Kristen Lamb

Author, Blogger, Social Media Jedi

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Posts Tagged: genre

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers

Genre is a word that makes a lot of new writers cringe. Many (mistakenly) believe any kind of boundaries will somehow impair or restrict creativity and crater imagination. This is why so many emerging authors (myself included) avoid learning about structure or how to plot until forced to…at gunpoint.

Fine! Yes, I’m being melodramatic, but close enough to the truth.

It’s easy to understand why we want to skip all that boring stuff. We’re eager to write, to create, to unleash the muse! Yet, in our haste, we can lose sight of what we stand to gain by truly understanding the fundamentals and respecting boundaries.

For any author who wants to eventually sell enough books to make writing a full-time occupation, genre is one of our greatest allies.

Genre Dictates Location

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers

Location, location, location. Yes, I remember being a neophyte, breaking out in hives when anyone mentioned I needed to choose a genre *shivers*. My book wasn’t a genre, it was all genres. It was a novel everyone would love. I didn’t need something as prosaic as…genre.

Yes, I was a clueless @$$hat so y’all can already feel better about yourselves. When we’re new, obviously we don’t understand the intricacies of the publishing profession. Why? BECAUSE WE ARE NEW.

***By the way, it is okay to be new. We all begin somewhere. Stephen King didn’t one day hatch as a mega-author.

Before we even get to how genre impacts story, we must remember publishing is a business. Many of you long to submit to an agent in hopes of a sweet contract with the Big Five. Great! You yearn to see your books on a shelf in a bookstore. Wonderful! Me too. *fist bump*

So where would the bookstore shelve your novel?

This is a critical question all writers must be able to answer. Ideally, we need to know our genre before we ever begin writing the novel, for reasons we’ll get to in a moment. But first…

Genre Lands Book Deals

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers
Meh…there are better ways.

If we want to publish traditionally (legacy) the first step—beyond finishing the book, obviously—is landing an agent. Writers who take the business seriously research agents ahead of time because this is a partnership.

We don’t want just any agent, we want the right agent. Conversely, agents aren’t looking for any book, they’re on the hunt for books they can sell.

Most agents have a list of the sort of books they’re in the market to represent (which genre). Thus, if an agent’s bio states she’s looking for Young Adult and New Adult novels, we’re wasting her time and ours by querying our Middle Grade series. By doing a bit of research, we can locate agents who’ll be the ideal fit.

Agents create these wish lists for a reason. They know publishers all have wish lists, too. The agent’s job is to pay attention to those wish lists and hustle to deliver the goods. Their goal is to sell our book to a publisher and negotiate the sweetest deal possible for us (the author), because this benefits them, too.

Agents pay attention to the publishers’ shopping lists. If the publishers are no longer wanting Dystopian YA novels, the agent then knows that trying to sell the next Hunger Games is a fruitless endeavor.

Even if our book IS the next Hunger Games, agents won’t rep it because they already know they’re highly unlikely to sell it.

Genre Sells Books

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers

Now, traditional publishers might reject a certain genre for any number of reasons that have nothing to do with the quality of the book. Maybe they’ve already filled the X amount of slots reserved for a Dystopian YA. They don’t want to oversaturate the market. Perhaps Dystopian YA is not selling like it used to because Steampunk YA is picking up steam *bada bump snare*.

Thus, if you have an amazing Dystopian YA, you can go indie (if they’re open to representing it) or self-publish. Genre is still incredibly important because when we list our book for sale on-line, again, we have to tell Amazon (and other on-line distributors) where our story belongs.

Major publishers do, too.

Genre will directly impact metadata and will serve as a guide for keyword loading within the product description. Genre and the associated keywords will also influence which books are listed alongside ours (or vice versa). When we look up Gone Girl, we see…

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers

This is how on-line retailers help readers find books they’re likely to enjoy more easily.

Genre Draws Fans

This is one of the reasons we really don’t want to write a novel totally unlike ANY other. The story never before told is a unicorn, first of all. It doesn’t exist.

Also, a novel that can’t be fit into any genre is unlikely to draw fans. Whether readers are browsing a bookstore or browsing on-line, they generally know what sort of books interest them and head that direction.

If they’ve just finished Gillian Flynn’s Gone Girl and they’ve read all of Flynn’s other books and want to read more books LIKE hers, genre is the flashing arrow pointing readers to similar novels (and authors).

This is a fantastic way for authors who aren’t yet household names to be discovered. Fans of the genre can then evolve into fans of that author.

Because readers can discover our work on a shelf or on-line, our odds of selling more books vastly improves.

This isn’t rocket science. People are unlikely to buy something they a) don’t even know exists or b) can’t find.

Genre Builds Brands

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers

As Cait mentioned in her post on best practices for publishing success, genre focus is a major factor in becoming a successful author. When we focus on a specific genre we build an author brand and cultivate a devoted fan base far faster.

A qualifier here, though. Just because we write a Psychological Thriller doesn’t mean we must only write Psychological Thrillers forever and ever. Often genres have ‘kissing cousins’ and, so long as we remain within that general genre region, it’s all good. Suspense, Mystery, Thriller, Sleuth, are close enough to count.

Once we’ve published enough books, built a solid brand and cultivated a large devoted fan following, then we gain more freedom to try something new.

Genre Helps Plotting

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers

When we choose any genre, there are certain reader expectations. Once we know what’s expected, we can then deliver what readers want. We also have a better idea how to plot. If we don’t understand how/why a thriller is different than a suspense, that’s a problem.

Let’s use these ‘kissing cousin’ genres as an example…

A thriller has large (global) stakes on the line. In the beginning a bad thing happens and it is a race against time to stop the MASSIVE bad thing by the end.

For instance, Lee Child’s debut novel Killing Floor is about a former MP-turned-drifter thrust by fate into a problem with global consequences. Reacher’s goal is to stop bad guys’ plan to inundate the market with counterfeit bills (which would destabilize the U.S. economy).

A suspense has more intimate stakes. In Thomas Harris’ book The Silence of the Lambs, the goal is to find and stop Buffalo Bill from murdering Size 12 women for his ‘woman suit.’ Ideally, Agent Starling will stop Buffalo Bill before the latest victim (a senator’s daughter) is killed. The stakes, however, are not global.

The F.B.I.’s image is at risk, Starling’s career is on the line, the latest victim’s life is in jeopardy, but overall?

Skinny girls are totally safe.

When we understand the dictates of a genre, we can plot better and also know what we’re selling (to agents, publishers, and readers).

Genre and Structure

Since this week is my birthday and the week I am re-launching my novel, The Devil’s Dance I’m going to indulge 😀 .

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers
My precious…

I’ve been blogging for a while about structure, and we’ll deep dive the different types of structure and how to use them and why and when more in another post. All have pros and cons.

Some structures are better suited for certain genres. When we know what genre we are writing, then selecting the perfect framework becomes easier.

The most well-known and widely read is the traditional three-act Aristotelian structure. This story structure works as well today as it did a couple thousand years ago. My debut novel is a mystery-suspense and I used traditional three-act structure and ALL THE COLORS!

Why THAT Structure?

I chose this straight-forward structure because, for me, it was the best scaffolding for the story I wanted to tell. I wanted to craft a story that blended the humor of a Janet Evanovich with the gritty edge of a Dennis Lehane. I’d always joke that my book was Legally Blonde meets Killing Floor. Since I was already being ‘creative’ with the KIND of story I was telling, I felt it best to not also try to be creative with structure as well.

***No novel quadruple axel for me, thanks.

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers

I wrote The Devil’s Dance purely to entertain. The sort of novel one might inhale on vacation, or when stuck in an airport. Fun, gritty, straightforward and a very fast read. Since I wanted it to be a quick read, linear structure was ideal.

Yet, maybe we want to offer the reader a challenge beyond what straightforward linear structure can offer. This is when we might select a non-linear structure. A fantastic example of this is Into the Water by Paula Hawkins, which is also a mystery-suspense.

Kristen Lamb, genre, why genre is important, The Devil's Dance, The Devil's Dance Kristen Lamb, narrative structure, publishing, how to get an agent, how to get a publishing deal, genre and structure, how to find readers

Granted there are at least nine POVs and shifts in time ranging from the 17th century all the way to the 21st. The time shifts and different POVs delivered red-herrings galore. For mystery fans who want a challenge?

This book definitely is a brain-bender.

Keep in mind, though, that the downside to non-linear structure is readers can easily become confused, bored or lost. Good thing Paula Hawkins is a master storyteller, just sayin’. I’m on my third pass through to catch what I missed.

In the End

Genre is incredibly helpful in a vast number of ways. We can know and meet (then exceed or challenge) reader expectations. Since we know what fans want, we can serve them something they want or even something they never KNEW they wanted (I.e. Harry Potter). Knowing the story we long to tell helps us plot faster, since the objectives are clearer.

Once our story is complete, we know how to query our novel and to whom. Also, when the book is finally published, genre helps readers find our books!

I look forward to helping you guys become stronger at your craft, and next time we’ll resume talking abut structure. Those new to my blog, I hope you’ll check out this series. Look to the column over there–>

Need More Help? I Live to Serve….

For anyone who longs to accelerate their plot skills, I recommend my 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 😀 .

I’m offering The Art of Character (March 22nd 7-9 EST). More advanced material, and lots of FUN! Just because we’re tackling advanced material, doesn’t mean we can’t make it a party. As always, recording is included with all classes FREE of charge 😉 .

Also, my Bullies and Baddies: Understanding the Antagonist is a great follow up, and this class will help you plot faster and tighter than ever. It’s being held March 29th (7-9 EST).

I love hearing from you!

And am not above bribery!

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

Well, it’s the last day of me, Cait Reynolds, playing “king of the hill” on Kristen’s blog. In honor of this fact, I’d like to begin today’s post by listing out the top five reasons Kristen could be denied re-entry into the United States.

Image courtesy of travelinspiration.com

1. US Customs does not allow you to bring foreign livestock into the country. Kristen coming back counts as Lamb from New Zealand.

2. Kristen mentioned she was suffering from allergies due to pine pollen in New Zealand. This probably counts as smuggling in biological warfare agents.

3. Kristen did not get to see any hobbits. This will trigger a secondary scan of her passport because who doesn’t go to New Zealand and SEE HOBBITS??? Shady AF, if you ask me.

4. The TSA might interpret Kristen’s attempt at the haka as threatening government officials. Or deeply disturbing. Maybe both.

5. Finally, Kristen is coming back full of ideas. This is CLEARLY a threat to national security and must be neutralized immediately. In other words, by sending her back to (some really remote part of) New Zealand where her ideas can’t do much harm.

Maybe I’m just not ready to give this blog back to her. At the very least, you’ll still get to see me on Squatter’s Rights Wednesdays and in my classes. And who knows? Maybe Kristen will travel again (i.e. PLEASE SOMEONE, SOMEWHERE ELSE IN THE WORLD, INVITE KRISTEN TO VISIT!).

To round off my brief stint of world domination, er, substitute blogging, I give you Kim Alexander, here to talk to us about more stuff and things…but mostly stuff.

Frosting, the Snowman…er…Frosty…

Last week we talked about the power of imaginary books – books that characters in novels talk about and read, but don’t really exist.

These imaginary books are a great way to comment on the action taking place in your actual plot, along with a good place to lay down a thick, velvety layer of exposition. So let’s spend some time thinking about imaginary holidays, another excellent place to evenly spread your exposition, taking care that it doesn’t drip down the sides. (I may be watching a lot of the Great British Bakeoff and I’m deeply concerned about a soggy bottom…aren’t we all?)

Only 123 days ‘til Festivus!

Because you’re a person who lives in this world/dimension, you probably know exactly what I’m talking about. Festivus, of course, is the invented holiday ‘celebrated’ by George Costanza’s family (and my family, and maybe yours) originally seen on Seinfeld. If I’m honest, though, we enjoy the Sharing of the Grievances all the year ‘round! (It’s December 23rd this year, get the pole ready.)

Invented holidays can come early in your drafts – that is to say, you can decide to throw a party without having all the details of the reason for the party mapped out. That said, eventually you’ll have to answer some questions about secular vs. religious events and what that means for the story at large.

At this point, I suppose it must be said that all holidays are imaginary, in that someone, somewhere thought them up and told their buddies they had a great idea for a day off.

Let’s look at Christmas, for instance. Leaving aside the question of whether or not it’s a state-sponsored consumerist event or a solemn religious occasion, we all know a lot of things associated with Christmas. How much are just things we talk and sing about because we always have? (In the interest of full disclosure, I am a secular Jew who has been collecting glass tree ornaments for many years and LIVES for the day we bring our tree home. Life is a rich tapestry!)

Santa is an elf, right (let’s ignore the whole bit about being a saint for the moment)? But he’s also normal person-sized. And he comes down the chimney. And flying reindeer. And the colors red and green. And turkey, even though we just had it a month prior. Why? Why do we drag trees into our houses? Why would anyone bring myrrh to a manger? What is myrrh? (A few minutes of googling should answer those questions, and also point you in the direction of the sorts of questions you’ll need to ask yourself.)

So if you take a step back and look at Christmas through the lens of writing a fantasy world, you can see it takes up a huge amount of space not only on the calendar (I saw my first ad this week, deep in the lurid heart of August) but in our emotional lives. We all have to make a decision on how to react to the holiday season: celebrate, ignore, mock, love, hate. Even if we consciously avoid it, it’s still making a mark on our behavior. Obviously, your fantasy holiday doesn’t have to have the enormous resonance of the triumvirate of terror that make up Thanksgiving-Christmas-New Year’s, but if you’re bothering to create it, make it have some impact. (I did not include Chanukah because it is awesome and includes fire.)

Caturnalia (hey, it could work!)

Okay, so you’re having a party. It’s in the draft and written on a post-it note. Now it’s time to take a step back and ask what sort of event it will be. This is your chance to shine a light on your created culture and bounce your characters against each other, which is where the fun happens.

Leeloo and Onion would like to propose the holiday of “Caturnalia.” It involves tuna.

What gets your society together? Did they win a war or crown a ruler? Is it a religious event, or is your society a secular one? (Remember that a society is rarely a monoculture while you’re making these decisions.) What about your party? Is it a solemn occasion, or an excuse to drink and dance? Maybe they celebrate writing a song, or the color blue, or cats. (That sounds like a pretty good idea, actually.) You get to dress your characters up and send them to parties, and they either live it up or bitch about being forced to attend – or both.

In my book The Sand Prince, the human world celebrates something called The Quarter Moons Party (they have two moons.) It’s a combination of Independence Day and New Year’s Eve, and it celebrates a great victory and the continued safety of their home city of Mistra. Victory over whom? No one really remembers, and the songs they sing only vaguely allude to ‘locking The Door.’ Everyone wears white and there are special treats you only get once a year. Why? It’s always been that way.

The demons of Eriis who live on the other side of that Door remember it very differently, and when one of them visits the human world, he takes great offense at all the celebration. (He’ll probably appreciate the open bar, though.) Like everything else, an invented holiday is really just another way to explore your characters reactions to each other and to the world around them.

So whether you celebrate Durin’s Day, or First Contact Day, or save up your grievances for Festivus, or are writing up the grocery list for the Labor Day cookout, have a safe and happy one!

About Kim Alexander

Kim Alexander lives in Washington DC where she writes epic fantasy and paranormal romance.  These days she divides her time between writing, rooftop gardening and waiting on her cats.

?Her earlier incarnation co-producing Sirius XM Book Radio gave her a look inside the heads of hundreds of best selling authors, and she’s ready to pass on what she learned. http://kimalexanderonline.com

***

For the month of AUGUST, 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 FOR SEPTEMBER AND MORE!

All classes come with a FREE recording!

We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds, award-winning author and journalist Lisa-Hall Wilson, and Kim Alexander, former host of Sirius XM’s Book Radio. So click on a tile and sign up!

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Before we get started, a quick announcement. I want to let you know that I begged, pleaded and bartered for Hollywood Producer Joel Eisenberg to offer a Master’s Series and being the AWESOME human being he is, he is doing How to Maximize Your Earning Potential as a Full-Time Writer just for us. This is three two-hour classes learning from a big name in Hollywood in your own home and it is recorded if you can’t make it live. He normally runs this series for $399, but he is super helpful and generous and giving it to us for $199.

The film industry is BOOMING and filmmakers need writers who can create excellent content. Joel is going to teach you how to tap into that massive emerging market.

Valentines Day gift. *wink wink* Just sayin’.

Okay, let’s sally forth…

One of the reasons I love blogging is I get an opportunity to have the crucial conversations with you guys that are going to make all the difference in your writing career. When I started out, I didn’t have such luxury and I bumbled around in the dark with what I “thought” professional writers did.

Back in 1999 I didn’t have the same access to experts as we all do today, so I had to wait almost four years until I could save enough money to attend conferences to get the dose of reality I needed if I hoped to go pro.

Last time we talked about basic, basic stuff. It seems so simple and yet it really isn’t. Most emerging writers don’t have a novel. They have a ton of pretty sentences and a lot of “stuff” happening, but they lack a core story problem. No core problem? No novel.

And again, if you are struggling with your book and you can’t whittle it down into ONE sentence, sign up for the Pitch Perfect class THIS SATURDAY (all you need is an internet connection and the recording comes with purchase).

I am teaching about query letters and how to write a synopsis, and this is a critical skill that can make sure you have a story and if you don’t? How to easily see what needs fixing so you aren’t wasting precious time repairing the wrong stuff. I will help you get that one sentence. I have a lot more practice doing this than you guys 😉 . It’ll be fun!

Anyway…

So once we have an idea for a story this is not enough, unless we are just writing for a hobby. If we actually one day hope to sell what we are writing we need to ask the hard questions.

What is the Genre?

All books have a genre. We must choose. Even folks who claim they don’t write “genre fiction” what they are meaning is they don’t write “commercial” fiction. Literary fiction IS a genre and it is going to have parameters and expectations we need to keep in mind while writing.

***And sure I guess there is “General Fiction” but how unsexy is that? Also, General Fiction is usually where literary is shelved and genre fiction misshelved. Seriously Goodreads? The Girl with the Dragon Tattoo is NOT general.

Some people don’t want to choose a genre. They shiver and feel it is base, that somehow by committing to a genre they are admitting their book might actually be like other books. How gauche! They will have to admit that is isn’t the world’s most unusual snowflake, a work that has never been seen before.

Hey, I used to be that person.

I felt that choosing a genre diminished my book, that it made it “like” others and thus somehow not “as good.” I was dead wrong. First of all, because I didn’t choose a genre, my book not only was NOT a special snowflake..it actually sucked pretty badly. I’d crafted some Frankenstein monster out of all genres to please (sell to) ALL readers. But, here’s the deal.

No one wants to read a “book by committee”.

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Each genre has rules, guidelines and expectations. If you want a quick rundown on what they are, go to THIS POST.

Because I didn’t choose one genre? I was just mucking up every genre.

For instance, I get writers who come to me and they say they have a Romance BUT the core antagonist is the love interest. NOPE. Romance has rules and there must always be an HEA (happily ever after). Guy and girl must get together by the end. They must unite together to solve the problem greater than themselves (defeat the core antagonist).

If this doesn’t happen? Sorry it might be a good book, but romance it ain’t. And if the book is then placed in the wrong genre? That genre comes with an audience that has expectations the work has not met. So a book that might have gotten rave reviews as a Women’s Fiction gets slayed when shelved as a Romance.

Genre can impact everything from plot to character to word count. If my book is a 120,000 words and a High Fantasy? No problemo. If it is a YA? Going to be a seriously hard sell.

What are Audience Expectations?

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Once we nail what genre our book is in, we then can keep audience expectations in mind when writing…THEN blow them away. Again, tending genre expectations is not “formulaic”. “Formulaic” has to do with execution.

For instance, if I go to a Mexican restaurant I have expectations. If they try to serve me schnitzel and lasagna not only am I going to be seriously confused, I might even get angry. Why? Because I did NOT expect schnitzel and lasagna at a Mexican food restaurant.

Now, I am a Texan and in Texas Mexican food has it’s own layer on the food pyramid. It can be a very simple cuisine. Lots of corn, beans, some kind of meat and cheese in various combinations and that is all great. Many Texans just want a plate of good old-fashioned cheese enchiladas with red sauce.

Yet, just because Mexican food carries expectations does NOT mean a chef cannot then mix up the rules and use a ton of imagination.

The chef knows we want enchiladas but instead of the tried and true versions? How about sweet potato enchiladas in blue corn tortillas with goat cheese and a mango chutney? Okay now I’m hungry.

But we are STILL within the expectations, just we are delivering an unexpected variation. Instead of alienating and potentially ticking off the patrons, we are WOWING them.

And remember, like food, there are all kinds of fusions. It is easy to add Southwestern food to a Mexican food menu. They are cousins. Same with genres like mystery, thriller and suspense. It is easy to have a mystery thriller. Or even a romantic suspense. We know the rules of suspense, but also can expect a nice love story as well.

Christian Inspirational Erotica? Yeah, not so much. Kind of hits us like a Polish Mediterranean restaurant.

How to SELL What We Have Written

Another HUGE reason for choosing a genre before we write is…

Eventually we WILL have to choose a genre anyway.

So we might as well do it ahead of time. A big reason for genre is to help readers find our work. Where will the sucker get shelved? Once we upload the book onto Amazon, we will have to declare what genre it falls into so readers can find it. Also we WANT our book to be like other books. When anyone buys a book on Amazon, we get this…

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Trust me, I WANT people who loved Gone Girl to see my book in the list of “Customers Who Bought This Item Also Bought.” I DON’T want to do this all myself. I WANT if someone is looking for Gone Girl they see MY book or vice versa. It means I am in good company.

Also remember that readers…wait for this…often buy more than one book. I KNOW! So when they finish that traditional mainstream novel, they are going to go back for another dose of what they love to consume and genre is going to help them find YOU.

Even if we want to traditionally publish, genre is a huge deal. First, how can we query? We need to look at what an agent is looking for then pitch THAT. Also if an agent likes the book, she is going to have to be able to know how to SELL that book. Granted, she might do some tweaking—pitch a suspense as a romantic suspense but you get the idea.

Sometimes agents will reject a book because the author didn’t settle on a genre and so the agent already knows she won’t be able to SELL it.

I hope this clears things up for you if you didn’t before understand them, which is OKAY. We are not born knowing this stuff! What are your thoughts? Questions? Concerns? Remember Pitch Perfect is on SATURDAY and my NEW class The Art of Character is TOMORROW! How to create layered and compelling characters. If you want to take both, seriously just treat yourself and sign up for the Craft Master’s Series and you get a FREE class (Plotting for Dummies) .

I love hearing from you!

And to prove it and show my love, for the month of JANUARY, 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).

SIGN UP NOW FOR MY UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! 

All you need is an internet connection!

NEW CLASS!!!! How to Maximize Your Earning Potential as a Full-Time Author Learn from Hollywood Producer Joel Eisenberg in your HOME. This series is normally $400 but W.A.N.A. is offering it for $199.

Branding Master’s Class Series with Kristen Lamb THREE social media classes, ONE low price. Only $99. It is literally getting one class for FREE!!!! 

Craft Master’s Class Series with Kristen Lamb THREE craft classes, ONE low price. Only $89. One class is FREE!!!! Includes my new class The Art of Character.

Individual Classes with MOI!

Pitch Perfect—How to Write a Query Letter & Synopsis that SELLS January 28th

When your Name Alone Can SELL—Branding for Authors February 10th, 2017

Social Media for Authors February 11th, 2017

NEW CLASS!!!! The Art of Character January 27th, 2017

Blogging for Authors February 3rd

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

Screen Shot 2014-07-30 at 10.42.33 AMUnderstanding structure helps us write cleaner and faster. Whether we plan every detail ahead of time or just intuitively have the architecture in our head, structure makes the difference between a workable first draft and a nightmare beyond salvage.

I know a lot of you are chomping at the bit right now to get writing. All in due time. Today we are going to talk genre and why it is important to pick one.

Understanding what genre you are writing will help guide you when it comes to plotting your novel. How? Each genre has its own set of general rules and expectations. 

If we don’t pick or we get too weird, we will confuse agents and readers because there is no clear idea of where this sucker should be shelved. It will also make plotting more than problematic.

Fifteen years ago, when I first got this brilliant idea to start writing fiction, I didn’t do any planning. I knew zip nada about the craft, and, frankly, was too stupid to know I was that dumb. To make matters worse, I tried to write a novel that everyone would love. It was a romantic-thriller-mystery-comedic-inspirational-memoir that would appeal to all ages, both men and women and even their pets and houseplants.

I am here to help you learn from my mistakes.

Just as nailing the log-line is vital for plotting, we also must be able to classify what genre our novel will be in. Now, understand that some genres are fairly close. Think Mexican Food and Tex Mex. An agent at a later date might, for business reasons, decide to slot a Women’s Fiction into Romance.  Yet, you likely will NEVER see an agent slot a pure literary fiction as a thriller. They are too different. That is like trying to put enchiladas on the menu at an Indian restaurant.

Um, ew.

Part of why I stress picking a genre will be a huge factor in driving sales and connecting readers with a work they will LOVE. We need to make certain we have slotted our product correctly because 1) we want readers to FIND our work and also 2) readers can be very unforgiving with reviews.

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As an example, writers often make the mistake of putting their books for sale in the incorrect spot. One of the most common oopses I’ve seen is writers believing they have a Romance, when in fact they have a Women’s Fiction or a General Fiction. Romance has rules and expectations.

I once worked with an author who’d had terrible sales for her book and gotten some scathing reviews. But, when I looked at her work, she didn’t have a romance at all and had listed her book for sale in the wrong place. She’d gotten razed in reviews because guy and gal didn’t end up with an HEA. In Romance, that is BAD. In Women’s Fiction? Not bad. She was connecting her work to the wrong audience.

Once she reslotted her work, sales improved and so did the reviews because she was now connecting to the correct audience who were now judging her story as a Women’s Fiction.

Additionally, some writers will try to get clever and blend genres together. Literary Thriller is one example.

Yes, it can be done, but in my POV, why? Readers who love thrillers love fast-paced action. Readers who like literature love a slower pace and lots of deep probing character development….which is likely to alienate most thriller readers. Also, add in the action and it’s going to be tough to keep the attention of the literary folks.

Can this genre work? Yes, but we have to realize we DO risk losing the audience so it better be done really well. Also, I think the term “Literary Thriller” is just for marketing. “Thrillers but written gooder.” And either they are a thriller or a general fiction. I think this genre term is confusing, misleading and more than a bit insulting to thriller authors.

Granted, there are people who like to read everything, but betting our writing future on entertaining statistical outliers is a serious gamble.

I didn’t make the rules, but I can help a writer understand those rules and thereby increase his/her chances of publication success.

Understanding your genre will help immensely when it comes to plotting. It will also help you get an idea of the word count specific to that genre. I am going to attempt to give a very basic overview of the most popular genres. Please understand that all of these break down into subcategories, but I have provided links to help you learn more so this blog wasn’t 10,000 words long.

know I haven’t listed all the genres, so if I miss one, feel free to add it in the comments 😉 . These are just the “biggies.”

Mystery—often begins with the crime as the inciting incident (murder, theft, etc.), and the plot involves the protagonist uncovering the party responsible by the end. The crime has already happened and thus your goal in plotting is to drive toward the Big Boss Battle—the unveiling of the real culprit.

Mysteries have a lot more leeway to develop characters simply because, if you choose, they can be slower in pacing because the crime has already happened. Mysteries run roughly  75-100,000 words. Mysteries on the cozy side that are often in a series commonly are shorter. 60,000-ish. I’d recommend that you consult the Mystery Writers of America of more information.

Thriller/Suspense—generally involve trying to stop some bad thing from happening at the end. Thrillers have broad consequences if the protagonist fails—I.e. the terrorists will launch a nuclear weapon and destroy Washington D.C. Suspense novels have smaller/more intimate consequences. I.e. The serial killer will keep butchering young blonde co-eds. It is easy to see how thriller, suspense and mystery are kissing cousins and keep company. The key here is that there is a ticking clock and some disastrous event will happen if the protagonist fails.

So when plotting, all actions are geared to prevention of the horrible thing at the endThrillers can run 90-100,000 words (loosely) and sometimes a little longer. Why? Because some thrillers need to do world-building. Most of us have never been on a nuclear sub, so Tom Clancy had to recreate it for us in The Hunt for Red October (Clancy invented a sub-class of thriller known as the techno-thriller).

Pick up the pacing and you can have a Mystery-Suspense. Think Silence of the LambsA murder happens at the beginning, and the goal is to uncover the identity of the serial killer Buffalo Bill (mystery), but what makes this mystery-suspense is the presence of a ticking clock. Not only is the body count rising the longer Buffalo Bill remains free, but a senator’s daughter is next on Bill’s butcher block.

When plotting, there will often be a crime (murder) at the beginning, but the plot involves a rising “body count” and a perpetrator who must be stopped before an even bigger crime can occur (Big Boss Battle). These stories are plot-driven. Characters often do not have enough down-time to make sweeping inner arc changes like in a literary piece.

Pick up the pacing and raise the stakes and you have a Mystery-Thriller. Think Killing Floor by Lee Childs. The book begins with a murder of two unidentified people at a warehouse, but if the killers are not found, what the killers are trying to cover up will have global consequences. And I am not telling you what those consequences are b/c it would ruin the book :D.

When plotting, again, there is often a crime at the beginning with rising stakes, and the protagonist must stop a world-changing event from happening (Big Boss Battle). The focus of your plot will be solving the mystery and stopping the bad guy.

For more information on this genre, consult the International Thriller Writers site.

Romance—Guy and girl have to end up together in the end is the only point I will make on this. Romance is all about making the reader believe that love is good and grand and still exists in this crazy world. The hero cannot be your Big Boss Trouble Maker (read Structure Part Three if you want to know what a BBT is). Yes, the guy will likely be a scene antagonist, but that is different.

Romance, however, is very complex and I cannot do it justice in this short blurb. If you desire to write romance, I highly recommend you go to the Romance Writers of America site for more information and that you join a chapter near you immediately. This is one of the most amazing writing organizations around and a great investment in a successful romance-writing career.

Word count will depend on the type of romance you desire to write. Again, look to RWA for guidance because there are SO many categories of romance that it could make a book.

Literary Fiction is character driven. The importance is placed on the inner change, and the plot is the mechanism for driving that change. Literary fiction has more emphasis on prose, symbol and motif. The events that happen must drive an inner transformation.

Pulitzer Prize-winning book, The Road is a good example. The world has been destroyed and only a few humans have survived. The question isn’t as much whether the man and the boy will survive as much as it is about how they will survive. Will they endure with their humanity in tact? Or will they resort to being animals? Thus, the goal in The Road is less about boy and man completing their journey to the ocean, and more about how they make it. Can they carry the torch of humanity?

When plotting for the literary fiction, one needs to consider plot-points for the inner changes occurring. There need to be cross-roads of choice. One choice ends the story. The character failed to change. The other path leads closer to the end. The darkest moment is when that character faces that inner weakness at its strongest, yet triumphs.

For instance, in The Road, there are multiple times the man and boy face literally starving to death. Will they resort to cannibalism as many other have? Or will they press on and hope? Word count can vary, but you should be safe with 60-85,000 words (The Road was technically a novella).

Note: Literary fiction is not a free pass to avoid plotting. There still needs to be an overall plot problem that forces the change. People generally don’t wake up one day and just decide to change. There needs to be an outside driving force, a Big Boss Troublemaker, and a tangible physical goal. Again, in The Road, the man and boy have a tangible goal of getting to the ocean.

The only difference in literary fiction and genre fiction is that plot arc is now subordinate to character arc. In commercial genre fiction the plot generally takes precedence. In Silence of the Lambs catching Buffalo Bill is top on the priority list. Character evolution is secondary. In literary fiction these two arcs reverse. The character growth and change is of primary importance and plot is merely the vehicle to get them to change.

For instance, in Joy Luck Club, June’s impending trip to China is what brings the women together and what forces each of them to change the patterns of the past. The trip is irrelevant save for two purposes—1) bringing the women together to face their demons and 2) when June actually makes the trip to China to meet her mother’s twin sisters (the lost babies) we know the change has occurred and the chains of the past have been loosed.

Fantasy and Science Fiction will involve some degree of world-building and extraordinary events, creatures, locations. In plotting, world-building is an essential additional step. How much world-building is necessary will depend on what sub-class of fantasy or sci-fi you’re writing. Word count will also be affected. The more world-building, the longer your book will be. Some books, especially in high-fantasy can run as long as 150,000 words and are often serialized.

In regular fantasy, we will generally have a singular protagonist. In high fantasy, the various parties each become protagonists. Think Game of Thrones or Lord of the Rings.

Consult the Science Fiction and Fantasy Writers of America for more information.

Horror—This is another genre that breaks down into many sub-classifications and runs the gamut. It can be as simple as a basic Monster in the House story where the protagonist’s main goal is SERE-Survive Evade, Rescue, and Escape. The protag has only one goal…survive. These books tend to be on the shorter side, roughly 60,000 words.

Horror, however can blend with fantasy and require all kinds of complex world-building. Clive Barker’s Hellraiser is a good example. Stephen King’s horror often relies heavily on the psychological and there is weighty focus on an inner change/arc. For instance, The Shining chronicles Jack’s descent into madness and how his family deals with his change and ultimately tries to escape the very literal Monster in the House.

Horror will most always involve a Monster in the House scenario. It is just that the definitions of “monster” and “house” are mutable. Word count is contingent upon what type of horror you are writing. Again, I recommend you consult the experts, so here is a link to the Horror Writers Association

Young AdultI won’t talk long about YA, since YA beaks into so many subcategories. Often YA will follow the rules of the parent genre (i.e. YA thrillers still have a ticking clock, fast pacing and high stakes just like regular thrillers). The differences, however, is that YA generally will have a younger protagonist (most often a teenager) and will address special challenges particular to a younger age group.

For instance, in Veronica Roth’s Divergent, Tris is taking on a very real political battle between factions. But the plot also involves her evolving from child to adult, how she defines her identity aside from Mom and Dad and forging a new romantic relationship with Four. These are all prototypical struggles for someone in that age group.

Picking a genre is actually quite liberating. Each genre has unique guideposts and expectations, and, once you gain a clear view of these, then plotting becomes far easier and much faster. You will understand the critical elements that must be in place—ticking clock, inner arc, world-building—before you begin.

This will save loads of time not only in writing, but in revision. Think of the romance author who makes her hero the main antagonist (BBT). She will try to query, and, since she didn’t know the rules of her genre, will end up having to totally rewrite/trash her story or change the genre entirely because she actually wrote a Women’s Fiction and NOT a romance.

Eventually, once you grow in your craft, you will be able to break rules and conventions. But, to break the rules we have to understand them first.

I have done my best to give you guys a general overview of the most popular genres and links to know more. If you have some resources or links that you’d like to add, please put them in the comments section. Also, for the sake of brevity, I didn’t address other genres, like children’s or Western. If you have questions or advice, fire away! Any corrections? Additions? Questions? Concerns? Comments? I love hearing from you. What is the biggest hurdle you have to choosing a genre? Do you love your genre? Why? Any advice?

To prove it and show my love, for the month of MAY, 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).

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

For the past several weeks we have been exploring structure and why it is important. If you haven’t yet read the prior posts, I advise you do because each post builds on the previous lesson. All lessons are geared to making you guys master plotters. Write cleaner and faster. I know a lot of you are chomping at the bit right now to get writing. All in due time. Today we are going to talk genre and why it is important to pick one.

Understanding what genre you are writing will help guide you when it comes to plotting your novel. How? Each genre has its own set of general rules and expectations. Think of this like stocking your cabinet with spices. If you like to cook Mexican food, then you will want to have a lot of cumin, chili powder and paprika on hand. Like cooking Italian food? Then basil and oregano are staple spices. In cooking we can break rules … but only to a certain point.

We can add flavors of other cultures into our dish, but must be wary that if we deviate too far from expectations, or add too many competing flavors, we will have a culinary disaster. Writing is much the same. We must choose a genre, but then can feel free to add flavors of other genres into our work.

Ten years ago, when I first got this brilliant idea to start writing fiction, I didn’t do any planning. I knew zip nada about the craft, and, frankly, was too stupid to know I was that dumb. To make matters worse, I tried to write a novel that everyone would love. It was a romantic-thriller-mystery-comedic-inspirational-memoir that would appeal to all ages, both men and women and even their pets and houseplants. I am here to help you learn from my mistakes.

Just as nailing the log-line is vital for plotting, we also must be able to classify what genre our novel will be in. Now, understand that some genres are fairly close. Think Mexican Food and Tex Mex. An agent at a later date might, for business reasons, decide to slot a Women’s Fiction into Romance.  Yet, you likely will NEVER see an agent slot a literary fiction as a thriller. They are too different. That is like trying to put enchiladas on the menu at a French restaurant.

Part of why I stress picking a genre is that genres have rules and standards. For example, last year, I had a student drop out of my critique group because she wanted to basically write a literary thriller. I couldn’t make her understand that there were serious pacing issues with this combination. People who love thrillers like fast, steadily rising action. If we stop to take time to explore feelings and social issues, we will vex the very audience we are trying to entertain. People who read thrillers and people who read literary fiction are two very different audiences.

Granted, there are people who like to read everything, but betting our writing future on entertaining statistical outliers is a serious gamble. It’s like creating tuna ice cream. Sure, there is likely a handful of pregnant women who would love tuna ice cream, but most people would just pass. I didn’t make the rules, but I can help a writer understand those rules and thereby increase his/her chances of publication success.

In writing as in food, some combinations are never meant to go together. Paranormal thriller? Okay. Cool. Popcorn jelly beans. Literary thriller? Tuna ice cream of the writing world. Just my POV.

Understanding your genre will help immensely when it comes to plotting. It will also help you get an idea of the word count specific to that genre. I am going to attempt to give a very basic overview of the most popular genres. Please understand that all of these break down into subcategories, but I have provided links to help you learn more so this blog wasn’t 10,000 words long.

Mystery—often begins with the crime as the inciting incident (murder, theft, etc.), and the plot involves the protagonist uncovering the party responsible by the end. The crime has already happened and thus your goal in plotting is to drive toward the Big Boss Battle—the unveiling of the real culprit.

Mysteries have a lot more leeway to develop characters simply because, if you choose, they can be slower in pacing because the crime has already happened. Mysteries run roughly  75-100,000 words. Mysteries on the cozy side that are often in a series commonly are shorter. 60,000-ish. I’d recommend that you consult the Mystery Writers of America of more information.

Thriller/Suspense—generally involve trying to stop some bad thing from happening at the end. Thrillers have broad consequences if the protagonist fails—I.e. the terrorists will launch a nuclear weapon and destroy Washington D.C. Suspense novels have smaller/more intimate consequences. I.e. The serial killer will keep butchering young blonde co-eds. It is easy to see how thriller, suspense and mystery are kissing cousins and keep company. The key here is that there is a ticking clock and some disastrous event will happen if the protagonist fails.

So when plotting, all actions are geared to prevention of the horrible thing at the end. Thrillers can run 90-100,000 words (loosely) and sometimes a little longer. Why? Because some thrillers need to do world-building. Most of us have never been on a nuclear sub, so Tom Clancy had to recreate it for us in The Hunt for Red October (Clancy invented a sub-class of thriller known as the techno-thriller).

Pick up the pacing and you can have a Mystery-Suspense. Think Silence of the LambsA murder happens at the beginning, and the goal is to uncover the identity of the serial killer Buffalo Bill (mystery), but what makes this mystery-suspense is the presence of a ticking clock. Not only is the body count rising the longer Buffalo Bill remains free, but a senator’s daughter is next on Bill’s butcher block.

When plotting, there will often be a crime (murder) at the beginning, but the plot involves a rising “body count” and a perpetrator who must be stopped before an even bigger crime can occur (Big Boss Battle). These stories are plot-driven. Characters often do not have enough down-time to make sweeping inner arc changes like in a literary piece.

Pick up the pacing and raise the stakes and you have a Mystery-Thriller. Think Killing Floor by Lee Childs. The book begins with a murder of two unidentified people at a warehouse, but if the killers are not found, what the killers are trying to cover up will have global consequences. And I am not telling you what those consequences are b/c it would ruin the book :D.

When plotting, again, there is often a crime at the beginning with rising stakes, and the protagonist must stop a world-changing event from happening (Big Boss Battle). The focus of your plot will be solving the mystery and stopping the bad guy.

For more information on this genre, consult the International Thriller Writers site.

Romance—Guy and girl have to end up together in the end is the only point I will make on this. Romance is all about making the reader believe that love is good and grand and still exists in this crazy world. The hero cannot be your Big Boss Trouble Maker (read Structure Part Three if you want to know what a BBT is). Yes, the guy will likely be an antagonist, but that is different.

Romance, however, is very complex and I cannot do it justice in this short blurb. If you desire to write romance, I highly recommend you go to the Romance Writers of America site for more information and that you join a chapter near you immediately. This is one of the most amazing writing organizations around and a great investment in a successful romance-writing career.

Word count will depend on the type of romance you desire to write. Again, look to RWA for guidance.

Literary Fiction-is character driven. The importance is placed on the inner change, and the plot is the mechanism for driving that change. Literary fiction has more emphasis on prose, symbol and motif. The events that happen must drive an inner transformation.

Pulitzer Prize-winning book, The Road is a good example. The world has been destroyed and only a few humans have survived. The question isn’t as much whether the man and the boy will survive as much as it is about how they will survive. Will they endure with their humanity in tact? Or will they resort to being animals? Thus, the goal in The Road is less about boy and man completing their journey to the ocean, and more about how they make it. Can they carry the torch of humanity?

When plotting for the literary fiction, one needs to consider plot-points for the inner changes occurring. There need to be cross-roads of choice. One choice ends the story. The character failed to change. The other path leads closer to the end. The darkest moment is when that character faces that inner weakness at its strongest, yet triumphs.

For instance, in The Road, there are multiple times the man and boy face literally starving to death. Will they resort to cannibalism as many other have? Or will they press on and hope? Word count can vary, but you should be safe with 60-85,000 words (The Road was technically a novella).

Note: Literary fiction is not a free pass to avoid plotting. There still needs to be an overall plot problem that forces the change. People generally don’t wake up one day and just decide to change. There needs to be an outside driving force, a Big Boss Troublemaker, and a tangible physical goal. Again, in The Road, the man and boy have a tangible goal of getting to the ocean.

Fantasy and Science Fiction will involve some degree of world-building and extraordinary events, creatures, locations. In plotting, world-building is an essential additional step. How much world-building is necessary will depend on what sub-class of fantasy or sci-fi you’re writing. Word count will also be affected. The more world-building, the longer your book will be. Some books, especially in high-fantasy can run as long as 150,000 words and are often serialized.

Consult the Science Fiction and Fantasy Writers of America for more information.

Horror—This is another genre that breaks down into many sub-classifications and runs the gambit. It can be as simple as a basic Monster in the House story where the protagonist’s main goal is SERE-Survive Evade, Rescue, and Escape. The protag has only one goal…survive. These books tend to be on the shorter side, roughly 60,000 words.

Horror, however can blend with fantasy and require all kinds of complex world-building. Clive Barker’s Hellraiser is a good example. Stephen King’s horror often relies heavily on the psychological and there is weighty focus on an inner change/arc. For instance, The Shining chronicles Jack’s descent into madness and how his family deals with his change and ultimately tries to escape the very literal Monster in the House.

Horror will most always involve a Monster in the House scenario. It is just that the definitions of “monster” and “house” are mutable. Word count is contingent upon what type of horror you are writing. Again, I recommend you consult the experts, so here is a link to the Horror Writers AssociationThe Dark Fiction Guild seemed to have a lot of helpful/fascinating links, so you might want to check them out too.

Young AdultI won’t talk long about YA, since YA beaks into so many subcategories. Often YA will follow the rules of the parent genre (i.e. YA thrillers still have a ticking clock, fast pacing and high stakes just like regular thrillers). The differences, however, is that YA generally will have a younger protagonist (most often a teenager) and will address special challenges particular to a younger age group.

Picking a genre is actually quite liberating. Each genre has unique guideposts and expectations, and, once you gain a clear view of these, then plotting becomes far easier and much faster. You will understand the critical elements that must be in place—ticking clock, inner arc, world-building—before you begin.

This will save loads of time not only in writing, but in revision. Think of the romance author who makes her hero the main antagonist (BBT). She will try to query, and, since she didn’t know the rules of her genre, will end up having to totally rewrite/trash her story.

Eventually, once you grow in your craft, you will be able to break rules and conventions. But, to break the rules we have to understand them first.

I have done my best to give you guys a general overview of the most popular genres and links to know more. If you have some resources or links that you’d like to add, please put them in the comments section. Also, for the sake of brevity, I didn’t address other genres, like children’s or Western. If you have questions or advice, fire away! Any corrections? Additions? Questions? Concerns? Comments? I love hearing from you. What is the biggest hurdle you have to choosing a genre? Do you love your genre? Why? Any advice?

And to prove it and show my love, for the month of November, 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. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner every week for a critique of your first five pages. At the end of October I will pick a winner for the grand prize. A free critique from me on the first 15 pages of your novel. Good luck!

Last Week’s Winner of 5 Page Critique is Jodi Aman. Congratulations! Please send your 1250 word Word document to my assistant Gigi. Her e-mail is gigi dot salem dot ea at g mail dot com.

I also hope you pick up copies of my best-selling books We Are Not Alone–The Writer’s Guide to Social Media and Are You There, Blog? It’s Me, Writer . Both books are ON SALE for $4.99!!!! And both are recommended by the hottest agents and biggest authors in th biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books!