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Kristen Lamb

Author, Blogger, Social Media Jedi

Kristen Lamb — Photo

Posts Categorized: Self-Publishing

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Image via Flickr Creative Commons courtesy of Ken.

Often, when I mention brand and platform, writers assume I am talking about promotion and marketing (ads). That is not only a false assumption, it can be a fatal one.

When we (regular people) hop onto Twitter, Pinterest, Instagram, Facebook or whatever social site, only to get barraged with book spam, a big reason it annoys us is because the author hasn’t taken time to build rapport, earn our trust, and gain permission to sell us stuff.

I kid you not, I signed in to LinkedIn for the first time in like a YEAR the other day and, in less than an hour, some author sends me PM with a link to buy his book. No introduction or hello or liking my stuff or asking if I had pets…

HERE! BUY MY BOOK!

….sure. Right on that. Nice to meet you, too.

*grumbles* *now remembers why I hated LinkedIn*

When approached this way, the promotion either becomes white noise (invisible), or worse, an irritation (negative branding). Writers trying to create a brand by serving up copious book promotion will create a brand all right.

The brand of self-serving @$$hat.

The sight of the author’s face or book might even be enough to spike our blood pressure. We are far more likely to block than buy.

Why? What went wrong?

For promotion to be effective, we have to understand what a brand actually IS.

If we don’t understand what a brand is, then promotion becomes an exercise in futility. Why? The most effective use of promotion—marketing, ads, contests, etc.—is to extend the reach, visibility of an already existing brand.

Sure, some companies will flood the market (prime the pump, so to speak) to launch a new product, service, business that no one knows about, but this is ridiculously expensive and extremely risky. It’s also being done less and less even by companies who have the cash to take this approach.

Brand is not what it used to be.

As Seth Godin said back when the entire concept of branding was being tipped on its head, ‘A brand used to be something else. It used to be a logo or a design or a wrapper. Today, that’s a shadow of the brand, something that might mark the brand’s existence. But just as it takes more than a hat to be a cowboy, it takes more than a designer prattling on about texture to make a brand.’

Even BIG companies these days are going to social media to create the stories, memories, interactions, sets of expectations, conversations and interactions that—taken as a whole—comprise a brand.

Once the brand is defined, the audience cultivated and a rapport established…THEN promotion and ads can be an asset.

Before all this prep work though?

Fuggetaboutit

The days of dropping tens of millions for promotion and ads are gone. It doesn’t work in our modern culture.

In fact, static marketing and traditional promotion had already begun declining in effectiveness with the rise of direct marketing (junk mail).

The barrier to entry for ‘marketing’ fell away with the invention of cheap laser printing.

This opened up advertising and promotion to companies that didn’t have a bazillion dollars to spend on promotion. Right after the inception of Web 2.0 (birth of social media), this decline in effectiveness compounded exponentially.

Even though experts like Seth Godin (and upcoming experts such as myself) wrote post after post discussing how the nature of brands had changed and promotion had to evolve as well, this didn’t stop the big boys from throwing their weight around.

Because if a crap-ton of expensive promotion had worked for a hundred years or more, why wouldn’t it keep working?

Um, because the world was (is) different. The audience had changed and promotion had to change in order to reach an audience that had long moved on.

Alas, it took losing $10 MILLION advertising on Facebook for GM to learn what they could have gotten off my blog for free. Ads without an established relationship (platform and brand) don’t work.

What’s in a Name?

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Image via Flickr Creative Commons courtesy of Pierre Lognoul

The formula for a brand is simple:

NAME + PRODUCT + EMOTIONAL EXPERIENCE

The last part is critical. In fact it might be the most critical.

Why do you think corporate empires pay so much for image consultants? Sure, Mylan once had a great reputation as a pharmaceutical company until they got greedy and decided to line their pockets at consumers’ expense.

A few years ago, if we heard the term ‘epi-pen,’ we might have experienced good emotions. Oh it is a life-saving drug. Helping kids with peanut allergies. My cousin had an epi-pen and it saved her life.

Nowadays? Different story. Once consumers found out the top execs had been giving themselves HUGE pay raises while hiking the cost of the only ‘known’ drug of its kind from $100 in 2007 to over $600 by 2017? Everything changed.

See, the company had a great product and had managed to create a rapport with consumers and build a relationship founded on trust. But then Mylan got greedy and took advantage of their consumers, which destroyed the relationship, obliterated trust and—in short—destroyed their brand.

No amount of promotion in the world can repair this. Why? Because this is an excellent example of the order of operations: product–> relationship (platform/audience) which leads to–>promotion–>sales.

I use this example to demonstrate that, while product is essential, brand is more than just the product. Promotion can’t take the place of building and maintaining a strong relationship.

This example is also to illustrate how important emotional experiences with a brand can be, that it has never been just the product.

It isn’t just about a book anymore.

Why Are Brands So Important?

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Most of us don’t have time to research each and every purchasing decision and thus, we as consumers, are prone to rely heavily on brands. Brands let us know what to expect.

When we buy Dolce & Gabbana shoes, we expect a certain quality. We go off the name and do far less inspecting and road-testing than we would for a designer/manufacturer we’d never heard of.

We are willing to order ahead of time and pay full price and even ridiculous prices for Louis Vuitton, Ralph Lauren, Prada, Versace, Harley Davidson, Porsche, Tesla, Apple products, John Deer, etc. So on and so forth.

But all of these companies (brands) did the same thing. They began with a solid product linked to a name that promised a unique experience. The name Harley Davidson would be just a name unless it came with a very distinctive type of motorcycle (LOUD).

But a name and a product alone are not enough.

What is a Platform?

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Image via Flickr Creative Commons courtesy of Alex Santosa.

Platform is tethered inextricably with brand. If brand is the product, then platform consists of those most likely to consume that product because they emotionally identify with the brand.

Trust me, Harley Davison is not worried about consumers who love Vespas. Sure, they are both motorized bikes, but they are selling to members of vastly demographics and also delivering very different experiences.

Authors are doing the same.

We know who Stephen King is because of his brand (which is a direct result of his products–stories). Because of his brand (tons of books, screenplays, short stories) we know if we are part of his platform or we aren’t.

If we are the type of reader who loves a riveting women’s fiction? King isn’t trying to court us. Why? We might know his brand, but we are not part of his platform.

Stephen King is not worried about Liane Moriarty and Liane Moriarty isn’t worried about Stephen King. Different products, different audiences.

In the old days, there was only one way to create a brand (and consequently a platform) and that was the books. Lots and lots of books (brand) cultivated a body of people who liked our writing/voice (platform). Today that is still a great plan.

With so much junk floating around, when readers find a writer they enjoy, they stick like glue.

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Image via Flickr Creative Commons, courtesy of Craig Sunter

Consumers (code for readers) still do this. This is one of the main reasons that we need to keep writing. Stop promoting ONE book. ONE book is not enough to create a strong brand/platform.

Remember:

A brand is a collection of emotional experiences.

A platform is simply those who will enjoy that experience.

Modern writers hold the advantage here.

Before the digital age, it was practically impossible to create a brand outside of the books, because the book was the only source of emotional experiences with the author.

Readers rarely had contact with an author beyond the books. Book signings, maybe magazine or radio interviews gave only slight glimpses of the author beyond the book. Today, with social media? That is no longer the case.

Every blog, tweet, podcast, Instagram post, YouTube video, etc. collectively serve to create the overall brand.

Yet, I want to stop here because there are two HUGE problems I want to discuss.

Problem #1: Please, STOP WRITING

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One thing that’s really begun to stand out to me is that far too many writers are…writing. Bear with me. Writers, or authors, are storytellers. Great, you have 80,000 words. That doesn’t mean you have a story.

Writers don’t only write words. We create profoundly emotional experiences…and happen to use words to do this.

Yes, this section is a bit of a segue, but trust me. This small side trip is vital.

I cannot count how many editing samples I receive that are writing, but are NOT stories. This is a BIG DEAL. Authors are in the business of selling stories, not word count.

Let me illustrate, and bear with me. I am riffing this:

Example One (Writing):

Fifi woke up at six in the morning. She reached out her hand to turn off the alarm on her phone, then she pulled off her covers. Sitting up, she put her feet on the floor, stood and walked over to her closet to pick out what to wear today. She caught a glimpse of her auburn hair and peridot eyes in the closet mirror and chose a purple sweater with a gold scarf.

Turning, she walked over to the bathroom, turned the knob and opened the door. Reaching out her hand, she turned on the water, then turned to hang her clothes on the back of the door. Turning back, she stepped into the spray and used her new shampoo, the one that smelled of jasmine and periwinkles.

She washed her long hair twice, because the directions said so, and followed with a deep conditioning treatment because she needed the extra three minutes to go over all she had to do at her new job in customer service at MyNet today.

Example Two (Storytelling):

The ear-splitting blare of a foghorn dragged Fifi from Chris Evan’s embrace right as he was about to kiss her. She did everything she could to remain in the dream, the one where Captain America had somehow fallen madly in love with the newest customer service representative for MyNet, but it was no use. Fifi reached for Cap one final time, and a split second before she could plant one on him…Cap was crushed by an ocean-liner that fell from the sky.

She bolted up in bed, now wide awake and wondering if she was now scarred for life.

Poor Cap.

Cursing, she rifled through her duvet and through the piles of clothes on the floor. She had to find her phone and turn off that god-awful noise before she lost it. A fog horn? Why on earth had she chosen a fog horn?

Then that small, annoyingly responsible voice in her head reminded her how she’d slept through the Zen wind chimes, the less-Zen piano riffs and the birdsongs? Why had she even bothered? It was either the fog horn—turned up to max volume—or be fired two weeks into her new customer service job at MyNet.

Product MATTERS

Example One is writing. A lot of words and nothing happening. Were any of you hooked? TONS of stage direction.

Hint: We all know how the whole ‘door opening thing’ works. We don’t need a ‘writer’ to tell us she reached out her hand, turned the knob and opened the door. 

Sure, this is GREAT for making a daily word count that makes us feel all productive, but this is a section of words, NOT a sample of a story.

Stories are about people who have PROBLEMS. Plots are how the core problem (and all the smaller related problems) are solved. Stories are about beating the odds, overcoming adversity.

Our modern world is being BURIED in ‘books’ with more filler than a dollar menu burrito. We’ve got to do BETTER if we hope to stand apart.

Problem #2: Too Good to Mingle with the Masses

I cannot tell y’all how many ‘writers’ I encounter who do not want to do social media…at all. When I mention how vital a platform is, how we need some form of a grassroots movement of people vested in our success, they dismiss me with a knowing smile.

They explain how they already have budgeted for ads, marketing, and promotion. All of this, obviously, will be automated so they have time for ‘more important activities’ than authentically interacting people they want to buy their books…

*stabs self*

Here’s the problem with this line of thinking.

Let’s even assume the book is better than unicorn tears. This isn’t 2001. Ads are so ineffective the print medium has almost gone extinct. The reason ads are ineffective is for a number of reasons.

First, back before 1990, the barriers to entry were so cost-prohibitive only the major players got a voice (we’ve mentioned this). If you opened a magazine, it was pretty much the same brands—big ones with lots of money.

With web 1.0, one had to know how to write code or have the cash to hire someone who knew how to write code. Again, only brands with a lot of capital could even have a website. Only whales had the cash to pay some I.T. nerd to code an ad or code an on-line promotional campaign.

This, again, meant the players were limited.

Fast-forward to 2019. There are web design sites so easy my mother (who was once afraid she’d delete the internet) can build her own site for less than $100. We can use Canva and PicMonkey to make our own ads for free.

Everyone is on social media for free. Zillions of writers are published because there are no gatekeepers. With some free/cheap software and time?

Bada bing bada boom…published author.

This said. After NINE years of book spam, why is anyone still considering spamming people as a viable plan?

After NINE years of writers killing themselves in a race to the bottom (who can give away the most stuff for cheap or free), why is anyone considering solely relying on marketing, ads, promotion and automation?

When was the last time you bought a book from someone who filled your favorite Twitter hashtag with automated ads for their book? Name a book you bought from a person who, minutes after accepting a friend request, PMed you a link to buy their book. Or posted an ad on your page.

#NotRudeAtALL

Promotion: Skip Steps at Your Own Risk

I’ve been around since before Web 2.0 was born. I’ve grown this blog from three hundred visits a month to three million a month.

And I’m not saying I’m anything special. I really should have named my first book I Did All the Dumb Crap So You Don’t Have To. But, suffice to say, I’ve stuck it out long enough to reasonably claim to know a thing or ten.

When I started out, we’d entered an entirely new world of communication, one humans had never experienced…EVER.

There were no rules when it came to the Internet. But, as I learned over time, there were actually rules all along. Why? Who uses the Internet? HUMANS. Social media platforms come and go, trends change, gimmicks skyrocket and then crash…but people don’t change.

Humans still want a good story. They wanted it when Shakespeare was all the rage and they want it now. Humans don’t like people who only pop by to chat when they want something (money). They didn’t like that crap in 1919 and don’t like it in 2019.

Thus, if we get target fixation (learn ALL THE THINGS about promotion) we risk ignoring the factors that truly matter—quality of the book, establishing a platform, choosing the right place to find and cultivate OUR unique audience, etc.

Just because Instagram is all the rage right now does NOT mean it’s a good fit for you, your books, or your brand. Sure, it MIGHT be popular, but it doesn’t mean your potential audience hangs out there.

The prudent author takes time to learn about the various mediums, define their ideal audience, and then plan accordingly. This is how effective promotion has been done for decades.

It’s why fashion magazines and blogs don’t reach out to advertisers pushing synthetic motor oil, racing tires, or laser-guided saws (or vice versa)

Working Smarter NOT Harder

Once we realize promotion is only something we can do effectively AFTER a lot of other steps in this process, it’s easier to relax. We know what to do and in what order and what should take priority.

History and massive amounts of data have demonstrated time after time that ads and marketing (alone) don’t sell books. Never have and never will.

When we understand WHY (read this post) and fully appreciate that books are a wholly unique product that requires a different approach than, say…organic dish soap, we can begin working more effectively.

If we appreciate the distinction between brand, platform, promotion, marketing, etc. then we work smarter, not harder and use resources wisely. Yes, feel free to do the ads and the marketing, just know that it isn’t a Golden Ticket.

If you’re curious about learning more on this topic, February 21st, I’m teaching Social Schizophrenia: Building a Brand Without Losing Your MIND. We’ll go over all the platforms, what each one does, how to use them, and how to determine which is the best fit for finding and growing your audience. Use the code #BlogLove for $15 off.

My goal has always been to help writers do what they love. Y’all can’t write for a living without that platform and a powerful brand that drives sales.

So let’s make a LOVE CONNECTION 😛

And for those who love the weird stuff, I’m teaching A Ripple in Time: Mastering Non-Linear Plotting this SATURDAY.

***All classes come with a free recording.

THANK YOU SO MUCH for your enthusiastic support! Y’all ROCK! I LOVE HEARING From YOU!

Comments, questions? Are you tired of being told you need to be on every social site all the time? Do you just want to get back to writing STORIES? Does the idea of promotion and ads make you hyperventilate?

What are your thoughts?

JANUARY’S AWESOMENESS (CLASSES)

Self-Publishing for Professionals

Taught by USA Today Best-Selling Author Cait Reynold’s on Friday, January 11th 7-10 PM EST PLUS EXTRA GOODIES ($100 for THREE hours of training plus bonus material). The LIVE class has passed, but the recording and bonus material is available with the BUNDLE.

The Business of Writing

Taught by Kristen Lamb on Saturday, February 2nd 1-3 PM EST ($55)

***GET ALL THREE (Self-Publishing for Professionals Jan. 11th, The Business of Writing Feb. 2nd & Pitch Perfect Feb. 7th) IN THE PUBLISHING TRIPLE THREAT BUNDLE for $155

Story Master: From Dream to Done

Taught by Kristen Lamb, Saturday, January 12th, 1-3 PM EST

Social Schizophrenia: Building a Brand Without Losing Your Mind 

Taught by Kristen Lamb, Thursday, February 21st, 7-9 PM EST ($55 General Admission/ $195 GOLD)

Yes, I will be teaching about Instagram in this class.

A Ripple in Time: Mastering Non-Linear Plotting

Taught by Kristen Lamb, Saturday, January 19th from 1-3 PM EST $55

Harnessing Our Writing Power: The BLOG!

Taught by Kristen Lamb, Thursday, January 24th 7-9 PM EST $55 General Admission/ $195 GOLD

Fiction ADDICTION: The Secret Ingredient to the Books Readers CRAVE

Taught by Kristen Lamb, Saturday, January 26th 1-3 PM EST $55

SALES: For Those Who’d Rather Be Stabbed in the Face

Taught by Kristen Lamb, Thursday, January 31st 7-9 PM EST $65

The Business of Writing

Taught by Kristen Lamb on Saturday, February 2nd 1-3 PM EST ($55)

Pitch Perfect: How to Write a Query Letter & Synopsis that SELLS

Taught by Kristen Lamb on Thursday, February 2nd, 7-9 PM EST ($55)

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

revising a novel, editing, self-editing for writers, writing, Kristen Lamb

Today we’re going to talk about revising a novel. It’s a highly emotional and arduous task, but vital. Revising a novel is more than mind-bending work at a computer (or with a red pen for the retro crowd). It’s a tough emotional experience that can blindside us and land us in the mire if we don’t anticipate what to expect.

Some of y’all might be familiar with the Kübler-Ross Five Stages of Grief.  For those unfamiliar, Swiss psychiatrist, Kübler-Ross first introduced her grief model in her book, On Death & Dying back in 1969 after years of working with terminally ill patients. Kübler-Ross identified five specific stages humans experience when faced with an emotionally overwhelming event.

The emotionally overwhelming event can be something traumatic like a death, but not necessarily. The human brain is a magnificent organ. The brain’s critical imperative is, first and foremost, to help us SURVIVE. Not thrive. SURVIVE.

We have to remember this to appreciate what we’re really going through when writing and then revising a novel, especially when we are new.

Our amygdala (Lizard Brain) is roughly the size of an almond, and responsible for the fight, flight, or freeze that kept our ancestors alive for enough generations to give us cool stuff like iPhones, Ikea, and the Internet.

Problem is, the amygdala isn’t terribly ‘smart.’ It can’t tell the difference between an attacking bear…and someone dumping us via text message.

It also can’t discern between experiencing death or revising a novel. This can become a problem, because we need to be in the higher thinking centers—HELLO PREFRONTAL CORTEX—if we hope to be objective enough to revise our first draft(s).

It’s a Process

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New writers often are unfamiliar with these five stages. Thus, they can become stuck in the grief process when revising a novel. Revising a novel is grueling, which is why it helps to know what it feels like. What is normal? When are we stuck? Why or when should we look for outside help?

Good questions, so back to the five stages…

Kübler-Ross caught a lot of criticism when she introduced her Five Stages of Grief. Many (mistakenly) assumed Kübler-Ross was suggesting humans went through the five stages in a neat, linear order. Some folks didn’t experience all five, etc.

The problem, obviously, is critics assumed humans make sense.

That, obviously, was the first mistake.

Those who’ve studied Kübler-Ross’s model now realize humans are jacked up and don’t follow instructions because we are not robots. #YayScience

According to some researchers, some humans facing trauma don’t experience any of these emotions, though I’ve yet to puzzle out how that is even possible. So toss that out for our purposes. We often won’t go through the five stages linearly.

Perhaps we can even get stuck on one, or vacillate back in forth in the Feedback Loop from Hell. The Feedback Loop from HELL is what is most pertinent to the Emotional Sheol that is revising a novel.

Kübler-Ross’s five stages are denial, anger, bargaining, depression, and acceptance. It applies to losing a loved one, and yep, also applies to writing.

Denial: My Book Is PERFECT

revising a novel, Kristen Lamb, editing, self-editing for authors, writing tips

This is something we experience most intensely when we’re new and have no friggin’ idea what we are doing. I remember my first ‘novel.’ It was—and I KID YOU NOT—187,000 words long.

One day, I just started writing, and writing and writing. Finally, I said to myself, ‘Well, this seems long enough. The End.’

I wish I were joking.

My novel was AMAZING. It had love, death, murder, comedy, tragedy, witty reparatee. It had everything!

…but a plot.

I didn’t want to be…’formulaic’ *flips hair*

This is the point where we might join a writing group or hire an editor because we need help with you know commas, spelling, punctuation *more hair flips*.

Many who finish NaNoWriMo for the first time can believe that the novel doesn’t even needs revising *clutches sides laughing* and that it’s cool to publish as is.

Please for the love of all that is chocolate do NOT PUBLISH OR QUERY. Finishing a novel is a lot like losing a loved one. Many loved ones actually in that when we finish, we have to say goodbye to ‘people’ who are very real to us.

Thus, selling our house, accepting proposals from death row inmates, or publishing a book are all MAJOR decisions we should put off…until we’re again legally sane.

Okay, for writers, legally ‘sane.’

The other side of denial (for the more seasoned/jaded author) is THIS IS ALL CRAP. Resist the urge to delete or sign up for barber college. May I introduce y’all to the seasoned writer after a first draft (or NaNoWriMo):

Have a Snickers…and a nap.

Anger: How Dare You Say My Book Needs Work?

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Maybe we reach out to a beta reader, a critique group or even hire a professional. This is the gut punch. Again, this is more for the newer writers since, if one sticks to the craft long enough to be a seasoned author…we spin through these stages faster than a Roulette Wheel hit with too much WD-40.

A little side-bar here…

When we decide to become professional authors, it’s wise to master the craft in every way possible. STUDY STORY. Become an expert. I read a ridiculous amount of books in almost every genre.

Yes, binging on Netflix and series IS work.

I study story structure, character arc, dialogue, theme, etc. First, I do this to help write better craft blogs, give the best classes and offer superlative services. But I also do this for my ART.

Expertise gives us insight and ammunition.

When I was new, I hadn’t studied enough and there were consequences. First, I dismissed good advice. Secondly, I didn’t have any way of discerning good advice from bad advice, which can lead to the Franken-Novel (book by committee). Thirdly, if I wanted to stand by a creative decision, I couldn’t articulate why.

But back to anger. When others (even experts) told me I had problems, I got angry. Instead of doing the tough work, I ‘fixed’ surface stuff. If we get the opinion of an expert who’s any good, I guarantee you they’ll make you angry.

As a long-time editor, I can tell you the ‘perfect’ book doesn’t exist.

Even if a book is great, a good editor should be able to spot something that’s going to take it to that next level. Often, it’s something that requires painful sacrifice. Anger is natural, but take time to cool off and see if maybe that person has a point.

If it’s something you simply refuse to change that is perfectly okay. It’s your book.

Yet, I’ve learned if something makes me angry…there very often is something there worth exploring.

Bargaining: Okay, Maybe My Novel Needs Work

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Bargaining is the place I believe most novels die. This is where we spend three or five or ten years reworking the same book. I can’t recall who first coined the term, but this is where we start ‘rearranging deck chairs on the Titanic.’ 

We can’t bear the thought of tearing down and starting over, so we futz with prose and description, move around chapters, decide we really have a series.

When revising a novel, we do everything BUT what needs doing. Sometimes we don’t have a core story problem. Or we have a weak core problem. Maybe we don’t have any stakes, or the stakes aren’t high enough.

Perhaps there is no ticking clock, thus nothing prompting urgency in the characters.

This is the hard birthing pains part.

Maybe we DO have a series, but series have structure. We can’t just parse a book apart at a certain page and say, ‘Book ONE!’ then ‘Book TWO!’ without doing some other modifications.

We always have to remember that the human brain is wired a certain way and when writers run contrary to what’s been ingrained in the audience’s very DNA, that’s a risk.

Dramatic structure is not an arbitrary—or even conscious—invention. It is an organic codification of the human mechanism for ordering information. Event, elaboration, denouement; thesis, antithesis, synthesis; boy meets girl, boy loses girl, boy gets girl; act one, two, three.

    ~David Mamet, Three Uses of the Knife: On the Nature and Purpose of Drama, pg. 73

Depression: I SUUUUUCK & My Novel is DOOOOMED

No and no. Writing fiction is mentally, physically and emotionally exhausting. This is why most of us who finish NaNoWriMo spend the first weeks of December eating jars of marshmallow fluff from our blanket fort. We’re so shredded because we’ve poured out an incredible amount of psychic energy, which needs time to recharge.

Think if you were trying to remodel a bathroom. You throw yourself into the remodel for a month. You’ve had to pee in old Folgers cans, borrow a neighbor’s bathroom, you have to go to the gym to shower.

Finally, after thirty days, the functional stuff is in place: shower, sink and toilet work.

But you insist on continuing without charging any of the tools. Oh you plug in the drill while you break for lunch, then go back to trying to instal cabinets, but the drill is sluggish and dies.

That table saw you’re using to cut the flooring is portable because it has a battery pack. But you do the same thing you did with the drill. You plug in the battery while you run down to the mini-mart for a Monster drink…then BACK TO WORK!

Can you imagine the nightmare of ‘finishing out’ a bathroom with tools that barely have a charge and keep dying? The mistakes one might make by stopping and starting over and over to plug in the charger for a half hour?

THIS is what can happen if we start revising a novel too soon. We are worn out. Our tools need time to charge. We need perspective and if we force the process…we can make small problems much bigger.

Editing too soon, can cut the beating heart out of a perfectly good story. Premature editing KILLS.

Expert Intervention

Or, maybe you’re out of your depth. Using our bathroom analogy, you were able to do everything but some electrical wiring and plumbing. You have to flush the toilet to turn on the lights. Maybe it’s best to admit we’ve done all WE can do and just hire some help.

Yes, it costs some money, but what is your TIME worth?

If you have a plot problem I (or another expert) can fix for you in an hour or two, which is better? Calling us and fixing the problem and finishing the book or spending the next year fixing the problem when you could have written another book?

I have never met a plot I couldn’t fix. I’ve done in less than an hour what clients couldn’t do in years. So many cry and ask, ‘Why didn’t I call you sooner?’ My answer. It doesn’t matter. You called. And quick tip. It is OKAY to not know EVERYTHING 😉 .

Acceptance: Let’s Fix This

You’ve rested, grieved, watched Netflix until your brain hurt and, overall, gotten some distance. I recommend checking out a previous post, Self-Editing: 7 Tips to Tighten the Story & Cut Costs. This post has a lot of DIY tips that will keep costs down if you do hire an editor, because the good ones are not cheap.

If you go to the Editorial Freelancers Association, you can see the standard rates and different types of editing. A developmental editor isn’t the same as a proofreader. Yet, I WILL say, that if we fix as much as we can on our own (sort of like that bathroom remodel), when we DO hire a pro we gain major advantage.

First, the expert can SEE what needs fixing MUCH faster. Secondly, it’s easier for them to do their thang. The means YOU saved THEM TIME so YOU SPEND a lot less MONEY.

#YouAreWelcome

Revising a Novel: DIY Dilemmas

As an editor, if I can’t get past the word echoes, passive voice, bad punctuation, POV shifts—simple fixes but MASSIVE distractions—then you’re burning cash. If we can’t see through this stuff that’s easily fixed on your own quickly, then it will take more TIME to get to BIG issues like plot, characters, arc, etc.

I offer my ‘Write Stuff Special’ namely because I want writers to have an affordable way to experience a true deep edit. This is my way of helping y’all save a ton of money. When I was new, there were some pros who helped me out and this is how I pay it forward.

I can tell every bad habit and good habit in only a few pages. More importantly, I can spot major structure problems as well and will give suggestions how to fix them.

This saves a TON of time ‘fixing’ stuff that doesn’t need fixing.

***Agents can see this stuff, too, which is how they can reject a book with only a small sample. If a writer doesn’t grasp POV in the first 10 pages, it’s unlikely to get any better and no one wants to be trapped in The Blair Witch Project.

Fresh Eyes Help

Remember that even the mega-authors have editors. We never outgrow needing fresh eyes to help us get unstuck. These experts are invaluable. Using myself as an example, I had a major problem with finishing up my mystery-thriller The Devil’s Dance. 

Agents spotted a problem, other editors spotted a problem, even beta readers spotted something was…off. They couldn’t tell me what. #Great

Finally, I handed it to my then editor and NOW my current coauthor. I kid you not, she read three pages and went, ‘Your problem is BLAH.’ And she was dead on.

*rails at heavens*

I’d read and reread my MS countless times over the course of a year and didn’t see that all I needed to do was remove three sentences.

Who do you think I now call FIRST when I am stuck?

Speeding Up the Cycle

Hopefully, now that we’ve explored the emotional rollercoaster that goes with revising a novel you’ll relax some. This is all natural. No, we won’t always go through all five stages. Sometimes we’ll hit them in a different order.

I have yet to figure out how one experiences NONE of these…but whatever.

Regardless, if we know this is a PROCESS and the parts of the PROCESS then we can more easily recognize when we’ve gotten STUCK.

Once we know we are stuck, we can then act. We can take a nap, work on something else for a while, take a class, read some books, crochet, watch Game of Thrones all over from beginning to end to recharge our bloodlust and dysfunction.

Whatever.

Just know if you’ve written a novel, even a crappy one, you did something that countless people claim they want to do…and DON’T. You finished and the most critical piece of success—in ANYTHING—is learning to be a finisher.

So give yourself a pat on the back and maybe a treat 😉 .

Before I ask for your thoughts, I want to make a little announcement…

Author Holiday Hotline

All the On-Demand bundles are ON SALE. We’ve saved all the best classes for a limited time for ON DEMAND. This means professional author training in your home, no pants required.

I STRONGLY recommend the gift that’s going to keep blessing you all year, all career long. We record all classes to make training accessible and convenient, but these recordings take up A LOT OF STORAGE space. Come the new year, we’re going to have to free up space on the servers and these classes will be gone for good. Some we might not offer again.

We have classes on speculative fiction, plotting, character, blogging, social media, etc. Scroll down and pick out the ones you want, then you’ll have the recording to watch on YOUR schedule.

Also, we have two more classes for December and some listed for January. If you sign up before December 24th, you can get $10 off.

GET $10 OFF ALL LIVE CLASSES. Use the promo code Jolly18.

What Are Your Thoughts?

Are you stuck revising your novel? Find yourself looping back and forth and never getting free? Hey, I’ve been there. Does this help you see the pattern? Give you some spark that YES, YOU CAN BE FREE! Revising a novel is TOUGH, so give yourself a break. If this job were easy it would be called rocket science 😛 .

I’d love to hear your thoughts on this!

Also, check out the FANTASTIC HOLIDAY DEALS we have! A lot of our On Demand classes need to be wiped from the server to make room for more training, so if you want professional training AT HOME? While in jammies during December when calories don’t COUNT? Grab you SOME! Gift it to yourself, a friend, YOURSELF!

ALSO, I’m offering my Write Stuff Special for a LOW holiday price. 20 pages of deep edit/critique for $55 and there are only 7 slots left. If you need some outside feedback to get you on the right track? Get a SPOT, TODAY! (You can use when you are ready).

In the meantime, opinions!

What do you WIN? For the month of DECEMBER, for 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).

LIVE CLASSES! REMEMBER TO USE Holiday18 for $10 off!

The WANANANO Bundle

Instructors: Cait Reynolds, Kristen Lamb
Price: $79.00 USD 
Where: W.A.N.A. Digital Classroom
When: (see below)

  • The Sticky Middle Saturday, December 14, 2018, 7:00-9:00 p.m. EST
  • NANONOWWHAT? Thursday, December 13, 2018, 7:00-9:00 p.m. EST (Just enough time to recover…)

Get two live classes plus all recordings for 30% off! You can also purchase each class individually.


The Publishing Triple Threat Bundle

Instructors: Kristen Lamb, Cait Reynolds
Price: $155.00 USD (buy now and get that last tax deduction in before the end of the year!)
Where: W.A.N.A. Digital Classroom
When: (see below)

Normally, it would be $210 USD for these three classes.

With the Triple Threat Bundle ALL THREE CLASSES (10 HOURS LIVE and RECORDINGS) for ONLY $155 USD. (Three classes for the price of TWO!)

You can also purchase each class individually.

***Registration is open until an hour before the final class. If, however, you want to attend ALL THREE CLASSES LIVE, MAKE SURE TO SIGN UP BEFORE THE FIRST CLASS ON JANUARY 10th.


ON DEMAND CLASSES!

ON DEMAND BUNDLE – Author Branding TKO

New Year New YOU! As they say, fail to plan and plan to fail. 2019 is almost here and the Author Branding T.K.O. delivers the training you need to make 2019 a success.

In this bundle, we’re going to take on then tame the three most terrifying topics. By the end? Easy peasy! You’ll wonder why this stuff ever had you so freaked out in the first place.

Normally all three classes would be $155…as well as spread across the entire year. But now, with the T.K.O. BUNDLE, all three classes in one place (your place) for only $99.

***Get your bundle TODAY. Only available for purchase through 12/24/18. Get your bundle before these classes go away with 2018. Gotta free up space on servers for 2019….


ON DEMAND BUNDLE – The Author’s Toolkit: Go PRO in 2019

Maybe have a New Year’s Resolution to write that novel? Have you started far too many promising stories, only to get stuck and never finish? Perhaps you just want to learn how to write FASTER without compromising quality? This bundle is the training you need to be a lean mean writing machine.

The Author’s Toolkit Bundle is six hours of intensive training that will help you write at a professional pace while minimizing revisions.

SIX HOURS of PROFESSIONAL TRAINING all at the same time, delivered to your computer. $165 when purchased separately, but in The Author’s Toolkit Bundle ONLY $99.

***Only available for purchase through 12/24/18. Get your bundle before these classes go away with 2018…


Blinding them with Science: The “X” Factor Classes

Tired of writing Soylent Green? Too many unfinished books trapped in the Twilight Zone? Ready to get weird…but way faster and at a professional level of weird? You came to the RIGHT PLACE! Cait and I are professional weirdos….(that sounded way more awesome in my head).

Anyway, the Blinding Them with Science Bundle is SIX HOURS of professional level training in speculative fiction at your fingertips.

***Just promise us that when you enslave the human race, we get cookies.

Three mind-bending classes for one low mind-blowing price. $165 in classes for only $99. ON DEMAND. Meaning enjoy at home in jammies.

***Only available for purchase through 12/24/18. Get your bundle before these classes go away with 2018…


ON DEMAND BUNDLE – Dangerous Dames: Creating Strong Female Characters

DOUBLE TROUBLE WITH KRISTEN & CAIT! Get the One-Two BAM! Two Power Classes with ONE T.K.O. PRICE!

Dangerous Dames BUNDLE. Regardless of time, place, or planet, these classes will train you to craft legendary bad@$$ females audiences can’t get enough of.

Normally $90 for both classes. With Double Trouble Bundle, enjoy BOTH classes for ONLY $75.

These classes are pre-recorded and won’t be offered again. This is the last chance to enjoy these classes before we free up space on the servers.


About the Instructors:

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. Not all at the same time. When she isn’t enjoying the rooftop deck that brings her closer to the stars, she writes.

 

Kristen Lamb is the author of the definitive guide to social media and branding for authors, Rise of the Machines—Human Authors in a Digital World. She’s also the author of #1 best-selling books We Are Not Alone—The Writer’s Guide to Social Media and Are You There, Blog? It’s Me, Writer. She’s just released her highly acclaimed debut mystery-thriller The Devil’s Dance.

Kristen has written over twelve hundred blogs and her site was recognized by Writer’s Digest Magazine as one of the Top 101 Websites for Writers. Her branding methods are responsible for selling millions of books and used by authors of every level, from emerging writers to mega authors.

Kristen Lamb, how to sell more books, do author newsletters work, book marketing, book promotion, promotion for authors, do newsletters sell more books, how to get newsletter subscribers

Today we’re tackling author newsletters. Do we need one? Do they sell books? Does a human sacrifice help?

Oops.

Last time I posted at length about sales, namely what it is, what it isn’t, and why we shouldn’t be afraid of it. Science proves that, the better writers are at sales, the more books they sell. Sort of like studies show that people who have more birthdays live longer.

You’re welcome 😀 .

Alas, whenever I blog about marketing or sales, inevitably a commenter or five mentions author newsletters. How other authors swear by them and so why oh why do I hate them?

First of all, I don’t hate newsletters. Correction. I don’t hate ALL newsletters. More on that in a bit.

Newsletters are a tool, and tools are neither good or bad. Should you want to cut down a dead tree, chainsaws are awesome. Want to settle a dispute with that coworker who keeps stealing your lunch from the company fridge? Chainsaws are BAD…and HR is far scarier anyway.

Before we get into pros and cons, dos and don’ts, think long and hard about why you’re considering a newsletter at all.

All My Friends Have Newsletters

Kristen Lamb, how to sell more books, do author newsletters work, book marketing, book promotion, promotion for authors, do newsletters sell more books, how to get newsletter subscribers

In my book Rise of the Machines: Human Authors in a Digital World, I take a lot of time explaining the various ways we now can publish—legacy, indie, small press, self-pub, hybrid, etc. All publishing paths have pros and cons.

How we publish is a business decision only we can make. Newsletters are the same. Like all other business decisions, newsletters require forethought and honesty.

Just like we shouldn’t rush out to self-publish because a member of our writing group is suddenly bathing in crisp Benjamins, we shouldn’t dive into creating a newsletter simply because another author swears they sell books faster than a donut shop across from a police station.

We only have 24 hours in a day. Time is a nonrenewable resource, which means we’re wise to use the time we have effectively. For writers, our priority is to dedicate time to writing books. The more books, the better. This said, the ways we then cultivate a fan base—actual humans who will BUY those books—should be selected with care.

Most authors will still have to work a day job, care for family, needy pets and also build a social media platform. A successful newsletter requires one critical factor to make it anything other than one more reason to take up heavy drinking.

What’s that factor?

Traction

Kristen Lamb, how to sell more books, do author newsletters work, book marketing, book promotion, promotion for authors, do newsletters sell more books, how to get newsletter subscribers

In my last post, I also talked about the trust gap. Too many businesses (and writers) want to skip building relationships and get right to selling. The problem is that, in the 21st century marketplace, relationships ARE our business. People buy from who they KNOW and who they LIKE.

We’re in an age of unprecedented abundance and choice, and most consumers are overwhelmed. This means the consumers’ comfort zone contracts at twelve times the rate the number of choices expands.

Don’t argue, it’s ‘science.’

For instance, when faced with seventy-five different pasta sauces at the nearby Central Market, my brain vapor locks. Though I could have chosen the organic, non GMO, vegan, cruelty-free marinara made with only free-range heirloom tomatoes, I grab a jar of whatever I bought last time.

And make a mental note to google what the heck an ‘heirloom tomato’ actually is, aside from pretentious and ‘meta.’

Pasta sauce companies hire smiling people in hairnets to hand out samples in order to bridge the trust gap. They KNOW there’s a ton of competition and that, unless they want to compete on price, they’re going to have to make the first move to connect with US.

Also, that connection is going to COST them…because charging for free samples defeats the purpose of a free sample.

One taste of a free-range heirloom tomato might be all I need to forgo Ragu forever, making Meta Sauce my new go-to when I fall off—then under the wheels of—the low-carb bandwagon.

Anyway, the free sample of Meta Sauce serves a purpose other than propping up the hairnet industry. The company uses the sample to gain advantage through connection. Since I’ve tasted Meta Sauce, it holds a major advantage over the wall of UNKNOWNS and increases the odds I’ll buy a jar.

Got Traction?

Kristen Lamb, how to sell more books, do author newsletters work, book marketing, book promotion, promotion for authors, do newsletters sell more books, how to get newsletter subscribers

Without traction, what happens? We’re left spinning our wheels going nowhere. Or we careen into oncoming traffic and everyone dies.

Congratulations, your newsletter is now a French film.

I hope you’re happy.

Many authors sing the praises of the newsletter, yet if we pay close attention, the newsletter in and of itself isn’t the whole picture. Authors who have successful newsletters have built some sort of relationship with those on their mailing list.

They FIRST established rapport and built relationships via a blog, speaking engagements, social media, a backlist of books readers enjoy, or a combination of any of these.

THEN they created a newsletter.

There’s an excellent book I highly recommend by Scott and Alison Stratton called UnMarketing. Though Scott and Alison aren’t specifically teaching writers, their methods are spot on (namely because they’re a lot like what I’ve been preaching since 2007).

Scott and Alison mention the idea of traction –> momentum –> expansion. Which was why I was all YES…THIS!

I get a LOT of emails (usually after conference season) from new and now panicked writers who believe they need to create a newsletter RIGHT AWAY! My job is to talk them off the ledge and explain they’re suffering PCSD—Post Conference Stress Disorder.

Kristen Lamb, how to sell more books, do author newsletters work, book marketing, book promotion, promotion for authors, do newsletters sell more books, how to get newsletter subscribers
How I feel about marketing ‘gurus’ who like to scare writers.

Odd are, some marketing guru informed them social media was a total waste of time and that NEWSLETTERS were the Golden Ticket. Maybe newsletters are the Golden Ticket. To me, they feel more like the Golden Tickets Willy Wonka handed out.

You know, there’s a nasty catch.

Instead of a day of sweets and fun, kids disappear one by one on a tour led by a psychopath. Instead of selling a bazillion books, writers disappear one by one.

The reason writers go missing is they grow weary of failure. Many who message me about how to write a newsletter haven’t even finished the BOOK. Funny how so many gurus fail to mention that having a finished book first is A PRETTY BIG DEAL.

*left eye twitches*

Newsletter Love

Kristen Lamb, how to sell more books, do author newsletters work, book marketing, book promotion, promotion for authors, do newsletters sell more books, how to get newsletter subscribers
Looks legit.

Building a strong, healthy newsletter that people love is a lot like dating. The results are far better when the other party goes along willingly.

Sure, chloroforming a hot college coed and chaining her to a radiator guarantees she’s not going anywhere. But as my mother always told me, ‘Kristen, relationships built on duct tape always require more duct tape’ …which now seems like really odd advice.

But it works for our lesson today, so we’re rolling with it.

Newsletters are most effective when people on our list made a deliberate choice to BE on our list. We reached out to others, established a bond over kitten videos and a mutual love for serial killer documentaries, and then mentioned subscribing to our newsletter.

And they did.

This is traction. Once we gain traction, we can then build momentum and momentum is essential to expansion.

The problem with many newsletters is they’re too often viewed as shortcuts. Social media requires we invest time, energy, and emotional capital over a period of months or years. Newsletters are there to help bypass that icky job of talking to people before asking for their money.

FYI…NO!

It’s much faster to plunk down cash for a list of emails and blast a newsletter far and wide. In case y’all haven’t seen the transition, this is no longer a newsletter. It’s morphed into direct marketing (spam).

Spam is the inbred cousin of the newsletter. It’s about as welcome as the distant relative who moves in uninvited, drinks all the good whiskey and pawns your electronics to buy lotto tickets.

News About Newsletters

Kristen Lamb, how to sell more books, do author newsletters work, book marketing, book promotion, promotion for authors, do newsletters sell more books, how to get newsletter subscribers

Yes, they can be effective if the list is populated with actual fans who wanted the newsletter in the first place. I already mentioned the folly of buying subscribers. But there are also sites that will force us to give an email before we can see the thing we clicked to see.

This reminds me of college and the guy who wouldn’t go away until I gave him my phone number. Poor Domino’s.

*Ponders how many AoL emails are captured this way*

Numbers of emails alone are no great indicator of anything but…um, numbers of emails. There’s this thing called an ‘open rate.’ It doesn’t matter if a million people receive our newsletter if no one opens it.

Also, if they do open our newsletter, does the content inside compel a click-through and purchase?

If you’re killing yourself with a newsletter and no one’s opening, or if they’re opening they aren’t buying? That’s a waste of time spent better ways. Like writing more books. OR being present on our social platform of choice strengthening relationships.

If you’ve subscribed to a newsletter you love, can’t wait to receive and always open and act…take time to consider WHY. Can you replicate what they’re doing in your own unique way?

Tips for Newsletter Success

  • Finish the book before starting a newsletter (otherwise it’s kinda…weird);
  • Create relationships before asking for subscribers;
  • Real friends can’t be bought. Earn subscribers instead of buying email lists;
  • Offer something of value that can ONLY be accessed via your newsletter;
  • Go easy on how often we hear from you. How can we miss you if you won’t go away?

What Are Your Thoughts?

Do you enjoy doing a newsletter and have some tips? Are there newsletters you can’t wait to see in your In Box? Why? What makes them special to you? But for those who dig newsletters, tell us why. We’d love to hear your perspective, tips, advice, etc.

Or are you like me and afraid of your email? I’ve given up changing emails to escape the newsletter spam. I blog, so for now, a newsletter not in my immediate game plan.

Do you prefer free-range tomatoes or ones kept in cages?

I love hearing from you!

What do you WIN? For the month of JUNE, for 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!

steampunk, writingClass Title: Building a Believable Steampunk World

Instructor: Cait Reynolds

Price: $50.00 USD Standard

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

When: FRIDAY, July 20, 2018. 7:00-9:00 p.m. EST

REGISTER HERE

Who doesn’t love some steampunk cosplay? Corsets, goggles, awesome hats…

Steampunk has become one of the hottest genres today, crossing the lines of YA, NA, and adult fiction. It seems like it’s fun to write because it’s fun to read.

However, there’s a world of difference between the amateur steampunk writer and the professional steampunk author, and the difference lies in the world they create.

Is your steampunk world historically-accurate enough not to jar the reader out of the narrative with anachronisms? Does your world include paranormal as well as steampunk? Are the gadgets and level of sophistication in keeping with the technologies available at the time?

Steampunk is not an excuse to take short-cuts with history. Good writing in this genre requires a solid grasp of Victorian culture and history, including the history of science, medicine, and industry.

This shouldn’t scare you off from writing steampunk, but it should encourage you to take this class and learn how to create a world that is accurate, consistent and immersive.

This class will cover a broad range of topics including:

  • Not-So-Polite Society: Just how prim and Victorian do you want to get?
  • Grime and Gears: How to research Victoriantechnology, science, medicine, and industry without dying of boredom?
  • Putting the ‘Steamy’ in Steampunk: How to obey (and more importantly, break) Victorian rules of romance;
  • Keeping it Real…ish: How to drop in historical details without info-dumping, and how to describe and explain your steampunk innovations without confusing.

A recording of this class is also included with purchase.

DYSTOPIA!!


Class Title: World-Building for Dystopian Fiction

Instructor: Cait Reynolds

Price: $50.00 USD Standard

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

When: Friday, July 27, 2018. 7:00-9:00 p.m. EST

REGISTER HERE

There’s no greater fear than fearing what dwells deep in the dark corners of human nature. Dystopian literature, for all its bells and zombie whistles, shines an unforgiving light on all those shadows.

Can’t think of any dystopian-genre books off the top of your head? How about:

Farenheit 451, The Hunger Games, The Handmaid’s Tale, 1984, The Lorax, The Stand, Neuromancer, Ender’s Game, Divergent, World War Z, Underground Airlines, Brave New World, Ready Player One, A Clockwork Orange, and Do Androids Dream of Electric Sheep? (just to name a few…)

Still, it’s a challenging genre to write. Done badly, dystopian fiction is the equivalent of that emo kid down the hall in your dorm who drinks way too much coffee and just won’t quit playing The Cure.

Done well? We get the dangerous thrill of skidding close to the edge of moral insanity, looking through a mirror darkly and seeing ourselves and our neighbors, and a hyper-creative outlet that combines the dubious fun of post-apocalyptic totalitarianism (zombies optional) with chilling truths about human nature.

Topics covered in this class include:

  • Having fun with things you shouldn’t: why destroying society is just so much fun!
  • ‘First Fright’ vs. ‘True Fright’: sure, we’re afraid of enforced barcode tattoos because totalitarianism!…but maybe we’re really afraid because it really sounds so seductively convenient;
  • Picking and choosing ‘normal’: how to balance having enough familiarities with society today with creating shocking changes that go right to the heart of our fears;
  • Fear leads to the dark side (unless you’re already there): creating dystopian characters that invite both shock and sympathy;
  • To apocalypse or not to apocalypse: do we really need nuclear fallout or an alien invasion…or can we do it all ourselves?
  • Playing with your food: how to put a new and unique spin on zombies, aliens, and food shortages (i.e. asking critical questions like whether Soylent Green is gluten-free).

A recording of this class is also included with purchase.

About the Instructor

Cait Reynolds is a USA Today Bestselling Author and lives in Boston area 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. Not all at the same time. When she isn’t enjoying the rooftop deck that brings her closer to the stars, she writes.

 

BRAND NEW CLASS IN AUGUST!

Kristen Lamb, W.A.N.A. International, business for authors, selling for writers, sales for writers, how to sell more books

Instructor: Kristen Lamb

Price: $50.00 USD Standard

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

When: Thursday August 9th, 2018 7:00-9:00 p.m. EST,

Writers are in the entertainment business. Notice the second half of our job title is business. The lifeblood of all business is sales.

But, to be blunt, most creative professionals would rather be stabbed in the face than ‘do sales.’ Yet, if we don’t sell books, our career is doomed (regardless of how we publish).

One of the MAJOR reasons so many people are afraid of sales is because what’s being taught as ‘sales’ is actually ‘direct marketing.’

Direct marketing is NOT sales. It IS, however, pushy, icky, and hasn’t been effective since The Spice Girls were cool.

Sales can be fun. In fact, believe it or not, humans are wired for sales. It’s part of our biology. Problem is, humans are also wired to overcomplicate things…which is why so many of us freak out over sales.

This class is to remove the fear factor and clarify what selling entails for the professional author. Not all products are sold the same way…which is why there are no late-night infomercials hawking Hadron Colliders or F-16 fighter jets. Our sales approach must align with the product we’re selling, or we’re doomed before we begin.

This class will cover:

  • Why direct marketing doesn’t sell books;
  • Tame wasters versus time savers;
  • How to be paid what we are worth;
  • Ways we can make ads, promotions and marketing far more effective;
  • The unique way books must be sold;
  • How to set goals and create a scalable strategy;
  • Explore the S.W.O.T. analysis and why we need one;
  • How to differentiate our brand and product in an over-saturated marketplace;
  • AND MORE!

***A FREE recording is included with class purchase.

 

Editor, editors, writing, publishing
Actually, it’s you. Love, the Editor.

Harsh, I know. Alas, sometimes tough love is necessary for the greater good. Cait Reynolds here today, and what I’m about to reveal is the secret heart’s cry of pretty much every freelance editor (at least the ones that don’t just run manuscripts through Grammarly).

Having worked as a freelance editor for many years, I’ve seen it all from the articulate and amazing, to the works of pure WTH?

I’ve also been given ARCs of books that are ‘professionally edited,’ but are appallingly full of typos, grammatical errors, and trite characters and plots.

Editor, editors, writing, publishing

I’m not necessarily blaming the editors in these cases. I get it. Sometimes, a work is simply so awful that we would have to completely rewrite it just to get it into passable shape. And, for a fraction of a penny per word, it isn’t worth it.

While there are definitely things editors can do to start helping to correct and cure this epidemic of literary mediocrity, there are things that writers need to do as well. That’s what I’m going to focus on today.

An editor hates…

1. When writers think they don’t have to do at least one or two rounds of their own editing before sending us a manuscript.

I’m not just talking about proofreading for commas (though, that’s another thing coming up). Everyone is in such a rush these days to get their work up on Amazon as fast as they can. So many authors finish up a “manuscript,” hit save, and then email it to their editor without a second thought….or a second look.

Let me throw out this hypothetical situation. Say we were sending this manuscript to an editor at Harper Collins or Penguin. Would we hit save and then send it off without combing through every line?

Or, would we let the manuscript sit for a week or two, giving our brain time and distance so we can go back at it with fresh eyes? Would we read through it critically, looking for (and correcting!) everything from typos and inconsistencies to doughy dialogue and plot holes? Would we repeat this process at least once if not twice more?

Editor, editors, writing, publishing

We probably would because we know the editor is probably hard-to-please with extremely high expectations about the degree of polish in any work they receive.

So why is sending a manuscript to a freelance editor any different? It shouldn’t be.

Freelance editors aren’t entirely innocent in this, either. We take on work instead of asking for a sample to see what the manuscript is like and then refusing to work on it until the author has gone back and cleaned it up. But, Amazon KDP has both exacerbated and preyed on authors’ fear of rejection to create a murky industry that cycles off of accepting mediocrity as a norm.

I digress.

2. When authors shop around for the cheapest editing services instead of the best editing services.

Editing is one of those things in life where we really do get what we pay for.

Professional freelance editors with experience and training beyond “I love reading,” and “I’m a writer, too,” are pretty rare commodities these days. If we are lucky enough to be taken on by one of these editorial unicorns, we should expect to pay the going rate for unicorns.

Editor, editors, writing, publishing

Many authors don’t want to go that route because it would mean having to save up money and probably publish fewer books. I don’t think that’s a bad thing because not every idea will make a good book.

Also, like cheese, wine, and wisdom, good ideas and stories need time to mature. We need time to noodle and daydream, to experience those moments of sudden inspiration while doing the dishes or walking the dog.

Instead, far too many authors slap down 60,000 words for whatever idea pops into their heads and then rush on to the next idea. Because if we’re not putting out three books a month, we’re gonna get tossed off the KDP Hamster Wheel of Death.

Producing books in volume means paying for production with an eye to getting volume-discounted services.

The average going rate for editors who provide services to these authors is about $240 for two rounds of editing on a 60,000-word manuscript.

Let’s say that an average editing effort takes 20 hours. That’s $12/hr (before self-employment taxes). It’s only our aversion to fryolators that keeps us from going to work at McDonald’s.

I’m not even going to talk about how authors will pay $500-$800 for a custom cover design but want that $200 editing job to cover concept editing, line editing, and proofreading. It’s enough to turn an editor into a jumper. Or cover designer because screw this $h!t.

Editor, editors, writing, publishing

An editor gets stabby when…

3. All an author does is accept track changes and sends the manuscript back for round two.

Yes, I have received manuscripts back like this. It’s like the author just ignored all conceptual, content, and craft comments I painstakingly made. This is frustrating because it makes editing incredibly tedious. More than that, it’s disheartening.

When a writer ignores editorial guidance, he or she is also turning down the opportunity to become better at the craft of writing. A good editor doesn’t just catch typos and minor inconsistencies. A skilled editor can identify a writer’s strengths and weaknesses and teach the writer to enhance the first and correct the second.

I’m not sure why writers are so often dismissive of editorial suggestions. Is it because they are in such a rush to get the book out (I see you, KDP Hamster Wheel of Death) that they simply don’t have the time to do a proper editing job?

Or, could it be that they don’t want to take on the daunting task of tearing apart a completed manuscript and painstakingly reworking and rewriting it? Maybe it’s because they’re afraid that trying to improve their writing would imply they’re not that good to start with and probably would never be able to get a traditional publishing contract.

Ignoring editorial guidance is also disrespectful. Let’s go back to that Harper Collins example. How inclined would we be to ignore an editor from Harper Collins who returned our manuscript with suggestions for not only reworking a good third of the book to tighten the plot, but also for learning to be more succinct yet vivid with our descriptions (meaning we need to go page-by-page on our own and make changes)?

So, why ignore guidance and suggestions just because an editor is freelance?

4. There are stupid grammar and usage mistakes in a manuscript.

Seriously. While I get that there are some fine points with grammar that we all fumble with from time-to-time, there is absolutely NO excuse for using the wrong word or using a word incorrectly.

Editor, editors, writing, publishing

Words are a writer’s business, like medicine is a doctor’s business. How much would we trust a doctor who glanced at a fractured tibia and said, “Uh, seems like you broke your leg thingy.”

How about a list of cringe-inducing usage mistakes I see every single day in manuscripts and self-published books?

  • Conscious/conscience
  • Weary/wary
  • Disdain/distain
  • Wondering/wandering
  • Past time/pastime
  • Shuttered/shuddered
  • Chocked/choked
  • Peak/pique/peek
  • Lossed (not even a word)/lost
  • Passed/past
  • Lead/led

Are some of these typos or bleary brain slip-ups? Maybe, but frankly, these should be caught and corrected long before an editor ever sees the manuscript. However, when the wrong word is used consistently, that tells me the writer doesn’t actually know the meaning.

Even worse, when I see incorrect usage that has made it into the final book, I’m ninety-nine percent sure the editor doesn’t know what he or she is doing…or committed seppuku halfway through the editing process.

In terms of grammar, I get that we all have different levels of training. However, just like we don’t want a broken-leg-thingy doctor, I don’t want to see writers who don’t know and don’t bother to learn the most basic rules of language.

Editor, editors, writing, publishing

Personally, I like the Oxford English Dictionaries’ online grammar reference.

And finally, an editor really, really hates…

 5. When we can tell all a writer really wants is the look-at-me-I-published-a-book participation trophy.

The National Association of Recovering Freelancers* put out a study that said four out of five freelance editors suffer a nervous breakdown due to the near-lethal combination of shoddy writing, shoddier story conceptualization and development, and repeated exposure to bad grammar.

Editor, editors, writing, publishing

*I totally made up the National Association of Recovering Freelancers, but now that I think of it, I really like the acronym, N.A.R.F. Very ‘Pinky and the Brain.’

What drives freelance editors to give it all up? Why do they consider it more productive to search Pinterest compulsively for DIY seashell crafting than to edit a manuscript?

Part of it is the money. It’s also the soul-dulling tedium of slogging through clunky prose, bad grammar, and tired tropes (at $0.004 to $0.006 per word). Most of all, it’s nihilistic realization that so many writers care more about seeing their name on Amazon than whether their readers are getting the best possible story they could write.

Without the Amazon KDP platform, almost none of these writers would ever stand a chance with literary agents and traditional publishers. While the pre-KDP era was far from perfect, repeated rejection had one MAJOR benefit: either the writing got better, or it was never inflicted on the unsuspecting public.

Editor, editors, writing, publishing

It was the publishing industry’s equivalent of telling the broken-leg-thingy doctor to either go back to school or consider a different career like professional Zamboni driving.

See? Not all gatekeeping is a bad thing. But, freelance editors now have all the work and none of the power, and the reading public is the worse for it.

Harsh but hopeful?

The fact that you are here and reading this blog gives me hope. It means you actually care about becoming a better storyteller and craftsman. It isn’t that freelance editors want to see perfection right off the bat. We merely long to see progress.

Freelance editors do this because we love the written word. We are unflaggingly idealistic, optimistic, and altruistic…until we’re not.

Editor, editors, writing, publishing

If you or someone you love is a freelance editor who is showing signs of stress (common signs and symptoms include wild-eyed staring at the screen, increased consumption of alcohol/caffeine, and muttering, “Alas, poor literature, we hardly knew ye!”), N.A.R.F. recommends the following treatment options:

  • Vitamin D. Take your freelance editor outside and reassure them that the light will not actually burn;
  • Laugh therapy. Expose your freelance editor to a minimum of three minutes of cat videos twice a day;
  • Calm panic attacks. Repeating “All is right with Strunk and White,” in a low, soothing voice will help ease anxiety;
  • Homeopathic literature. Provide your freelance editor with Pulitzer Prize- or Mann Booker Prize-winning books. A selection of classic literature will also work in an emergency;
  • Career development. Gently suggest that your freelance editor consider a different career…

Perhaps something in cover design?

I love hearing from you!

What do you WIN? For the month of JUNE, for 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).

Upcoming Classes!

Instructor: Cait Reynolds

Price: $55.00 USD

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

When: Friday, June 22, 2018. 7:00-9:00 p.m. EST

CLICK HERE TO REGISTER

Remember Moonlighting? Dave and Maddie were the hottest thing ever…and then they kissed…and it was still kinda hot…and then they really got together and settled down to blissful domesticated bickering. And…we all stopped watching.

Because it was boring.

Remember the X-Files? The lucullan feast of smoldering restraint that was Mulder and Scully? Chris Carter refused to give the fans what they wanted with a kiss at the series end, and while fans gnashed their teeth, it was a kind of pro forma gnashing because we were still interested and could still dream about what might happen.

While the episode-based storytelling of television allows romance to be the B-plot (and only when it feels like it), novels are different. Whether we are writing squeaky clean romance or too-much-wasabi-level-hot erotica, we are always dealing with the same basic principle of THE TEASE.

And for all that romance gets a bad rap and is scorned as being ‘easy’ to write, sustaining the delicious, rippling tension and fizzing chemistry between characters is one of the hardest techniques to master. This class can help you (literally) keep the romance alive well past the 80,000-word mark and beyond!

Topics covered in this class include:

  • ‘So, I’ll tell you what I want, what I really, really want’: recognizing what the reader wants, what the reader really wants but doesn’t know, and what the reader needs;
  • How to Flirt with the Reader: giving an inch but taking a mile when it comes to sweet/romantic/sexy moments;
  • Clean and Mean: putting the spark in sweet romance and fanning the flame without risking the brimstone;
  • Down and Dirty: putting the emotion in erotica so every encounter leaves the reader panting for more…for more than one reason;
  • The Speed Dating Trap: how to balance interest, interaction, and attraction without falling for the trap of insta-love (just add fate/pheromones/booze);
  • Making it Last: how to chart a course for romance and pace it so it lasts…all book long…
  • So much more!…

A free recording of the class is included in the purchase. CLICK HERE TO REGISTER


Instructor: Cait Reynolds

Price: $45.00 USD

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

When: Saturday, June 23, 11:30 a.m. – 1:30 p.m. EST

CLICK HERE TO REGISTER

There’s something dashingly defiant and alluring about a proper young lady who throws caution (and often her petticoats) to the wind and picks up a sword to fight for what she believes in.

Whether it’s Eowyn from Lord of the Rings or Elizabeth (Badass) Bennet from Pride and Prejudice and Zombies, we all love that moment when a woman rises up to prove she’s more than society ever expected her to be.

Yet the market today is flooded with fantasy and historical that carry more trope baggage than Marie Antoinette for a long weekend at the Petit Trianon (sheep not included).

In fantasy, there are girls raised in servitude who suddenly discover their magical powers and royal heritage and must (really quickly) learn to wield swords and spells in order to save the kingdom.

Historical often isn’t much better, taking naive nineteen year-olds and turning them into near-legendary brigands, highwaymen, and pirates within the space of a few months.

Lack of believability, lack of character depth and arc, and lack of world-building/historical knowledge are the three major pitfalls when creating Ye Olde Action Heroine.

Luckily, this class will give writers a map with all literary here-be-hippogriffs clearly marked. Whether your gal is besieged by dragons, in a castle under siege, or in a castle under siege by dragons, this class can help!

This class will cover:

  • En Garde! Choosing her weapons wisely;
  • Ye Olde Fight Club: getting real about time & training;
  • Why, How, and When: how to realistically get her on the path from baking to badassery;
  • Hard Knocks: how to use failure and lack of skill mastery to create compelling character arcs;
  • The Joan of Arc trap: how to avoid creating miracles and martyrs (unless you really mean it);
  • The Pirate Bride: defining femininity in fantasy and historical in order ‘rebel’ against it;
  • Consequences: what are the short- and long-term consequences of flouting convention?
  • World Building & Re-Building: getting fantasy and historical settings right for your characters;
  • And so much more…

A recording of this class is also included with purchase. CLICK HERE TO REGISTER


Instructor: Kristen Lamb

Price: $45.00 USD

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

When: Saturday, June 23, 2:00 – 4:00 p.m. EST

CLICK HERE TO REGISTER

Female characters have evolved from ‘damsel in distress’ to the ‘hardcore badass.’ Problem is, fictional females escaped one boring mold only to end up in another even MORE boring mold.

But with lipgloss AND karate!

Strong female characters fascinate audiences on the page and on the screen. From Atomic Blonde to Wonder Woman, Special Agent Scully to Dr. Laura Isles, women can exude power and danger in a variety of ways.

Sadly, the badass female has devolved into a tired trope with the depth of a puddle.

This class is to challenge the concept of the dangerous woman as protagonist and antagonist. Creating a powerful woman involves more than handing her weapons, a black belt, and a terminal case of RBF (Resting B$#@% Face).

    • Expanding ‘who’ the dangerous woman IS;
    • Still waters run DEEP;
    • Broadening backstory;
    • Motives matter;
    • The ‘Tomb Raider’ effect;
    • Combat, weapons, tactics;
    • Expanding her ‘arsenal’;
    • Generating authentic dramatic action/tension;
    • Making the dangerous dame ‘likable’;
    • AND MORE…

As an author, competitive shooter, and former combatives instructor, there are few characters I LOVE more than a kickass female action hero. Conversely, fewer things vex me more than the tired cookie-cutter female action hero trope. Women can be powerful in a myriad of ways, beyond hand-to-hand combat and shooting everyone in the FACE.

This said, while we’ll explore a wide variety of powerful women, if you long to write that female action hero, this class will (hopefully) make sure you do her justice.

A recording of this class is also included with purchase. CLICK HERE TO REGISTER


Can’t seem to choose between pirate princesses and bulletproof Barbies? We don’t blame you…and, you don’t have to!

With the Dangerous Dames BUNDLE, get both classes and SAVE MONEY.

Purchased separately, each class is $45. Go for BOTH and get $90 of instruction for ONLY $75. You also get to spend a HUGE part of the day with ME (Kristen Lamb) and my partner in crime Cait Reynolds.

CLICK HERE TO REGISTER

Date: Saturday, June 23, 2018

Price: $75.00 USD 

PRINCESS PRODIGY: 11:30 a.m.-1:30 p.m. EST

BULLETPROOF BARBIE: 2:00-4:00 p.m. EST

*Recordings of both classes included with purchase.

CLICK HERE TO REGISTER

 

Kristen Lamb, Cruising Writers, Cruising Writers Retreat, burnout, reasons to rest, investing in your writing career, benefits of a writing retreat

Careening toward a holiday weekend here in the States and…if I could ONLY rest. I need it, but there is so much to DO! *silent scream*

Rest is crucial, yet is often undervalued, mocked and even punished in modern culture. Regardless of profession, the evidence is undeniable that our brains need a break. Taking time off and—GASP—even having fun pays off in major ways. If you’re too busy to take time off? Then odds are you need more rest.

I am truly honored to be presenting for the Cruising Writers’ Retreat…and part of me is freaking out because I’ve always had a tough time resting and having fun.

How can you have fun when all the LAUNDRY is not finished?

This is likely why I was an early bloomer and got Shingles when I was forty. Hey, I am a work in progress, too. Yet, having been someone who’s hit the WALL (more than once, since I’m a Type A overachiever), I thought I’d take time to address the chronically busy.

Many of us see an ad for a writing retreat, let alone one on a CRUISE and recoil. Oh, the cost, and the time and I have so much to DO! You just don’t get it. Such a frivolity, I can’t…

*hangs head between knees*

Yes, you can. I can. This is not a frivolity, it’s an investment. Here is why. Vacations cost money, but burnout can cost us far more than cash…

Beating Burnout 

Kristen Lamb, Cruising Writers, Cruising Writers Retreat, burnout, reasons to rest, investing in your writing career, benefits of a writing retreat

Burnout is real. Burnout is that expanse beyond stress. When we are stressed we still believe we can ‘get things under control.’ We still believe we can win at this game of Life Whack-A-Mole and ADD IN Publishing Whack-A-Mole! #Genius #OrNot

Burnout happens for a number of reasons.

Maybe we haven’t learned how to set effective boundaries. Instead of us being in charge of our day, everyone else wants a piece of our time. We free up an hour here, then almost immediately fill it with some new activity. Our internal resources (energy, passion, and will) steadily become stretched beyond capacity until…SNAP.

We are, in effect, red-lining our engine. Like a car, it IS possible to push into and past the red line…but only for so long. Anything pushed for long periods of time beyond designed capacities will eventually fail.

An engine burns up. Humans burn OUT.

Without proper rest, we tip past that often invisible line into a dangerous area. Unlike being in a state of stress where we still care, we still believe if we just worked harder, and where we still have hope, burnout is a dead zone. This is a place of apathy.

Stress impacts our body and mind, but burnout is a malaise of the soul.

This is when we become despondent, angry, hopeless, and see no point to what we’re doing. As authors, it’s easy to get to this point (where most give up). We often still have to work a day job, take care of family responsibilities, tend general ‘adulting.’ Some of us might be in the role of caregiver for elderly or ill parents.

When we finish ALL THIS…then we write.

Not only do we need to write, but there’s social media, branding, platform, newsletters, marketing, algorithms, guest posts, and promotion and pretty soon we fly off Hell’s Hamster Wheel and CRASH.

Change Your Space

Kristen Lamb, Cruising Writers, Cruising Writers Retreat, burnout, reasons to rest, investing in your writing career, benefits of a writing retreat

It seems so simple. Rest more. Deep down we KNOW we’re being foolish by never letting up on the gas pedal. Can’t we just learn to invoke the NO? Why do we promise to set boundaries, only to one day wake up with nothing left?

All we can think about is running away from home…but that would take too much energy. Energy we don’t have. Besides, we would have to leave our blanket fort.

The reason this happens is we lose perspective. We get so caught in the routine of life that, when small tasks keep piling on, we don’t notice the additional heat.

It’s like the slow-boiling frog sitting there as the temperature notches up ever so slowly. We don’t even realize anything is amiss, that we need to JUMP. Because this heat is building incrementally, we’re utterly unaware we’re being boiled alive.

Kristen Lamb, Cruising Writers, Cruising Writers Retreat, burnout, reasons to rest, investing in your writing career, benefits of a writing retreat

Changing location does wonders for combatting burnout. It obviously can give us the much-needed rest. Additionally, once we step out of the everyday, we gain perspective.

A fresh vantage point offers us renewed clarity on exactly how much garbage is crammed into our day. What can GO? Which tasks can be delegated? Why are we leaving our writing for last (if there is any time left)?

Also, changing location allows the brain time to take all the data it has collected (television, books, ideas, conversations, dreams) and make these loose connections come TOGETHER. This is the time that novel might all come together. It might be the place where we finally SEE what we’ve been doing wrong (or right) all along!

Some of the greatest revelations in history happened during a BREAK. Newton’s sudden epiphany about gravity occurred while out on a leisurely walk, NOT when he was in his study cramming more notes and math into his brain.

Now, it didn’t ALL come to him on that walk. The information was in his head. It took getting away for his brain to be able to SHOW him the final BIG PICTURE.

Broaden Your World

Kristen Lamb, Cruising Writers, Cruising Writers Retreat, burnout, reasons to rest, investing in your writing career, benefits of a writing retreat

Again, a retreat like this is an investment in YOU and your art and your future. It’s ensuring your imagination’s proper development.

As an analogy, what have we learned about working the same muscles over and over? Eventually, one ends up with what is known as a ‘repetitive work injury.’ Maybe the same repeated motion tears out a rotator cuff or we develop carpal tunnel or crippling tendonitis.

In short, the same over and over can serve up some debilitating consequences. We need to rest certain muscle groups.

When at the gym we don’t use only one machine, work only one muscle group. If we do, we’re asking for a lot of pain in the future. The ideal goal for optimal fitness is to cross-train. We want to challenge our body in different ways, on different planes, from different angles, right? We also need days off. Rest days where the body can recuperate.

Kristen Lamb, Cruising Writers, Cruising Writers Retreat, burnout, reasons to rest, investing in your writing career, benefits of a writing retreat

The same goes for our imagination and mind. If we’ve only ever experienced one sort of life, our ability to empathize, to get into the heads of other characters, to be able to describe other landscapes, etc. can only develop to a certain level (eventually it will become stunted).

Sure, we can use books and movies to help, much like I can use a machine to mimic climbing a mountain.

But is the mountain climbing machine the same as going and climbing an actual mountain? On the machine, it is all safe and controlled and only challenges a limited range of what I can do.

On a mountain, I must contend with altitude, wind, weather, terrain that might suddenly be GONE (landslide) and be able to keep pressing. Tethered to a cliff, I must face terror, exhaustion, doubt…the urge to PEE.

Also? Climbing a REAL mountain comes with great stories, experiences, pictures, and actual bragging rights.

Imagination and creativity are the same. YES, please read. I can always tell writers who not only don’t read the genre they want to sell books in, but can really spot those who don’t read at ALL. But second-hand experience only develops our minds so much. Virtual can only go so far.

Networking (Yeah, Get Out More)

Kristen Lamb, Cruising Writers, Cruising Writers Retreat, burnout, reasons to rest, investing in your writing career, benefits of a writing retreat

One of the greatest advantages we can gain from a conference, a retreat or even a cruise retreat is that we will make friends and connections in person. Also, these connections are of a different caliber (bear with me). Anyone can hop on-line for free and claim they take their writing careers seriously. Maybe they do.

I know we all start somewhere. When I started writing, I’d lost everything and had to live with my disabled mother. We were broke, eating Ramen and praying the lights wouldn’t be shut off.

But at least we had each other 🙂 …

Anyway, joining a local writing critique group was my first step in networking. I put skin in the game. It cost me $35 a year and time (attendance). Eventually, though, I plateaued. I kept getting rejected and had no idea how to fix my novel. Books only taught so much.

It wasn’t until I scraped up enough money for my first writing conference that I experienced my first GIANT leap ahead.

The reason was because a) the conference had experts I had no in-person access to otherwise and b) fellow attendees took their futures seriously enough to put out money and invest in success. This weeded out a lot of the hobbyists I’d been surrounded by for years.

Hobbyists could barely be bothered to attend a meeting for a critique group that cost less than $6 a month. Not everyone in the group was dead broke like I was. They simply didn’t take their writing seriously enough to sacrifice financially to make it to the next level.

I know some folks do face the financial challenge, but others can find money for everyone else’s dream but are too scared or too guilty to do the same for their own. Why are other’s wants, needs and dreams more worthy? IS it necessary for us to always be last…you, know, if anything is left over.

I’ve been both. I’m crazy generous with those I care about but spend money on myself? Are you crazy?

And that is how I ended up burned out, hiding in a blanket fort.

Enjoy Returns on Rest

Kristen Lamb, Cruising Writers, Cruising Writers Retreat, burnout, reasons to rest, investing in your writing career, benefits of a writing retreat

Maybe y’all have heard of ROI (Return on Investment). This is about RoR (Return on Rest). By attending a conference, I got away, had fun, made friends, broadened my world and recharged. Yet, this ‘vacation’ was far more than the mental, emotional and professional rest I needed.

I made connections with TRUE professionals (NYT & USA Today best-selling authors, NYC literary agents, NYC editors, publicists, experts) who showed me how ‘publishing’ really worked. They shortened my learning curve by pointing me to better resources and also demolishing a lot of my ‘fantasies.’

That part kinda sucked, but operating from truth is better than being stuck in a delusion.

Rest (coupled with learning) helped me recalibrate my expectations (I.e. I was not going to land an agent and a three-book million-dollar deal with my first query letter).

Sorry if I just bummed any of y’all out. Bummed me out for sure.

What is Your TIME Worth?

For those who join us in October, I promise to shorten your learning curve by a decade. How much of ten years of ineffectiveness going to cost? Count the cost of writing books you can’t seem to finish?

Or what about building a brand or platform the wrong way and having to tear down and or start over? It happens all the time.

There is a LOT of misinformation about what a brand and platform IS and how and where to build one. I make all this terrifying stuff fun, simple and effective. You guys are writers, not high-pressure salespeople and mega-marketers and I have ZERO interest in training you how to be one.

Namely, because that crap doesn’t work. So give it a rest 😉 .

My blog gets 1.1 million hits a month, about a half a million unique visits a year, and I have over 50,000 dedicated subscribers (suffice to say maybe I know a little). I’ve never automated, never used a newsletter, and pretty much only have time for some goofing off on Facebook.

Ads, gimmicks, and high-pressure promotional campaigns didn’t build this number. Common sense and FUN built it. Maybe I’ll add in a newsletter or some ads and promotion to enhance what I already have, but I chose to build my brand/platform on relationships and authentic connections. Those last a LOT longer than the latest fads.

Technology changes. People don’t. Don’t believe me? Read Shakespeare. Go look up your ex on Facebook.

There, proved my point.

REST, ALREADY!

For many, I know suggesting a cruise ranks along with me suggesting you indulge in eating a plate of hot wings coated in gold dust while relaxing in a Learjet. Trust me, I get it. A cruise seems way too out of reach, and maybe it is (for now.)

When I was broke and struggling, mastering couponing more than writing, I learned to call this my meantime.

What was true at the moment didn’t mean it was true forever. Back then, going hiking for a day or walking my dogs in a nice park were my forms of rest.  And even then, resting was hard (perhaps even more so). I was THIRTY-FOUR, living with my MOTHER and needed to WORK and on and on…and guess what?

I burned out then, too.

For others, all the money you might be tempted to throw into gimmicky nonsense that won’t work (or at least not for long)? Use that moolah for the cruise. I’d love a chance to meet you.

We can hang out, ask the staff how many bodies can fit in the dessert cooler and how long until anyone would notice the smell…then learn what a cruise ship BRIG looks like!

On second thought, the pool looks nice.

Regardless, people are like computers. Sometimes, all they need to work properly is to UNPLUG!

Trust me, email will be there when you get back.

What are your thoughts?

Do you have a hard time resting? Does the idea of a vacation give you apoplexy? It still does this to me. In fact, those who go on the cruise might need to make sure I don’t end up helping fold towels or bussing tables. Sigh. Do you find it easy to lavish on others, but you’re always dead last? And being last, do you find ‘The List’ repopulates before you get ‘your turn’?

I LOVE HEARING FROM YOU!

What do you WIN? For the month of MAY, for 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).

Also NOW OFFERING MORE CLASSES PLUS ON DEMAND…

Retelling Myths & Fairytales

Instructor: USA Today Best-Selling Author Cait Reynolds
Price: $65 USD Standard (Cool Upgrades Available)
Where: W.A.N.A. Digital Classroom
When: FRIDAY May 25th, 7:00 PM E.S.T. to 9:00 P.M. EST

Myths and fairytales are as fundamental to human existence as communication itself. We grow up hearing these stories, being formed by them, and often rebelling against them.

One of the hottest trends in publishing right now is bringing these stories back and giving them new life with creative interpretations and retellings.

Done right, a retelling can capture the public imagination, give us new insights into our society and ourselves, and sweep us away to a time and place where everything, including justice and happy endings, is possible. Get your spot today! HERE.

The Yarn Behind the Book: Backstory

Instructor: Cait Reynolds

Price: $55.00 USD

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

When: Friday, June 1, 2018. 7:00-9:00 p.m. EST

Behind every good book is an entire story that happens before the reader ever opens to page one. This is the backstory, and done right, it is what sets the stage, provides clues and cues, and rescues you from writer’s block.

A good backstory will help with logic and consistency in the plot, developing complex motivations for characters, and sorting out exactly what needs to happen going forward as you either plot or pants your way to the end.

This class will cover the following topics – and much more:

  • The elements of a backstory;
  • How to take your current plot idea and work backwards into a backstory;
  • Integrating character profiles and the backstory;
  • How the backstory relates to the logline and synopsis;
  • Using the backstory to dig yourself out of corners and shake off writer’s block;
  • Why a backstory is crucial to writing a series.

SIGN UP HERE!

A recording of this class is also included with purchase.

About the Instructor:

Cait Reynolds is a USA Today Bestselling Author and lives in the Boston area with her husband and neurotic dog. She discovered her passion for writing early and has bugged her family and friends with it ever since. When she isn’t cooking, running, or enjoying the rooftop deck that brings her closer to the stars, she writes.

On Demand Training!

Ready for Book Beast Mode? I Live to Serve…Up Some TRAINING!

For anyone who longs to accelerate their plot skills, I recommend:

ON DEMAND Plot Boss: Writing Novels Readers Want to BUY. 

Two hours of intensive plot training from MOI…delivered right to your computer to watch as much as you like 😀 .

The Art of Character is also now available for ON DEMAND.

And if you’re ready for BOOK BEAST MODE and like saving some cash, you can get BOTH Plot Boss and Art of Character in the…

Story Boss Bundle (ON DEMAND).

Almost FIVE HOURS with me, in your home…lecturing you. It’ll be FUN! 

I also hope you’ll pick up a copy of my debut novel The Devil’s Dance.

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