before glibly tossing out that Our Heroine shampooed her hair.

Watch Your Mouth

Seriously. If I read another manuscript where the author has used words like sure/okay/all right, I am going to reach for that pickle fork. But, it’s not just use of modern slang that can jar the reader out of the story, upsetting hoop skirts everywhere.

Even the way sentences in dialogue are constructed can indicate whether a character is speaking Tudorish, Regencyish, or Victorianish.

Image courtesy of Mental Floss

Even commoners would speak more formally than we do today—and the riff-raff, beggars, and laborers would also know just enough to speak with respect to their betters.

We should not make the mistake of thinking formal means ponderous or dull, though. It’s fun to play with that stereotype here and there, especially when writing the dialogue of a pompous, hidebound old windbag. But, formality and a more extensive vocabulary doesn’t mean we can’t have witty, chatty characters that are silly, sexy, and scintillating.

Help Wanted

Elizabeth Bennet did not repine the fact she could not go to university, or become a doctor or a soldier. She operated well-within the confines of acceptable social norms and expectations, and she did so because she naturally accepted that circumscribing and did not question it.

Why would she? It simply was how things were. Yes, she challenged the status quo about marrying for love, but she never challenged marriage or denied that there were only a handful of respectable options outside of marriage for a young lady.

This brings me to something that I see over and over again in stories: the feisty heroine who dreams of becoming X (insert impossibly modern career choice here). That’s not to say that we can’t write a good, convincing story about a heroine who dreams of becoming X, but we have to take a good, long, hard look at her starting place before we do.

Image courtesy of memegenerator.net

Seraphina is bored with embroidering all day and wants to join her brother and become a knight. She’s all about how girls can fight just as well as boys, and girls should get a chance, etc. She tosses her golden hair as she fights openly with her father about wanting to learn how to use a sword.

Cue pickle fork.

Seraphina was always closest to her brother Rolf. They supported and protected each other while growing up in a difficult family situation. When Rolf is called to go serve the king in a crusade, Seraphina panics.

She doesn’t want to be left alone to deal with the difficult family situation at home. She doesn’t think she could handle waiting months or even years for Rolf to come home—if he even makes it home.

She is backed into a corner, but because of her native courage, she makes a daring choice. She convinces Rolf to let her come along in disguise as part of his retinue. Along the way, she has to practice and sharpen up her fighting skills in order to pass for his squire. It’s a different world out there, when wooden swords are replaced with cold, hard steel.

Basically, people need to stop shoving heroines with 21st century values and beliefs into ye olde days. The only way to avoid making this mistake is to read and learn about the cultural values of the period and to immerse our brains into thinking in this way so our characters will behave naturally in harmony with the times.

Not Bread and Cheese Again!

Would people please stop having their characters eat nothing but bread and cheese? There is so much bread and cheese in poorly-researched historical novels that I feel nutritionally-imbalanced just reading about it.

There is no excuse for bread and cheese. If anything, historical food is one of the easiest areas to research! Just type ’18th century English food’ into Google, and BAM! You’ve got blogs, Google Books, PDFs of actual recipe books, and even photos of meals cooked from authentic recipes.

Image courtesy of Me.Me

Also, pay attention to what your characters are drinking. Well water (hello, giardia)? Beer or ale? Possibly. You could have combination of sherry, wine, and port or brandy with dinner. Be careful of tea, coffee, and hot chocolate before the 18th century. Yes, they were around, but not universally, depending on the decade and country. And, don’t let me catch you talking about hot chocolate like it’s some Swiss Miss crap. Hot chocolate was just that. Hot. Chocolate.

So, next time you want to write food into your scene, don’t settle for Wonder Bread and Kraft Singles. Let loose with Sack posset, quail in puff pastry, Chelsea buns, turnip soup, and Portugal Cakes…with a couple bottles of good Madeira to go along with it all!

Dressing the Part

Our dear Charity has managed to get away from her odious great aunt and is at the house of her friend Isabelle, getting ready for the ball. We the readers are treated to an extensive description of fabric, décolletage, sleeves, overskirts, hems, and lace. Let’s not forget the incredible jewelry, hairstyling, and make-up.

There’s a whole other sermon I could write about the sins of describing outfits. Today, I’ll confine myself to discussing historical accuracy. We need to dress our characters according to their social position, and we know what that means (hint: it involves research). A barmaid will not have a closet full of everyday dresses. If some malmsey-nosed sot spills beer on her, she can’t go home and change. Most likely, she would go rinse out the beer from her skirt because this would be her only summer skirt, and her other outfit would be for winter. Maybe, if she was lucky, she would have one good dress for weddings and funerals, and that dress would probably have been cut down from one of her mother’s in a style of twenty years earlier.

Yes. That is me. I own a steel-boned corset, and it is damn comfortable!

Yes, almost all women who could afford them wore corsets. But, before you have our dear Charity go complain about having to wear a corset, stop. Just. Stop. That would be like complaining about wearing a bra. Yes, we all do it sometimes, and we know it’s possible to go without one. Yet, it’s not really a big deal. It’s just part of what we wear every day.

This also goes for cravats for the gents, because someone, somewhere thought it would be a marvelous little joke to make men strangle themselves every day in the name of fashion.

Clothing wasn’t so much put on as assembled onto a person, with people who couldn’t afford maids helping each other. Both sexes wore stockings (at least up until the early 19th century) with garters to hold them up. There were petticoats and felt strips, chemisettes and buckles.

Just be careful of underwear. Drawers, pantaloons, panties, and small clothes weren’t really all that commonplace until the 19th century. This means if you want to go deep POV, you could mention the occasional strategic draft…

Pickle Forks and POV

The point of all this work is to show, but not show off. Out of everything you learn, only 10% should make it into your book. Wait. Stop. There will be no flipping of tables while reading this blog! Hear me out.

It’s all about understanding POV. What is normal for the character versus what is noteworthy. Think about contemporary fiction: ‘Taylor sat down at the table and helped himself to the potatoes.’ We can easily picture this in our minds. There’s a table, chairs, a dish, a bowl with potatoes and some kind of serving utensil. This sentence could work just as well in historical fiction just as it is (assuming we are working with a time period where potatoes were part of the European diet…and knowing that Taylor as a first name really wasn’t used back then but whatevs): ‘Sir Taylor sat down at the table and helped himself to the potato and gruyere galette.’

We do not need to elaborate just to show off that you verified the status of potatoes or know how dishes were served in the 19th century. There is no real reason we should ever write: ‘Sir Taylor entered the formal dining room where even on ordinary, daily occasions, the family gathered to eat. He settled himself in an ornately carved chair and reached for the porcelain platter with the Potato and Gruyere Galette.’

Image (and RECIPE) from paperandsalt.org

Some people would snort and point out that there is nothing wrong with that sentence, that it is lovely and descriptive. Yes, it is descriptive, but would Sir Taylor really think about how interesting it was that the family used the formal dining room every day, or how ornately carved his chair was? Do we notice with mild surprise where our dining table is every time you sit down to eat? No? Then, why would Sir Taylor?

Stay focused on the character, the plot, and the action. All I had to do to evoke a fancy, historical feel to the food was to change it from potatoes to an actual recipe (one which George Sand was rather fond of). If I’ve done my job right earlier in the book/chapter/scene, I’ve already given you a feel for the manor house, its size, décor, etc., but all done in the context of dialogue and POV.

So, now that I’ve beat sloppy historical fiction about the head and ears, I’m going to tell you about an opportunity to learn how to do sufficient and efficient research to be credible, interesting, and subtle. I’m offering an online class on Saturday, July 8, from 2:00-4:00 p.m. EST on W.A.N.A.! Information and sign up links are below.

The Class

So, you want to write historical romance. Awesome. Now, you just need to learn everything about that time period. Yay! Yay? Oh…crap.

While we don’t need a PhD in history to write historical fiction, we do need to do your research so that we can avoid the pitfalls of anachronistic language, modern Mary Sues, and the unforgivable sin of having our characters pay morning calls before one o’clock in the afternoon.

But, how do we start researching? And, when do we end? How do we know we know enough to start plotting–let alone writing? How do we keep track of everything we need to remember?

This class answers all those questions and more.

  • Get a template that guides you through all the steps of research
  • Discover the tricks of effectively and efficiently using Google and Pinterest
  • Learn how to use historical context in character development (i.e. no more Mary Sues)
  • Find out when and how to take research shortcuts…and when you have to buckle down and just slog through it all
  • Learn how to build a research reference library of your own
  • Discover how to find non-fiction books that are NOT boring
  • Develop an understanding of what kind of historical details to put into your story, and more importantly, what to leave out

Research for Historical Romance Writing – Or, How NOT to Lose Six Hours on Pinterest July 8th $35 for Basic/ $75 for GOLD / $125 for PLATINUM

Historical GOLD
You get the class (recording included in price) with Cait plus one hour of personalized one-on-one consulting regarding YOUR story.

Historical PLATINUM
You get the class (recording included in price) with Cait plus two hours of personalized one-on-one consulting regarding YOUR story and bonus worksheets. These worksheets will efficiently guide you through in-depth world-building and research, providing you with consistency for your writing and an excellent reference/style sheet for your editor and proofreader.

****Just FYI, in an effort to combat spammers your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Talk to me! And MAKE SURE to check out the classes below and sign up! Summer school! YAY!

And to prove it and show my love, for the month of JUNE, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

NEW CLASSES!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

OMG, Like How to Write Fleek YA July 7th $40 with Cait Reynolds

How to Dominate Your Sex Scenes (No Safe Words Here) July 14th $40 w/ Cait Reynolds

Gaskets and Gaiters: How to Create a Compelling Steampunk World July 21st $35 w/ Cait Reynolds 

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction 

July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Classes with MOI!

Plotting for Dummies July 13th $35 ($250 for GOLD)

Blogging for Authors July 20th $50 ($150 for GOLD)

Branding for Authors  July 27th $35

OTHER Classes with Cait Reynolds

Shift Your Shifter Romance into High Gear July 15th $35 Basic/ $75 GOLD/ $125 PLATINUM

Classes with Lisa Hall-Wilson

Growing An Organic Platform On Facebook July 22nd $40

 

 

Image via Flikr Creative Commons, courtesy of Sin Amigos.
Image via Flikr Creative Commons, courtesy of Sin Amigos.

Yesterday, WordPress (for some reason—I suspect evil elves) published my notes and many of you were sent my “Blog Haiku.” For those who missed it? Here it is:

Fill a Need

Go Niche

Get a Thick Skin

***

Now to expound…

Non-Fiction and Fiction Authors Have Similar Goals

Good non-fiction informs and entertains. Fiction entertains and fills an emotional vacuum.

Fill a Need

If we are writing non-fiction, the first thing we need to ask, is “What need is this filling?” Do people need to learn how to eat healthy, heal from divorce, manage time, balance their checkbooks? Do they want to understand and explore information left out of the history books? Do they want an informed opinion about economics, politics, or disease? Do they have a need to be intellectually stimulated?

Maybe readers want to learn about a subject that is beyond their intellectual grasp. I love documentaries about astrophysics, but whenever the alphabet (particularly the GREEK alphabet) enters MATH? I’m lost.

Doesn’t mean I might not be interested in sub-atomic particles and The Big Bang. I love writers skilled enough to take an unintelligible subject and then (through their writing) enable me to connect, understand, and appreciate something so complex.

Image via Flikr Creative Commons, courtesy of NASA.
Image via Flikr Creative Commons, courtesy of NASA.

Whenever we contemplate a subject, we must remember we are selling a product.

Secret Deodorant fills my need to smell nice at the gym and not offend those close (or sweat through my blouse and embarrass myself). A nifty car fills my need to travel from point A to point B, pay less for gas and have a sensor that tells me I’m about to run over the neighbor kid’s bike.

Insurance fills a need to prepare and feel secure that, if and when disaster strikes, I have a company watching my six and promising to make things right. Febreeze fills a need to make my home smell like autumn leaves. In Texas, this is an important need because in September, it is still 100 degrees and I need some promise it is REALLY fall.

With fiction, we are filling emotional needs. A need for excitement, adventure, love, intimacy, triumph, closure, healing, or even escape.

Go Niche

In non-fiction, this is particularly important, especially in the beginning. When we go niche, we minimize competition. We can establish expertise, grow deep roots and gain authority. Eventually, if we desire, we can use the niche success to broaden our platform.

For instance, when I started blogging about social media, I was trying to be like other experts because I was new and insecure.

Then I noticed the tactics other experts were teaching weren’t very author-friendly. Most of us aren’t IT people or power-marketers. Also, many of the experts were speaking to businesses who could simply employ someone to do their social media.

The owner of the business wasn’t in charge of creating the product, too.

Thus, I went niche. I made my content different and for a very specific audience—writers. Sure, WANA methods actually work for any small business. They are ideal for artists, photographers, stylists, lawyers, and any profession where the owner is required to also produce the product/service and lacks a department to delegate social media duties.

Yet, I remained focused on writers. One day I might expand. That’s the plan. But if I’d tried to compete with Guy Kawasaki in the beginning, I’d have been in a losing battle. I picked a field I could cultivate.

I defined my audience and dedicated everything I had into serving, informing, preparing and entertaining THEM.

If I want to write a diet book, a diet “that works” is a lot of competition. But what about a diet book for the woman who is breast-feeding and wants to lose weight, feel better, combat post-partum depression naturally and have a waistline again?

Niche.

This same principle applies to fiction. Many new writers are hesitant to pick a genre. We want to write a book everyone loves. In trying to please everyone, we please no one. Focus is key with fiction. Ask what you want your readers to feel and then focus on that. It will make your writing tighter and it will give it a greater chance of connecting to a willing audience.

We all recognize pizza in all its amazing and varied forms. Some weird casserole with a fancy name? Might taste better, but the pizza is an easier sell. Pizza CAN be creative. Yes, we can blend genres and use artistic abilities to offer “same but different” yet there needs to be a grounding point or audiences are left scratching their heads saying, “I know you SAY it’s good…but what IS it?”

Look for the vacuums. Demographics not being served. This is why I am so excited about Baby Boomer Romance. Still fills a need (love, excitement), it’s recognizable (romance), but it’s different. It can appeal to the 58 year-old who wants to read about a woman in her age group finding love.

Get a Thick Skin

Whether we are writing non-fiction or fiction, this is imperative. There are people out there who have nothing better to do than tear others down. Yes, I’m excited to now be blogging for The Huffington Post. It was a wonderful promotion as NF expert. Yet, a new level, new devil. I can’t moderate comments, and it didn’t take long to get the comment bashing me for using the word “Awesome.”

Um...thanks.
Um…thanks.

I used the word “awesome” ONCE, so I am guessing this is now a word banned from the English language? And I wonder if the commenter realizes she doesn’t look smart, just like a jerk. It took practically duct-taping myself in another room not to respond:

Awesome comment. It’s awesome you could take the time to make such an awesome observation. It’s awesome feedback like this that makes future blogs even MORE AWESOME. Thanks for being AWESOME.

But this goes with the territory *shrugs*.

Image via Flikr Creative Commons, courtesy of Paul Hudson
Image via Flikr Creative Commons, courtesy of Paul Hudson

Fiction authors? You cannot please everyone and if you try to? You start wearing your underwear on the outside of your clothes and take up collecting beer cans in a stolen Wal Mart cart as a hobby. Just don’t go there.

Fiction is subjective, so probably far more vulnerable.

One person LOVES description, and another hates it. One person LOVES lots of subplots, and others are confused. Just hone your craft, put out the best work you can and keep moving. Many of the bullies out there have been bullies since they were in fourth grade teasing the poor kid with the KMart clothes and a lisp.

Look at the bright side, we could be THEM.

What are your thoughts? Have you been on the other end of a bully? A Goodreads bully? Did you use duct tape to keep from hunting them down and burning dog poo on their porch? In your writing, has going niche offered focus? Do you have a clear vision of the “needs” your works should be filling?

I love hearing from you!

ANNOUNCEMENTS:

Winner of 20 page edit. Troy Lambert. Please send your 5000 word Word Document to kristen at wana intl dot com.

Since it was such a HUGE success and attendees loved it, I am rerunning the Your First Five Pages class SATURDAY EDITION. Use the WANA15 code for 15% off. Yes, editors REALLY can tell everything they need to know about your book in five pages or less. Here’s a peek into what we see and how to fix it. Not only will this information repair your first pages, it can help you understand deeper flaws in the rest of your manuscript.

My new social media book, Rise of the Machines–Human Authors in a Digital World is NOW AVAILABLE. Only $6.99.

WANACon, the writing conference of the future is COMING! We start with PajamaCon the evening of October 3rd and then October 4th and 5th we have some of the biggest names in publishing coming RIGHT TO YOU–including the LEGEND Les Edgerton. 

If you REGISTER NOW, you get PajamaCon and BOTH DAYS OF THE CONFERENCE (and all recordings) for $119 (regularly $149). Sign up today, because this special won’t last and seats are limited. REGISTER HERE.